dialogue_id
stringlengths 36
36
| wikipedia_page_title
stringlengths 3
61
| background
stringlengths 33
1.48k
| section_title
stringlengths 2
162
| context
stringlengths 1.35k
11.2k
| turn_id
stringlengths 40
41
| question
stringlengths 1
131
| followup
class label 3
classes | yesno
class label 3
classes | answer
dict | orig_answer
dict |
|---|---|---|---|---|---|---|---|---|---|---|
C_f1b38afc46344b0b9bc88c594c8e53c0_1
|
Joi Ito
|
Joichi "Joi" Ito (Yi Teng Rang Yi , Ito Joichi, born June 19, 1966) is a Japanese activist, entrepreneur, venture capitalist, and director of the MIT Media Lab. Ito is a professor of the practice of media arts and sciences at MIT and a visiting professor of law from practice at the Harvard Law School. Ito has received recognition for his role as an entrepreneur focused on Internet and technology companies and has founded, among other companies, PSINet Japan, Digital Garage and Infoseek Japan.
|
Early life and education
|
Ito was born in Kyoto, Japan. His family moved to Canada and then when Ito was about age 3 to a suburb of Detroit, Michigan, in the United States where his father became a research scientist and his mother a secretary for Energy Conversion Devices, Inc., now Ovonics. Company founder Stanford R. Ovshinsky was impressed with Ito, whom he thought of almost as his son. Ovshinsky helped Ito develop his interests in technology and social movements, and at age 13 gave him work with scientists, saying, "He was not a child in the conventional sense." Ito and his sister Mizuko Ito, who is called Mimi, spent summers in Japan with their grandmother who taught them traditional Japanese culture. At 14, he returned to Japan when his mother was promoted to president of Energy Conversion Devices Japan. He studied at the Nishimachi International School and for high school, the American School in Japan in Tokyo. Ito also learned "street language, street smarts, and computers". One of few Japanese using modems before deregulation of networking reached Japan in 1985, Ito had found The Source and the original MUD by his teens (and by 26 was working on his own MUD). Ito returned to the United States to attend Tufts University as a computer science major, where he met, among others, Pierre Omidyar, later founder of eBay. Finding his course work too rigid and believing that learning computer science in school was "stupid", Ito dropped out of Tufts to briefly work for Ovonics. Ovshinsky encouraged him to return to school. He enrolled at the University of Chicago in physics but dropped out on discovering, in his opinion, the program at Chicago to be more oriented towards producing practical engineers than towards teaching an intuitive understanding of physics. In the Fall of 1985 he became the first student to register for a pioneering program of online courses offered by Connected Education, Inc., for undergraduate credit from The New School for Social Research. Ito is one of Timothy Leary's godsons--a close non-traditional family-like relationship, an idea said to have been conceived by Leary for a few of his friends. Ito's sister is Mizuko Ito, a cultural anthropologist studying media technology use, and the musician Cornelius is his second cousin. Ito currently lives in Cambridge, Massachusetts, with his wife Mizuka Ito (nee Kurogane). Joi and Mizuka had a daughter, Kio (Hui Sheng ) on May 11, 2017.
Q: When was he born?
A: Ito was born in Kyoto, Japan.
Q: What year was he born in?
A: unknown
Q: Where did he go to school?
A: He studied at the Nishimachi International School
|
C_f1b38afc46344b0b9bc88c594c8e53c0_1_q#3
|
Did he receive any degrees?
| 0y
| 1n
|
{
"texts": [
"Finding his course work too rigid and believing that learning computer science in school was \"stupid\", Ito dropped out"
],
"answer_starts": [
1321
]
}
|
{
"text": "Finding his course work too rigid and believing that learning computer science in school was \"stupid\", Ito dropped out",
"answer_start": 1321
}
|
C_f1b38afc46344b0b9bc88c594c8e53c0_1
|
Joi Ito
|
Joichi "Joi" Ito (Yi Teng Rang Yi , Ito Joichi, born June 19, 1966) is a Japanese activist, entrepreneur, venture capitalist, and director of the MIT Media Lab. Ito is a professor of the practice of media arts and sciences at MIT and a visiting professor of law from practice at the Harvard Law School. Ito has received recognition for his role as an entrepreneur focused on Internet and technology companies and has founded, among other companies, PSINet Japan, Digital Garage and Infoseek Japan.
|
Early life and education
|
Ito was born in Kyoto, Japan. His family moved to Canada and then when Ito was about age 3 to a suburb of Detroit, Michigan, in the United States where his father became a research scientist and his mother a secretary for Energy Conversion Devices, Inc., now Ovonics. Company founder Stanford R. Ovshinsky was impressed with Ito, whom he thought of almost as his son. Ovshinsky helped Ito develop his interests in technology and social movements, and at age 13 gave him work with scientists, saying, "He was not a child in the conventional sense." Ito and his sister Mizuko Ito, who is called Mimi, spent summers in Japan with their grandmother who taught them traditional Japanese culture. At 14, he returned to Japan when his mother was promoted to president of Energy Conversion Devices Japan. He studied at the Nishimachi International School and for high school, the American School in Japan in Tokyo. Ito also learned "street language, street smarts, and computers". One of few Japanese using modems before deregulation of networking reached Japan in 1985, Ito had found The Source and the original MUD by his teens (and by 26 was working on his own MUD). Ito returned to the United States to attend Tufts University as a computer science major, where he met, among others, Pierre Omidyar, later founder of eBay. Finding his course work too rigid and believing that learning computer science in school was "stupid", Ito dropped out of Tufts to briefly work for Ovonics. Ovshinsky encouraged him to return to school. He enrolled at the University of Chicago in physics but dropped out on discovering, in his opinion, the program at Chicago to be more oriented towards producing practical engineers than towards teaching an intuitive understanding of physics. In the Fall of 1985 he became the first student to register for a pioneering program of online courses offered by Connected Education, Inc., for undergraduate credit from The New School for Social Research. Ito is one of Timothy Leary's godsons--a close non-traditional family-like relationship, an idea said to have been conceived by Leary for a few of his friends. Ito's sister is Mizuko Ito, a cultural anthropologist studying media technology use, and the musician Cornelius is his second cousin. Ito currently lives in Cambridge, Massachusetts, with his wife Mizuka Ito (nee Kurogane). Joi and Mizuka had a daughter, Kio (Hui Sheng ) on May 11, 2017.
Q: When was he born?
A: Ito was born in Kyoto, Japan.
Q: What year was he born in?
A: unknown
Q: Where did he go to school?
A: He studied at the Nishimachi International School
Q: Did he receive any degrees?
A: Finding his course work too rigid and believing that learning computer science in school was "stupid", Ito dropped out
|
C_f1b38afc46344b0b9bc88c594c8e53c0_1_q#4
|
What was his first job?
| 1n
| 2x
|
{
"texts": [
"Ito had found The Source and the original MUD by his teens (and by 26 was working on his own MUD)."
],
"answer_starts": [
1064
]
}
|
{
"text": "Ito had found The Source and the original MUD by his teens (and by 26 was working on his own MUD).",
"answer_start": 1064
}
|
C_f1b38afc46344b0b9bc88c594c8e53c0_1
|
Joi Ito
|
Joichi "Joi" Ito (Yi Teng Rang Yi , Ito Joichi, born June 19, 1966) is a Japanese activist, entrepreneur, venture capitalist, and director of the MIT Media Lab. Ito is a professor of the practice of media arts and sciences at MIT and a visiting professor of law from practice at the Harvard Law School. Ito has received recognition for his role as an entrepreneur focused on Internet and technology companies and has founded, among other companies, PSINet Japan, Digital Garage and Infoseek Japan.
|
Early life and education
|
Ito was born in Kyoto, Japan. His family moved to Canada and then when Ito was about age 3 to a suburb of Detroit, Michigan, in the United States where his father became a research scientist and his mother a secretary for Energy Conversion Devices, Inc., now Ovonics. Company founder Stanford R. Ovshinsky was impressed with Ito, whom he thought of almost as his son. Ovshinsky helped Ito develop his interests in technology and social movements, and at age 13 gave him work with scientists, saying, "He was not a child in the conventional sense." Ito and his sister Mizuko Ito, who is called Mimi, spent summers in Japan with their grandmother who taught them traditional Japanese culture. At 14, he returned to Japan when his mother was promoted to president of Energy Conversion Devices Japan. He studied at the Nishimachi International School and for high school, the American School in Japan in Tokyo. Ito also learned "street language, street smarts, and computers". One of few Japanese using modems before deregulation of networking reached Japan in 1985, Ito had found The Source and the original MUD by his teens (and by 26 was working on his own MUD). Ito returned to the United States to attend Tufts University as a computer science major, where he met, among others, Pierre Omidyar, later founder of eBay. Finding his course work too rigid and believing that learning computer science in school was "stupid", Ito dropped out of Tufts to briefly work for Ovonics. Ovshinsky encouraged him to return to school. He enrolled at the University of Chicago in physics but dropped out on discovering, in his opinion, the program at Chicago to be more oriented towards producing practical engineers than towards teaching an intuitive understanding of physics. In the Fall of 1985 he became the first student to register for a pioneering program of online courses offered by Connected Education, Inc., for undergraduate credit from The New School for Social Research. Ito is one of Timothy Leary's godsons--a close non-traditional family-like relationship, an idea said to have been conceived by Leary for a few of his friends. Ito's sister is Mizuko Ito, a cultural anthropologist studying media technology use, and the musician Cornelius is his second cousin. Ito currently lives in Cambridge, Massachusetts, with his wife Mizuka Ito (nee Kurogane). Joi and Mizuka had a daughter, Kio (Hui Sheng ) on May 11, 2017.
Q: When was he born?
A: Ito was born in Kyoto, Japan.
Q: What year was he born in?
A: unknown
Q: Where did he go to school?
A: He studied at the Nishimachi International School
Q: Did he receive any degrees?
A: Finding his course work too rigid and believing that learning computer science in school was "stupid", Ito dropped out
Q: What was his first job?
A: Ito had found The Source and the original MUD by his teens (and by 26 was working on his own MUD).
|
C_f1b38afc46344b0b9bc88c594c8e53c0_1_q#5
|
Where was his family from?
| 0y
| 2x
|
{
"texts": [
"His family moved to Canada and then when Ito was about age 3 to a suburb of Detroit, Michigan, in the United States"
],
"answer_starts": [
30
]
}
|
{
"text": "His family moved to Canada and then when Ito was about age 3 to a suburb of Detroit, Michigan, in the United States",
"answer_start": 30
}
|
C_f1b38afc46344b0b9bc88c594c8e53c0_1
|
Joi Ito
|
Joichi "Joi" Ito (Yi Teng Rang Yi , Ito Joichi, born June 19, 1966) is a Japanese activist, entrepreneur, venture capitalist, and director of the MIT Media Lab. Ito is a professor of the practice of media arts and sciences at MIT and a visiting professor of law from practice at the Harvard Law School. Ito has received recognition for his role as an entrepreneur focused on Internet and technology companies and has founded, among other companies, PSINet Japan, Digital Garage and Infoseek Japan.
|
Early life and education
|
Ito was born in Kyoto, Japan. His family moved to Canada and then when Ito was about age 3 to a suburb of Detroit, Michigan, in the United States where his father became a research scientist and his mother a secretary for Energy Conversion Devices, Inc., now Ovonics. Company founder Stanford R. Ovshinsky was impressed with Ito, whom he thought of almost as his son. Ovshinsky helped Ito develop his interests in technology and social movements, and at age 13 gave him work with scientists, saying, "He was not a child in the conventional sense." Ito and his sister Mizuko Ito, who is called Mimi, spent summers in Japan with their grandmother who taught them traditional Japanese culture. At 14, he returned to Japan when his mother was promoted to president of Energy Conversion Devices Japan. He studied at the Nishimachi International School and for high school, the American School in Japan in Tokyo. Ito also learned "street language, street smarts, and computers". One of few Japanese using modems before deregulation of networking reached Japan in 1985, Ito had found The Source and the original MUD by his teens (and by 26 was working on his own MUD). Ito returned to the United States to attend Tufts University as a computer science major, where he met, among others, Pierre Omidyar, later founder of eBay. Finding his course work too rigid and believing that learning computer science in school was "stupid", Ito dropped out of Tufts to briefly work for Ovonics. Ovshinsky encouraged him to return to school. He enrolled at the University of Chicago in physics but dropped out on discovering, in his opinion, the program at Chicago to be more oriented towards producing practical engineers than towards teaching an intuitive understanding of physics. In the Fall of 1985 he became the first student to register for a pioneering program of online courses offered by Connected Education, Inc., for undergraduate credit from The New School for Social Research. Ito is one of Timothy Leary's godsons--a close non-traditional family-like relationship, an idea said to have been conceived by Leary for a few of his friends. Ito's sister is Mizuko Ito, a cultural anthropologist studying media technology use, and the musician Cornelius is his second cousin. Ito currently lives in Cambridge, Massachusetts, with his wife Mizuka Ito (nee Kurogane). Joi and Mizuka had a daughter, Kio (Hui Sheng ) on May 11, 2017.
Q: When was he born?
A: Ito was born in Kyoto, Japan.
Q: What year was he born in?
A: unknown
Q: Where did he go to school?
A: He studied at the Nishimachi International School
Q: Did he receive any degrees?
A: Finding his course work too rigid and believing that learning computer science in school was "stupid", Ito dropped out
Q: What was his first job?
A: Ito had found The Source and the original MUD by his teens (and by 26 was working on his own MUD).
Q: Where was his family from?
A: His family moved to Canada and then when Ito was about age 3 to a suburb of Detroit, Michigan, in the United States
|
C_f1b38afc46344b0b9bc88c594c8e53c0_1_q#6
|
Did he become a US citizen?
| 1n
| 2x
|
{
"texts": [
"unknown"
],
"answer_starts": [
2423
]
}
|
{
"text": "unknown",
"answer_start": 2423
}
|
C_f1b38afc46344b0b9bc88c594c8e53c0_1
|
Joi Ito
|
Joichi "Joi" Ito (Yi Teng Rang Yi , Ito Joichi, born June 19, 1966) is a Japanese activist, entrepreneur, venture capitalist, and director of the MIT Media Lab. Ito is a professor of the practice of media arts and sciences at MIT and a visiting professor of law from practice at the Harvard Law School. Ito has received recognition for his role as an entrepreneur focused on Internet and technology companies and has founded, among other companies, PSINet Japan, Digital Garage and Infoseek Japan.
|
Early life and education
|
Ito was born in Kyoto, Japan. His family moved to Canada and then when Ito was about age 3 to a suburb of Detroit, Michigan, in the United States where his father became a research scientist and his mother a secretary for Energy Conversion Devices, Inc., now Ovonics. Company founder Stanford R. Ovshinsky was impressed with Ito, whom he thought of almost as his son. Ovshinsky helped Ito develop his interests in technology and social movements, and at age 13 gave him work with scientists, saying, "He was not a child in the conventional sense." Ito and his sister Mizuko Ito, who is called Mimi, spent summers in Japan with their grandmother who taught them traditional Japanese culture. At 14, he returned to Japan when his mother was promoted to president of Energy Conversion Devices Japan. He studied at the Nishimachi International School and for high school, the American School in Japan in Tokyo. Ito also learned "street language, street smarts, and computers". One of few Japanese using modems before deregulation of networking reached Japan in 1985, Ito had found The Source and the original MUD by his teens (and by 26 was working on his own MUD). Ito returned to the United States to attend Tufts University as a computer science major, where he met, among others, Pierre Omidyar, later founder of eBay. Finding his course work too rigid and believing that learning computer science in school was "stupid", Ito dropped out of Tufts to briefly work for Ovonics. Ovshinsky encouraged him to return to school. He enrolled at the University of Chicago in physics but dropped out on discovering, in his opinion, the program at Chicago to be more oriented towards producing practical engineers than towards teaching an intuitive understanding of physics. In the Fall of 1985 he became the first student to register for a pioneering program of online courses offered by Connected Education, Inc., for undergraduate credit from The New School for Social Research. Ito is one of Timothy Leary's godsons--a close non-traditional family-like relationship, an idea said to have been conceived by Leary for a few of his friends. Ito's sister is Mizuko Ito, a cultural anthropologist studying media technology use, and the musician Cornelius is his second cousin. Ito currently lives in Cambridge, Massachusetts, with his wife Mizuka Ito (nee Kurogane). Joi and Mizuka had a daughter, Kio (Hui Sheng ) on May 11, 2017.
Q: When was he born?
A: Ito was born in Kyoto, Japan.
Q: What year was he born in?
A: unknown
Q: Where did he go to school?
A: He studied at the Nishimachi International School
Q: Did he receive any degrees?
A: Finding his course work too rigid and believing that learning computer science in school was "stupid", Ito dropped out
Q: What was his first job?
A: Ito had found The Source and the original MUD by his teens (and by 26 was working on his own MUD).
Q: Where was his family from?
A: His family moved to Canada and then when Ito was about age 3 to a suburb of Detroit, Michigan, in the United States
Q: Did he become a US citizen?
