gaussalgo/Canard_Wiki-augmented huggingface dataset:
Jonah

Context: The Book of Jonah (Yonah yvnh) is one of the twelve minor prophets included in the Tanakh. According to one tradition, Jonah was the boy brought back to life by Elijah the prophet in 1 Kings 17. Another tradition holds that he was the son of the woman of Shunem brought back to life by Elisha in 2 Kings 4 and that he is called the "son of Amittai" (Truth) due to his mother's recognition of Elisha's identity as a prophet in 2 Kings 17:24. The Book of Jonah is read every year, in its original Hebrew and in its entirety, on Yom Kippur - the Day of Atonement, as the Haftarah at the afternoon mincha prayer. According to Rabbi Eliezer, the fish that swallowed Jonah was created in the primordial era and the inside of its mouth was like a synagogue; the fish's eyes were like windows and a pearl inside its mouth provided further illumination.  According to the Midrash, while Jonah was inside the fish, it told him that its life was nearly over because soon the Leviathan would eat them both. Jonah promised the fish that he would save them. Following Jonah's directions, the fish swam up alongside the Leviathan and Jonah threatened to leash the Leviathan by its tongue and let the other fish eat it. The Leviathan heard Jonah's threats, saw that he was circumcized, and realized that he was protected by the Lord, so it fled in terror, leaving Jonah and the fish alive.  Teshuva - the ability to repent and be forgiven by God - is a prominent idea in Jewish thought. This concept is developed in the Book of Jonah: Jonah, the son of truth (the name of his father "Amitai" in Hebrew means truth), refuses to ask the people of Nineveh to repent. He seeks the truth only, and not forgiveness. When forced to go, his call is heard loud and clear. The people of Nineveh repent ecstatically, "fasting, including the sheep," and the Jewish scripts are critical of this. The Book of Jonah also highlights the sometimes unstable relationship between two religious needs: comfort and truth. CANNOTANSWER

Question: How else is Jonah important other than Yom Kippur?
Answer: Teshuva - the ability to repent and be forgiven by God - is a prominent idea in Jewish thought. This concept is developed in the Book of Jonah:
Jonah

Context: The Book of Jonah (Yonah yvnh) is one of the twelve minor prophets included in the Tanakh. According to one tradition, Jonah was the boy brought back to life by Elijah the prophet in 1 Kings 17. Another tradition holds that he was the son of the woman of Shunem brought back to life by Elisha in 2 Kings 4 and that he is called the "son of Amittai" (Truth) due to his mother's recognition of Elisha's identity as a prophet in 2 Kings 17:24. The Book of Jonah is read every year, in its original Hebrew and in its entirety, on Yom Kippur - the Day of Atonement, as the Haftarah at the afternoon mincha prayer. According to Rabbi Eliezer, the fish that swallowed Jonah was created in the primordial era and the inside of its mouth was like a synagogue; the fish's eyes were like windows and a pearl inside its mouth provided further illumination.  According to the Midrash, while Jonah was inside the fish, it told him that its life was nearly over because soon the Leviathan would eat them both. Jonah promised the fish that he would save them. Following Jonah's directions, the fish swam up alongside the Leviathan and Jonah threatened to leash the Leviathan by its tongue and let the other fish eat it. The Leviathan heard Jonah's threats, saw that he was circumcized, and realized that he was protected by the Lord, so it fled in terror, leaving Jonah and the fish alive.  Teshuva - the ability to repent and be forgiven by God - is a prominent idea in Jewish thought. This concept is developed in the Book of Jonah: Jonah, the son of truth (the name of his father "Amitai" in Hebrew means truth), refuses to ask the people of Nineveh to repent. He seeks the truth only, and not forgiveness. When forced to go, his call is heard loud and clear. The people of Nineveh repent ecstatically, "fasting, including the sheep," and the Jewish scripts are critical of this. The Book of Jonah also highlights the sometimes unstable relationship between two religious needs: comfort and truth. CANNOTANSWER

Question: Is Teshuva relevant to other teachings by Jonah?
Answer: The Book of Jonah also highlights the sometimes unstable relationship between two religious needs: comfort and truth.
Jonah

Context: The Book of Jonah (Yonah yvnh) is one of the twelve minor prophets included in the Tanakh. According to one tradition, Jonah was the boy brought back to life by Elijah the prophet in 1 Kings 17. Another tradition holds that he was the son of the woman of Shunem brought back to life by Elisha in 2 Kings 4 and that he is called the "son of Amittai" (Truth) due to his mother's recognition of Elisha's identity as a prophet in 2 Kings 17:24. The Book of Jonah is read every year, in its original Hebrew and in its entirety, on Yom Kippur - the Day of Atonement, as the Haftarah at the afternoon mincha prayer. According to Rabbi Eliezer, the fish that swallowed Jonah was created in the primordial era and the inside of its mouth was like a synagogue; the fish's eyes were like windows and a pearl inside its mouth provided further illumination.  According to the Midrash, while Jonah was inside the fish, it told him that its life was nearly over because soon the Leviathan would eat them both. Jonah promised the fish that he would save them. Following Jonah's directions, the fish swam up alongside the Leviathan and Jonah threatened to leash the Leviathan by its tongue and let the other fish eat it. The Leviathan heard Jonah's threats, saw that he was circumcized, and realized that he was protected by the Lord, so it fled in terror, leaving Jonah and the fish alive.  Teshuva - the ability to repent and be forgiven by God - is a prominent idea in Jewish thought. This concept is developed in the Book of Jonah: Jonah, the son of truth (the name of his father "Amitai" in Hebrew means truth), refuses to ask the people of Nineveh to repent. He seeks the truth only, and not forgiveness. When forced to go, his call is heard loud and clear. The people of Nineveh repent ecstatically, "fasting, including the sheep," and the Jewish scripts are critical of this. The Book of Jonah also highlights the sometimes unstable relationship between two religious needs: comfort and truth. CANNOTANSWER

