gaussalgo/Canard_Wiki-augmented huggingface dataset:
Joe Gibbs

Context: Throughout his retirement, many NFL owners approached Gibbs hoping to lure him out of retirement, but to no avail. Some owners even offered to move his entire NASCAR racing team to their team's city if he came back. The only team he seriously considered coming back for was the Carolina Panthers when they first joined the NFL as an expansion in 1995. However, he did not believe he would be able to manage his time between his race team and coaching. In 1999, he was part of a group that was trying to buy the Redskins but ultimately failed. In 2002, Gibbs and a small group of investors bought five percent of the Atlanta Falcons from owner Arthur Blank for $27 million. It wasn't until late 2003 when Gibbs really started to catch the football fever again. Blank and his general manager, Rich McKay moved quickly to interview him for the Falcons' vacant head coaching position due to the firing of Dan Reeves. However, when Gibbs found out that Steve Spurrier resigned as the Redskins' head coach, they realized that even though Gibbs was one of the team's minority owners, his loyalty still lies with the Redskins.  It is well documented that Daniel Snyder had been turned down by Gibbs several times before. On December 31, 2003, Snyder's private plane (Redskin One) was spotted at an airport outside of Charlotte, North Carolina. After spending 11 years in retirement from the NFL, Snyder successfully lured Gibbs out of retirement. Gibbs' change of heart was quite a surprise to the football and NASCAR worlds. During his January 7 press conference, a visibly emotional Snyder welcomed him back. Gibbs then stated that even though he enjoyed NASCAR immensely, he had missed coaching in the NFL. And although he had fielded offers in the past, he could only see himself coaching for the Redskins.  Because of his credibility, Gibbs was able to assemble one of the largest and most experienced coaching staffs in the NFL. Many coaches from his previous tenure with the team returned with Gibbs as well, including offensive line coach/assistant head coach Joe Bugel, offensive coordinator Don Breaux, quarterbacks coach Jack Burns, and tight ends coach Rennie Simmons. Gibbs was able to lure former Buffalo Bills head coach Gregg Williams to join the Redskins to run the defense and hired one of his former running backs, Ernest Byner to serve as running backs coach. Overall, many of his assistant and position coaches were either former head coaches and/or held top assistant coaching positions with other NFL teams.  Gibbs left his racing team in the hands of his eldest son, J.D., while his other son, Coy, joined him as an assistant with the Redskins. CANNOTANSWER

Question: What was the Redskins' record in Gibbs' second stint with the 'Skins?
Answer: CANNOTANSWER
Joe Gibbs

Context: Throughout his retirement, many NFL owners approached Gibbs hoping to lure him out of retirement, but to no avail. Some owners even offered to move his entire NASCAR racing team to their team's city if he came back. The only team he seriously considered coming back for was the Carolina Panthers when they first joined the NFL as an expansion in 1995. However, he did not believe he would be able to manage his time between his race team and coaching. In 1999, he was part of a group that was trying to buy the Redskins but ultimately failed. In 2002, Gibbs and a small group of investors bought five percent of the Atlanta Falcons from owner Arthur Blank for $27 million. It wasn't until late 2003 when Gibbs really started to catch the football fever again. Blank and his general manager, Rich McKay moved quickly to interview him for the Falcons' vacant head coaching position due to the firing of Dan Reeves. However, when Gibbs found out that Steve Spurrier resigned as the Redskins' head coach, they realized that even though Gibbs was one of the team's minority owners, his loyalty still lies with the Redskins.  It is well documented that Daniel Snyder had been turned down by Gibbs several times before. On December 31, 2003, Snyder's private plane (Redskin One) was spotted at an airport outside of Charlotte, North Carolina. After spending 11 years in retirement from the NFL, Snyder successfully lured Gibbs out of retirement. Gibbs' change of heart was quite a surprise to the football and NASCAR worlds. During his January 7 press conference, a visibly emotional Snyder welcomed him back. Gibbs then stated that even though he enjoyed NASCAR immensely, he had missed coaching in the NFL. And although he had fielded offers in the past, he could only see himself coaching for the Redskins.  Because of his credibility, Gibbs was able to assemble one of the largest and most experienced coaching staffs in the NFL. Many coaches from his previous tenure with the team returned with Gibbs as well, including offensive line coach/assistant head coach Joe Bugel, offensive coordinator Don Breaux, quarterbacks coach Jack Burns, and tight ends coach Rennie Simmons. Gibbs was able to lure former Buffalo Bills head coach Gregg Williams to join the Redskins to run the defense and hired one of his former running backs, Ernest Byner to serve as running backs coach. Overall, many of his assistant and position coaches were either former head coaches and/or held top assistant coaching positions with other NFL teams.  Gibbs left his racing team in the hands of his eldest son, J.D., while his other son, Coy, joined him as an assistant with the Redskins. CANNOTANSWER

Question: Who was one of Gibbs' star players?
Answer: head coach Joe Bugel, offensive coordinator Don Breaux, quarterbacks coach Jack Burns, and tight ends coach Rennie Simmons.
Joe Gibbs