A: unknown
|
C_f1b38afc46344b0b9bc88c594c8e53c0_1_q#7
|
Did he have any hobbies?
| 2m
| 0y
|
{
"texts": [
"Ovshinsky helped Ito develop his interests in technology and social movements, and at age 13 gave him work with scientists,"
],
"answer_starts": [
368
]
}
|
{
"text": "Ovshinsky helped Ito develop his interests in technology and social movements, and at age 13 gave him work with scientists,",
"answer_start": 368
}
|
C_f1b38afc46344b0b9bc88c594c8e53c0_1
|
Joi Ito
|
Joichi "Joi" Ito (Yi Teng Rang Yi , Ito Joichi, born June 19, 1966) is a Japanese activist, entrepreneur, venture capitalist, and director of the MIT Media Lab. Ito is a professor of the practice of media arts and sciences at MIT and a visiting professor of law from practice at the Harvard Law School. Ito has received recognition for his role as an entrepreneur focused on Internet and technology companies and has founded, among other companies, PSINet Japan, Digital Garage and Infoseek Japan.
|
Early life and education
|
Ito was born in Kyoto, Japan. His family moved to Canada and then when Ito was about age 3 to a suburb of Detroit, Michigan, in the United States where his father became a research scientist and his mother a secretary for Energy Conversion Devices, Inc., now Ovonics. Company founder Stanford R. Ovshinsky was impressed with Ito, whom he thought of almost as his son. Ovshinsky helped Ito develop his interests in technology and social movements, and at age 13 gave him work with scientists, saying, "He was not a child in the conventional sense." Ito and his sister Mizuko Ito, who is called Mimi, spent summers in Japan with their grandmother who taught them traditional Japanese culture. At 14, he returned to Japan when his mother was promoted to president of Energy Conversion Devices Japan. He studied at the Nishimachi International School and for high school, the American School in Japan in Tokyo. Ito also learned "street language, street smarts, and computers". One of few Japanese using modems before deregulation of networking reached Japan in 1985, Ito had found The Source and the original MUD by his teens (and by 26 was working on his own MUD). Ito returned to the United States to attend Tufts University as a computer science major, where he met, among others, Pierre Omidyar, later founder of eBay. Finding his course work too rigid and believing that learning computer science in school was "stupid", Ito dropped out of Tufts to briefly work for Ovonics. Ovshinsky encouraged him to return to school. He enrolled at the University of Chicago in physics but dropped out on discovering, in his opinion, the program at Chicago to be more oriented towards producing practical engineers than towards teaching an intuitive understanding of physics. In the Fall of 1985 he became the first student to register for a pioneering program of online courses offered by Connected Education, Inc., for undergraduate credit from The New School for Social Research. Ito is one of Timothy Leary's godsons--a close non-traditional family-like relationship, an idea said to have been conceived by Leary for a few of his friends. Ito's sister is Mizuko Ito, a cultural anthropologist studying media technology use, and the musician Cornelius is his second cousin. Ito currently lives in Cambridge, Massachusetts, with his wife Mizuka Ito (nee Kurogane). Joi and Mizuka had a daughter, Kio (Hui Sheng ) on May 11, 2017.
Q: When was he born?
A: Ito was born in Kyoto, Japan.
Q: What year was he born in?
A: unknown
Q: Where did he go to school?
A: He studied at the Nishimachi International School
Q: Did he receive any degrees?
A: Finding his course work too rigid and believing that learning computer science in school was "stupid", Ito dropped out
Q: What was his first job?
A: Ito had found The Source and the original MUD by his teens (and by 26 was working on his own MUD).
Q: Where was his family from?
A: His family moved to Canada and then when Ito was about age 3 to a suburb of Detroit, Michigan, in the United States
Q: Did he become a US citizen?
A: unknown
Q: Did he have any hobbies?
A: Ovshinsky helped Ito develop his interests in technology and social movements, and at age 13 gave him work with scientists,
|
C_f1b38afc46344b0b9bc88c594c8e53c0_1_q#8
|
Did he travel a lot in his early years?
| 1n
| 0y
|
{
"texts": [
"Ito and his sister Mizuko Ito, who is called Mimi, spent summers in Japan with their grandmother"
],
"answer_starts": [
549
]
}
|
{
"text": "Ito and his sister Mizuko Ito, who is called Mimi, spent summers in Japan with their grandmother",
"answer_start": 549
}
|
C_b3aea6e5f540492e99765ed1cb7494c5_1
|
Lilyan Tashman
|
Lilyan Tashman (October 23, 1896 - March 21, 1934) was an American vaudeville, Broadway, and film actress. Tashman was best known for her supporting roles as tongue-in-cheek villainesses and the vindictive "other woman." She made 66 films over the course of her Hollywood career and although she never obtained superstar status, her cinematic performances are described as "sharp, clever and have aged little over the decades." Tall, blonde, and slender with fox-like features and a throaty voice, Tashman freelanced as a fashion and artist's model in New York City.
|
Professional life
|
Lilyan Tashman's entertainment career began in vaudeville, and by 1914 she was an experienced performer, appearing in Song Revue in Milwaukee, Wisconsin, with rising stars Eddie Cantor and Al Lee. In 1916, she played Viola in a Shakespeare-inspired number for the Ziegfeld Follies and remained with the Follies for the 1917 and 1918 seasons. In 1919, producer David Belasco gave her a supporting role in Avery Hopwood's comedy The Gold Diggers. The show ran two years with Tashman acting as an understudy, and occasionally filling in, for star Ina Claire. In 1921, Tashman made her film debut playing Pleasure in an allegorical segment of Experience, and when The Gold Diggers closed she appeared in the plays The Garden of Weeds and Madame Pierre. In 1922, she had a small role in the Mabel Normand film Head Over Heels. Her personal and professional lives in 1922 were not entirely satisfactory (best friend Edmund Lowe moved to Hollywood, for example, and she was fired from Madame Pierre) so she relocated to California and quickly found work in films. In 1924, she appeared in five films (including a cinematic adaptation of The Garden of Weeds) and received good reviews for Nellie, the Beautiful Cloak Model and Winner Take All. She freelanced, moving from studio to studio, but signed a long-term contract in 1931 with Paramount. She made nine films for the studio. In 1925, she appeared in 10 films, including Pretty Ladies with Joan Crawford and Myrna Loy. From 1926 to 1929, she appeared in numerous films, became a valued supporting player, and starred in the independent Rocking Moon (1926) and The Woman Who Did Not Care (1927). She played supporting roles in Ernst Lubitsch's farce So This Is Paris (1926), Camille with Norma Talmadge (1926), A Texas Steer with Will Rogers (1927), director Dorothy Arzner's Manhattan Cocktail (1928), and Hardboiled (1929). Her Variety reviews were good. She easily managed the transition to sound films, making a total of 28, and appeared in some of the very first, including United Artists's Bulldog Drummond (1929), The Trial of Mary Dugan (1929), the now-lost color musical Gold Diggers of Broadway (1929), and New York Nights (1930) with Norma Talmadge. She starred as a murderess in the melodrama Murder by the Clock, as a self-sacrificing mother in The Road to Reno (1931), and as a chorus girl in Wine, Women and Song (1933). In 1932, her health began to fail but she appeared in The Wiser Sex, Those We Love, the film on the Russian Revolution, Scarlet Dawn, Mama Loves Papa with Charlie Ruggles (1933), and the musical Too Much Harmony (1933). In early 1934, she appeared in Riptide with Norma Shearer. Her last film, Frankie and Johnny, was released posthumously in 1936. Director George Cukor described Tashman as "a very diverting creature [...] outrageous and cheerful and goodhearted."
|
C_b3aea6e5f540492e99765ed1cb7494c5_1_q#0
|
how did her career start?
| 0y
| 2x
|
{
"texts": [
"Lilyan Tashman's entertainment career began in vaudeville, and by 1914 she was an experienced performer,"
],
"answer_starts": [
0
]
}
|
{
"text": "Lilyan Tashman's entertainment career began in vaudeville, and by 1914 she was an experienced performer,",
"answer_start": 0
}
|
C_b3aea6e5f540492e99765ed1cb7494c5_1
|
Lilyan Tashman
|
Lilyan Tashman (October 23, 1896 - March 21, 1934) was an American vaudeville, Broadway, and film actress. Tashman was best known for her supporting roles as tongue-in-cheek villainesses and the vindictive "other woman." She made 66 films over the course of her Hollywood career and although she never obtained superstar status, her cinematic performances are described as "sharp, clever and have aged little over the decades." Tall, blonde, and slender with fox-like features and a throaty voice, Tashman freelanced as a fashion and artist's model in New York City.
|
Professional life
|
Lilyan Tashman's entertainment career began in vaudeville, and by 1914 she was an experienced performer, appearing in Song Revue in Milwaukee, Wisconsin, with rising stars Eddie Cantor and Al Lee. In 1916, she played Viola in a Shakespeare-inspired number for the Ziegfeld Follies and remained with the Follies for the 1917 and 1918 seasons. In 1919, producer David Belasco gave her a supporting role in Avery Hopwood's comedy The Gold Diggers. The show ran two years with Tashman acting as an understudy, and occasionally filling in, for star Ina Claire. In 1921, Tashman made her film debut playing Pleasure in an allegorical segment of Experience, and when The Gold Diggers closed she appeared in the plays The Garden of Weeds and Madame Pierre. In 1922, she had a small role in the Mabel Normand film Head Over Heels. Her personal and professional lives in 1922 were not entirely satisfactory (best friend Edmund Lowe moved to Hollywood, for example, and she was fired from Madame Pierre) so she relocated to California and quickly found work in films. In 1924, she appeared in five films (including a cinematic adaptation of The Garden of Weeds) and received good reviews for Nellie, the Beautiful Cloak Model and Winner Take All. She freelanced, moving from studio to studio, but signed a long-term contract in 1931 with Paramount. She made nine films for the studio. In 1925, she appeared in 10 films, including Pretty Ladies with Joan Crawford and Myrna Loy. From 1926 to 1929, she appeared in numerous films, became a valued supporting player, and starred in the independent Rocking Moon (1926) and The Woman Who Did Not Care (1927). She played supporting roles in Ernst Lubitsch's farce So This Is Paris (1926), Camille with Norma Talmadge (1926), A Texas Steer with Will Rogers (1927), director Dorothy Arzner's Manhattan Cocktail (1928), and Hardboiled (1929). Her Variety reviews were good. She easily managed the transition to sound films, making a total of 28, and appeared in some of the very first, including United Artists's Bulldog Drummond (1929), The Trial of Mary Dugan (1929), the now-lost color musical Gold Diggers of Broadway (1929), and New York Nights (1930) with Norma Talmadge. She starred as a murderess in the melodrama Murder by the Clock, as a self-sacrificing mother in The Road to Reno (1931), and as a chorus girl in Wine, Women and Song (1933). In 1932, her health began to fail but she appeared in The Wiser Sex, Those We Love, the film on the Russian Revolution, Scarlet Dawn, Mama Loves Papa with Charlie Ruggles (1933), and the musical Too Much Harmony (1933). In early 1934, she appeared in Riptide with Norma Shearer. Her last film, Frankie and Johnny, was released posthumously in 1936. Director George Cukor described Tashman as "a very diverting creature [...] outrageous and cheerful and goodhearted."
Q: how did her career start?
A: Lilyan Tashman's entertainment career began in vaudeville, and by 1914 she was an experienced performer,
|
C_b3aea6e5f540492e99765ed1cb7494c5_1_q#1
|
what was the first film that she worked in?
| 2m
| 2x
|
{
"texts": [
"Tashman made her film debut playing Pleasure in an allegorical segment of Experience,"
],
"answer_starts": [
566
]
}
|
{
"text": "Tashman made her film debut playing Pleasure in an allegorical segment of Experience,",
"answer_start": 566
}
|
C_b3aea6e5f540492e99765ed1cb7494c5_1
|
Lilyan Tashman
|
Lilyan Tashman (October 23, 1896 - March 21, 1934) was an American vaudeville, Broadway, and film actress. Tashman was best known for her supporting roles as tongue-in-cheek villainesses and the vindictive "other woman." She made 66 films over the course of her Hollywood career and although she never obtained superstar status, her cinematic performances are described as "sharp, clever and have aged little over the decades." Tall, blonde, and slender with fox-like features and a throaty voice, Tashman freelanced as a fashion and artist's model in New York City.
|
Professional life
|
Lilyan Tashman's entertainment career began in vaudeville, and by 1914 she was an experienced performer, appearing in Song Revue in Milwaukee, Wisconsin, with rising stars Eddie Cantor and Al Lee. In 1916, she played Viola in a Shakespeare-inspired number for the Ziegfeld Follies and remained with the Follies for the 1917 and 1918 seasons. In 1919, producer David Belasco gave her a supporting role in Avery Hopwood's comedy The Gold Diggers. The show ran two years with Tashman acting as an understudy, and occasionally filling in, for star Ina Claire. In 1921, Tashman made her film debut playing Pleasure in an allegorical segment of Experience, and when The Gold Diggers closed she appeared in the plays The Garden of Weeds and Madame Pierre. In 1922, she had a small role in the Mabel Normand film Head Over Heels. Her personal and professional lives in 1922 were not entirely satisfactory (best friend Edmund Lowe moved to Hollywood, for example, and she was fired from Madame Pierre) so she relocated to California and quickly found work in films. In 1924, she appeared in five films (including a cinematic adaptation of The Garden of Weeds) and received good reviews for Nellie, the Beautiful Cloak Model and Winner Take All. She freelanced, moving from studio to studio, but signed a long-term contract in 1931 with Paramount. She made nine films for the studio. In 1925, she appeared in 10 films, including Pretty Ladies with Joan Crawford and Myrna Loy. From 1926 to 1929, she appeared in numerous films, became a valued supporting player, and starred in the independent Rocking Moon (1926) and The Woman Who Did Not Care (1927). She played supporting roles in Ernst Lubitsch's farce So This Is Paris (1926), Camille with Norma Talmadge (1926), A Texas Steer with Will Rogers (1927), director Dorothy Arzner's Manhattan Cocktail (1928), and Hardboiled (1929). Her Variety reviews were good. She easily managed the transition to sound films, making a total of 28, and appeared in some of the very first, including United Artists's Bulldog Drummond (1929), The Trial of Mary Dugan (1929), the now-lost color musical Gold Diggers of Broadway (1929), and New York Nights (1930) with Norma Talmadge. She starred as a murderess in the melodrama Murder by the Clock, as a self-sacrificing mother in The Road to Reno (1931), and as a chorus girl in Wine, Women and Song (1933). In 1932, her health began to fail but she appeared in The Wiser Sex, Those We Love, the film on the Russian Revolution, Scarlet Dawn, Mama Loves Papa with Charlie Ruggles (1933), and the musical Too Much Harmony (1933). In early 1934, she appeared in Riptide with Norma Shearer. Her last film, Frankie and Johnny, was released posthumously in 1936. Director George Cukor described Tashman as "a very diverting creature [...] outrageous and cheerful and goodhearted."
Q: how did her career start?
A: Lilyan Tashman's entertainment career began in vaudeville, and by 1914 she was an experienced performer,
Q: what was the first film that she worked in?
A: Tashman made her film debut playing Pleasure in an allegorical segment of Experience,
|
C_b3aea6e5f540492e99765ed1cb7494c5_1_q#2
|
had she done other performances before that?
| 2m
| 0y
|
{
"texts": [
"she played Viola in a Shakespeare-inspired number"
],
"answer_starts": [
206
]
}
|
{
"text": "she played Viola in a Shakespeare-inspired number",
"answer_start": 206
}
|
C_b3aea6e5f540492e99765ed1cb7494c5_1
|
Lilyan Tashman
|
Lilyan Tashman (October 23, 1896 - March 21, 1934) was an American vaudeville, Broadway, and film actress. Tashman was best known for her supporting roles as tongue-in-cheek villainesses and the vindictive "other woman." She made 66 films over the course of her Hollywood career and although she never obtained superstar status, her cinematic performances are described as "sharp, clever and have aged little over the decades." Tall, blonde, and slender with fox-like features and a throaty voice, Tashman freelanced as a fashion and artist's model in New York City.
|
Professional life
|
Lilyan Tashman's entertainment career began in vaudeville, and by 1914 she was an experienced performer, appearing in Song Revue in Milwaukee, Wisconsin, with rising stars Eddie Cantor and Al Lee. In 1916, she played Viola in a Shakespeare-inspired number for the Ziegfeld Follies and remained with the Follies for the 1917 and 1918 seasons. In 1919, producer David Belasco gave her a supporting role in Avery Hopwood's comedy The Gold Diggers. The show ran two years with Tashman acting as an understudy, and occasionally filling in, for star Ina Claire. In 1921, Tashman made her film debut playing Pleasure in an allegorical segment of Experience, and when The Gold Diggers closed she appeared in the plays The Garden of Weeds and Madame Pierre. In 1922, she had a small role in the Mabel Normand film Head Over Heels. Her personal and professional lives in 1922 were not entirely satisfactory (best friend Edmund Lowe moved to Hollywood, for example, and she was fired from Madame Pierre) so she relocated to California and quickly found work in films. In 1924, she appeared in five films (including a cinematic adaptation of The Garden of Weeds) and received good reviews for Nellie, the Beautiful Cloak Model and Winner Take All. She freelanced, moving from studio to studio, but signed a long-term contract in 1931 with Paramount. She made nine films for the studio. In 1925, she appeared in 10 films, including Pretty Ladies with Joan Crawford and Myrna Loy. From 1926 to 1929, she appeared in numerous films, became a valued supporting player, and starred in the independent Rocking Moon (1926) and The Woman Who Did Not Care (1927). She played supporting roles in Ernst Lubitsch's farce So This Is Paris (1926), Camille with Norma Talmadge (1926), A Texas Steer with Will Rogers (1927), director Dorothy Arzner's Manhattan Cocktail (1928), and Hardboiled (1929). Her Variety reviews were good. She easily managed the transition to sound films, making a total of 28, and appeared in some of the very first, including United Artists's Bulldog Drummond (1929), The Trial of Mary Dugan (1929), the now-lost color musical Gold Diggers of Broadway (1929), and New York Nights (1930) with Norma Talmadge. She starred as a murderess in the melodrama Murder by the Clock, as a self-sacrificing mother in The Road to Reno (1931), and as a chorus girl in Wine, Women and Song (1933). In 1932, her health began to fail but she appeared in The Wiser Sex, Those We Love, the film on the Russian Revolution, Scarlet Dawn, Mama Loves Papa with Charlie Ruggles (1933), and the musical Too Much Harmony (1933). In early 1934, she appeared in Riptide with Norma Shearer. Her last film, Frankie and Johnny, was released posthumously in 1936. Director George Cukor described Tashman as "a very diverting creature [...] outrageous and cheerful and goodhearted."
Q: how did her career start?
A: Lilyan Tashman's entertainment career began in vaudeville, and by 1914 she was an experienced performer,
Q: what was the first film that she worked in?
A: Tashman made her film debut playing Pleasure in an allegorical segment of Experience,
Q: had she done other performances before that?
A: she played Viola in a Shakespeare-inspired number
|
C_b3aea6e5f540492e99765ed1cb7494c5_1_q#3
|
and what else did she appear on?
| 2m
| 2x
|
{
"texts": [
"producer David Belasco gave her a supporting role in Avery Hopwood's comedy The Gold Diggers."