Question: What is significant about the two religious needs in The Book of Jonah?
Answer: CANNOTANSWER
Bonnie Raitt

Context: In the fall of 1970, She played with her brother David on stand up Bass with Mississippi Fred McDowell at the Philly Folk Festival as well as Opening for John Hammond at the Gaslight Cafe in New York, she was seen by a reporter from Newsweek, who began to spread the word about her performance. Scouts from major record companies were soon attending her shows to watch her play. She eventually accepted an offer from Warner Bros., who soon released her debut album, Bonnie Raitt, in 1971. The album was warmly received by the music press, with many writers praising her skills as an interpreter and as a bottleneck guitarist; at the time, few women in popular music had strong reputations as guitarists.  While admired by those who saw her perform, and respected by her peers, Raitt gained little public acclaim for her work. Her critical stature continued to grow but record sales remained modest. Her second album, Give It Up, was released in 1972 to universal "acclaim"; though many critics still regard it as her best work, it did not change her commercial fortunes. 1973's Takin' My Time was also met with critical acclaim, but these notices were not matched by the sales.  Raitt was beginning to receive greater press coverage, including a 1975 cover story for Rolling Stone, but with 1974's Streetlights, reviews for her work were becoming increasingly mixed. By now, Raitt was already experimenting with different producers and different styles, and she began to adopt a more mainstream sound that continued through 1975's Home Plate.  In 1976, Raitt made an appearance on Warren Zevon's eponymous album with his friend Jackson Browne and Fleetwood Mac's Lindsey Buckingham and Stevie Nicks. CANNOTANSWER

Question: Did Bonnie Raitt release any albums during the 1970 - 1976 period ?
Answer: released her debut album, Bonnie Raitt, in 1971.
Bonnie Raitt

Context: In the fall of 1970, She played with her brother David on stand up Bass with Mississippi Fred McDowell at the Philly Folk Festival as well as Opening for John Hammond at the Gaslight Cafe in New York, she was seen by a reporter from Newsweek, who began to spread the word about her performance. Scouts from major record companies were soon attending her shows to watch her play. She eventually accepted an offer from Warner Bros., who soon released her debut album, Bonnie Raitt, in 1971. The album was warmly received by the music press, with many writers praising her skills as an interpreter and as a bottleneck guitarist; at the time, few women in popular music had strong reputations as guitarists.  While admired by those who saw her perform, and respected by her peers, Raitt gained little public acclaim for her work. Her critical stature continued to grow but record sales remained modest. Her second album, Give It Up, was released in 1972 to universal "acclaim"; though many critics still regard it as her best work, it did not change her commercial fortunes. 1973's Takin' My Time was also met with critical acclaim, but these notices were not matched by the sales.  Raitt was beginning to receive greater press coverage, including a 1975 cover story for Rolling Stone, but with 1974's Streetlights, reviews for her work were becoming increasingly mixed. By now, Raitt was already experimenting with different producers and different styles, and she began to adopt a more mainstream sound that continued through 1975's Home Plate.  In 1976, Raitt made an appearance on Warren Zevon's eponymous album with his friend Jackson Browne and Fleetwood Mac's Lindsey Buckingham and Stevie Nicks. CANNOTANSWER

Question: How was Bonnie Raitt's debut album received by the critics ?
Answer: The album was warmly received by the music press,
Bonnie Raitt

Context: In the fall of 1970, She played with her brother David on stand up Bass with Mississippi Fred McDowell at the Philly Folk Festival as well as Opening for John Hammond at the Gaslight Cafe in New York, she was seen by a reporter from Newsweek, who began to spread the word about her performance. Scouts from major record companies were soon attending her shows to watch her play. She eventually accepted an offer from Warner Bros., who soon released her debut album, Bonnie Raitt, in 1971. The album was warmly received by the music press, with many writers praising her skills as an interpreter and as a bottleneck guitarist; at the time, few women in popular music had strong reputations as guitarists.  While admired by those who saw her perform, and respected by her peers, Raitt gained little public acclaim for her work. Her critical stature continued to grow but record sales remained modest. Her second album, Give It Up, was released in 1972 to universal "acclaim"; though many critics still regard it as her best work, it did not change her commercial fortunes. 1973's Takin' My Time was also met with critical acclaim, but these notices were not matched by the sales.  Raitt was beginning to receive greater press coverage, including a 1975 cover story for Rolling Stone, but with 1974's Streetlights, reviews for her work were becoming increasingly mixed. By now, Raitt was already experimenting with different producers and different styles, and she began to adopt a more mainstream sound that continued through 1975's Home Plate.  In 1976, Raitt made an appearance on Warren Zevon's eponymous album with his friend Jackson Browne and Fleetwood Mac's Lindsey Buckingham and Stevie Nicks. CANNOTANSWER