Context: Throughout his retirement, many NFL owners approached Gibbs hoping to lure him out of retirement, but to no avail. Some owners even offered to move his entire NASCAR racing team to their team's city if he came back. The only team he seriously considered coming back for was the Carolina Panthers when they first joined the NFL as an expansion in 1995. However, he did not believe he would be able to manage his time between his race team and coaching. In 1999, he was part of a group that was trying to buy the Redskins but ultimately failed. In 2002, Gibbs and a small group of investors bought five percent of the Atlanta Falcons from owner Arthur Blank for $27 million. It wasn't until late 2003 when Gibbs really started to catch the football fever again. Blank and his general manager, Rich McKay moved quickly to interview him for the Falcons' vacant head coaching position due to the firing of Dan Reeves. However, when Gibbs found out that Steve Spurrier resigned as the Redskins' head coach, they realized that even though Gibbs was one of the team's minority owners, his loyalty still lies with the Redskins.  It is well documented that Daniel Snyder had been turned down by Gibbs several times before. On December 31, 2003, Snyder's private plane (Redskin One) was spotted at an airport outside of Charlotte, North Carolina. After spending 11 years in retirement from the NFL, Snyder successfully lured Gibbs out of retirement. Gibbs' change of heart was quite a surprise to the football and NASCAR worlds. During his January 7 press conference, a visibly emotional Snyder welcomed him back. Gibbs then stated that even though he enjoyed NASCAR immensely, he had missed coaching in the NFL. And although he had fielded offers in the past, he could only see himself coaching for the Redskins.  Because of his credibility, Gibbs was able to assemble one of the largest and most experienced coaching staffs in the NFL. Many coaches from his previous tenure with the team returned with Gibbs as well, including offensive line coach/assistant head coach Joe Bugel, offensive coordinator Don Breaux, quarterbacks coach Jack Burns, and tight ends coach Rennie Simmons. Gibbs was able to lure former Buffalo Bills head coach Gregg Williams to join the Redskins to run the defense and hired one of his former running backs, Ernest Byner to serve as running backs coach. Overall, many of his assistant and position coaches were either former head coaches and/or held top assistant coaching positions with other NFL teams.  Gibbs left his racing team in the hands of his eldest son, J.D., while his other son, Coy, joined him as an assistant with the Redskins. CANNOTANSWER

Question: What can you tell me about the Coach Gibbs teams?
Answer: Gibbs was able to assemble one of the largest and most experienced coaching staffs in the NFL.
Joe Gibbs

Context: Throughout his retirement, many NFL owners approached Gibbs hoping to lure him out of retirement, but to no avail. Some owners even offered to move his entire NASCAR racing team to their team's city if he came back. The only team he seriously considered coming back for was the Carolina Panthers when they first joined the NFL as an expansion in 1995. However, he did not believe he would be able to manage his time between his race team and coaching. In 1999, he was part of a group that was trying to buy the Redskins but ultimately failed. In 2002, Gibbs and a small group of investors bought five percent of the Atlanta Falcons from owner Arthur Blank for $27 million. It wasn't until late 2003 when Gibbs really started to catch the football fever again. Blank and his general manager, Rich McKay moved quickly to interview him for the Falcons' vacant head coaching position due to the firing of Dan Reeves. However, when Gibbs found out that Steve Spurrier resigned as the Redskins' head coach, they realized that even though Gibbs was one of the team's minority owners, his loyalty still lies with the Redskins.  It is well documented that Daniel Snyder had been turned down by Gibbs several times before. On December 31, 2003, Snyder's private plane (Redskin One) was spotted at an airport outside of Charlotte, North Carolina. After spending 11 years in retirement from the NFL, Snyder successfully lured Gibbs out of retirement. Gibbs' change of heart was quite a surprise to the football and NASCAR worlds. During his January 7 press conference, a visibly emotional Snyder welcomed him back. Gibbs then stated that even though he enjoyed NASCAR immensely, he had missed coaching in the NFL. And although he had fielded offers in the past, he could only see himself coaching for the Redskins.  Because of his credibility, Gibbs was able to assemble one of the largest and most experienced coaching staffs in the NFL. Many coaches from his previous tenure with the team returned with Gibbs as well, including offensive line coach/assistant head coach Joe Bugel, offensive coordinator Don Breaux, quarterbacks coach Jack Burns, and tight ends coach Rennie Simmons. Gibbs was able to lure former Buffalo Bills head coach Gregg Williams to join the Redskins to run the defense and hired one of his former running backs, Ernest Byner to serve as running backs coach. Overall, many of his assistant and position coaches were either former head coaches and/or held top assistant coaching positions with other NFL teams.  Gibbs left his racing team in the hands of his eldest son, J.D., while his other son, Coy, joined him as an assistant with the Redskins. CANNOTANSWER