],
"answer_starts": [
351
]
}
|
{
"text": "producer David Belasco gave her a supporting role in Avery Hopwood's comedy The Gold Diggers.",
"answer_start": 351
}
|
C_b3aea6e5f540492e99765ed1cb7494c5_1
|
Lilyan Tashman
|
Lilyan Tashman (October 23, 1896 - March 21, 1934) was an American vaudeville, Broadway, and film actress. Tashman was best known for her supporting roles as tongue-in-cheek villainesses and the vindictive "other woman." She made 66 films over the course of her Hollywood career and although she never obtained superstar status, her cinematic performances are described as "sharp, clever and have aged little over the decades." Tall, blonde, and slender with fox-like features and a throaty voice, Tashman freelanced as a fashion and artist's model in New York City.
|
Professional life
|
Lilyan Tashman's entertainment career began in vaudeville, and by 1914 she was an experienced performer, appearing in Song Revue in Milwaukee, Wisconsin, with rising stars Eddie Cantor and Al Lee. In 1916, she played Viola in a Shakespeare-inspired number for the Ziegfeld Follies and remained with the Follies for the 1917 and 1918 seasons. In 1919, producer David Belasco gave her a supporting role in Avery Hopwood's comedy The Gold Diggers. The show ran two years with Tashman acting as an understudy, and occasionally filling in, for star Ina Claire. In 1921, Tashman made her film debut playing Pleasure in an allegorical segment of Experience, and when The Gold Diggers closed she appeared in the plays The Garden of Weeds and Madame Pierre. In 1922, she had a small role in the Mabel Normand film Head Over Heels. Her personal and professional lives in 1922 were not entirely satisfactory (best friend Edmund Lowe moved to Hollywood, for example, and she was fired from Madame Pierre) so she relocated to California and quickly found work in films. In 1924, she appeared in five films (including a cinematic adaptation of The Garden of Weeds) and received good reviews for Nellie, the Beautiful Cloak Model and Winner Take All. She freelanced, moving from studio to studio, but signed a long-term contract in 1931 with Paramount. She made nine films for the studio. In 1925, she appeared in 10 films, including Pretty Ladies with Joan Crawford and Myrna Loy. From 1926 to 1929, she appeared in numerous films, became a valued supporting player, and starred in the independent Rocking Moon (1926) and The Woman Who Did Not Care (1927). She played supporting roles in Ernst Lubitsch's farce So This Is Paris (1926), Camille with Norma Talmadge (1926), A Texas Steer with Will Rogers (1927), director Dorothy Arzner's Manhattan Cocktail (1928), and Hardboiled (1929). Her Variety reviews were good. She easily managed the transition to sound films, making a total of 28, and appeared in some of the very first, including United Artists's Bulldog Drummond (1929), The Trial of Mary Dugan (1929), the now-lost color musical Gold Diggers of Broadway (1929), and New York Nights (1930) with Norma Talmadge. She starred as a murderess in the melodrama Murder by the Clock, as a self-sacrificing mother in The Road to Reno (1931), and as a chorus girl in Wine, Women and Song (1933). In 1932, her health began to fail but she appeared in The Wiser Sex, Those We Love, the film on the Russian Revolution, Scarlet Dawn, Mama Loves Papa with Charlie Ruggles (1933), and the musical Too Much Harmony (1933). In early 1934, she appeared in Riptide with Norma Shearer. Her last film, Frankie and Johnny, was released posthumously in 1936. Director George Cukor described Tashman as "a very diverting creature [...] outrageous and cheerful and goodhearted."
Q: how did her career start?
A: Lilyan Tashman's entertainment career began in vaudeville, and by 1914 she was an experienced performer,
Q: what was the first film that she worked in?
A: Tashman made her film debut playing Pleasure in an allegorical segment of Experience,
Q: had she done other performances before that?
A: she played Viola in a Shakespeare-inspired number
Q: and what else did she appear on?
A: producer David Belasco gave her a supporting role in Avery Hopwood's comedy The Gold Diggers.
|
C_b3aea6e5f540492e99765ed1cb7494c5_1_q#4
|
did she win any awards during this period?
| 1n
| 2x
|
{
"texts": [
"unknown"
],
"answer_starts": [
2853
]
}
|
{
"text": "unknown",
"answer_start": 2853
}
|
C_b3aea6e5f540492e99765ed1cb7494c5_1
|
Lilyan Tashman
|
Lilyan Tashman (October 23, 1896 - March 21, 1934) was an American vaudeville, Broadway, and film actress. Tashman was best known for her supporting roles as tongue-in-cheek villainesses and the vindictive "other woman." She made 66 films over the course of her Hollywood career and although she never obtained superstar status, her cinematic performances are described as "sharp, clever and have aged little over the decades." Tall, blonde, and slender with fox-like features and a throaty voice, Tashman freelanced as a fashion and artist's model in New York City.
|
Professional life
|
Lilyan Tashman's entertainment career began in vaudeville, and by 1914 she was an experienced performer, appearing in Song Revue in Milwaukee, Wisconsin, with rising stars Eddie Cantor and Al Lee. In 1916, she played Viola in a Shakespeare-inspired number for the Ziegfeld Follies and remained with the Follies for the 1917 and 1918 seasons. In 1919, producer David Belasco gave her a supporting role in Avery Hopwood's comedy The Gold Diggers. The show ran two years with Tashman acting as an understudy, and occasionally filling in, for star Ina Claire. In 1921, Tashman made her film debut playing Pleasure in an allegorical segment of Experience, and when The Gold Diggers closed she appeared in the plays The Garden of Weeds and Madame Pierre. In 1922, she had a small role in the Mabel Normand film Head Over Heels. Her personal and professional lives in 1922 were not entirely satisfactory (best friend Edmund Lowe moved to Hollywood, for example, and she was fired from Madame Pierre) so she relocated to California and quickly found work in films. In 1924, she appeared in five films (including a cinematic adaptation of The Garden of Weeds) and received good reviews for Nellie, the Beautiful Cloak Model and Winner Take All. She freelanced, moving from studio to studio, but signed a long-term contract in 1931 with Paramount. She made nine films for the studio. In 1925, she appeared in 10 films, including Pretty Ladies with Joan Crawford and Myrna Loy. From 1926 to 1929, she appeared in numerous films, became a valued supporting player, and starred in the independent Rocking Moon (1926) and The Woman Who Did Not Care (1927). She played supporting roles in Ernst Lubitsch's farce So This Is Paris (1926), Camille with Norma Talmadge (1926), A Texas Steer with Will Rogers (1927), director Dorothy Arzner's Manhattan Cocktail (1928), and Hardboiled (1929). Her Variety reviews were good. She easily managed the transition to sound films, making a total of 28, and appeared in some of the very first, including United Artists's Bulldog Drummond (1929), The Trial of Mary Dugan (1929), the now-lost color musical Gold Diggers of Broadway (1929), and New York Nights (1930) with Norma Talmadge. She starred as a murderess in the melodrama Murder by the Clock, as a self-sacrificing mother in The Road to Reno (1931), and as a chorus girl in Wine, Women and Song (1933). In 1932, her health began to fail but she appeared in The Wiser Sex, Those We Love, the film on the Russian Revolution, Scarlet Dawn, Mama Loves Papa with Charlie Ruggles (1933), and the musical Too Much Harmony (1933). In early 1934, she appeared in Riptide with Norma Shearer. Her last film, Frankie and Johnny, was released posthumously in 1936. Director George Cukor described Tashman as "a very diverting creature [...] outrageous and cheerful and goodhearted."
Q: how did her career start?
A: Lilyan Tashman's entertainment career began in vaudeville, and by 1914 she was an experienced performer,
Q: what was the first film that she worked in?
A: Tashman made her film debut playing Pleasure in an allegorical segment of Experience,
Q: had she done other performances before that?
A: she played Viola in a Shakespeare-inspired number
Q: and what else did she appear on?
A: producer David Belasco gave her a supporting role in Avery Hopwood's comedy The Gold Diggers.
Q: did she win any awards during this period?
A: unknown
|
C_b3aea6e5f540492e99765ed1cb7494c5_1_q#5
|
did she have any lead roles?
| 2m
| 0y
|
{
"texts": [
"starred in the independent Rocking Moon (1926) and The Woman Who Did Not Care (1927)."
],
"answer_starts": [
1559
]
}
|
{
"text": "starred in the independent Rocking Moon (1926) and The Woman Who Did Not Care (1927).",
"answer_start": 1559
}
|
C_b3aea6e5f540492e99765ed1cb7494c5_1
|
Lilyan Tashman
|
Lilyan Tashman (October 23, 1896 - March 21, 1934) was an American vaudeville, Broadway, and film actress. Tashman was best known for her supporting roles as tongue-in-cheek villainesses and the vindictive "other woman." She made 66 films over the course of her Hollywood career and although she never obtained superstar status, her cinematic performances are described as "sharp, clever and have aged little over the decades." Tall, blonde, and slender with fox-like features and a throaty voice, Tashman freelanced as a fashion and artist's model in New York City.
|
Professional life
|
Lilyan Tashman's entertainment career began in vaudeville, and by 1914 she was an experienced performer, appearing in Song Revue in Milwaukee, Wisconsin, with rising stars Eddie Cantor and Al Lee. In 1916, she played Viola in a Shakespeare-inspired number for the Ziegfeld Follies and remained with the Follies for the 1917 and 1918 seasons. In 1919, producer David Belasco gave her a supporting role in Avery Hopwood's comedy The Gold Diggers. The show ran two years with Tashman acting as an understudy, and occasionally filling in, for star Ina Claire. In 1921, Tashman made her film debut playing Pleasure in an allegorical segment of Experience, and when The Gold Diggers closed she appeared in the plays The Garden of Weeds and Madame Pierre. In 1922, she had a small role in the Mabel Normand film Head Over Heels. Her personal and professional lives in 1922 were not entirely satisfactory (best friend Edmund Lowe moved to Hollywood, for example, and she was fired from Madame Pierre) so she relocated to California and quickly found work in films. In 1924, she appeared in five films (including a cinematic adaptation of The Garden of Weeds) and received good reviews for Nellie, the Beautiful Cloak Model and Winner Take All. She freelanced, moving from studio to studio, but signed a long-term contract in 1931 with Paramount. She made nine films for the studio. In 1925, she appeared in 10 films, including Pretty Ladies with Joan Crawford and Myrna Loy. From 1926 to 1929, she appeared in numerous films, became a valued supporting player, and starred in the independent Rocking Moon (1926) and The Woman Who Did Not Care (1927). She played supporting roles in Ernst Lubitsch's farce So This Is Paris (1926), Camille with Norma Talmadge (1926), A Texas Steer with Will Rogers (1927), director Dorothy Arzner's Manhattan Cocktail (1928), and Hardboiled (1929). Her Variety reviews were good. She easily managed the transition to sound films, making a total of 28, and appeared in some of the very first, including United Artists's Bulldog Drummond (1929), The Trial of Mary Dugan (1929), the now-lost color musical Gold Diggers of Broadway (1929), and New York Nights (1930) with Norma Talmadge. She starred as a murderess in the melodrama Murder by the Clock, as a self-sacrificing mother in The Road to Reno (1931), and as a chorus girl in Wine, Women and Song (1933). In 1932, her health began to fail but she appeared in The Wiser Sex, Those We Love, the film on the Russian Revolution, Scarlet Dawn, Mama Loves Papa with Charlie Ruggles (1933), and the musical Too Much Harmony (1933). In early 1934, she appeared in Riptide with Norma Shearer. Her last film, Frankie and Johnny, was released posthumously in 1936. Director George Cukor described Tashman as "a very diverting creature [...] outrageous and cheerful and goodhearted."
Q: how did her career start?
A: Lilyan Tashman's entertainment career began in vaudeville, and by 1914 she was an experienced performer,
Q: what was the first film that she worked in?
A: Tashman made her film debut playing Pleasure in an allegorical segment of Experience,
Q: had she done other performances before that?
A: she played Viola in a Shakespeare-inspired number
Q: and what else did she appear on?
A: producer David Belasco gave her a supporting role in Avery Hopwood's comedy The Gold Diggers.
Q: did she win any awards during this period?
A: unknown
Q: did she have any lead roles?
A: starred in the independent Rocking Moon (1926) and The Woman Who Did Not Care (1927).
|
C_b3aea6e5f540492e99765ed1cb7494c5_1_q#6
|
did she have a manager or contracts with anyone?
| 1n
| 2x
|
{
"texts": [
"unknown"
],
"answer_starts": [
2853
]
}
|
{
"text": "unknown",
"answer_start": 2853
}
|
C_b3aea6e5f540492e99765ed1cb7494c5_1
|
Lilyan Tashman
|
Lilyan Tashman (October 23, 1896 - March 21, 1934) was an American vaudeville, Broadway, and film actress. Tashman was best known for her supporting roles as tongue-in-cheek villainesses and the vindictive "other woman." She made 66 films over the course of her Hollywood career and although she never obtained superstar status, her cinematic performances are described as "sharp, clever and have aged little over the decades." Tall, blonde, and slender with fox-like features and a throaty voice, Tashman freelanced as a fashion and artist's model in New York City.
|
Professional life
|
Lilyan Tashman's entertainment career began in vaudeville, and by 1914 she was an experienced performer, appearing in Song Revue in Milwaukee, Wisconsin, with rising stars Eddie Cantor and Al Lee. In 1916, she played Viola in a Shakespeare-inspired number for the Ziegfeld Follies and remained with the Follies for the 1917 and 1918 seasons. In 1919, producer David Belasco gave her a supporting role in Avery Hopwood's comedy The Gold Diggers. The show ran two years with Tashman acting as an understudy, and occasionally filling in, for star Ina Claire. In 1921, Tashman made her film debut playing Pleasure in an allegorical segment of Experience, and when The Gold Diggers closed she appeared in the plays The Garden of Weeds and Madame Pierre. In 1922, she had a small role in the Mabel Normand film Head Over Heels. Her personal and professional lives in 1922 were not entirely satisfactory (best friend Edmund Lowe moved to Hollywood, for example, and she was fired from Madame Pierre) so she relocated to California and quickly found work in films. In 1924, she appeared in five films (including a cinematic adaptation of The Garden of Weeds) and received good reviews for Nellie, the Beautiful Cloak Model and Winner Take All. She freelanced, moving from studio to studio, but signed a long-term contract in 1931 with Paramount. She made nine films for the studio. In 1925, she appeared in 10 films, including Pretty Ladies with Joan Crawford and Myrna Loy. From 1926 to 1929, she appeared in numerous films, became a valued supporting player, and starred in the independent Rocking Moon (1926) and The Woman Who Did Not Care (1927). She played supporting roles in Ernst Lubitsch's farce So This Is Paris (1926), Camille with Norma Talmadge (1926), A Texas Steer with Will Rogers (1927), director Dorothy Arzner's Manhattan Cocktail (1928), and Hardboiled (1929). Her Variety reviews were good. She easily managed the transition to sound films, making a total of 28, and appeared in some of the very first, including United Artists's Bulldog Drummond (1929), The Trial of Mary Dugan (1929), the now-lost color musical Gold Diggers of Broadway (1929), and New York Nights (1930) with Norma Talmadge. She starred as a murderess in the melodrama Murder by the Clock, as a self-sacrificing mother in The Road to Reno (1931), and as a chorus girl in Wine, Women and Song (1933). In 1932, her health began to fail but she appeared in The Wiser Sex, Those We Love, the film on the Russian Revolution, Scarlet Dawn, Mama Loves Papa with Charlie Ruggles (1933), and the musical Too Much Harmony (1933). In early 1934, she appeared in Riptide with Norma Shearer. Her last film, Frankie and Johnny, was released posthumously in 1936. Director George Cukor described Tashman as "a very diverting creature [...] outrageous and cheerful and goodhearted."
Q: how did her career start?
A: Lilyan Tashman's entertainment career began in vaudeville, and by 1914 she was an experienced performer,
Q: what was the first film that she worked in?
A: Tashman made her film debut playing Pleasure in an allegorical segment of Experience,
Q: had she done other performances before that?
A: she played Viola in a Shakespeare-inspired number
Q: and what else did she appear on?
A: producer David Belasco gave her a supporting role in Avery Hopwood's comedy The Gold Diggers.
Q: did she win any awards during this period?
A: unknown
Q: did she have any lead roles?
A: starred in the independent Rocking Moon (1926) and The Woman Who Did Not Care (1927).
Q: did she have a manager or contracts with anyone?
A: unknown
|
C_b3aea6e5f540492e99765ed1cb7494c5_1_q#7
|
what did critics have to say about her?
| 2m
| 2x
|
{
"texts": [
"reviews were good."
],
"answer_starts": [
1887
]
}
|
{
"text": "reviews were good.",
"answer_start": 1887
}
|
C_b3aea6e5f540492e99765ed1cb7494c5_1
|
Lilyan Tashman
|
Lilyan Tashman (October 23, 1896 - March 21, 1934) was an American vaudeville, Broadway, and film actress. Tashman was best known for her supporting roles as tongue-in-cheek villainesses and the vindictive "other woman." She made 66 films over the course of her Hollywood career and although she never obtained superstar status, her cinematic performances are described as "sharp, clever and have aged little over the decades." Tall, blonde, and slender with fox-like features and a throaty voice, Tashman freelanced as a fashion and artist's model in New York City.
|
Professional life
|
Lilyan Tashman's entertainment career began in vaudeville, and by 1914 she was an experienced performer, appearing in Song Revue in Milwaukee, Wisconsin, with rising stars Eddie Cantor and Al Lee. In 1916, she played Viola in a Shakespeare-inspired number for the Ziegfeld Follies and remained with the Follies for the 1917 and 1918 seasons. In 1919, producer David Belasco gave her a supporting role in Avery Hopwood's comedy The Gold Diggers. The show ran two years with Tashman acting as an understudy, and occasionally filling in, for star Ina Claire. In 1921, Tashman made her film debut playing Pleasure in an allegorical segment of Experience, and when The Gold Diggers closed she appeared in the plays The Garden of Weeds and Madame Pierre. In 1922, she had a small role in the Mabel Normand film Head Over Heels. Her personal and professional lives in 1922 were not entirely satisfactory (best friend Edmund Lowe moved to Hollywood, for example, and she was fired from Madame Pierre) so she relocated to California and quickly found work in films. In 1924, she appeared in five films (including a cinematic adaptation of The Garden of Weeds) and received good reviews for Nellie, the Beautiful Cloak Model and Winner Take All. She freelanced, moving from studio to studio, but signed a long-term contract in 1931 with Paramount. She made nine films for the studio. In 1925, she appeared in 10 films, including Pretty Ladies with Joan Crawford and Myrna Loy. From 1926 to 1929, she appeared in numerous films, became a valued supporting player, and starred in the independent Rocking Moon (1926) and The Woman Who Did Not Care (1927). She played supporting roles in Ernst Lubitsch's farce So This Is Paris (1926), Camille with Norma Talmadge (1926), A Texas Steer with Will Rogers (1927), director Dorothy Arzner's Manhattan Cocktail (1928), and Hardboiled (1929). Her Variety reviews were good. She easily managed the transition to sound films, making a total of 28, and appeared in some of the very first, including United Artists's Bulldog Drummond (1929), The Trial of Mary Dugan (1929), the now-lost color musical Gold Diggers of Broadway (1929), and New York Nights (1930) with Norma Talmadge. She starred as a murderess in the melodrama Murder by the Clock, as a self-sacrificing mother in The Road to Reno (1931), and as a chorus girl in Wine, Women and Song (1933). In 1932, her health began to fail but she appeared in The Wiser Sex, Those We Love, the film on the Russian Revolution, Scarlet Dawn, Mama Loves Papa with Charlie Ruggles (1933), and the musical Too Much Harmony (1933). In early 1934, she appeared in Riptide with Norma Shearer. Her last film, Frankie and Johnny, was released posthumously in 1936. Director George Cukor described Tashman as "a very diverting creature [...] outrageous and cheerful and goodhearted."