Question: Which record label released Bonnie Raitt's debut album ?
Answer: Warner Bros., who soon released her debut album,
Bonnie Raitt

Context: In the fall of 1970, She played with her brother David on stand up Bass with Mississippi Fred McDowell at the Philly Folk Festival as well as Opening for John Hammond at the Gaslight Cafe in New York, she was seen by a reporter from Newsweek, who began to spread the word about her performance. Scouts from major record companies were soon attending her shows to watch her play. She eventually accepted an offer from Warner Bros., who soon released her debut album, Bonnie Raitt, in 1971. The album was warmly received by the music press, with many writers praising her skills as an interpreter and as a bottleneck guitarist; at the time, few women in popular music had strong reputations as guitarists.  While admired by those who saw her perform, and respected by her peers, Raitt gained little public acclaim for her work. Her critical stature continued to grow but record sales remained modest. Her second album, Give It Up, was released in 1972 to universal "acclaim"; though many critics still regard it as her best work, it did not change her commercial fortunes. 1973's Takin' My Time was also met with critical acclaim, but these notices were not matched by the sales.  Raitt was beginning to receive greater press coverage, including a 1975 cover story for Rolling Stone, but with 1974's Streetlights, reviews for her work were becoming increasingly mixed. By now, Raitt was already experimenting with different producers and different styles, and she began to adopt a more mainstream sound that continued through 1975's Home Plate.  In 1976, Raitt made an appearance on Warren Zevon's eponymous album with his friend Jackson Browne and Fleetwood Mac's Lindsey Buckingham and Stevie Nicks. CANNOTANSWER

Question: Who did Bonnie Raitt play with during 1971?
Answer: She played with her brother David on stand up Bass with Mississippi Fred McDowell
Bonnie Raitt

Context: In the fall of 1970, She played with her brother David on stand up Bass with Mississippi Fred McDowell at the Philly Folk Festival as well as Opening for John Hammond at the Gaslight Cafe in New York, she was seen by a reporter from Newsweek, who began to spread the word about her performance. Scouts from major record companies were soon attending her shows to watch her play. She eventually accepted an offer from Warner Bros., who soon released her debut album, Bonnie Raitt, in 1971. The album was warmly received by the music press, with many writers praising her skills as an interpreter and as a bottleneck guitarist; at the time, few women in popular music had strong reputations as guitarists.  While admired by those who saw her perform, and respected by her peers, Raitt gained little public acclaim for her work. Her critical stature continued to grow but record sales remained modest. Her second album, Give It Up, was released in 1972 to universal "acclaim"; though many critics still regard it as her best work, it did not change her commercial fortunes. 1973's Takin' My Time was also met with critical acclaim, but these notices were not matched by the sales.  Raitt was beginning to receive greater press coverage, including a 1975 cover story for Rolling Stone, but with 1974's Streetlights, reviews for her work were becoming increasingly mixed. By now, Raitt was already experimenting with different producers and different styles, and she began to adopt a more mainstream sound that continued through 1975's Home Plate.  In 1976, Raitt made an appearance on Warren Zevon's eponymous album with his friend Jackson Browne and Fleetwood Mac's Lindsey Buckingham and Stevie Nicks. CANNOTANSWER

Question: Where did Bonnie, David and Fred play together?
Answer: at the Philly Folk Festival as well as Opening for John Hammond at the Gaslight Cafe in New York,
Bonnie Raitt

Context: In the fall of 1970, She played with her brother David on stand up Bass with Mississippi Fred McDowell at the Philly Folk Festival as well as Opening for John Hammond at the Gaslight Cafe in New York, she was seen by a reporter from Newsweek, who began to spread the word about her performance. Scouts from major record companies were soon attending her shows to watch her play. She eventually accepted an offer from Warner Bros., who soon released her debut album, Bonnie Raitt, in 1971. The album was warmly received by the music press, with many writers praising her skills as an interpreter and as a bottleneck guitarist; at the time, few women in popular music had strong reputations as guitarists.  While admired by those who saw her perform, and respected by her peers, Raitt gained little public acclaim for her work. Her critical stature continued to grow but record sales remained modest. Her second album, Give It Up, was released in 1972 to universal "acclaim"; though many critics still regard it as her best work, it did not change her commercial fortunes. 1973's Takin' My Time was also met with critical acclaim, but these notices were not matched by the sales.  Raitt was beginning to receive greater press coverage, including a 1975 cover story for Rolling Stone, but with 1974's Streetlights, reviews for her work were becoming increasingly mixed. By now, Raitt was already experimenting with different producers and different styles, and she began to adopt a more mainstream sound that continued through 1975's Home Plate.  In 1976, Raitt made an appearance on Warren Zevon's eponymous album with his friend Jackson Browne and Fleetwood Mac's Lindsey Buckingham and Stevie Nicks. CANNOTANSWER