Question: Who owned the Redskins in 2004?
Answer: CANNOTANSWER
Emilie Autumn

Context: Her music encompasses a wide range of styles. Autumn's vocal range is contralto, but also has the ability to perform in the dramatic soprano range. Her vocal work has been compared to Tori Amos, Kate Bush, and The Creatures. She has released two instrumental albums (On a Day... and Laced/Unlaced), and four featuring her vocals: Enchant, Opheliac, A Bit o' This & That, and "Fight Like A Girl". The 2003 album Enchant drew on "new age chamber music, trip hop baroque, and experimental space pop". Autumn layers her voice frequently, and incorporates electronics and electronic effects into her work on Enchant; she also combines strings and piano for some songs, while others feature mainly the piano or violin. The 2006 release Opheliac featured "cabaret, electronic, symphonic, new age, and good ol' rock & roll (and heavy on the theatrical bombast)".  A classically trained musician, Autumn is influenced by plays, novels, and history, particularly the Victorian era. She enjoys the works of Shakespeare, Elizabeth Barrett Browning and her husband Robert, and Edgar Allan Poe. She incorporates sounds resembling Victorian machinery such as locomotives, which she noted was "sort of a steampunk thing". While a young Autumn cited Itzhak Perlman as an influence because of the happiness she believed he felt when he played, her main musical influence and inspiration is the English violinist Nigel Kennedy. Her favorite singer is Morrissey from The Smiths. She takes inspiration for her songs from her life experiences and mixes in "layers and layers of references, connections, other stories and metaphors". Autumn describes her music and style as "Psychotic Vaudeville Burlesque". She alternatively labels her music and style as "Victoriandustrial'", a term she coined, and glam rock because of her use of glitter onstage. According to Autumn, her music "wasn't meant to be cutesy" and is labeled as "industrial" mainly because of her use of drums and yelling. Her adaption of "O Mistress Mine" was praised by author and theater director Barry Edelstein as "a ravishing, guaranteed tearjerker".  For her live performances, which she calls dinner theatre because of her practice of throwing tea and tea-time snacks offstage, Autumn makes use of burlesque--"a show that was mainly using humour and sexuality to make a mockery of things that were going on socially and politically"--to counterbalance the morbid topics such as abuse and self-mutilation. She incorporates handmade costumes, fire tricks, theatrics, and a female backing band, The Bloody Crumpets: Veronica Varlow, Jill Evyn (Moth), and formerly The Blessed Contessa, Lady Aprella, Little Lucina, Lady Joo Hee, Captain Vecona, Little Miss Sugarless, Mistress Jacinda, and the model Ulorin Vex. Another crumpet, Captain Maggot, has taken a leave. Her wish for the live shows is to be an "anti-repression statement" and empowerment. CANNOTANSWER

Question: Who were Emilie Autumn's main influences?
Answer: Autumn is influenced by plays, novels, and history, particularly the Victorian era.
Emilie Autumn

Context: Her music encompasses a wide range of styles. Autumn's vocal range is contralto, but also has the ability to perform in the dramatic soprano range. Her vocal work has been compared to Tori Amos, Kate Bush, and The Creatures. She has released two instrumental albums (On a Day... and Laced/Unlaced), and four featuring her vocals: Enchant, Opheliac, A Bit o' This & That, and "Fight Like A Girl". The 2003 album Enchant drew on "new age chamber music, trip hop baroque, and experimental space pop". Autumn layers her voice frequently, and incorporates electronics and electronic effects into her work on Enchant; she also combines strings and piano for some songs, while others feature mainly the piano or violin. The 2006 release Opheliac featured "cabaret, electronic, symphonic, new age, and good ol' rock & roll (and heavy on the theatrical bombast)".  A classically trained musician, Autumn is influenced by plays, novels, and history, particularly the Victorian era. She enjoys the works of Shakespeare, Elizabeth Barrett Browning and her husband Robert, and Edgar Allan Poe. She incorporates sounds resembling Victorian machinery such as locomotives, which she noted was "sort of a steampunk thing". While a young Autumn cited Itzhak Perlman as an influence because of the happiness she believed he felt when he played, her main musical influence and inspiration is the English violinist Nigel Kennedy. Her favorite singer is Morrissey from The Smiths. She takes inspiration for her songs from her life experiences and mixes in "layers and layers of references, connections, other stories and metaphors". Autumn describes her music and style as "Psychotic Vaudeville Burlesque". She alternatively labels her music and style as "Victoriandustrial'", a term she coined, and glam rock because of her use of glitter onstage. According to Autumn, her music "wasn't meant to be cutesy" and is labeled as "industrial" mainly because of her use of drums and yelling. Her adaption of "O Mistress Mine" was praised by author and theater director Barry Edelstein as "a ravishing, guaranteed tearjerker".  For her live performances, which she calls dinner theatre because of her practice of throwing tea and tea-time snacks offstage, Autumn makes use of burlesque--"a show that was mainly using humour and sexuality to make a mockery of things that were going on socially and politically"--to counterbalance the morbid topics such as abuse and self-mutilation. She incorporates handmade costumes, fire tricks, theatrics, and a female backing band, The Bloody Crumpets: Veronica Varlow, Jill Evyn (Moth), and formerly The Blessed Contessa, Lady Aprella, Little Lucina, Lady Joo Hee, Captain Vecona, Little Miss Sugarless, Mistress Jacinda, and the model Ulorin Vex. Another crumpet, Captain Maggot, has taken a leave. Her wish for the live shows is to be an "anti-repression statement" and empowerment. CANNOTANSWER

Question: What was Emilie Autumn's musical style?
Answer: Autumn's vocal range is contralto, but also has the ability to perform in the dramatic soprano range. Her vocal work has been compared to Tori Amos, Kate Bush,
Emilie Autumn