Q: how did her career start?
A: Lilyan Tashman's entertainment career began in vaudeville, and by 1914 she was an experienced performer,
Q: what was the first film that she worked in?
A: Tashman made her film debut playing Pleasure in an allegorical segment of Experience,
Q: had she done other performances before that?
A: she played Viola in a Shakespeare-inspired number
Q: and what else did she appear on?
A: producer David Belasco gave her a supporting role in Avery Hopwood's comedy The Gold Diggers.
Q: did she win any awards during this period?
A: unknown
Q: did she have any lead roles?
A: starred in the independent Rocking Moon (1926) and The Woman Who Did Not Care (1927).
Q: did she have a manager or contracts with anyone?
A: unknown
Q: what did critics have to say about her?
A: reviews were good.
|
C_b3aea6e5f540492e99765ed1cb7494c5_1_q#8
|
who were some of her co-stars?
| 2m
| 2x
|
{
"texts": [
"Norma Talmadge."
],
"answer_starts": [
2195
]
}
|
{
"text": "Norma Talmadge.",
"answer_start": 2195
}
|
C_b3aea6e5f540492e99765ed1cb7494c5_1
|
Lilyan Tashman
|
Lilyan Tashman (October 23, 1896 - March 21, 1934) was an American vaudeville, Broadway, and film actress. Tashman was best known for her supporting roles as tongue-in-cheek villainesses and the vindictive "other woman." She made 66 films over the course of her Hollywood career and although she never obtained superstar status, her cinematic performances are described as "sharp, clever and have aged little over the decades." Tall, blonde, and slender with fox-like features and a throaty voice, Tashman freelanced as a fashion and artist's model in New York City.
|
Professional life
|
Lilyan Tashman's entertainment career began in vaudeville, and by 1914 she was an experienced performer, appearing in Song Revue in Milwaukee, Wisconsin, with rising stars Eddie Cantor and Al Lee. In 1916, she played Viola in a Shakespeare-inspired number for the Ziegfeld Follies and remained with the Follies for the 1917 and 1918 seasons. In 1919, producer David Belasco gave her a supporting role in Avery Hopwood's comedy The Gold Diggers. The show ran two years with Tashman acting as an understudy, and occasionally filling in, for star Ina Claire. In 1921, Tashman made her film debut playing Pleasure in an allegorical segment of Experience, and when The Gold Diggers closed she appeared in the plays The Garden of Weeds and Madame Pierre. In 1922, she had a small role in the Mabel Normand film Head Over Heels. Her personal and professional lives in 1922 were not entirely satisfactory (best friend Edmund Lowe moved to Hollywood, for example, and she was fired from Madame Pierre) so she relocated to California and quickly found work in films. In 1924, she appeared in five films (including a cinematic adaptation of The Garden of Weeds) and received good reviews for Nellie, the Beautiful Cloak Model and Winner Take All. She freelanced, moving from studio to studio, but signed a long-term contract in 1931 with Paramount. She made nine films for the studio. In 1925, she appeared in 10 films, including Pretty Ladies with Joan Crawford and Myrna Loy. From 1926 to 1929, she appeared in numerous films, became a valued supporting player, and starred in the independent Rocking Moon (1926) and The Woman Who Did Not Care (1927). She played supporting roles in Ernst Lubitsch's farce So This Is Paris (1926), Camille with Norma Talmadge (1926), A Texas Steer with Will Rogers (1927), director Dorothy Arzner's Manhattan Cocktail (1928), and Hardboiled (1929). Her Variety reviews were good. She easily managed the transition to sound films, making a total of 28, and appeared in some of the very first, including United Artists's Bulldog Drummond (1929), The Trial of Mary Dugan (1929), the now-lost color musical Gold Diggers of Broadway (1929), and New York Nights (1930) with Norma Talmadge. She starred as a murderess in the melodrama Murder by the Clock, as a self-sacrificing mother in The Road to Reno (1931), and as a chorus girl in Wine, Women and Song (1933). In 1932, her health began to fail but she appeared in The Wiser Sex, Those We Love, the film on the Russian Revolution, Scarlet Dawn, Mama Loves Papa with Charlie Ruggles (1933), and the musical Too Much Harmony (1933). In early 1934, she appeared in Riptide with Norma Shearer. Her last film, Frankie and Johnny, was released posthumously in 1936. Director George Cukor described Tashman as "a very diverting creature [...] outrageous and cheerful and goodhearted."
Q: how did her career start?
A: Lilyan Tashman's entertainment career began in vaudeville, and by 1914 she was an experienced performer,
Q: what was the first film that she worked in?
A: Tashman made her film debut playing Pleasure in an allegorical segment of Experience,
Q: had she done other performances before that?
A: she played Viola in a Shakespeare-inspired number
Q: and what else did she appear on?
A: producer David Belasco gave her a supporting role in Avery Hopwood's comedy The Gold Diggers.
Q: did she win any awards during this period?
A: unknown
Q: did she have any lead roles?
A: starred in the independent Rocking Moon (1926) and The Woman Who Did Not Care (1927).
Q: did she have a manager or contracts with anyone?
A: unknown
Q: what did critics have to say about her?
A: reviews were good.
Q: who were some of her co-stars?
A: Norma Talmadge.
|
C_b3aea6e5f540492e99765ed1cb7494c5_1_q#9
|
what film did she work with Norma in?
| 1n
| 2x
|
{
"texts": [
"New York Nights (1930)"
],
"answer_starts": [
2167
]
}
|
{
"text": "New York Nights (1930)",
"answer_start": 2167
}
|
C_b3aea6e5f540492e99765ed1cb7494c5_1
|
Lilyan Tashman
|
Lilyan Tashman (October 23, 1896 - March 21, 1934) was an American vaudeville, Broadway, and film actress. Tashman was best known for her supporting roles as tongue-in-cheek villainesses and the vindictive "other woman." She made 66 films over the course of her Hollywood career and although she never obtained superstar status, her cinematic performances are described as "sharp, clever and have aged little over the decades." Tall, blonde, and slender with fox-like features and a throaty voice, Tashman freelanced as a fashion and artist's model in New York City.
|
Professional life
|
Lilyan Tashman's entertainment career began in vaudeville, and by 1914 she was an experienced performer, appearing in Song Revue in Milwaukee, Wisconsin, with rising stars Eddie Cantor and Al Lee. In 1916, she played Viola in a Shakespeare-inspired number for the Ziegfeld Follies and remained with the Follies for the 1917 and 1918 seasons. In 1919, producer David Belasco gave her a supporting role in Avery Hopwood's comedy The Gold Diggers. The show ran two years with Tashman acting as an understudy, and occasionally filling in, for star Ina Claire. In 1921, Tashman made her film debut playing Pleasure in an allegorical segment of Experience, and when The Gold Diggers closed she appeared in the plays The Garden of Weeds and Madame Pierre. In 1922, she had a small role in the Mabel Normand film Head Over Heels. Her personal and professional lives in 1922 were not entirely satisfactory (best friend Edmund Lowe moved to Hollywood, for example, and she was fired from Madame Pierre) so she relocated to California and quickly found work in films. In 1924, she appeared in five films (including a cinematic adaptation of The Garden of Weeds) and received good reviews for Nellie, the Beautiful Cloak Model and Winner Take All. She freelanced, moving from studio to studio, but signed a long-term contract in 1931 with Paramount. She made nine films for the studio. In 1925, she appeared in 10 films, including Pretty Ladies with Joan Crawford and Myrna Loy. From 1926 to 1929, she appeared in numerous films, became a valued supporting player, and starred in the independent Rocking Moon (1926) and The Woman Who Did Not Care (1927). She played supporting roles in Ernst Lubitsch's farce So This Is Paris (1926), Camille with Norma Talmadge (1926), A Texas Steer with Will Rogers (1927), director Dorothy Arzner's Manhattan Cocktail (1928), and Hardboiled (1929). Her Variety reviews were good. She easily managed the transition to sound films, making a total of 28, and appeared in some of the very first, including United Artists's Bulldog Drummond (1929), The Trial of Mary Dugan (1929), the now-lost color musical Gold Diggers of Broadway (1929), and New York Nights (1930) with Norma Talmadge. She starred as a murderess in the melodrama Murder by the Clock, as a self-sacrificing mother in The Road to Reno (1931), and as a chorus girl in Wine, Women and Song (1933). In 1932, her health began to fail but she appeared in The Wiser Sex, Those We Love, the film on the Russian Revolution, Scarlet Dawn, Mama Loves Papa with Charlie Ruggles (1933), and the musical Too Much Harmony (1933). In early 1934, she appeared in Riptide with Norma Shearer. Her last film, Frankie and Johnny, was released posthumously in 1936. Director George Cukor described Tashman as "a very diverting creature [...] outrageous and cheerful and goodhearted."
Q: how did her career start?
A: Lilyan Tashman's entertainment career began in vaudeville, and by 1914 she was an experienced performer,
Q: what was the first film that she worked in?
A: Tashman made her film debut playing Pleasure in an allegorical segment of Experience,
Q: had she done other performances before that?
A: she played Viola in a Shakespeare-inspired number
Q: and what else did she appear on?
A: producer David Belasco gave her a supporting role in Avery Hopwood's comedy The Gold Diggers.
Q: did she win any awards during this period?
A: unknown
Q: did she have any lead roles?
A: starred in the independent Rocking Moon (1926) and The Woman Who Did Not Care (1927).
Q: did she have a manager or contracts with anyone?
A: unknown
Q: what did critics have to say about her?
A: reviews were good.
Q: who were some of her co-stars?
A: Norma Talmadge.
Q: what film did she work with Norma in?
A: New York Nights (1930)
|
C_b3aea6e5f540492e99765ed1cb7494c5_1_q#10
|
what was her last film?
| 0y
| 0y
|
{
"texts": [
"film, Frankie and Johnny,"
],
"answer_starts": [
2674
]
}
|
{
"text": "film, Frankie and Johnny,",
"answer_start": 2674
}
|
C_b3aea6e5f540492e99765ed1cb7494c5_1
|
Lilyan Tashman
|
Lilyan Tashman (October 23, 1896 - March 21, 1934) was an American vaudeville, Broadway, and film actress. Tashman was best known for her supporting roles as tongue-in-cheek villainesses and the vindictive "other woman." She made 66 films over the course of her Hollywood career and although she never obtained superstar status, her cinematic performances are described as "sharp, clever and have aged little over the decades." Tall, blonde, and slender with fox-like features and a throaty voice, Tashman freelanced as a fashion and artist's model in New York City.
|
Professional life
|
Lilyan Tashman's entertainment career began in vaudeville, and by 1914 she was an experienced performer, appearing in Song Revue in Milwaukee, Wisconsin, with rising stars Eddie Cantor and Al Lee. In 1916, she played Viola in a Shakespeare-inspired number for the Ziegfeld Follies and remained with the Follies for the 1917 and 1918 seasons. In 1919, producer David Belasco gave her a supporting role in Avery Hopwood's comedy The Gold Diggers. The show ran two years with Tashman acting as an understudy, and occasionally filling in, for star Ina Claire. In 1921, Tashman made her film debut playing Pleasure in an allegorical segment of Experience, and when The Gold Diggers closed she appeared in the plays The Garden of Weeds and Madame Pierre. In 1922, she had a small role in the Mabel Normand film Head Over Heels. Her personal and professional lives in 1922 were not entirely satisfactory (best friend Edmund Lowe moved to Hollywood, for example, and she was fired from Madame Pierre) so she relocated to California and quickly found work in films. In 1924, she appeared in five films (including a cinematic adaptation of The Garden of Weeds) and received good reviews for Nellie, the Beautiful Cloak Model and Winner Take All. She freelanced, moving from studio to studio, but signed a long-term contract in 1931 with Paramount. She made nine films for the studio. In 1925, she appeared in 10 films, including Pretty Ladies with Joan Crawford and Myrna Loy. From 1926 to 1929, she appeared in numerous films, became a valued supporting player, and starred in the independent Rocking Moon (1926) and The Woman Who Did Not Care (1927). She played supporting roles in Ernst Lubitsch's farce So This Is Paris (1926), Camille with Norma Talmadge (1926), A Texas Steer with Will Rogers (1927), director Dorothy Arzner's Manhattan Cocktail (1928), and Hardboiled (1929). Her Variety reviews were good. She easily managed the transition to sound films, making a total of 28, and appeared in some of the very first, including United Artists's Bulldog Drummond (1929), The Trial of Mary Dugan (1929), the now-lost color musical Gold Diggers of Broadway (1929), and New York Nights (1930) with Norma Talmadge. She starred as a murderess in the melodrama Murder by the Clock, as a self-sacrificing mother in The Road to Reno (1931), and as a chorus girl in Wine, Women and Song (1933). In 1932, her health began to fail but she appeared in The Wiser Sex, Those We Love, the film on the Russian Revolution, Scarlet Dawn, Mama Loves Papa with Charlie Ruggles (1933), and the musical Too Much Harmony (1933). In early 1934, she appeared in Riptide with Norma Shearer. Her last film, Frankie and Johnny, was released posthumously in 1936. Director George Cukor described Tashman as "a very diverting creature [...] outrageous and cheerful and goodhearted."
Q: how did her career start?
A: Lilyan Tashman's entertainment career began in vaudeville, and by 1914 she was an experienced performer,
Q: what was the first film that she worked in?
A: Tashman made her film debut playing Pleasure in an allegorical segment of Experience,
Q: had she done other performances before that?
A: she played Viola in a Shakespeare-inspired number
Q: and what else did she appear on?
A: producer David Belasco gave her a supporting role in Avery Hopwood's comedy The Gold Diggers.
Q: did she win any awards during this period?
A: unknown
Q: did she have any lead roles?
A: starred in the independent Rocking Moon (1926) and The Woman Who Did Not Care (1927).
Q: did she have a manager or contracts with anyone?
A: unknown
Q: what did critics have to say about her?
A: reviews were good.
Q: who were some of her co-stars?
A: Norma Talmadge.
Q: what film did she work with Norma in?
A: New York Nights (1930)
Q: what was her last film?
A: film, Frankie and Johnny,
|
C_b3aea6e5f540492e99765ed1cb7494c5_1_q#11
|
what types of movies did she work in?
| 1n
| 2x
|
{
"texts": [
"unknown"
],
"answer_starts": [
2853
]
}
|
{
"text": "unknown",
"answer_start": 2853
}
|
C_b3aea6e5f540492e99765ed1cb7494c5_0
|
Lilyan Tashman
|
Lilyan Tashman (October 23, 1896 - March 21, 1934) was an American vaudeville, Broadway, and film actress. Tashman was best known for her supporting roles as tongue-in-cheek villainesses and the vindictive "other woman." She made 66 films over the course of her Hollywood career and although she never obtained superstar status, her cinematic performances are described as "sharp, clever and have aged little over the decades." Tall, blonde, and slender with fox-like features and a throaty voice, Tashman freelanced as a fashion and artist's model in New York City.
|
Death
|
In 1932, Tashman entered the hospital in New York City for an appendectomy that is now considered a concealment for abdominal cancer. She left the hospital thin and weak. Although she made five films in her last years, performing with her usual artistry and professionalism, she weakened significantly in the months following her hospitalization and her role in Riptide was trimmed because of her ever-worsening health. In February 1934, she flew to New York City to film Frankie and Johnny for All Star Productions (released by Republic Pictures) but her condition necessitated a week of rest in Connecticut with Lowe. She resumed work in March, completing her film role on March 8 and then appearing at the Israel Orphan's Home benefit on March 10. When she entered the hospital for surgery on March 16, it was too late for the doctors to help her. Tashman died of cancer at Doctor's Hospital in New York City on March 21, 1934 at the age of 37. Her funeral was held on March 22 in New York City synagogue Temple Emanu-El with Sophie Tucker, Mary Pickford, Fanny Brice, Cecil Beaton, Jack Benny, and other distinguished celebrities in attendance. Eddie Cantor delivered the eulogy. The burial in Brooklyn's Washington Cemetery attracted 10,000 fans, mourners, and curious onlookers; it became a near riot when people were injured and a gravestone was toppled. Tashman left no will, but the distribution of her $31,000 in cash and $121,000 in furs and jewels provoked contentious discussion among her husband and sisters, Hattie and Jennie. Her last film, Frankie and Johnny, was released posthumously in May 1936 with her role as Nellie Bly cut to a cameo.
|
C_b3aea6e5f540492e99765ed1cb7494c5_0_q#0
|
What year did she die?
| 0y
| 0y
|
{
"texts": [
"1934"
],
"answer_starts": [
433
]
}
|
{
"text": "1934",
"answer_start": 433
}
|
C_b3aea6e5f540492e99765ed1cb7494c5_0
|
Lilyan Tashman
|
Lilyan Tashman (October 23, 1896 - March 21, 1934) was an American vaudeville, Broadway, and film actress. Tashman was best known for her supporting roles as tongue-in-cheek villainesses and the vindictive "other woman." She made 66 films over the course of her Hollywood career and although she never obtained superstar status, her cinematic performances are described as "sharp, clever and have aged little over the decades." Tall, blonde, and slender with fox-like features and a throaty voice, Tashman freelanced as a fashion and artist's model in New York City.
|
Death
|
In 1932, Tashman entered the hospital in New York City for an appendectomy that is now considered a concealment for abdominal cancer. She left the hospital thin and weak. Although she made five films in her last years, performing with her usual artistry and professionalism, she weakened significantly in the months following her hospitalization and her role in Riptide was trimmed because of her ever-worsening health. In February 1934, she flew to New York City to film Frankie and Johnny for All Star Productions (released by Republic Pictures) but her condition necessitated a week of rest in Connecticut with Lowe. She resumed work in March, completing her film role on March 8 and then appearing at the Israel Orphan's Home benefit on March 10. When she entered the hospital for surgery on March 16, it was too late for the doctors to help her. Tashman died of cancer at Doctor's Hospital in New York City on March 21, 1934 at the age of 37. Her funeral was held on March 22 in New York City synagogue Temple Emanu-El with Sophie Tucker, Mary Pickford, Fanny Brice, Cecil Beaton, Jack Benny, and other distinguished celebrities in attendance. Eddie Cantor delivered the eulogy. The burial in Brooklyn's Washington Cemetery attracted 10,000 fans, mourners, and curious onlookers; it became a near riot when people were injured and a gravestone was toppled. Tashman left no will, but the distribution of her $31,000 in cash and $121,000 in furs and jewels provoked contentious discussion among her husband and sisters, Hattie and Jennie. Her last film, Frankie and Johnny, was released posthumously in May 1936 with her role as Nellie Bly cut to a cameo.