Question: Besides Raitt's debut album and the Philly Folk Festival, what else is interesting about Bonnie Raitt, 1970-1976
Answer: While admired by those who saw her perform, and respected by her peers, Raitt gained little public acclaim for her work.
Bonnie Raitt

Context: In the fall of 1970, She played with her brother David on stand up Bass with Mississippi Fred McDowell at the Philly Folk Festival as well as Opening for John Hammond at the Gaslight Cafe in New York, she was seen by a reporter from Newsweek, who began to spread the word about her performance. Scouts from major record companies were soon attending her shows to watch her play. She eventually accepted an offer from Warner Bros., who soon released her debut album, Bonnie Raitt, in 1971. The album was warmly received by the music press, with many writers praising her skills as an interpreter and as a bottleneck guitarist; at the time, few women in popular music had strong reputations as guitarists.  While admired by those who saw her perform, and respected by her peers, Raitt gained little public acclaim for her work. Her critical stature continued to grow but record sales remained modest. Her second album, Give It Up, was released in 1972 to universal "acclaim"; though many critics still regard it as her best work, it did not change her commercial fortunes. 1973's Takin' My Time was also met with critical acclaim, but these notices were not matched by the sales.  Raitt was beginning to receive greater press coverage, including a 1975 cover story for Rolling Stone, but with 1974's Streetlights, reviews for her work were becoming increasingly mixed. By now, Raitt was already experimenting with different producers and different styles, and she began to adopt a more mainstream sound that continued through 1975's Home Plate.  In 1976, Raitt made an appearance on Warren Zevon's eponymous album with his friend Jackson Browne and Fleetwood Mac's Lindsey Buckingham and Stevie Nicks. CANNOTANSWER

Question: Did Bonnie Raitt get critical acclaim from the press for her musical releases?
Answer: Give It Up, was released in 1972 to universal "acclaim"; though many critics still regard it as her best work,
Phonograph

Context: In American English, "phonograph", properly specific to machines made by Edison, was sometimes used in a generic sense as early as the 1890s to include cylinder-playing machines made by others. But it was then considered strictly incorrect to apply it to Emile Berliner's upstart Gramophone, a very different machine which played discs. "Talking machine" was the comprehensive generic term, but in the early 20th century the general public was increasingly applying the word "phonograph" indiscriminately to both cylinder and disc machines and to the records they played. By the time of the First World War, the mass advertising and popularity of the Victor Talking Machine Company's Victrolas (a line of disc-playing machines characterized by their concealed horns) was leading to widespread generic use of the word "victrola" for any machine that played discs, which were however still called "phonograph records" or simply "records", almost never "victrola records".  After electrical disc-playing machines started appearing on the market during the second half of the 1920s, usually sharing the same cabinet with a radio receiver, the term "record player" was increasingly favored by users when referring to the device. Manufacturers, however, typically advertised such combinations as "radio-phonographs". Portable record players (no radio included), with a latched cover and an integrated power amplifier and loudspeaker, were fairly common as well, especially in schools and for use by children and teenagers.  In the years following the Second World War, as "hi-fi" (high-fidelity, monophonic) and, later, "stereo" (stereophonic) component sound systems slowly evolved from an exotic specialty item into a common feature of American homes, the description of the record-spinning component as a "record changer" (which could automatically play through a stacked series of discs) or a "turntable" (which could hold only one disc at a time) entered common usage. By about 1980 the use of a "record changer", which might damage the stacked discs, was widely disparaged. So, the "turntable" emerged triumphant and retained its position to the end of the 20th century and beyond. Through all these changes, however, the discs have continued to be known as "phonograph records" or, much more commonly, simply as "records".  The brand name Gramophone was not used in the USA after 1901, and the word fell out of use there, although it has survived in its nickname form, Grammy, as the name of the Grammy Awards. The Grammy trophy itself is a small rendering of a gramophone, resembling a Victor disc machine with a taper arm.  Modern amplifier-component manufacturers continue to label the input jack which accepts the output from a modern magnetic pickup cartridge as the "phono" input, abbreviated from "phonograph". CANNOTANSWER

Question: What year was the Phonograph brought to the United States?
Answer: early as the 1890s
Phonograph