Context: Her music encompasses a wide range of styles. Autumn's vocal range is contralto, but also has the ability to perform in the dramatic soprano range. Her vocal work has been compared to Tori Amos, Kate Bush, and The Creatures. She has released two instrumental albums (On a Day... and Laced/Unlaced), and four featuring her vocals: Enchant, Opheliac, A Bit o' This & That, and "Fight Like A Girl". The 2003 album Enchant drew on "new age chamber music, trip hop baroque, and experimental space pop". Autumn layers her voice frequently, and incorporates electronics and electronic effects into her work on Enchant; she also combines strings and piano for some songs, while others feature mainly the piano or violin. The 2006 release Opheliac featured "cabaret, electronic, symphonic, new age, and good ol' rock & roll (and heavy on the theatrical bombast)".  A classically trained musician, Autumn is influenced by plays, novels, and history, particularly the Victorian era. She enjoys the works of Shakespeare, Elizabeth Barrett Browning and her husband Robert, and Edgar Allan Poe. She incorporates sounds resembling Victorian machinery such as locomotives, which she noted was "sort of a steampunk thing". While a young Autumn cited Itzhak Perlman as an influence because of the happiness she believed he felt when he played, her main musical influence and inspiration is the English violinist Nigel Kennedy. Her favorite singer is Morrissey from The Smiths. She takes inspiration for her songs from her life experiences and mixes in "layers and layers of references, connections, other stories and metaphors". Autumn describes her music and style as "Psychotic Vaudeville Burlesque". She alternatively labels her music and style as "Victoriandustrial'", a term she coined, and glam rock because of her use of glitter onstage. According to Autumn, her music "wasn't meant to be cutesy" and is labeled as "industrial" mainly because of her use of drums and yelling. Her adaption of "O Mistress Mine" was praised by author and theater director Barry Edelstein as "a ravishing, guaranteed tearjerker".  For her live performances, which she calls dinner theatre because of her practice of throwing tea and tea-time snacks offstage, Autumn makes use of burlesque--"a show that was mainly using humour and sexuality to make a mockery of things that were going on socially and politically"--to counterbalance the morbid topics such as abuse and self-mutilation. She incorporates handmade costumes, fire tricks, theatrics, and a female backing band, The Bloody Crumpets: Veronica Varlow, Jill Evyn (Moth), and formerly The Blessed Contessa, Lady Aprella, Little Lucina, Lady Joo Hee, Captain Vecona, Little Miss Sugarless, Mistress Jacinda, and the model Ulorin Vex. Another crumpet, Captain Maggot, has taken a leave. Her wish for the live shows is to be an "anti-repression statement" and empowerment. CANNOTANSWER

Question: Did Emilie Autumn play any instruments?
Answer: incorporates electronics and electronic effects into her work on Enchant; she also combines strings and piano for some songs, while others feature mainly the piano or violin.
Emilie Autumn

Context: Her music encompasses a wide range of styles. Autumn's vocal range is contralto, but also has the ability to perform in the dramatic soprano range. Her vocal work has been compared to Tori Amos, Kate Bush, and The Creatures. She has released two instrumental albums (On a Day... and Laced/Unlaced), and four featuring her vocals: Enchant, Opheliac, A Bit o' This & That, and "Fight Like A Girl". The 2003 album Enchant drew on "new age chamber music, trip hop baroque, and experimental space pop". Autumn layers her voice frequently, and incorporates electronics and electronic effects into her work on Enchant; she also combines strings and piano for some songs, while others feature mainly the piano or violin. The 2006 release Opheliac featured "cabaret, electronic, symphonic, new age, and good ol' rock & roll (and heavy on the theatrical bombast)".  A classically trained musician, Autumn is influenced by plays, novels, and history, particularly the Victorian era. She enjoys the works of Shakespeare, Elizabeth Barrett Browning and her husband Robert, and Edgar Allan Poe. She incorporates sounds resembling Victorian machinery such as locomotives, which she noted was "sort of a steampunk thing". While a young Autumn cited Itzhak Perlman as an influence because of the happiness she believed he felt when he played, her main musical influence and inspiration is the English violinist Nigel Kennedy. Her favorite singer is Morrissey from The Smiths. She takes inspiration for her songs from her life experiences and mixes in "layers and layers of references, connections, other stories and metaphors". Autumn describes her music and style as "Psychotic Vaudeville Burlesque". She alternatively labels her music and style as "Victoriandustrial'", a term she coined, and glam rock because of her use of glitter onstage. According to Autumn, her music "wasn't meant to be cutesy" and is labeled as "industrial" mainly because of her use of drums and yelling. Her adaption of "O Mistress Mine" was praised by author and theater director Barry Edelstein as "a ravishing, guaranteed tearjerker".  For her live performances, which she calls dinner theatre because of her practice of throwing tea and tea-time snacks offstage, Autumn makes use of burlesque--"a show that was mainly using humour and sexuality to make a mockery of things that were going on socially and politically"--to counterbalance the morbid topics such as abuse and self-mutilation. She incorporates handmade costumes, fire tricks, theatrics, and a female backing band, The Bloody Crumpets: Veronica Varlow, Jill Evyn (Moth), and formerly The Blessed Contessa, Lady Aprella, Little Lucina, Lady Joo Hee, Captain Vecona, Little Miss Sugarless, Mistress Jacinda, and the model Ulorin Vex. Another crumpet, Captain Maggot, has taken a leave. Her wish for the live shows is to be an "anti-repression statement" and empowerment. CANNOTANSWER

Question: Did Emilie Autumn begin singing and playing instruments as a child?
Answer: CANNOTANSWER
Emilie Autumn