Q: What year did she die?
A: 1934
|
C_b3aea6e5f540492e99765ed1cb7494c5_0_q#1
|
Where did she die?
| 0y
| 0y
|
{
"texts": [
"New York City"
],
"answer_starts": [
41
]
}
|
{
"text": "New York City",
"answer_start": 41
}
|
C_b3aea6e5f540492e99765ed1cb7494c5_0
|
Lilyan Tashman
|
Lilyan Tashman (October 23, 1896 - March 21, 1934) was an American vaudeville, Broadway, and film actress. Tashman was best known for her supporting roles as tongue-in-cheek villainesses and the vindictive "other woman." She made 66 films over the course of her Hollywood career and although she never obtained superstar status, her cinematic performances are described as "sharp, clever and have aged little over the decades." Tall, blonde, and slender with fox-like features and a throaty voice, Tashman freelanced as a fashion and artist's model in New York City.
|
Death
|
In 1932, Tashman entered the hospital in New York City for an appendectomy that is now considered a concealment for abdominal cancer. She left the hospital thin and weak. Although she made five films in her last years, performing with her usual artistry and professionalism, she weakened significantly in the months following her hospitalization and her role in Riptide was trimmed because of her ever-worsening health. In February 1934, she flew to New York City to film Frankie and Johnny for All Star Productions (released by Republic Pictures) but her condition necessitated a week of rest in Connecticut with Lowe. She resumed work in March, completing her film role on March 8 and then appearing at the Israel Orphan's Home benefit on March 10. When she entered the hospital for surgery on March 16, it was too late for the doctors to help her. Tashman died of cancer at Doctor's Hospital in New York City on March 21, 1934 at the age of 37. Her funeral was held on March 22 in New York City synagogue Temple Emanu-El with Sophie Tucker, Mary Pickford, Fanny Brice, Cecil Beaton, Jack Benny, and other distinguished celebrities in attendance. Eddie Cantor delivered the eulogy. The burial in Brooklyn's Washington Cemetery attracted 10,000 fans, mourners, and curious onlookers; it became a near riot when people were injured and a gravestone was toppled. Tashman left no will, but the distribution of her $31,000 in cash and $121,000 in furs and jewels provoked contentious discussion among her husband and sisters, Hattie and Jennie. Her last film, Frankie and Johnny, was released posthumously in May 1936 with her role as Nellie Bly cut to a cameo.
Q: What year did she die?
A: 1934
Q: Where did she die?
A: New York City
|
C_b3aea6e5f540492e99765ed1cb7494c5_0_q#2
|
Was she buried there?
| 0y
| 0y
|
{
"texts": [
"The burial in Brooklyn's Washington Cemetery"
],
"answer_starts": [
1186
]
}
|
{
"text": "The burial in Brooklyn's Washington Cemetery",
"answer_start": 1186
}
|
C_b3aea6e5f540492e99765ed1cb7494c5_0
|
Lilyan Tashman
|
Lilyan Tashman (October 23, 1896 - March 21, 1934) was an American vaudeville, Broadway, and film actress. Tashman was best known for her supporting roles as tongue-in-cheek villainesses and the vindictive "other woman." She made 66 films over the course of her Hollywood career and although she never obtained superstar status, her cinematic performances are described as "sharp, clever and have aged little over the decades." Tall, blonde, and slender with fox-like features and a throaty voice, Tashman freelanced as a fashion and artist's model in New York City.
|
Death
|
In 1932, Tashman entered the hospital in New York City for an appendectomy that is now considered a concealment for abdominal cancer. She left the hospital thin and weak. Although she made five films in her last years, performing with her usual artistry and professionalism, she weakened significantly in the months following her hospitalization and her role in Riptide was trimmed because of her ever-worsening health. In February 1934, she flew to New York City to film Frankie and Johnny for All Star Productions (released by Republic Pictures) but her condition necessitated a week of rest in Connecticut with Lowe. She resumed work in March, completing her film role on March 8 and then appearing at the Israel Orphan's Home benefit on March 10. When she entered the hospital for surgery on March 16, it was too late for the doctors to help her. Tashman died of cancer at Doctor's Hospital in New York City on March 21, 1934 at the age of 37. Her funeral was held on March 22 in New York City synagogue Temple Emanu-El with Sophie Tucker, Mary Pickford, Fanny Brice, Cecil Beaton, Jack Benny, and other distinguished celebrities in attendance. Eddie Cantor delivered the eulogy. The burial in Brooklyn's Washington Cemetery attracted 10,000 fans, mourners, and curious onlookers; it became a near riot when people were injured and a gravestone was toppled. Tashman left no will, but the distribution of her $31,000 in cash and $121,000 in furs and jewels provoked contentious discussion among her husband and sisters, Hattie and Jennie. Her last film, Frankie and Johnny, was released posthumously in May 1936 with her role as Nellie Bly cut to a cameo.
Q: What year did she die?
A: 1934
Q: Where did she die?
A: New York City
Q: Was she buried there?
A: The burial in Brooklyn's Washington Cemetery
|
C_b3aea6e5f540492e99765ed1cb7494c5_0_q#3
|
How did she die?
| 0y
| 0y
|
{
"texts": [
"Tashman died of cancer"
],
"answer_starts": [
853
]
}
|
{
"text": "Tashman died of cancer",
"answer_start": 853
}
|
C_b3aea6e5f540492e99765ed1cb7494c5_0
|
Lilyan Tashman
|
Lilyan Tashman (October 23, 1896 - March 21, 1934) was an American vaudeville, Broadway, and film actress. Tashman was best known for her supporting roles as tongue-in-cheek villainesses and the vindictive "other woman." She made 66 films over the course of her Hollywood career and although she never obtained superstar status, her cinematic performances are described as "sharp, clever and have aged little over the decades." Tall, blonde, and slender with fox-like features and a throaty voice, Tashman freelanced as a fashion and artist's model in New York City.
|
Death
|
In 1932, Tashman entered the hospital in New York City for an appendectomy that is now considered a concealment for abdominal cancer. She left the hospital thin and weak. Although she made five films in her last years, performing with her usual artistry and professionalism, she weakened significantly in the months following her hospitalization and her role in Riptide was trimmed because of her ever-worsening health. In February 1934, she flew to New York City to film Frankie and Johnny for All Star Productions (released by Republic Pictures) but her condition necessitated a week of rest in Connecticut with Lowe. She resumed work in March, completing her film role on March 8 and then appearing at the Israel Orphan's Home benefit on March 10. When she entered the hospital for surgery on March 16, it was too late for the doctors to help her. Tashman died of cancer at Doctor's Hospital in New York City on March 21, 1934 at the age of 37. Her funeral was held on March 22 in New York City synagogue Temple Emanu-El with Sophie Tucker, Mary Pickford, Fanny Brice, Cecil Beaton, Jack Benny, and other distinguished celebrities in attendance. Eddie Cantor delivered the eulogy. The burial in Brooklyn's Washington Cemetery attracted 10,000 fans, mourners, and curious onlookers; it became a near riot when people were injured and a gravestone was toppled. Tashman left no will, but the distribution of her $31,000 in cash and $121,000 in furs and jewels provoked contentious discussion among her husband and sisters, Hattie and Jennie. Her last film, Frankie and Johnny, was released posthumously in May 1936 with her role as Nellie Bly cut to a cameo.
Q: What year did she die?
A: 1934
Q: Where did she die?
A: New York City
Q: Was she buried there?
A: The burial in Brooklyn's Washington Cemetery
Q: How did she die?
A: Tashman died of cancer
|
C_b3aea6e5f540492e99765ed1cb7494c5_0_q#4
|
What kind of cancer did she have?
| 0y
| 0y
|
{
"texts": [
"abdominal cancer."
],
"answer_starts": [
116
]
}
|
{
"text": "abdominal cancer.",
"answer_start": 116
}
|
C_b3aea6e5f540492e99765ed1cb7494c5_0
|
Lilyan Tashman
|
Lilyan Tashman (October 23, 1896 - March 21, 1934) was an American vaudeville, Broadway, and film actress. Tashman was best known for her supporting roles as tongue-in-cheek villainesses and the vindictive "other woman." She made 66 films over the course of her Hollywood career and although she never obtained superstar status, her cinematic performances are described as "sharp, clever and have aged little over the decades." Tall, blonde, and slender with fox-like features and a throaty voice, Tashman freelanced as a fashion and artist's model in New York City.
|
Death
|
In 1932, Tashman entered the hospital in New York City for an appendectomy that is now considered a concealment for abdominal cancer. She left the hospital thin and weak. Although she made five films in her last years, performing with her usual artistry and professionalism, she weakened significantly in the months following her hospitalization and her role in Riptide was trimmed because of her ever-worsening health. In February 1934, she flew to New York City to film Frankie and Johnny for All Star Productions (released by Republic Pictures) but her condition necessitated a week of rest in Connecticut with Lowe. She resumed work in March, completing her film role on March 8 and then appearing at the Israel Orphan's Home benefit on March 10. When she entered the hospital for surgery on March 16, it was too late for the doctors to help her. Tashman died of cancer at Doctor's Hospital in New York City on March 21, 1934 at the age of 37. Her funeral was held on March 22 in New York City synagogue Temple Emanu-El with Sophie Tucker, Mary Pickford, Fanny Brice, Cecil Beaton, Jack Benny, and other distinguished celebrities in attendance. Eddie Cantor delivered the eulogy. The burial in Brooklyn's Washington Cemetery attracted 10,000 fans, mourners, and curious onlookers; it became a near riot when people were injured and a gravestone was toppled. Tashman left no will, but the distribution of her $31,000 in cash and $121,000 in furs and jewels provoked contentious discussion among her husband and sisters, Hattie and Jennie. Her last film, Frankie and Johnny, was released posthumously in May 1936 with her role as Nellie Bly cut to a cameo.
Q: What year did she die?
A: 1934
Q: Where did she die?
A: New York City
Q: Was she buried there?
A: The burial in Brooklyn's Washington Cemetery
Q: How did she die?
A: Tashman died of cancer
Q: What kind of cancer did she have?
A: abdominal cancer.
|
C_b3aea6e5f540492e99765ed1cb7494c5_0_q#5
|
When was she diagnosed?
| 0y
| 0y
|
{
"texts": [
"In 1932, Tashman entered the hospital in New York City for an appendectomy that is now considered a concealment for abdominal cancer."
],
"answer_starts": [
0
]
}
|
{
"text": "In 1932, Tashman entered the hospital in New York City for an appendectomy that is now considered a concealment for abdominal cancer.",
"answer_start": 0
}
|
C_b3aea6e5f540492e99765ed1cb7494c5_0
|
Lilyan Tashman
|
Lilyan Tashman (October 23, 1896 - March 21, 1934) was an American vaudeville, Broadway, and film actress. Tashman was best known for her supporting roles as tongue-in-cheek villainesses and the vindictive "other woman." She made 66 films over the course of her Hollywood career and although she never obtained superstar status, her cinematic performances are described as "sharp, clever and have aged little over the decades." Tall, blonde, and slender with fox-like features and a throaty voice, Tashman freelanced as a fashion and artist's model in New York City.
|
Death
|
In 1932, Tashman entered the hospital in New York City for an appendectomy that is now considered a concealment for abdominal cancer. She left the hospital thin and weak. Although she made five films in her last years, performing with her usual artistry and professionalism, she weakened significantly in the months following her hospitalization and her role in Riptide was trimmed because of her ever-worsening health. In February 1934, she flew to New York City to film Frankie and Johnny for All Star Productions (released by Republic Pictures) but her condition necessitated a week of rest in Connecticut with Lowe. She resumed work in March, completing her film role on March 8 and then appearing at the Israel Orphan's Home benefit on March 10. When she entered the hospital for surgery on March 16, it was too late for the doctors to help her. Tashman died of cancer at Doctor's Hospital in New York City on March 21, 1934 at the age of 37. Her funeral was held on March 22 in New York City synagogue Temple Emanu-El with Sophie Tucker, Mary Pickford, Fanny Brice, Cecil Beaton, Jack Benny, and other distinguished celebrities in attendance. Eddie Cantor delivered the eulogy. The burial in Brooklyn's Washington Cemetery attracted 10,000 fans, mourners, and curious onlookers; it became a near riot when people were injured and a gravestone was toppled. Tashman left no will, but the distribution of her $31,000 in cash and $121,000 in furs and jewels provoked contentious discussion among her husband and sisters, Hattie and Jennie. Her last film, Frankie and Johnny, was released posthumously in May 1936 with her role as Nellie Bly cut to a cameo.
Q: What year did she die?
A: 1934
Q: Where did she die?
A: New York City
Q: Was she buried there?
A: The burial in Brooklyn's Washington Cemetery
Q: How did she die?
A: Tashman died of cancer
Q: What kind of cancer did she have?
A: abdominal cancer.
Q: When was she diagnosed?
A: In 1932, Tashman entered the hospital in New York City for an appendectomy that is now considered a concealment for abdominal cancer.
|
C_b3aea6e5f540492e99765ed1cb7494c5_0_q#6
|
How did she handle this?
| 0y
| 1n
|
{
"texts": [
"Although she made five films in her last years, performing with her usual artistry and professionalism, she weakened significantly in the months following her hospitalization"
],
"answer_starts": [
171
]
}
|
{
"text": "Although she made five films in her last years, performing with her usual artistry and professionalism, she weakened significantly in the months following her hospitalization",
"answer_start": 171
}
|
C_b3aea6e5f540492e99765ed1cb7494c5_0
|
Lilyan Tashman
|
Lilyan Tashman (October 23, 1896 - March 21, 1934) was an American vaudeville, Broadway, and film actress. Tashman was best known for her supporting roles as tongue-in-cheek villainesses and the vindictive "other woman." She made 66 films over the course of her Hollywood career and although she never obtained superstar status, her cinematic performances are described as "sharp, clever and have aged little over the decades." Tall, blonde, and slender with fox-like features and a throaty voice, Tashman freelanced as a fashion and artist's model in New York City.
|
Death
|
In 1932, Tashman entered the hospital in New York City for an appendectomy that is now considered a concealment for abdominal cancer. She left the hospital thin and weak. Although she made five films in her last years, performing with her usual artistry and professionalism, she weakened significantly in the months following her hospitalization and her role in Riptide was trimmed because of her ever-worsening health. In February 1934, she flew to New York City to film Frankie and Johnny for All Star Productions (released by Republic Pictures) but her condition necessitated a week of rest in Connecticut with Lowe. She resumed work in March, completing her film role on March 8 and then appearing at the Israel Orphan's Home benefit on March 10. When she entered the hospital for surgery on March 16, it was too late for the doctors to help her. Tashman died of cancer at Doctor's Hospital in New York City on March 21, 1934 at the age of 37. Her funeral was held on March 22 in New York City synagogue Temple Emanu-El with Sophie Tucker, Mary Pickford, Fanny Brice, Cecil Beaton, Jack Benny, and other distinguished celebrities in attendance. Eddie Cantor delivered the eulogy. The burial in Brooklyn's Washington Cemetery attracted 10,000 fans, mourners, and curious onlookers; it became a near riot when people were injured and a gravestone was toppled. Tashman left no will, but the distribution of her $31,000 in cash and $121,000 in furs and jewels provoked contentious discussion among her husband and sisters, Hattie and Jennie. Her last film, Frankie and Johnny, was released posthumously in May 1936 with her role as Nellie Bly cut to a cameo.
Q: What year did she die?
A: 1934
Q: Where did she die?
A: New York City
Q: Was she buried there?
A: The burial in Brooklyn's Washington Cemetery
Q: How did she die?
A: Tashman died of cancer
Q: What kind of cancer did she have?
A: abdominal cancer.
Q: When was she diagnosed?
A: In 1932, Tashman entered the hospital in New York City for an appendectomy that is now considered a concealment for abdominal cancer.
Q: How did she handle this?