Context: In American English, "phonograph", properly specific to machines made by Edison, was sometimes used in a generic sense as early as the 1890s to include cylinder-playing machines made by others. But it was then considered strictly incorrect to apply it to Emile Berliner's upstart Gramophone, a very different machine which played discs. "Talking machine" was the comprehensive generic term, but in the early 20th century the general public was increasingly applying the word "phonograph" indiscriminately to both cylinder and disc machines and to the records they played. By the time of the First World War, the mass advertising and popularity of the Victor Talking Machine Company's Victrolas (a line of disc-playing machines characterized by their concealed horns) was leading to widespread generic use of the word "victrola" for any machine that played discs, which were however still called "phonograph records" or simply "records", almost never "victrola records".  After electrical disc-playing machines started appearing on the market during the second half of the 1920s, usually sharing the same cabinet with a radio receiver, the term "record player" was increasingly favored by users when referring to the device. Manufacturers, however, typically advertised such combinations as "radio-phonographs". Portable record players (no radio included), with a latched cover and an integrated power amplifier and loudspeaker, were fairly common as well, especially in schools and for use by children and teenagers.  In the years following the Second World War, as "hi-fi" (high-fidelity, monophonic) and, later, "stereo" (stereophonic) component sound systems slowly evolved from an exotic specialty item into a common feature of American homes, the description of the record-spinning component as a "record changer" (which could automatically play through a stacked series of discs) or a "turntable" (which could hold only one disc at a time) entered common usage. By about 1980 the use of a "record changer", which might damage the stacked discs, was widely disparaged. So, the "turntable" emerged triumphant and retained its position to the end of the 20th century and beyond. Through all these changes, however, the discs have continued to be known as "phonograph records" or, much more commonly, simply as "records".  The brand name Gramophone was not used in the USA after 1901, and the word fell out of use there, although it has survived in its nickname form, Grammy, as the name of the Grammy Awards. The Grammy trophy itself is a small rendering of a gramophone, resembling a Victor disc machine with a taper arm.  Modern amplifier-component manufacturers continue to label the input jack which accepts the output from a modern magnetic pickup cartridge as the "phono" input, abbreviated from "phonograph". CANNOTANSWER

Question: How did people like phonographs?
Answer: the term "record player" was increasingly favored by users when referring to the device.
Phonograph

Context: In American English, "phonograph", properly specific to machines made by Edison, was sometimes used in a generic sense as early as the 1890s to include cylinder-playing machines made by others. But it was then considered strictly incorrect to apply it to Emile Berliner's upstart Gramophone, a very different machine which played discs. "Talking machine" was the comprehensive generic term, but in the early 20th century the general public was increasingly applying the word "phonograph" indiscriminately to both cylinder and disc machines and to the records they played. By the time of the First World War, the mass advertising and popularity of the Victor Talking Machine Company's Victrolas (a line of disc-playing machines characterized by their concealed horns) was leading to widespread generic use of the word "victrola" for any machine that played discs, which were however still called "phonograph records" or simply "records", almost never "victrola records".  After electrical disc-playing machines started appearing on the market during the second half of the 1920s, usually sharing the same cabinet with a radio receiver, the term "record player" was increasingly favored by users when referring to the device. Manufacturers, however, typically advertised such combinations as "radio-phonographs". Portable record players (no radio included), with a latched cover and an integrated power amplifier and loudspeaker, were fairly common as well, especially in schools and for use by children and teenagers.  In the years following the Second World War, as "hi-fi" (high-fidelity, monophonic) and, later, "stereo" (stereophonic) component sound systems slowly evolved from an exotic specialty item into a common feature of American homes, the description of the record-spinning component as a "record changer" (which could automatically play through a stacked series of discs) or a "turntable" (which could hold only one disc at a time) entered common usage. By about 1980 the use of a "record changer", which might damage the stacked discs, was widely disparaged. So, the "turntable" emerged triumphant and retained its position to the end of the 20th century and beyond. Through all these changes, however, the discs have continued to be known as "phonograph records" or, much more commonly, simply as "records".  The brand name Gramophone was not used in the USA after 1901, and the word fell out of use there, although it has survived in its nickname form, Grammy, as the name of the Grammy Awards. The Grammy trophy itself is a small rendering of a gramophone, resembling a Victor disc machine with a taper arm.  Modern amplifier-component manufacturers continue to label the input jack which accepts the output from a modern magnetic pickup cartridge as the "phono" input, abbreviated from "phonograph". CANNOTANSWER

Question: Did phonographs sell a lot?
Answer: Portable record players (no radio included), with a latched cover and an integrated power amplifier and loudspeaker, were fairly common
Phonograph

Context: In American English, "phonograph", properly specific to machines made by Edison, was sometimes used in a generic sense as early as the 1890s to include cylinder-playing machines made by others. But it was then considered strictly incorrect to apply it to Emile Berliner's upstart Gramophone, a very different machine which played discs. "Talking machine" was the comprehensive generic term, but in the early 20th century the general public was increasingly applying the word "phonograph" indiscriminately to both cylinder and disc machines and to the records they played. By the time of the First World War, the mass advertising and popularity of the Victor Talking Machine Company's Victrolas (a line of disc-playing machines characterized by their concealed horns) was leading to widespread generic use of the word "victrola" for any machine that played discs, which were however still called "phonograph records" or simply "records", almost never "victrola records".  After electrical disc-playing machines started appearing on the market during the second half of the 1920s, usually sharing the same cabinet with a radio receiver, the term "record player" was increasingly favored by users when referring to the device. Manufacturers, however, typically advertised such combinations as "radio-phonographs". Portable record players (no radio included), with a latched cover and an integrated power amplifier and loudspeaker, were fairly common as well, especially in schools and for use by children and teenagers.  In the years following the Second World War, as "hi-fi" (high-fidelity, monophonic) and, later, "stereo" (stereophonic) component sound systems slowly evolved from an exotic specialty item into a common feature of American homes, the description of the record-spinning component as a "record changer" (which could automatically play through a stacked series of discs) or a "turntable" (which could hold only one disc at a time) entered common usage. By about 1980 the use of a "record changer", which might damage the stacked discs, was widely disparaged. So, the "turntable" emerged triumphant and retained its position to the end of the 20th century and beyond. Through all these changes, however, the discs have continued to be known as "phonograph records" or, much more commonly, simply as "records".  The brand name Gramophone was not used in the USA after 1901, and the word fell out of use there, although it has survived in its nickname form, Grammy, as the name of the Grammy Awards. The Grammy trophy itself is a small rendering of a gramophone, resembling a Victor disc machine with a taper arm.  Modern amplifier-component manufacturers continue to label the input jack which accepts the output from a modern magnetic pickup cartridge as the "phono" input, abbreviated from "phonograph". CANNOTANSWER