Context: Her music encompasses a wide range of styles. Autumn's vocal range is contralto, but also has the ability to perform in the dramatic soprano range. Her vocal work has been compared to Tori Amos, Kate Bush, and The Creatures. She has released two instrumental albums (On a Day... and Laced/Unlaced), and four featuring her vocals: Enchant, Opheliac, A Bit o' This & That, and "Fight Like A Girl". The 2003 album Enchant drew on "new age chamber music, trip hop baroque, and experimental space pop". Autumn layers her voice frequently, and incorporates electronics and electronic effects into her work on Enchant; she also combines strings and piano for some songs, while others feature mainly the piano or violin. The 2006 release Opheliac featured "cabaret, electronic, symphonic, new age, and good ol' rock & roll (and heavy on the theatrical bombast)".  A classically trained musician, Autumn is influenced by plays, novels, and history, particularly the Victorian era. She enjoys the works of Shakespeare, Elizabeth Barrett Browning and her husband Robert, and Edgar Allan Poe. She incorporates sounds resembling Victorian machinery such as locomotives, which she noted was "sort of a steampunk thing". While a young Autumn cited Itzhak Perlman as an influence because of the happiness she believed he felt when he played, her main musical influence and inspiration is the English violinist Nigel Kennedy. Her favorite singer is Morrissey from The Smiths. She takes inspiration for her songs from her life experiences and mixes in "layers and layers of references, connections, other stories and metaphors". Autumn describes her music and style as "Psychotic Vaudeville Burlesque". She alternatively labels her music and style as "Victoriandustrial'", a term she coined, and glam rock because of her use of glitter onstage. According to Autumn, her music "wasn't meant to be cutesy" and is labeled as "industrial" mainly because of her use of drums and yelling. Her adaption of "O Mistress Mine" was praised by author and theater director Barry Edelstein as "a ravishing, guaranteed tearjerker".  For her live performances, which she calls dinner theatre because of her practice of throwing tea and tea-time snacks offstage, Autumn makes use of burlesque--"a show that was mainly using humour and sexuality to make a mockery of things that were going on socially and politically"--to counterbalance the morbid topics such as abuse and self-mutilation. She incorporates handmade costumes, fire tricks, theatrics, and a female backing band, The Bloody Crumpets: Veronica Varlow, Jill Evyn (Moth), and formerly The Blessed Contessa, Lady Aprella, Little Lucina, Lady Joo Hee, Captain Vecona, Little Miss Sugarless, Mistress Jacinda, and the model Ulorin Vex. Another crumpet, Captain Maggot, has taken a leave. Her wish for the live shows is to be an "anti-repression statement" and empowerment. CANNOTANSWER

Question: Does Emilie Autumn have any formal musical training?
Answer: CANNOTANSWER
Emilie Autumn

Context: Her music encompasses a wide range of styles. Autumn's vocal range is contralto, but also has the ability to perform in the dramatic soprano range. Her vocal work has been compared to Tori Amos, Kate Bush, and The Creatures. She has released two instrumental albums (On a Day... and Laced/Unlaced), and four featuring her vocals: Enchant, Opheliac, A Bit o' This & That, and "Fight Like A Girl". The 2003 album Enchant drew on "new age chamber music, trip hop baroque, and experimental space pop". Autumn layers her voice frequently, and incorporates electronics and electronic effects into her work on Enchant; she also combines strings and piano for some songs, while others feature mainly the piano or violin. The 2006 release Opheliac featured "cabaret, electronic, symphonic, new age, and good ol' rock & roll (and heavy on the theatrical bombast)".  A classically trained musician, Autumn is influenced by plays, novels, and history, particularly the Victorian era. She enjoys the works of Shakespeare, Elizabeth Barrett Browning and her husband Robert, and Edgar Allan Poe. She incorporates sounds resembling Victorian machinery such as locomotives, which she noted was "sort of a steampunk thing". While a young Autumn cited Itzhak Perlman as an influence because of the happiness she believed he felt when he played, her main musical influence and inspiration is the English violinist Nigel Kennedy. Her favorite singer is Morrissey from The Smiths. She takes inspiration for her songs from her life experiences and mixes in "layers and layers of references, connections, other stories and metaphors". Autumn describes her music and style as "Psychotic Vaudeville Burlesque". She alternatively labels her music and style as "Victoriandustrial'", a term she coined, and glam rock because of her use of glitter onstage. According to Autumn, her music "wasn't meant to be cutesy" and is labeled as "industrial" mainly because of her use of drums and yelling. Her adaption of "O Mistress Mine" was praised by author and theater director Barry Edelstein as "a ravishing, guaranteed tearjerker".  For her live performances, which she calls dinner theatre because of her practice of throwing tea and tea-time snacks offstage, Autumn makes use of burlesque--"a show that was mainly using humour and sexuality to make a mockery of things that were going on socially and politically"--to counterbalance the morbid topics such as abuse and self-mutilation. She incorporates handmade costumes, fire tricks, theatrics, and a female backing band, The Bloody Crumpets: Veronica Varlow, Jill Evyn (Moth), and formerly The Blessed Contessa, Lady Aprella, Little Lucina, Lady Joo Hee, Captain Vecona, Little Miss Sugarless, Mistress Jacinda, and the model Ulorin Vex. Another crumpet, Captain Maggot, has taken a leave. Her wish for the live shows is to be an "anti-repression statement" and empowerment. CANNOTANSWER