A: Although she made five films in her last years, performing with her usual artistry and professionalism, she weakened significantly in the months following her hospitalization
|
C_b3aea6e5f540492e99765ed1cb7494c5_0_q#7
|
Was there anything else interesting surrounding her death?
| 0y
| 0y
|
{
"texts": [
"she flew to New York City to film Frankie and Johnny for All Star Productions (released by Republic Pictures) but her condition necessitated a week of rest"
],
"answer_starts": [
439
]
}
|
{
"text": "she flew to New York City to film Frankie and Johnny for All Star Productions (released by Republic Pictures) but her condition necessitated a week of rest",
"answer_start": 439
}
|
C_b3aea6e5f540492e99765ed1cb7494c5_0
|
Lilyan Tashman
|
Lilyan Tashman (October 23, 1896 - March 21, 1934) was an American vaudeville, Broadway, and film actress. Tashman was best known for her supporting roles as tongue-in-cheek villainesses and the vindictive "other woman." She made 66 films over the course of her Hollywood career and although she never obtained superstar status, her cinematic performances are described as "sharp, clever and have aged little over the decades." Tall, blonde, and slender with fox-like features and a throaty voice, Tashman freelanced as a fashion and artist's model in New York City.
|
Death
|
In 1932, Tashman entered the hospital in New York City for an appendectomy that is now considered a concealment for abdominal cancer. She left the hospital thin and weak. Although she made five films in her last years, performing with her usual artistry and professionalism, she weakened significantly in the months following her hospitalization and her role in Riptide was trimmed because of her ever-worsening health. In February 1934, she flew to New York City to film Frankie and Johnny for All Star Productions (released by Republic Pictures) but her condition necessitated a week of rest in Connecticut with Lowe. She resumed work in March, completing her film role on March 8 and then appearing at the Israel Orphan's Home benefit on March 10. When she entered the hospital for surgery on March 16, it was too late for the doctors to help her. Tashman died of cancer at Doctor's Hospital in New York City on March 21, 1934 at the age of 37. Her funeral was held on March 22 in New York City synagogue Temple Emanu-El with Sophie Tucker, Mary Pickford, Fanny Brice, Cecil Beaton, Jack Benny, and other distinguished celebrities in attendance. Eddie Cantor delivered the eulogy. The burial in Brooklyn's Washington Cemetery attracted 10,000 fans, mourners, and curious onlookers; it became a near riot when people were injured and a gravestone was toppled. Tashman left no will, but the distribution of her $31,000 in cash and $121,000 in furs and jewels provoked contentious discussion among her husband and sisters, Hattie and Jennie. Her last film, Frankie and Johnny, was released posthumously in May 1936 with her role as Nellie Bly cut to a cameo.
Q: What year did she die?
A: 1934
Q: Where did she die?
A: New York City
Q: Was she buried there?
A: The burial in Brooklyn's Washington Cemetery
Q: How did she die?
A: Tashman died of cancer
Q: What kind of cancer did she have?
A: abdominal cancer.
Q: When was she diagnosed?
A: In 1932, Tashman entered the hospital in New York City for an appendectomy that is now considered a concealment for abdominal cancer.
Q: How did she handle this?
A: Although she made five films in her last years, performing with her usual artistry and professionalism, she weakened significantly in the months following her hospitalization
Q: Was there anything else interesting surrounding her death?
A: she flew to New York City to film Frankie and Johnny for All Star Productions (released by Republic Pictures) but her condition necessitated a week of rest
|
C_b3aea6e5f540492e99765ed1cb7494c5_0_q#8
|
Did she get to complete the project?
| 0y
| 1n
|
{
"texts": [
"in the months following her hospitalization and her role in Riptide was trimmed because of her ever-worsening health."
],
"answer_starts": [
302
]
}
|
{
"text": "in the months following her hospitalization and her role in Riptide was trimmed because of her ever-worsening health.",
"answer_start": 302
}
|
C_b3aea6e5f540492e99765ed1cb7494c5_0
|
Lilyan Tashman
|
Lilyan Tashman (October 23, 1896 - March 21, 1934) was an American vaudeville, Broadway, and film actress. Tashman was best known for her supporting roles as tongue-in-cheek villainesses and the vindictive "other woman." She made 66 films over the course of her Hollywood career and although she never obtained superstar status, her cinematic performances are described as "sharp, clever and have aged little over the decades." Tall, blonde, and slender with fox-like features and a throaty voice, Tashman freelanced as a fashion and artist's model in New York City.
|
Death
|
In 1932, Tashman entered the hospital in New York City for an appendectomy that is now considered a concealment for abdominal cancer. She left the hospital thin and weak. Although she made five films in her last years, performing with her usual artistry and professionalism, she weakened significantly in the months following her hospitalization and her role in Riptide was trimmed because of her ever-worsening health. In February 1934, she flew to New York City to film Frankie and Johnny for All Star Productions (released by Republic Pictures) but her condition necessitated a week of rest in Connecticut with Lowe. She resumed work in March, completing her film role on March 8 and then appearing at the Israel Orphan's Home benefit on March 10. When she entered the hospital for surgery on March 16, it was too late for the doctors to help her. Tashman died of cancer at Doctor's Hospital in New York City on March 21, 1934 at the age of 37. Her funeral was held on March 22 in New York City synagogue Temple Emanu-El with Sophie Tucker, Mary Pickford, Fanny Brice, Cecil Beaton, Jack Benny, and other distinguished celebrities in attendance. Eddie Cantor delivered the eulogy. The burial in Brooklyn's Washington Cemetery attracted 10,000 fans, mourners, and curious onlookers; it became a near riot when people were injured and a gravestone was toppled. Tashman left no will, but the distribution of her $31,000 in cash and $121,000 in furs and jewels provoked contentious discussion among her husband and sisters, Hattie and Jennie. Her last film, Frankie and Johnny, was released posthumously in May 1936 with her role as Nellie Bly cut to a cameo.
Q: What year did she die?
A: 1934
Q: Where did she die?
A: New York City
Q: Was she buried there?
A: The burial in Brooklyn's Washington Cemetery
Q: How did she die?
A: Tashman died of cancer
Q: What kind of cancer did she have?
A: abdominal cancer.
Q: When was she diagnosed?
A: In 1932, Tashman entered the hospital in New York City for an appendectomy that is now considered a concealment for abdominal cancer.
Q: How did she handle this?
A: Although she made five films in her last years, performing with her usual artistry and professionalism, she weakened significantly in the months following her hospitalization
Q: Was there anything else interesting surrounding her death?
A: she flew to New York City to film Frankie and Johnny for All Star Productions (released by Republic Pictures) but her condition necessitated a week of rest
Q: Did she get to complete the project?
A: in the months following her hospitalization and her role in Riptide was trimmed because of her ever-worsening health.
|
C_b3aea6e5f540492e99765ed1cb7494c5_0_q#9
|
What happened following this?
| 0y
| 0y
|
{
"texts": [
"She resumed work in March, completing her film role on March 8 and then appearing at the Israel Orphan's Home benefit on March 10."
],
"answer_starts": [
621
]
}
|
{
"text": "She resumed work in March, completing her film role on March 8 and then appearing at the Israel Orphan's Home benefit on March 10.",
"answer_start": 621
}
|
C_b3aea6e5f540492e99765ed1cb7494c5_0
|
Lilyan Tashman
|
Lilyan Tashman (October 23, 1896 - March 21, 1934) was an American vaudeville, Broadway, and film actress. Tashman was best known for her supporting roles as tongue-in-cheek villainesses and the vindictive "other woman." She made 66 films over the course of her Hollywood career and although she never obtained superstar status, her cinematic performances are described as "sharp, clever and have aged little over the decades." Tall, blonde, and slender with fox-like features and a throaty voice, Tashman freelanced as a fashion and artist's model in New York City.
|
Death
|
In 1932, Tashman entered the hospital in New York City for an appendectomy that is now considered a concealment for abdominal cancer. She left the hospital thin and weak. Although she made five films in her last years, performing with her usual artistry and professionalism, she weakened significantly in the months following her hospitalization and her role in Riptide was trimmed because of her ever-worsening health. In February 1934, she flew to New York City to film Frankie and Johnny for All Star Productions (released by Republic Pictures) but her condition necessitated a week of rest in Connecticut with Lowe. She resumed work in March, completing her film role on March 8 and then appearing at the Israel Orphan's Home benefit on March 10. When she entered the hospital for surgery on March 16, it was too late for the doctors to help her. Tashman died of cancer at Doctor's Hospital in New York City on March 21, 1934 at the age of 37. Her funeral was held on March 22 in New York City synagogue Temple Emanu-El with Sophie Tucker, Mary Pickford, Fanny Brice, Cecil Beaton, Jack Benny, and other distinguished celebrities in attendance. Eddie Cantor delivered the eulogy. The burial in Brooklyn's Washington Cemetery attracted 10,000 fans, mourners, and curious onlookers; it became a near riot when people were injured and a gravestone was toppled. Tashman left no will, but the distribution of her $31,000 in cash and $121,000 in furs and jewels provoked contentious discussion among her husband and sisters, Hattie and Jennie. Her last film, Frankie and Johnny, was released posthumously in May 1936 with her role as Nellie Bly cut to a cameo.
Q: What year did she die?
A: 1934
Q: Where did she die?
A: New York City
Q: Was she buried there?
A: The burial in Brooklyn's Washington Cemetery
Q: How did she die?
A: Tashman died of cancer
Q: What kind of cancer did she have?
A: abdominal cancer.
Q: When was she diagnosed?
A: In 1932, Tashman entered the hospital in New York City for an appendectomy that is now considered a concealment for abdominal cancer.
Q: How did she handle this?
A: Although she made five films in her last years, performing with her usual artistry and professionalism, she weakened significantly in the months following her hospitalization
Q: Was there anything else interesting surrounding her death?
A: she flew to New York City to film Frankie and Johnny for All Star Productions (released by Republic Pictures) but her condition necessitated a week of rest
Q: Did she get to complete the project?
A: in the months following her hospitalization and her role in Riptide was trimmed because of her ever-worsening health.
Q: What happened following this?
A: She resumed work in March, completing her film role on March 8 and then appearing at the Israel Orphan's Home benefit on March 10.
|
C_b3aea6e5f540492e99765ed1cb7494c5_0_q#10
|
Did she do anymore work between then and her death?
| 0y
| 2x
|
{
"texts": [
"unknown"
],
"answer_starts": [
1661
]
}
|
{
"text": "unknown",
"answer_start": 1661
}
|
C_4ed56242c19f40f18ea0ab4e8b3b4ba2_1
|
Billy Joel
|
William Martin Joel was born in the Bronx on May 9, 1949, and was raised in Levittown, New York in the town of Oyster Bay. In 1963 when zip codes were assigned, the section of Levittown in Oyster Bay was given a Hicksville, New York zip code and has since been part of Hicksville. Joel's father, Howard (born Helmuth) Joel, a classical pianist, was born in Germany, to a Jewish family, the son of a merchant and manufacturer, Karl Amson Joel. Howard emigrated to Switzerland and later to the United States (via Cuba, as immigration quotas for German Jews prevented direct immigration at the time) to escape the Nazi regime.
|
1965-1970: Early career
|
Influenced by early-rock-and-roll and rhythm-and-blues artists, including groups such as The Beatles, The Drifters and The Four Seasons, he favored tightly-structured pop melodies and down-to-earth, unpretentious songwriting. After seeing The Beatles on The Ed Sullivan Show, Joel decided to pursue a career in music. In an interview he said of the group's impact, "That one performance changed my life ... Up to that moment I'd never considered playing rock as a career. And when I saw four guys who didn't look like they'd come out of the Hollywood star mill, who played their own songs and instruments, and especially because you could see this look in John Lennon's face - and he looked like he was always saying: 'F--- you!' - I said: 'I know these guys, I can relate to these guys, I am these guys.' This is what I'm going to do - play in a rock band'." Joel joined the Echoes, a group that specialized in British Invasion covers. The Echoes began recording in 1965. Joel (then 16) also played piano on several records released through Kama Sutra Productions and on recordings produced by Shadow Morton. Joel played on a demo version of "Leader of the Pack", which would become a major hit for the Shangri-Las. Joel states that in 1964 he played on a recording of the Shangri-Las' "Remember (Walking in the Sand)" but he is unaware of whether he played on the demo or master version; The released single included a co-producer credit for Artie Ripp, who later was the first to sign and produce Joel as a solo artist after Michael Lang, who had given Joel a monetary advance, passed Joel along to Ripp to focus his attentions elsewhere instead. In late 1965, the Echoes changed their name to the Emeralds and then to the Lost Souls. Joel left the band in 1967 to join the Hassles, a Long Island group that had signed with United Artists Records. Over the next year and a half they released four singles and two albums (The Hassles and Hour of the Wolf). All were commercial failures. Joel and drummer Jon Small left the Hassles in 1969 to form the duo Attila, releasing an eponymous debut album in July 1970. The duo disbanded the following October when Joel began an affair with Small's wife, Elizabeth, whom Joel eventually married.
|
C_4ed56242c19f40f18ea0ab4e8b3b4ba2_1_q#0
|
What happened in 1965?
| 0y
| 2x
|
{
"texts": [
"Joel joined the Echoes, a group that specialized in British Invasion covers. The Echoes began recording in 1965."
],
"answer_starts": [
862
]
}
|
{
"text": "Joel joined the Echoes, a group that specialized in British Invasion covers. The Echoes began recording in 1965.",
"answer_start": 862
}
|
C_4ed56242c19f40f18ea0ab4e8b3b4ba2_1
|
Billy Joel
|
William Martin Joel was born in the Bronx on May 9, 1949, and was raised in Levittown, New York in the town of Oyster Bay. In 1963 when zip codes were assigned, the section of Levittown in Oyster Bay was given a Hicksville, New York zip code and has since been part of Hicksville. Joel's father, Howard (born Helmuth) Joel, a classical pianist, was born in Germany, to a Jewish family, the son of a merchant and manufacturer, Karl Amson Joel. Howard emigrated to Switzerland and later to the United States (via Cuba, as immigration quotas for German Jews prevented direct immigration at the time) to escape the Nazi regime.
|
1965-1970: Early career
|
Influenced by early-rock-and-roll and rhythm-and-blues artists, including groups such as The Beatles, The Drifters and The Four Seasons, he favored tightly-structured pop melodies and down-to-earth, unpretentious songwriting. After seeing The Beatles on The Ed Sullivan Show, Joel decided to pursue a career in music. In an interview he said of the group's impact, "That one performance changed my life ... Up to that moment I'd never considered playing rock as a career. And when I saw four guys who didn't look like they'd come out of the Hollywood star mill, who played their own songs and instruments, and especially because you could see this look in John Lennon's face - and he looked like he was always saying: 'F--- you!' - I said: 'I know these guys, I can relate to these guys, I am these guys.' This is what I'm going to do - play in a rock band'." Joel joined the Echoes, a group that specialized in British Invasion covers. The Echoes began recording in 1965. Joel (then 16) also played piano on several records released through Kama Sutra Productions and on recordings produced by Shadow Morton. Joel played on a demo version of "Leader of the Pack", which would become a major hit for the Shangri-Las. Joel states that in 1964 he played on a recording of the Shangri-Las' "Remember (Walking in the Sand)" but he is unaware of whether he played on the demo or master version; The released single included a co-producer credit for Artie Ripp, who later was the first to sign and produce Joel as a solo artist after Michael Lang, who had given Joel a monetary advance, passed Joel along to Ripp to focus his attentions elsewhere instead. In late 1965, the Echoes changed their name to the Emeralds and then to the Lost Souls. Joel left the band in 1967 to join the Hassles, a Long Island group that had signed with United Artists Records. Over the next year and a half they released four singles and two albums (The Hassles and Hour of the Wolf). All were commercial failures. Joel and drummer Jon Small left the Hassles in 1969 to form the duo Attila, releasing an eponymous debut album in July 1970. The duo disbanded the following October when Joel began an affair with Small's wife, Elizabeth, whom Joel eventually married.
Q: What happened in 1965?
A: Joel joined the Echoes, a group that specialized in British Invasion covers. The Echoes began recording in 1965.
|
C_4ed56242c19f40f18ea0ab4e8b3b4ba2_1_q#1
|
Was the Echoes successful?
| 1n
| 2x
|
{
"texts": [
"unknown"
],
"answer_starts": [
2243
]
}
|
{
"text": "unknown",
"answer_start": 2243
}
|
C_4ed56242c19f40f18ea0ab4e8b3b4ba2_1
|
Billy Joel
|
William Martin Joel was born in the Bronx on May 9, 1949, and was raised in Levittown, New York in the town of Oyster Bay. In 1963 when zip codes were assigned, the section of Levittown in Oyster Bay was given a Hicksville, New York zip code and has since been part of Hicksville. Joel's father, Howard (born Helmuth) Joel, a classical pianist, was born in Germany, to a Jewish family, the son of a merchant and manufacturer, Karl Amson Joel. Howard emigrated to Switzerland and later to the United States (via Cuba, as immigration quotas for German Jews prevented direct immigration at the time) to escape the Nazi regime.
|
1965-1970: Early career
|
Influenced by early-rock-and-roll and rhythm-and-blues artists, including groups such as The Beatles, The Drifters and The Four Seasons, he favored tightly-structured pop melodies and down-to-earth, unpretentious songwriting. After seeing The Beatles on The Ed Sullivan Show, Joel decided to pursue a career in music. In an interview he said of the group's impact, "That one performance changed my life ... Up to that moment I'd never considered playing rock as a career. And when I saw four guys who didn't look like they'd come out of the Hollywood star mill, who played their own songs and instruments, and especially because you could see this look in John Lennon's face - and he looked like he was always saying: 'F--- you!' - I said: 'I know these guys, I can relate to these guys, I am these guys.' This is what I'm going to do - play in a rock band'." Joel joined the Echoes, a group that specialized in British Invasion covers. The Echoes began recording in 1965. Joel (then 16) also played piano on several records released through Kama Sutra Productions and on recordings produced by Shadow Morton. Joel played on a demo version of "Leader of the Pack", which would become a major hit for the Shangri-Las. Joel states that in 1964 he played on a recording of the Shangri-Las' "Remember (Walking in the Sand)" but he is unaware of whether he played on the demo or master version; The released single included a co-producer credit for Artie Ripp, who later was the first to sign and produce Joel as a solo artist after Michael Lang, who had given Joel a monetary advance, passed Joel along to Ripp to focus his attentions elsewhere instead. In late 1965, the Echoes changed their name to the Emeralds and then to the Lost Souls. Joel left the band in 1967 to join the Hassles, a Long Island group that had signed with United Artists Records. Over the next year and a half they released four singles and two albums (The Hassles and Hour of the Wolf). All were commercial failures. Joel and drummer Jon Small left the Hassles in 1969 to form the duo Attila, releasing an eponymous debut album in July 1970. The duo disbanded the following October when Joel began an affair with Small's wife, Elizabeth, whom Joel eventually married.
Q: What happened in 1965?
A: Joel joined the Echoes, a group that specialized in British Invasion covers. The Echoes began recording in 1965.
Q: Was the Echoes successful?