Question: Did any famous people use phonographs?
Answer: CANNOTANSWER
John Pilger

Context: William Shawcross wrote in his book The Quality of Mercy: Cambodia, Holocaust and Modern Conscience (1984) about Pilger's series of articles about Cambodia in the Daily Mirror during August 1979:  "A rather interesting quality of the articles was their concentration on Nazism and the holocaust. Pilger called Pol Pot 'an Asian Hitler' -- and said he was even worse than Hitler . . . Again and again Pilger compared the Khmer Rouge to the Nazis. Their Marxist-Leninist ideology was not even mentioned in the Mirror, except to say they were inspired by the Red Guards. Their intellectual origins were described as 'anarchist' rather than Communist".  Ben Kiernan, in his review of Shawcross's book, notes that Pilger did compare Pol Pot's Khmer Rouge to Stalin's terror, as well as to Mao's Red Guards. Kiernan notes instances where other writers' comparisons of Pol Pot to Hitler or the Vietnamese to the Nazis are either accepted by Shawcross in his account, or not mentioned.  Shawcross wrote in The Quality of Mercy that "Pilger's reports underwrote almost everything that refugees along the Thai border had been saying about the cruelty of Khmer Rouge rule since 1975, and that had already appeared in the books by the Readers Digest and Francois Ponchaud. Nonetheless, the reaction to the stories in Britain was as if they were something quite new." Oliver Kamm asserted in 2006: "Pilger's documentaries are full of falsehoods. They operate by misdirection, simultaneously denouncing one form of injustice while ignoring or denying others". In Heroes, Pilger disputes Francois Ponchaud and Shawcross's account of Vietnamesse atrocities during the Vietnamese invasion and near famine as being "unsubstantiated". Ponchard had interviewed members of anti-communist groups living in the Thai refugee border camps. According to Pilger, "At the very least the effect of Shawcross's 'expose'" of Cambodian's treatment at the hands of the Vietnamese "was to blur the difference between Cambodia under Pol Pot and Cambodia liberated by the Vietnamese: in truth. a difference of night and day". In his book, Shawcross himself doubted that anyone had died of starvation. CANNOTANSWER

Question: Did William Shawcross write any books?
Answer: that had already appeared in the books by the Readers Digest and Francois Ponchaud.
John Pilger

Context: William Shawcross wrote in his book The Quality of Mercy: Cambodia, Holocaust and Modern Conscience (1984) about Pilger's series of articles about Cambodia in the Daily Mirror during August 1979:  "A rather interesting quality of the articles was their concentration on Nazism and the holocaust. Pilger called Pol Pot 'an Asian Hitler' -- and said he was even worse than Hitler . . . Again and again Pilger compared the Khmer Rouge to the Nazis. Their Marxist-Leninist ideology was not even mentioned in the Mirror, except to say they were inspired by the Red Guards. Their intellectual origins were described as 'anarchist' rather than Communist".  Ben Kiernan, in his review of Shawcross's book, notes that Pilger did compare Pol Pot's Khmer Rouge to Stalin's terror, as well as to Mao's Red Guards. Kiernan notes instances where other writers' comparisons of Pol Pot to Hitler or the Vietnamese to the Nazis are either accepted by Shawcross in his account, or not mentioned.  Shawcross wrote in The Quality of Mercy that "Pilger's reports underwrote almost everything that refugees along the Thai border had been saying about the cruelty of Khmer Rouge rule since 1975, and that had already appeared in the books by the Readers Digest and Francois Ponchaud. Nonetheless, the reaction to the stories in Britain was as if they were something quite new." Oliver Kamm asserted in 2006: "Pilger's documentaries are full of falsehoods. They operate by misdirection, simultaneously denouncing one form of injustice while ignoring or denying others". In Heroes, Pilger disputes Francois Ponchaud and Shawcross's account of Vietnamesse atrocities during the Vietnamese invasion and near famine as being "unsubstantiated". Ponchard had interviewed members of anti-communist groups living in the Thai refugee border camps. According to Pilger, "At the very least the effect of Shawcross's 'expose'" of Cambodian's treatment at the hands of the Vietnamese "was to blur the difference between Cambodia under Pol Pot and Cambodia liberated by the Vietnamese: in truth. a difference of night and day". In his book, Shawcross himself doubted that anyone had died of starvation. CANNOTANSWER

Question: What other authors besides William Shawcross had reviews or responses?
Answer: Ben Kiernan,
John Pilger