Question: Where did Emilie Autumn perform music?
Answer: theater
Emilie Autumn

Context: Her music encompasses a wide range of styles. Autumn's vocal range is contralto, but also has the ability to perform in the dramatic soprano range. Her vocal work has been compared to Tori Amos, Kate Bush, and The Creatures. She has released two instrumental albums (On a Day... and Laced/Unlaced), and four featuring her vocals: Enchant, Opheliac, A Bit o' This & That, and "Fight Like A Girl". The 2003 album Enchant drew on "new age chamber music, trip hop baroque, and experimental space pop". Autumn layers her voice frequently, and incorporates electronics and electronic effects into her work on Enchant; she also combines strings and piano for some songs, while others feature mainly the piano or violin. The 2006 release Opheliac featured "cabaret, electronic, symphonic, new age, and good ol' rock & roll (and heavy on the theatrical bombast)".  A classically trained musician, Autumn is influenced by plays, novels, and history, particularly the Victorian era. She enjoys the works of Shakespeare, Elizabeth Barrett Browning and her husband Robert, and Edgar Allan Poe. She incorporates sounds resembling Victorian machinery such as locomotives, which she noted was "sort of a steampunk thing". While a young Autumn cited Itzhak Perlman as an influence because of the happiness she believed he felt when he played, her main musical influence and inspiration is the English violinist Nigel Kennedy. Her favorite singer is Morrissey from The Smiths. She takes inspiration for her songs from her life experiences and mixes in "layers and layers of references, connections, other stories and metaphors". Autumn describes her music and style as "Psychotic Vaudeville Burlesque". She alternatively labels her music and style as "Victoriandustrial'", a term she coined, and glam rock because of her use of glitter onstage. According to Autumn, her music "wasn't meant to be cutesy" and is labeled as "industrial" mainly because of her use of drums and yelling. Her adaption of "O Mistress Mine" was praised by author and theater director Barry Edelstein as "a ravishing, guaranteed tearjerker".  For her live performances, which she calls dinner theatre because of her practice of throwing tea and tea-time snacks offstage, Autumn makes use of burlesque--"a show that was mainly using humour and sexuality to make a mockery of things that were going on socially and politically"--to counterbalance the morbid topics such as abuse and self-mutilation. She incorporates handmade costumes, fire tricks, theatrics, and a female backing band, The Bloody Crumpets: Veronica Varlow, Jill Evyn (Moth), and formerly The Blessed Contessa, Lady Aprella, Little Lucina, Lady Joo Hee, Captain Vecona, Little Miss Sugarless, Mistress Jacinda, and the model Ulorin Vex. Another crumpet, Captain Maggot, has taken a leave. Her wish for the live shows is to be an "anti-repression statement" and empowerment. CANNOTANSWER

Question: Did Emilie Autumn have a favorite author or novel?
Answer: She enjoys the works of Shakespeare, Elizabeth Barrett Browning and her husband Robert, and Edgar Allan Poe.
Emilie Autumn

Context: Her music encompasses a wide range of styles. Autumn's vocal range is contralto, but also has the ability to perform in the dramatic soprano range. Her vocal work has been compared to Tori Amos, Kate Bush, and The Creatures. She has released two instrumental albums (On a Day... and Laced/Unlaced), and four featuring her vocals: Enchant, Opheliac, A Bit o' This & That, and "Fight Like A Girl". The 2003 album Enchant drew on "new age chamber music, trip hop baroque, and experimental space pop". Autumn layers her voice frequently, and incorporates electronics and electronic effects into her work on Enchant; she also combines strings and piano for some songs, while others feature mainly the piano or violin. The 2006 release Opheliac featured "cabaret, electronic, symphonic, new age, and good ol' rock & roll (and heavy on the theatrical bombast)".  A classically trained musician, Autumn is influenced by plays, novels, and history, particularly the Victorian era. She enjoys the works of Shakespeare, Elizabeth Barrett Browning and her husband Robert, and Edgar Allan Poe. She incorporates sounds resembling Victorian machinery such as locomotives, which she noted was "sort of a steampunk thing". While a young Autumn cited Itzhak Perlman as an influence because of the happiness she believed he felt when he played, her main musical influence and inspiration is the English violinist Nigel Kennedy. Her favorite singer is Morrissey from The Smiths. She takes inspiration for her songs from her life experiences and mixes in "layers and layers of references, connections, other stories and metaphors". Autumn describes her music and style as "Psychotic Vaudeville Burlesque". She alternatively labels her music and style as "Victoriandustrial'", a term she coined, and glam rock because of her use of glitter onstage. According to Autumn, her music "wasn't meant to be cutesy" and is labeled as "industrial" mainly because of her use of drums and yelling. Her adaption of "O Mistress Mine" was praised by author and theater director Barry Edelstein as "a ravishing, guaranteed tearjerker".  For her live performances, which she calls dinner theatre because of her practice of throwing tea and tea-time snacks offstage, Autumn makes use of burlesque--"a show that was mainly using humour and sexuality to make a mockery of things that were going on socially and politically"--to counterbalance the morbid topics such as abuse and self-mutilation. She incorporates handmade costumes, fire tricks, theatrics, and a female backing band, The Bloody Crumpets: Veronica Varlow, Jill Evyn (Moth), and formerly The Blessed Contessa, Lady Aprella, Little Lucina, Lady Joo Hee, Captain Vecona, Little Miss Sugarless, Mistress Jacinda, and the model Ulorin Vex. Another crumpet, Captain Maggot, has taken a leave. Her wish for the live shows is to be an "anti-repression statement" and empowerment. CANNOTANSWER

Question: What are some of the roles Emilie Autumn played?
Answer: perform in the dramatic soprano range.
Emilie Autumn