A: unknown
|
C_4ed56242c19f40f18ea0ab4e8b3b4ba2_1_q#2
|
Did they release any albums?
| 1n
| 2x
|
{
"texts": [
"unknown"
],
"answer_starts": [
2243
]
}
|
{
"text": "unknown",
"answer_start": 2243
}
|
C_4ed56242c19f40f18ea0ab4e8b3b4ba2_1
|
Billy Joel
|
William Martin Joel was born in the Bronx on May 9, 1949, and was raised in Levittown, New York in the town of Oyster Bay. In 1963 when zip codes were assigned, the section of Levittown in Oyster Bay was given a Hicksville, New York zip code and has since been part of Hicksville. Joel's father, Howard (born Helmuth) Joel, a classical pianist, was born in Germany, to a Jewish family, the son of a merchant and manufacturer, Karl Amson Joel. Howard emigrated to Switzerland and later to the United States (via Cuba, as immigration quotas for German Jews prevented direct immigration at the time) to escape the Nazi regime.
|
1965-1970: Early career
|
Influenced by early-rock-and-roll and rhythm-and-blues artists, including groups such as The Beatles, The Drifters and The Four Seasons, he favored tightly-structured pop melodies and down-to-earth, unpretentious songwriting. After seeing The Beatles on The Ed Sullivan Show, Joel decided to pursue a career in music. In an interview he said of the group's impact, "That one performance changed my life ... Up to that moment I'd never considered playing rock as a career. And when I saw four guys who didn't look like they'd come out of the Hollywood star mill, who played their own songs and instruments, and especially because you could see this look in John Lennon's face - and he looked like he was always saying: 'F--- you!' - I said: 'I know these guys, I can relate to these guys, I am these guys.' This is what I'm going to do - play in a rock band'." Joel joined the Echoes, a group that specialized in British Invasion covers. The Echoes began recording in 1965. Joel (then 16) also played piano on several records released through Kama Sutra Productions and on recordings produced by Shadow Morton. Joel played on a demo version of "Leader of the Pack", which would become a major hit for the Shangri-Las. Joel states that in 1964 he played on a recording of the Shangri-Las' "Remember (Walking in the Sand)" but he is unaware of whether he played on the demo or master version; The released single included a co-producer credit for Artie Ripp, who later was the first to sign and produce Joel as a solo artist after Michael Lang, who had given Joel a monetary advance, passed Joel along to Ripp to focus his attentions elsewhere instead. In late 1965, the Echoes changed their name to the Emeralds and then to the Lost Souls. Joel left the band in 1967 to join the Hassles, a Long Island group that had signed with United Artists Records. Over the next year and a half they released four singles and two albums (The Hassles and Hour of the Wolf). All were commercial failures. Joel and drummer Jon Small left the Hassles in 1969 to form the duo Attila, releasing an eponymous debut album in July 1970. The duo disbanded the following October when Joel began an affair with Small's wife, Elizabeth, whom Joel eventually married.
Q: What happened in 1965?
A: Joel joined the Echoes, a group that specialized in British Invasion covers. The Echoes began recording in 1965.
Q: Was the Echoes successful?
A: unknown
Q: Did they release any albums?
A: unknown
|
C_4ed56242c19f40f18ea0ab4e8b3b4ba2_1_q#3
|
What else did he do in his early career?
| 0y
| 2x
|
{
"texts": [
"Joel left the band in 1967 to join the Hassles, a Long Island group that had signed with United Artists Records."
],
"answer_starts": [
1741
]
}
|
{
"text": "Joel left the band in 1967 to join the Hassles, a Long Island group that had signed with United Artists Records.",
"answer_start": 1741
}
|
C_4ed56242c19f40f18ea0ab4e8b3b4ba2_1
|
Billy Joel
|
William Martin Joel was born in the Bronx on May 9, 1949, and was raised in Levittown, New York in the town of Oyster Bay. In 1963 when zip codes were assigned, the section of Levittown in Oyster Bay was given a Hicksville, New York zip code and has since been part of Hicksville. Joel's father, Howard (born Helmuth) Joel, a classical pianist, was born in Germany, to a Jewish family, the son of a merchant and manufacturer, Karl Amson Joel. Howard emigrated to Switzerland and later to the United States (via Cuba, as immigration quotas for German Jews prevented direct immigration at the time) to escape the Nazi regime.
|
1965-1970: Early career
|
Influenced by early-rock-and-roll and rhythm-and-blues artists, including groups such as The Beatles, The Drifters and The Four Seasons, he favored tightly-structured pop melodies and down-to-earth, unpretentious songwriting. After seeing The Beatles on The Ed Sullivan Show, Joel decided to pursue a career in music. In an interview he said of the group's impact, "That one performance changed my life ... Up to that moment I'd never considered playing rock as a career. And when I saw four guys who didn't look like they'd come out of the Hollywood star mill, who played their own songs and instruments, and especially because you could see this look in John Lennon's face - and he looked like he was always saying: 'F--- you!' - I said: 'I know these guys, I can relate to these guys, I am these guys.' This is what I'm going to do - play in a rock band'." Joel joined the Echoes, a group that specialized in British Invasion covers. The Echoes began recording in 1965. Joel (then 16) also played piano on several records released through Kama Sutra Productions and on recordings produced by Shadow Morton. Joel played on a demo version of "Leader of the Pack", which would become a major hit for the Shangri-Las. Joel states that in 1964 he played on a recording of the Shangri-Las' "Remember (Walking in the Sand)" but he is unaware of whether he played on the demo or master version; The released single included a co-producer credit for Artie Ripp, who later was the first to sign and produce Joel as a solo artist after Michael Lang, who had given Joel a monetary advance, passed Joel along to Ripp to focus his attentions elsewhere instead. In late 1965, the Echoes changed their name to the Emeralds and then to the Lost Souls. Joel left the band in 1967 to join the Hassles, a Long Island group that had signed with United Artists Records. Over the next year and a half they released four singles and two albums (The Hassles and Hour of the Wolf). All were commercial failures. Joel and drummer Jon Small left the Hassles in 1969 to form the duo Attila, releasing an eponymous debut album in July 1970. The duo disbanded the following October when Joel began an affair with Small's wife, Elizabeth, whom Joel eventually married.
Q: What happened in 1965?
A: Joel joined the Echoes, a group that specialized in British Invasion covers. The Echoes began recording in 1965.
Q: Was the Echoes successful?
A: unknown
Q: Did they release any albums?
A: unknown
Q: What else did he do in his early career?
A: Joel left the band in 1967 to join the Hassles, a Long Island group that had signed with United Artists Records.
|
C_4ed56242c19f40f18ea0ab4e8b3b4ba2_1_q#4
|
Did he stay with that group long?
| 0y
| 2x
|
{
"texts": [
"Over the next year and a half they released four singles and two albums (The Hassles and Hour of the Wolf). All were commercial failures."
],
"answer_starts": [
1854
]
}
|
{
"text": "Over the next year and a half they released four singles and two albums (The Hassles and Hour of the Wolf). All were commercial failures.",
"answer_start": 1854
}
|
C_4ed56242c19f40f18ea0ab4e8b3b4ba2_1
|
Billy Joel
|
William Martin Joel was born in the Bronx on May 9, 1949, and was raised in Levittown, New York in the town of Oyster Bay. In 1963 when zip codes were assigned, the section of Levittown in Oyster Bay was given a Hicksville, New York zip code and has since been part of Hicksville. Joel's father, Howard (born Helmuth) Joel, a classical pianist, was born in Germany, to a Jewish family, the son of a merchant and manufacturer, Karl Amson Joel. Howard emigrated to Switzerland and later to the United States (via Cuba, as immigration quotas for German Jews prevented direct immigration at the time) to escape the Nazi regime.
|
1965-1970: Early career
|
Influenced by early-rock-and-roll and rhythm-and-blues artists, including groups such as The Beatles, The Drifters and The Four Seasons, he favored tightly-structured pop melodies and down-to-earth, unpretentious songwriting. After seeing The Beatles on The Ed Sullivan Show, Joel decided to pursue a career in music. In an interview he said of the group's impact, "That one performance changed my life ... Up to that moment I'd never considered playing rock as a career. And when I saw four guys who didn't look like they'd come out of the Hollywood star mill, who played their own songs and instruments, and especially because you could see this look in John Lennon's face - and he looked like he was always saying: 'F--- you!' - I said: 'I know these guys, I can relate to these guys, I am these guys.' This is what I'm going to do - play in a rock band'." Joel joined the Echoes, a group that specialized in British Invasion covers. The Echoes began recording in 1965. Joel (then 16) also played piano on several records released through Kama Sutra Productions and on recordings produced by Shadow Morton. Joel played on a demo version of "Leader of the Pack", which would become a major hit for the Shangri-Las. Joel states that in 1964 he played on a recording of the Shangri-Las' "Remember (Walking in the Sand)" but he is unaware of whether he played on the demo or master version; The released single included a co-producer credit for Artie Ripp, who later was the first to sign and produce Joel as a solo artist after Michael Lang, who had given Joel a monetary advance, passed Joel along to Ripp to focus his attentions elsewhere instead. In late 1965, the Echoes changed their name to the Emeralds and then to the Lost Souls. Joel left the band in 1967 to join the Hassles, a Long Island group that had signed with United Artists Records. Over the next year and a half they released four singles and two albums (The Hassles and Hour of the Wolf). All were commercial failures. Joel and drummer Jon Small left the Hassles in 1969 to form the duo Attila, releasing an eponymous debut album in July 1970. The duo disbanded the following October when Joel began an affair with Small's wife, Elizabeth, whom Joel eventually married.
Q: What happened in 1965?
A: Joel joined the Echoes, a group that specialized in British Invasion covers. The Echoes began recording in 1965.
Q: Was the Echoes successful?
A: unknown
Q: Did they release any albums?
A: unknown
Q: What else did he do in his early career?
A: Joel left the band in 1967 to join the Hassles, a Long Island group that had signed with United Artists Records.
Q: Did he stay with that group long?
A: Over the next year and a half they released four singles and two albums (The Hassles and Hour of the Wolf). All were commercial failures.
|
C_4ed56242c19f40f18ea0ab4e8b3b4ba2_1_q#5
|
How did he handle the failures?
| 2m
| 2x
|
{
"texts": [
"Joel and drummer Jon Small left the Hassles in 1969 to form the duo Attila, releasing an eponymous debut album in July 1970. The duo disbanded the following October"
],
"answer_starts": [
1992
]
}
|
{
"text": "Joel and drummer Jon Small left the Hassles in 1969 to form the duo Attila, releasing an eponymous debut album in July 1970. The duo disbanded the following October",
"answer_start": 1992
}
|
C_4ed56242c19f40f18ea0ab4e8b3b4ba2_1
|
Billy Joel
|
William Martin Joel was born in the Bronx on May 9, 1949, and was raised in Levittown, New York in the town of Oyster Bay. In 1963 when zip codes were assigned, the section of Levittown in Oyster Bay was given a Hicksville, New York zip code and has since been part of Hicksville. Joel's father, Howard (born Helmuth) Joel, a classical pianist, was born in Germany, to a Jewish family, the son of a merchant and manufacturer, Karl Amson Joel. Howard emigrated to Switzerland and later to the United States (via Cuba, as immigration quotas for German Jews prevented direct immigration at the time) to escape the Nazi regime.
|
1965-1970: Early career
|
Influenced by early-rock-and-roll and rhythm-and-blues artists, including groups such as The Beatles, The Drifters and The Four Seasons, he favored tightly-structured pop melodies and down-to-earth, unpretentious songwriting. After seeing The Beatles on The Ed Sullivan Show, Joel decided to pursue a career in music. In an interview he said of the group's impact, "That one performance changed my life ... Up to that moment I'd never considered playing rock as a career. And when I saw four guys who didn't look like they'd come out of the Hollywood star mill, who played their own songs and instruments, and especially because you could see this look in John Lennon's face - and he looked like he was always saying: 'F--- you!' - I said: 'I know these guys, I can relate to these guys, I am these guys.' This is what I'm going to do - play in a rock band'." Joel joined the Echoes, a group that specialized in British Invasion covers. The Echoes began recording in 1965. Joel (then 16) also played piano on several records released through Kama Sutra Productions and on recordings produced by Shadow Morton. Joel played on a demo version of "Leader of the Pack", which would become a major hit for the Shangri-Las. Joel states that in 1964 he played on a recording of the Shangri-Las' "Remember (Walking in the Sand)" but he is unaware of whether he played on the demo or master version; The released single included a co-producer credit for Artie Ripp, who later was the first to sign and produce Joel as a solo artist after Michael Lang, who had given Joel a monetary advance, passed Joel along to Ripp to focus his attentions elsewhere instead. In late 1965, the Echoes changed their name to the Emeralds and then to the Lost Souls. Joel left the band in 1967 to join the Hassles, a Long Island group that had signed with United Artists Records. Over the next year and a half they released four singles and two albums (The Hassles and Hour of the Wolf). All were commercial failures. Joel and drummer Jon Small left the Hassles in 1969 to form the duo Attila, releasing an eponymous debut album in July 1970. The duo disbanded the following October when Joel began an affair with Small's wife, Elizabeth, whom Joel eventually married.
Q: What happened in 1965?
A: Joel joined the Echoes, a group that specialized in British Invasion covers. The Echoes began recording in 1965.
Q: Was the Echoes successful?
A: unknown
Q: Did they release any albums?
A: unknown
Q: What else did he do in his early career?
A: Joel left the band in 1967 to join the Hassles, a Long Island group that had signed with United Artists Records.
Q: Did he stay with that group long?
A: Over the next year and a half they released four singles and two albums (The Hassles and Hour of the Wolf). All were commercial failures.
Q: How did he handle the failures?
A: Joel and drummer Jon Small left the Hassles in 1969 to form the duo Attila, releasing an eponymous debut album in July 1970. The duo disbanded the following October
|
C_4ed56242c19f40f18ea0ab4e8b3b4ba2_1_q#6
|
How did Attila do on the charts?
| 1n
| 2x
|
{
"texts": [
"unknown"
],
"answer_starts": [
2243
]
}
|
{
"text": "unknown",
"answer_start": 2243
}
|
C_4ed56242c19f40f18ea0ab4e8b3b4ba2_0
|
Billy Joel
|
William Martin Joel was born in the Bronx on May 9, 1949, and was raised in Levittown, New York in the town of Oyster Bay. In 1963 when zip codes were assigned, the section of Levittown in Oyster Bay was given a Hicksville, New York zip code and has since been part of Hicksville. Joel's father, Howard (born Helmuth) Joel, a classical pianist, was born in Germany, to a Jewish family, the son of a merchant and manufacturer, Karl Amson Joel. Howard emigrated to Switzerland and later to the United States (via Cuba, as immigration quotas for German Jews prevented direct immigration at the time) to escape the Nazi regime.
|
1974-1977: Streetlife Serenade and Turnstiles
|
In 1974, Joel recorded his second Columbia album in Los Angeles, Streetlife Serenade. His manager at the time was Jon Troy, an old friend from the New York neighborhood of Bedford-Stuyvesant; Troy would soon be replaced by Joel's wife Elizabeth. Streetlife Serenade contains references to suburbia and the inner city. It is perhaps best known for "The Entertainer", a No. 34 hit in the US. Upset that "Piano Man" had been significantly cut for radio play, Joel wrote "The Entertainer" as a sarcastic response: "If you're gonna have a hit, you gotta make it fit, so they cut it down to 3:05." Although Streetlife Serenade is often considered one of Joel's weaker albums (Joel dislikes it himself), it contains the notable songs "Los Angelenos" and "Root Beer Rag", an instrumental that was a staple of his live set in the 1970s. In late 1975, Joel played piano and organ on several tracks on Bo Diddley's The 20th Anniversary of Rock 'n' Roll all-star album. Disenchanted with Los Angeles, Joel returned to New York City in 1975 and recorded Turnstiles, the first album he recorded with the group of hand-picked musicians who became the Billy Joel Band. Produced by James William Guercio (then Chicago's producer), Turnstiles was first recorded at Caribou Ranch with members of Elton John's band. Dissatisfied with the result, Joel re-recorded the songs and produced the album himself. "Say Goodbye to Hollywood" was a minor hit; Ronnie Spector recorded a cover as did Nigel Olsson, then drummer with Elton John. In a 2008 radio interview, Joel said that he no longer performs the song because singing it in its high original key "shreds" his vocal cords; however, he did finally play it live for the first time since 1982 when he sang it at the Hollywood Bowl in May 2014. Though never released as a single, "New York State of Mind" became one of Joel's best-known songs; Barbra Streisand and Tony Bennett have each recorded covers (Bennett's a duet with Joel on Playing with My Friends: Bennett Sings the Blues). Other notable songs from the album include "Summer, Highland Falls", "Miami 2017 (Seen the Lights Go Out on Broadway)", "Say Goodbye to Hollywood", (a live version of which became a Top 40 hit), and "Prelude/Angry Young Man", a concert mainstay.
|
C_4ed56242c19f40f18ea0ab4e8b3b4ba2_0_q#0
|
Was Streetlife Seranade an album?
| 0y
| 0y
|
{
"texts": [
"Joel recorded his second Columbia album in Los Angeles, Streetlife Serenade."