Context: William Shawcross wrote in his book The Quality of Mercy: Cambodia, Holocaust and Modern Conscience (1984) about Pilger's series of articles about Cambodia in the Daily Mirror during August 1979:  "A rather interesting quality of the articles was their concentration on Nazism and the holocaust. Pilger called Pol Pot 'an Asian Hitler' -- and said he was even worse than Hitler . . . Again and again Pilger compared the Khmer Rouge to the Nazis. Their Marxist-Leninist ideology was not even mentioned in the Mirror, except to say they were inspired by the Red Guards. Their intellectual origins were described as 'anarchist' rather than Communist".  Ben Kiernan, in his review of Shawcross's book, notes that Pilger did compare Pol Pot's Khmer Rouge to Stalin's terror, as well as to Mao's Red Guards. Kiernan notes instances where other writers' comparisons of Pol Pot to Hitler or the Vietnamese to the Nazis are either accepted by Shawcross in his account, or not mentioned.  Shawcross wrote in The Quality of Mercy that "Pilger's reports underwrote almost everything that refugees along the Thai border had been saying about the cruelty of Khmer Rouge rule since 1975, and that had already appeared in the books by the Readers Digest and Francois Ponchaud. Nonetheless, the reaction to the stories in Britain was as if they were something quite new." Oliver Kamm asserted in 2006: "Pilger's documentaries are full of falsehoods. They operate by misdirection, simultaneously denouncing one form of injustice while ignoring or denying others". In Heroes, Pilger disputes Francois Ponchaud and Shawcross's account of Vietnamesse atrocities during the Vietnamese invasion and near famine as being "unsubstantiated". Ponchard had interviewed members of anti-communist groups living in the Thai refugee border camps. According to Pilger, "At the very least the effect of Shawcross's 'expose'" of Cambodian's treatment at the hands of the Vietnamese "was to blur the difference between Cambodia under Pol Pot and Cambodia liberated by the Vietnamese: in truth. a difference of night and day". In his book, Shawcross himself doubted that anyone had died of starvation. CANNOTANSWER

Question: What was Ben Kiernan's response to the work of John Updike?
Answer: notes that Pilger did compare Pol Pot's Khmer Rouge to Stalin's terror,
John Pilger

Context: William Shawcross wrote in his book The Quality of Mercy: Cambodia, Holocaust and Modern Conscience (1984) about Pilger's series of articles about Cambodia in the Daily Mirror during August 1979:  "A rather interesting quality of the articles was their concentration on Nazism and the holocaust. Pilger called Pol Pot 'an Asian Hitler' -- and said he was even worse than Hitler . . . Again and again Pilger compared the Khmer Rouge to the Nazis. Their Marxist-Leninist ideology was not even mentioned in the Mirror, except to say they were inspired by the Red Guards. Their intellectual origins were described as 'anarchist' rather than Communist".  Ben Kiernan, in his review of Shawcross's book, notes that Pilger did compare Pol Pot's Khmer Rouge to Stalin's terror, as well as to Mao's Red Guards. Kiernan notes instances where other writers' comparisons of Pol Pot to Hitler or the Vietnamese to the Nazis are either accepted by Shawcross in his account, or not mentioned.  Shawcross wrote in The Quality of Mercy that "Pilger's reports underwrote almost everything that refugees along the Thai border had been saying about the cruelty of Khmer Rouge rule since 1975, and that had already appeared in the books by the Readers Digest and Francois Ponchaud. Nonetheless, the reaction to the stories in Britain was as if they were something quite new." Oliver Kamm asserted in 2006: "Pilger's documentaries are full of falsehoods. They operate by misdirection, simultaneously denouncing one form of injustice while ignoring or denying others". In Heroes, Pilger disputes Francois Ponchaud and Shawcross's account of Vietnamesse atrocities during the Vietnamese invasion and near famine as being "unsubstantiated". Ponchard had interviewed members of anti-communist groups living in the Thai refugee border camps. According to Pilger, "At the very least the effect of Shawcross's 'expose'" of Cambodian's treatment at the hands of the Vietnamese "was to blur the difference between Cambodia under Pol Pot and Cambodia liberated by the Vietnamese: in truth. a difference of night and day". In his book, Shawcross himself doubted that anyone had died of starvation. CANNOTANSWER

Question: What happened after Ben Kiernan compared the work of John Updike?
Answer: and said he was even worse than Hitler .
John Pilger