Context: Her music encompasses a wide range of styles. Autumn's vocal range is contralto, but also has the ability to perform in the dramatic soprano range. Her vocal work has been compared to Tori Amos, Kate Bush, and The Creatures. She has released two instrumental albums (On a Day... and Laced/Unlaced), and four featuring her vocals: Enchant, Opheliac, A Bit o' This & That, and "Fight Like A Girl". The 2003 album Enchant drew on "new age chamber music, trip hop baroque, and experimental space pop". Autumn layers her voice frequently, and incorporates electronics and electronic effects into her work on Enchant; she also combines strings and piano for some songs, while others feature mainly the piano or violin. The 2006 release Opheliac featured "cabaret, electronic, symphonic, new age, and good ol' rock & roll (and heavy on the theatrical bombast)".  A classically trained musician, Autumn is influenced by plays, novels, and history, particularly the Victorian era. She enjoys the works of Shakespeare, Elizabeth Barrett Browning and her husband Robert, and Edgar Allan Poe. She incorporates sounds resembling Victorian machinery such as locomotives, which she noted was "sort of a steampunk thing". While a young Autumn cited Itzhak Perlman as an influence because of the happiness she believed he felt when he played, her main musical influence and inspiration is the English violinist Nigel Kennedy. Her favorite singer is Morrissey from The Smiths. She takes inspiration for her songs from her life experiences and mixes in "layers and layers of references, connections, other stories and metaphors". Autumn describes her music and style as "Psychotic Vaudeville Burlesque". She alternatively labels her music and style as "Victoriandustrial'", a term she coined, and glam rock because of her use of glitter onstage. According to Autumn, her music "wasn't meant to be cutesy" and is labeled as "industrial" mainly because of her use of drums and yelling. Her adaption of "O Mistress Mine" was praised by author and theater director Barry Edelstein as "a ravishing, guaranteed tearjerker".  For her live performances, which she calls dinner theatre because of her practice of throwing tea and tea-time snacks offstage, Autumn makes use of burlesque--"a show that was mainly using humour and sexuality to make a mockery of things that were going on socially and politically"--to counterbalance the morbid topics such as abuse and self-mutilation. She incorporates handmade costumes, fire tricks, theatrics, and a female backing band, The Bloody Crumpets: Veronica Varlow, Jill Evyn (Moth), and formerly The Blessed Contessa, Lady Aprella, Little Lucina, Lady Joo Hee, Captain Vecona, Little Miss Sugarless, Mistress Jacinda, and the model Ulorin Vex. Another crumpet, Captain Maggot, has taken a leave. Her wish for the live shows is to be an "anti-repression statement" and empowerment. CANNOTANSWER

Question: Anything usual about Emilie Autumn's life?
Answer: She has released two instrumental albums (On a Day... and Laced/Unlaced), and four featuring her vocals: Enchant, Opheliac,
Emilie Autumn

Context: Her music encompasses a wide range of styles. Autumn's vocal range is contralto, but also has the ability to perform in the dramatic soprano range. Her vocal work has been compared to Tori Amos, Kate Bush, and The Creatures. She has released two instrumental albums (On a Day... and Laced/Unlaced), and four featuring her vocals: Enchant, Opheliac, A Bit o' This & That, and "Fight Like A Girl". The 2003 album Enchant drew on "new age chamber music, trip hop baroque, and experimental space pop". Autumn layers her voice frequently, and incorporates electronics and electronic effects into her work on Enchant; she also combines strings and piano for some songs, while others feature mainly the piano or violin. The 2006 release Opheliac featured "cabaret, electronic, symphonic, new age, and good ol' rock & roll (and heavy on the theatrical bombast)".  A classically trained musician, Autumn is influenced by plays, novels, and history, particularly the Victorian era. She enjoys the works of Shakespeare, Elizabeth Barrett Browning and her husband Robert, and Edgar Allan Poe. She incorporates sounds resembling Victorian machinery such as locomotives, which she noted was "sort of a steampunk thing". While a young Autumn cited Itzhak Perlman as an influence because of the happiness she believed he felt when he played, her main musical influence and inspiration is the English violinist Nigel Kennedy. Her favorite singer is Morrissey from The Smiths. She takes inspiration for her songs from her life experiences and mixes in "layers and layers of references, connections, other stories and metaphors". Autumn describes her music and style as "Psychotic Vaudeville Burlesque". She alternatively labels her music and style as "Victoriandustrial'", a term she coined, and glam rock because of her use of glitter onstage. According to Autumn, her music "wasn't meant to be cutesy" and is labeled as "industrial" mainly because of her use of drums and yelling. Her adaption of "O Mistress Mine" was praised by author and theater director Barry Edelstein as "a ravishing, guaranteed tearjerker".  For her live performances, which she calls dinner theatre because of her practice of throwing tea and tea-time snacks offstage, Autumn makes use of burlesque--"a show that was mainly using humour and sexuality to make a mockery of things that were going on socially and politically"--to counterbalance the morbid topics such as abuse and self-mutilation. She incorporates handmade costumes, fire tricks, theatrics, and a female backing band, The Bloody Crumpets: Veronica Varlow, Jill Evyn (Moth), and formerly The Blessed Contessa, Lady Aprella, Little Lucina, Lady Joo Hee, Captain Vecona, Little Miss Sugarless, Mistress Jacinda, and the model Ulorin Vex. Another crumpet, Captain Maggot, has taken a leave. Her wish for the live shows is to be an "anti-repression statement" and empowerment. CANNOTANSWER