Context: William Shawcross wrote in his book The Quality of Mercy: Cambodia, Holocaust and Modern Conscience (1984) about Pilger's series of articles about Cambodia in the Daily Mirror during August 1979:  "A rather interesting quality of the articles was their concentration on Nazism and the holocaust. Pilger called Pol Pot 'an Asian Hitler' -- and said he was even worse than Hitler . . . Again and again Pilger compared the Khmer Rouge to the Nazis. Their Marxist-Leninist ideology was not even mentioned in the Mirror, except to say they were inspired by the Red Guards. Their intellectual origins were described as 'anarchist' rather than Communist".  Ben Kiernan, in his review of Shawcross's book, notes that Pilger did compare Pol Pot's Khmer Rouge to Stalin's terror, as well as to Mao's Red Guards. Kiernan notes instances where other writers' comparisons of Pol Pot to Hitler or the Vietnamese to the Nazis are either accepted by Shawcross in his account, or not mentioned.  Shawcross wrote in The Quality of Mercy that "Pilger's reports underwrote almost everything that refugees along the Thai border had been saying about the cruelty of Khmer Rouge rule since 1975, and that had already appeared in the books by the Readers Digest and Francois Ponchaud. Nonetheless, the reaction to the stories in Britain was as if they were something quite new." Oliver Kamm asserted in 2006: "Pilger's documentaries are full of falsehoods. They operate by misdirection, simultaneously denouncing one form of injustice while ignoring or denying others". In Heroes, Pilger disputes Francois Ponchaud and Shawcross's account of Vietnamesse atrocities during the Vietnamese invasion and near famine as being "unsubstantiated". Ponchard had interviewed members of anti-communist groups living in the Thai refugee border camps. According to Pilger, "At the very least the effect of Shawcross's 'expose'" of Cambodian's treatment at the hands of the Vietnamese "was to blur the difference between Cambodia under Pol Pot and Cambodia liberated by the Vietnamese: in truth. a difference of night and day". In his book, Shawcross himself doubted that anyone had died of starvation. CANNOTANSWER

Question: Are there any other interesting points within the article besides the negative review by Ben Kiernan?
Answer: William Shawcross wrote in his book The Quality of Mercy:
John Pilger

Context: William Shawcross wrote in his book The Quality of Mercy: Cambodia, Holocaust and Modern Conscience (1984) about Pilger's series of articles about Cambodia in the Daily Mirror during August 1979:  "A rather interesting quality of the articles was their concentration on Nazism and the holocaust. Pilger called Pol Pot 'an Asian Hitler' -- and said he was even worse than Hitler . . . Again and again Pilger compared the Khmer Rouge to the Nazis. Their Marxist-Leninist ideology was not even mentioned in the Mirror, except to say they were inspired by the Red Guards. Their intellectual origins were described as 'anarchist' rather than Communist".  Ben Kiernan, in his review of Shawcross's book, notes that Pilger did compare Pol Pot's Khmer Rouge to Stalin's terror, as well as to Mao's Red Guards. Kiernan notes instances where other writers' comparisons of Pol Pot to Hitler or the Vietnamese to the Nazis are either accepted by Shawcross in his account, or not mentioned.  Shawcross wrote in The Quality of Mercy that "Pilger's reports underwrote almost everything that refugees along the Thai border had been saying about the cruelty of Khmer Rouge rule since 1975, and that had already appeared in the books by the Readers Digest and Francois Ponchaud. Nonetheless, the reaction to the stories in Britain was as if they were something quite new." Oliver Kamm asserted in 2006: "Pilger's documentaries are full of falsehoods. They operate by misdirection, simultaneously denouncing one form of injustice while ignoring or denying others". In Heroes, Pilger disputes Francois Ponchaud and Shawcross's account of Vietnamesse atrocities during the Vietnamese invasion and near famine as being "unsubstantiated". Ponchard had interviewed members of anti-communist groups living in the Thai refugee border camps. According to Pilger, "At the very least the effect of Shawcross's 'expose'" of Cambodian's treatment at the hands of the Vietnamese "was to blur the difference between Cambodia under Pol Pot and Cambodia liberated by the Vietnamese: in truth. a difference of night and day". In his book, Shawcross himself doubted that anyone had died of starvation. CANNOTANSWER

Question: What was the response to the book by the general public or than Ben Kiernan?
Answer: CANNOTANSWER
Wishbone Ash

Context: Turner was replaced by bassist and vocalist John Wetton, formerly of Family, King Crimson, Roxy Music, Uriah Heep and UK. Number the Brave was released in April 1981 and featured Wetton's lead vocals on just one song, although during album sessions he had offered songs such as "Here Comes the Feeling" that would eventually sell millions when released on Asia's 1982 debut album. Wetton did not continue with Wishbone Ash beyond the album sessions and rejoined Asia.  Wetton was replaced on the Number the Brave tour by the former Uriah Heep bassist Trevor Bolder. Also joining the band was female backing vocalist, Claire Hamill, who had sung on both the Just Testing and Number the Brave albums. In 1982, after Hamill's departure, the band experimented with heavy metal on the Twin Barrels Burning album. It became the highest charting Wishbone Ash album in years (UK #22).  Bolder left the group to rejoin Uriah Heep in 1983, to be replaced by bassist/vocalist Mervyn Spence (ex-Trapeze). The group continued with a heavy metal side on 1985's Raw to the Bone, which became the first Wishbone Ash album not to make the charts. Not long after, Wisefield left after serving as guitarist in the band for eleven years, going on to a varied career that would include work with Tina Turner, Joe Cocker, Roger Chapman, Jeff Wayne and the Queen musical We Will Rock You. He was replaced by Jamie Crompton, who in turn was succeeded briefly by Phil Palmer. Early in 1986, Mervyn Spence quit as well, to be replaced by ex-Kinks bassist Andy Pyle. CANNOTANSWER

Question: who did the lineup instability with Wishbone Ash start with?
Answer: Turner was replaced by bassist and vocalist John Wetton,