Question: Were the albums On a Day and Laced/Unlaced successful?
Answer: was praised by author and theater director Barry Edelstein as "a ravishing, guaranteed tearjerker".
Ara Parseghian

Context: Parseghian quickly turned things around in 1964; he re-established a sense of confidence and team spirit that had been lost under Kuharich and Devore. Practices were carefully planned and organized with the help of a coaching staff that consisted of three assistants from Northwestern and four former Notre Dame players. Parseghian listened to players' concerns about the program and addressed them. He invigorated the team's offense by favoring passing and bringing in smaller and quicker players. A rule change allowing unlimited substitutions starting in 1964 helped make this strategy successful; fast-running receivers could now be taken out of the game and rested as others replaced them.  Parseghian also recognized talent in quarterback John Huarte and wide receiver Jack Snow, who had been used only sparingly for two seasons by previous coaches. Huarte could throw far and accurately but was soft-spoken, a trait Parseghian and his staff helped change. Snow was large for a receiver of his era, but Parseghian thought his athleticism and sure hands would make him a good wideout. Still, expectations were muted for the 1964 season: Parseghian told his coaches that the team would have a 6-4 record if they were lucky. Sports Illustrated predicted a 5-5 record at best, and the team did not rank among the top 20 programs in the country in the pre-season AP Poll.  Notre Dame nonetheless opened the season with a 31-7 victory over heavily favored Wisconsin, a game in which Huarte threw for more yards than the team's leading passer had over the entire 1963 season. Notre Dame players carried Parseghian off the field after the win, which vaulted the team to ninth place in the polls. A string of victories followed, first against Purdue and then Air Force and UCLA. Notre Dame rose to first place in the national polls following a 40-0 win over Navy in October. The team went undefeated until the last game of the year against USC, who won 20-17 in the final minutes on a touchdown pass from Craig Fertig to Rod Sherman. The loss unseated Notre Dame from the top ranking in the national polls, but the team still won the MacArthur Trophy, a championship awarded by the National Football Foundation.  Huarte passed for 2,062 yards and set 12 school records in 1964, four of which still stood as of 2009. He also won the Heisman Trophy. Snow led the country in receptions, with 60. Parseghian, meanwhile, won numerous coach of the year awards for engineering the turnaround, including from the American Football Coaches Association, the Football Writers Association of America, the Washington Touchdown Club, the Columbus Touchdown Club, and Football News.  Huarte and Snow graduated after the 1964 season, and Notre Dame felt their absence the following year, posting a 7-2-1 record. While the team did not contend for a national title, defensive back Nick Rassas led the nation in punt returns and came in sixth in interceptions; he was named a first-team All-American by sportswriters. CANNOTANSWER

Question: Was Ara Parseghian's 1964 season successful?
Answer: Notre Dame nonetheless opened the season with a 31-7 victory over heavily favored Wisconsin,
Ara Parseghian

Context: Parseghian quickly turned things around in 1964; he re-established a sense of confidence and team spirit that had been lost under Kuharich and Devore. Practices were carefully planned and organized with the help of a coaching staff that consisted of three assistants from Northwestern and four former Notre Dame players. Parseghian listened to players' concerns about the program and addressed them. He invigorated the team's offense by favoring passing and bringing in smaller and quicker players. A rule change allowing unlimited substitutions starting in 1964 helped make this strategy successful; fast-running receivers could now be taken out of the game and rested as others replaced them.  Parseghian also recognized talent in quarterback John Huarte and wide receiver Jack Snow, who had been used only sparingly for two seasons by previous coaches. Huarte could throw far and accurately but was soft-spoken, a trait Parseghian and his staff helped change. Snow was large for a receiver of his era, but Parseghian thought his athleticism and sure hands would make him a good wideout. Still, expectations were muted for the 1964 season: Parseghian told his coaches that the team would have a 6-4 record if they were lucky. Sports Illustrated predicted a 5-5 record at best, and the team did not rank among the top 20 programs in the country in the pre-season AP Poll.  Notre Dame nonetheless opened the season with a 31-7 victory over heavily favored Wisconsin, a game in which Huarte threw for more yards than the team's leading passer had over the entire 1963 season. Notre Dame players carried Parseghian off the field after the win, which vaulted the team to ninth place in the polls. A string of victories followed, first against Purdue and then Air Force and UCLA. Notre Dame rose to first place in the national polls following a 40-0 win over Navy in October. The team went undefeated until the last game of the year against USC, who won 20-17 in the final minutes on a touchdown pass from Craig Fertig to Rod Sherman. The loss unseated Notre Dame from the top ranking in the national polls, but the team still won the MacArthur Trophy, a championship awarded by the National Football Foundation.  Huarte passed for 2,062 yards and set 12 school records in 1964, four of which still stood as of 2009. He also won the Heisman Trophy. Snow led the country in receptions, with 60. Parseghian, meanwhile, won numerous coach of the year awards for engineering the turnaround, including from the American Football Coaches Association, the Football Writers Association of America, the Washington Touchdown Club, the Columbus Touchdown Club, and Football News.  Huarte and Snow graduated after the 1964 season, and Notre Dame felt their absence the following year, posting a 7-2-1 record. While the team did not contend for a national title, defensive back Nick Rassas led the nation in punt returns and came in sixth in interceptions; he was named a first-team All-American by sportswriters. CANNOTANSWER

Question: Were there any injuries for Notre Dame during the 1964 season?
Answer: CANNOTANSWER