],
"answer_starts": [
9
]
}
|
{
"text": "Joel recorded his second Columbia album in Los Angeles, Streetlife Serenade.",
"answer_start": 9
}
|
C_4ed56242c19f40f18ea0ab4e8b3b4ba2_0
|
Billy Joel
|
William Martin Joel was born in the Bronx on May 9, 1949, and was raised in Levittown, New York in the town of Oyster Bay. In 1963 when zip codes were assigned, the section of Levittown in Oyster Bay was given a Hicksville, New York zip code and has since been part of Hicksville. Joel's father, Howard (born Helmuth) Joel, a classical pianist, was born in Germany, to a Jewish family, the son of a merchant and manufacturer, Karl Amson Joel. Howard emigrated to Switzerland and later to the United States (via Cuba, as immigration quotas for German Jews prevented direct immigration at the time) to escape the Nazi regime.
|
1974-1977: Streetlife Serenade and Turnstiles
|
In 1974, Joel recorded his second Columbia album in Los Angeles, Streetlife Serenade. His manager at the time was Jon Troy, an old friend from the New York neighborhood of Bedford-Stuyvesant; Troy would soon be replaced by Joel's wife Elizabeth. Streetlife Serenade contains references to suburbia and the inner city. It is perhaps best known for "The Entertainer", a No. 34 hit in the US. Upset that "Piano Man" had been significantly cut for radio play, Joel wrote "The Entertainer" as a sarcastic response: "If you're gonna have a hit, you gotta make it fit, so they cut it down to 3:05." Although Streetlife Serenade is often considered one of Joel's weaker albums (Joel dislikes it himself), it contains the notable songs "Los Angelenos" and "Root Beer Rag", an instrumental that was a staple of his live set in the 1970s. In late 1975, Joel played piano and organ on several tracks on Bo Diddley's The 20th Anniversary of Rock 'n' Roll all-star album. Disenchanted with Los Angeles, Joel returned to New York City in 1975 and recorded Turnstiles, the first album he recorded with the group of hand-picked musicians who became the Billy Joel Band. Produced by James William Guercio (then Chicago's producer), Turnstiles was first recorded at Caribou Ranch with members of Elton John's band. Dissatisfied with the result, Joel re-recorded the songs and produced the album himself. "Say Goodbye to Hollywood" was a minor hit; Ronnie Spector recorded a cover as did Nigel Olsson, then drummer with Elton John. In a 2008 radio interview, Joel said that he no longer performs the song because singing it in its high original key "shreds" his vocal cords; however, he did finally play it live for the first time since 1982 when he sang it at the Hollywood Bowl in May 2014. Though never released as a single, "New York State of Mind" became one of Joel's best-known songs; Barbra Streisand and Tony Bennett have each recorded covers (Bennett's a duet with Joel on Playing with My Friends: Bennett Sings the Blues). Other notable songs from the album include "Summer, Highland Falls", "Miami 2017 (Seen the Lights Go Out on Broadway)", "Say Goodbye to Hollywood", (a live version of which became a Top 40 hit), and "Prelude/Angry Young Man", a concert mainstay.
Q: Was Streetlife Seranade an album?
A: Joel recorded his second Columbia album in Los Angeles, Streetlife Serenade.
|
C_4ed56242c19f40f18ea0ab4e8b3b4ba2_0_q#1
|
What year DId he record Streetlife?
| 2m
| 2x
|
{
"texts": [
"1974,"
],
"answer_starts": [
3
]
}
|
{
"text": "1974,",
"answer_start": 3
}
|
C_4ed56242c19f40f18ea0ab4e8b3b4ba2_0
|
Billy Joel
|
William Martin Joel was born in the Bronx on May 9, 1949, and was raised in Levittown, New York in the town of Oyster Bay. In 1963 when zip codes were assigned, the section of Levittown in Oyster Bay was given a Hicksville, New York zip code and has since been part of Hicksville. Joel's father, Howard (born Helmuth) Joel, a classical pianist, was born in Germany, to a Jewish family, the son of a merchant and manufacturer, Karl Amson Joel. Howard emigrated to Switzerland and later to the United States (via Cuba, as immigration quotas for German Jews prevented direct immigration at the time) to escape the Nazi regime.
|
1974-1977: Streetlife Serenade and Turnstiles
|
In 1974, Joel recorded his second Columbia album in Los Angeles, Streetlife Serenade. His manager at the time was Jon Troy, an old friend from the New York neighborhood of Bedford-Stuyvesant; Troy would soon be replaced by Joel's wife Elizabeth. Streetlife Serenade contains references to suburbia and the inner city. It is perhaps best known for "The Entertainer", a No. 34 hit in the US. Upset that "Piano Man" had been significantly cut for radio play, Joel wrote "The Entertainer" as a sarcastic response: "If you're gonna have a hit, you gotta make it fit, so they cut it down to 3:05." Although Streetlife Serenade is often considered one of Joel's weaker albums (Joel dislikes it himself), it contains the notable songs "Los Angelenos" and "Root Beer Rag", an instrumental that was a staple of his live set in the 1970s. In late 1975, Joel played piano and organ on several tracks on Bo Diddley's The 20th Anniversary of Rock 'n' Roll all-star album. Disenchanted with Los Angeles, Joel returned to New York City in 1975 and recorded Turnstiles, the first album he recorded with the group of hand-picked musicians who became the Billy Joel Band. Produced by James William Guercio (then Chicago's producer), Turnstiles was first recorded at Caribou Ranch with members of Elton John's band. Dissatisfied with the result, Joel re-recorded the songs and produced the album himself. "Say Goodbye to Hollywood" was a minor hit; Ronnie Spector recorded a cover as did Nigel Olsson, then drummer with Elton John. In a 2008 radio interview, Joel said that he no longer performs the song because singing it in its high original key "shreds" his vocal cords; however, he did finally play it live for the first time since 1982 when he sang it at the Hollywood Bowl in May 2014. Though never released as a single, "New York State of Mind" became one of Joel's best-known songs; Barbra Streisand and Tony Bennett have each recorded covers (Bennett's a duet with Joel on Playing with My Friends: Bennett Sings the Blues). Other notable songs from the album include "Summer, Highland Falls", "Miami 2017 (Seen the Lights Go Out on Broadway)", "Say Goodbye to Hollywood", (a live version of which became a Top 40 hit), and "Prelude/Angry Young Man", a concert mainstay.
Q: Was Streetlife Seranade an album?
A: Joel recorded his second Columbia album in Los Angeles, Streetlife Serenade.
Q: What year DId he record Streetlife?
A: 1974,
|
C_4ed56242c19f40f18ea0ab4e8b3b4ba2_0_q#2
|
How did that album do?
| 0y
| 2x
|
{
"texts": [
"Streetlife Serenade is often considered one of Joel's weaker albums (Joel dislikes it himself), it contains the notable songs \""
],
"answer_starts": [
601
]
}
|
{
"text": "Streetlife Serenade is often considered one of Joel's weaker albums (Joel dislikes it himself), it contains the notable songs \"",
"answer_start": 601
}
|
C_4ed56242c19f40f18ea0ab4e8b3b4ba2_0
|
Billy Joel
|
William Martin Joel was born in the Bronx on May 9, 1949, and was raised in Levittown, New York in the town of Oyster Bay. In 1963 when zip codes were assigned, the section of Levittown in Oyster Bay was given a Hicksville, New York zip code and has since been part of Hicksville. Joel's father, Howard (born Helmuth) Joel, a classical pianist, was born in Germany, to a Jewish family, the son of a merchant and manufacturer, Karl Amson Joel. Howard emigrated to Switzerland and later to the United States (via Cuba, as immigration quotas for German Jews prevented direct immigration at the time) to escape the Nazi regime.
|
1974-1977: Streetlife Serenade and Turnstiles
|
In 1974, Joel recorded his second Columbia album in Los Angeles, Streetlife Serenade. His manager at the time was Jon Troy, an old friend from the New York neighborhood of Bedford-Stuyvesant; Troy would soon be replaced by Joel's wife Elizabeth. Streetlife Serenade contains references to suburbia and the inner city. It is perhaps best known for "The Entertainer", a No. 34 hit in the US. Upset that "Piano Man" had been significantly cut for radio play, Joel wrote "The Entertainer" as a sarcastic response: "If you're gonna have a hit, you gotta make it fit, so they cut it down to 3:05." Although Streetlife Serenade is often considered one of Joel's weaker albums (Joel dislikes it himself), it contains the notable songs "Los Angelenos" and "Root Beer Rag", an instrumental that was a staple of his live set in the 1970s. In late 1975, Joel played piano and organ on several tracks on Bo Diddley's The 20th Anniversary of Rock 'n' Roll all-star album. Disenchanted with Los Angeles, Joel returned to New York City in 1975 and recorded Turnstiles, the first album he recorded with the group of hand-picked musicians who became the Billy Joel Band. Produced by James William Guercio (then Chicago's producer), Turnstiles was first recorded at Caribou Ranch with members of Elton John's band. Dissatisfied with the result, Joel re-recorded the songs and produced the album himself. "Say Goodbye to Hollywood" was a minor hit; Ronnie Spector recorded a cover as did Nigel Olsson, then drummer with Elton John. In a 2008 radio interview, Joel said that he no longer performs the song because singing it in its high original key "shreds" his vocal cords; however, he did finally play it live for the first time since 1982 when he sang it at the Hollywood Bowl in May 2014. Though never released as a single, "New York State of Mind" became one of Joel's best-known songs; Barbra Streisand and Tony Bennett have each recorded covers (Bennett's a duet with Joel on Playing with My Friends: Bennett Sings the Blues). Other notable songs from the album include "Summer, Highland Falls", "Miami 2017 (Seen the Lights Go Out on Broadway)", "Say Goodbye to Hollywood", (a live version of which became a Top 40 hit), and "Prelude/Angry Young Man", a concert mainstay.
Q: Was Streetlife Seranade an album?
A: Joel recorded his second Columbia album in Los Angeles, Streetlife Serenade.
Q: What year DId he record Streetlife?
A: 1974,
Q: How did that album do?
A: Streetlife Serenade is often considered one of Joel's weaker albums (Joel dislikes it himself), it contains the notable songs "
|
C_4ed56242c19f40f18ea0ab4e8b3b4ba2_0_q#3
|
What songs are on Streetlife?
| 2m
| 2x
|
{
"texts": [
"Los Angelenos\" and \"Root Beer Rag"
],
"answer_starts": [
728
]
}
|
{
"text": "Los Angelenos\" and \"Root Beer Rag",
"answer_start": 728
}
|
C_4ed56242c19f40f18ea0ab4e8b3b4ba2_0
|
Billy Joel
|
William Martin Joel was born in the Bronx on May 9, 1949, and was raised in Levittown, New York in the town of Oyster Bay. In 1963 when zip codes were assigned, the section of Levittown in Oyster Bay was given a Hicksville, New York zip code and has since been part of Hicksville. Joel's father, Howard (born Helmuth) Joel, a classical pianist, was born in Germany, to a Jewish family, the son of a merchant and manufacturer, Karl Amson Joel. Howard emigrated to Switzerland and later to the United States (via Cuba, as immigration quotas for German Jews prevented direct immigration at the time) to escape the Nazi regime.
|
1974-1977: Streetlife Serenade and Turnstiles
|
In 1974, Joel recorded his second Columbia album in Los Angeles, Streetlife Serenade. His manager at the time was Jon Troy, an old friend from the New York neighborhood of Bedford-Stuyvesant; Troy would soon be replaced by Joel's wife Elizabeth. Streetlife Serenade contains references to suburbia and the inner city. It is perhaps best known for "The Entertainer", a No. 34 hit in the US. Upset that "Piano Man" had been significantly cut for radio play, Joel wrote "The Entertainer" as a sarcastic response: "If you're gonna have a hit, you gotta make it fit, so they cut it down to 3:05." Although Streetlife Serenade is often considered one of Joel's weaker albums (Joel dislikes it himself), it contains the notable songs "Los Angelenos" and "Root Beer Rag", an instrumental that was a staple of his live set in the 1970s. In late 1975, Joel played piano and organ on several tracks on Bo Diddley's The 20th Anniversary of Rock 'n' Roll all-star album. Disenchanted with Los Angeles, Joel returned to New York City in 1975 and recorded Turnstiles, the first album he recorded with the group of hand-picked musicians who became the Billy Joel Band. Produced by James William Guercio (then Chicago's producer), Turnstiles was first recorded at Caribou Ranch with members of Elton John's band. Dissatisfied with the result, Joel re-recorded the songs and produced the album himself. "Say Goodbye to Hollywood" was a minor hit; Ronnie Spector recorded a cover as did Nigel Olsson, then drummer with Elton John. In a 2008 radio interview, Joel said that he no longer performs the song because singing it in its high original key "shreds" his vocal cords; however, he did finally play it live for the first time since 1982 when he sang it at the Hollywood Bowl in May 2014. Though never released as a single, "New York State of Mind" became one of Joel's best-known songs; Barbra Streisand and Tony Bennett have each recorded covers (Bennett's a duet with Joel on Playing with My Friends: Bennett Sings the Blues). Other notable songs from the album include "Summer, Highland Falls", "Miami 2017 (Seen the Lights Go Out on Broadway)", "Say Goodbye to Hollywood", (a live version of which became a Top 40 hit), and "Prelude/Angry Young Man", a concert mainstay.
Q: Was Streetlife Seranade an album?
A: Joel recorded his second Columbia album in Los Angeles, Streetlife Serenade.
Q: What year DId he record Streetlife?
A: 1974,
Q: How did that album do?
A: Streetlife Serenade is often considered one of Joel's weaker albums (Joel dislikes it himself), it contains the notable songs "
Q: What songs are on Streetlife?
A: Los Angelenos" and "Root Beer Rag
|
C_4ed56242c19f40f18ea0ab4e8b3b4ba2_0_q#4
|
Did the public or critics like the album?
| 2m
| 2x
|
{
"texts": [
"Streetlife Serenade is often considered one of Joel's weaker albums"
],
"answer_starts": [
601
]
}
|
{
"text": "Streetlife Serenade is often considered one of Joel's weaker albums",
"answer_start": 601
}
|
C_4ed56242c19f40f18ea0ab4e8b3b4ba2_0
|
Billy Joel
|
William Martin Joel was born in the Bronx on May 9, 1949, and was raised in Levittown, New York in the town of Oyster Bay. In 1963 when zip codes were assigned, the section of Levittown in Oyster Bay was given a Hicksville, New York zip code and has since been part of Hicksville. Joel's father, Howard (born Helmuth) Joel, a classical pianist, was born in Germany, to a Jewish family, the son of a merchant and manufacturer, Karl Amson Joel. Howard emigrated to Switzerland and later to the United States (via Cuba, as immigration quotas for German Jews prevented direct immigration at the time) to escape the Nazi regime.
|
1974-1977: Streetlife Serenade and Turnstiles
|
In 1974, Joel recorded his second Columbia album in Los Angeles, Streetlife Serenade. His manager at the time was Jon Troy, an old friend from the New York neighborhood of Bedford-Stuyvesant; Troy would soon be replaced by Joel's wife Elizabeth. Streetlife Serenade contains references to suburbia and the inner city. It is perhaps best known for "The Entertainer", a No. 34 hit in the US. Upset that "Piano Man" had been significantly cut for radio play, Joel wrote "The Entertainer" as a sarcastic response: "If you're gonna have a hit, you gotta make it fit, so they cut it down to 3:05." Although Streetlife Serenade is often considered one of Joel's weaker albums (Joel dislikes it himself), it contains the notable songs "Los Angelenos" and "Root Beer Rag", an instrumental that was a staple of his live set in the 1970s. In late 1975, Joel played piano and organ on several tracks on Bo Diddley's The 20th Anniversary of Rock 'n' Roll all-star album. Disenchanted with Los Angeles, Joel returned to New York City in 1975 and recorded Turnstiles, the first album he recorded with the group of hand-picked musicians who became the Billy Joel Band. Produced by James William Guercio (then Chicago's producer), Turnstiles was first recorded at Caribou Ranch with members of Elton John's band. Dissatisfied with the result, Joel re-recorded the songs and produced the album himself. "Say Goodbye to Hollywood" was a minor hit; Ronnie Spector recorded a cover as did Nigel Olsson, then drummer with Elton John. In a 2008 radio interview, Joel said that he no longer performs the song because singing it in its high original key "shreds" his vocal cords; however, he did finally play it live for the first time since 1982 when he sang it at the Hollywood Bowl in May 2014. Though never released as a single, "New York State of Mind" became one of Joel's best-known songs; Barbra Streisand and Tony Bennett have each recorded covers (Bennett's a duet with Joel on Playing with My Friends: Bennett Sings the Blues). Other notable songs from the album include "Summer, Highland Falls", "Miami 2017 (Seen the Lights Go Out on Broadway)", "Say Goodbye to Hollywood", (a live version of which became a Top 40 hit), and "Prelude/Angry Young Man", a concert mainstay.
Q: Was Streetlife Seranade an album?
A: Joel recorded his second Columbia album in Los Angeles, Streetlife Serenade.
Q: What year DId he record Streetlife?
A: 1974,
Q: How did that album do?
A: Streetlife Serenade is often considered one of Joel's weaker albums (Joel dislikes it himself), it contains the notable songs "
Q: What songs are on Streetlife?
A: Los Angelenos" and "Root Beer Rag
Q: Did the public or critics like the album?
A: Streetlife Serenade is often considered one of Joel's weaker albums
|
C_4ed56242c19f40f18ea0ab4e8b3b4ba2_0_q#5
|
When was Turnstiles released?
| 2m
| 2x
|
{
"texts": [
"in 1975"
],
"answer_starts": [
1022
]
}
|
{
"text": "in 1975",
"answer_start": 1022
}
|
C_bda66c01c60f46018de492e130ac9ea4_0
|
Fred Astaire
|
Fred Astaire (born Frederick Austerlitz; May 10, 1899 - June 22, 1987) was an American dancer, singer, actor, choreographer and television presenter. He is widely regarded as one of the most influential dancers in the history of film and television musicals. His stage and subsequent film and television careers spanned a total of 76 years, during which he starred in more than 10 Broadway and London musicals, made 31 musical films, 4 television specials, and issued numerous recordings.
|
1948-1957: Productive years with MGM and second retirement
|
Retirement didn't last long. Astaire returned to the big screen to replace the injured Kelly in Easter Parade (1948) opposite Judy Garland, Ann Miller, and Peter Lawford and for a final reunion with Rogers (replacing Judy Garland) in The Barkleys of Broadway (1949). Both of these films revived Astaire's popularity and in 1950 he starred in two musicals - one for M-G-M - Three Little Words with Vera-Ellen and Red Skelton and one on loan-out to Paramount - Let's Dance with Betty Hutton. While Three Little Words did quite well at the box office, Let's Dance was a financial disappointment. Royal Wedding (1951) with Jane Powell and Peter Lawford proved to be very successful, but The Belle of New York (1952) with Vera-Ellen was a critical and box-office disaster. The Band Wagon (1953), which is considered to be one of the finest musicals ever made, received rave reviews from critics and drew huge crowds. But because of its excessive cost, it failed to make a profit on its first release. Soon after, Astaire, along with all the other remaining stars at M-G-M, was let go from his contract because of the advent of television and the downsizing of film production. In 1954, Astaire was about to start work on a new musical, Daddy Long Legs (1955) with Leslie Caron at 20th Century Fox, when his wife Phyllis became ill and suddenly died of lung cancer. Astaire was so bereaved that he wanted to shut down the picture and offered to pay the production costs out of his own pocket. However, Johnny Mercer (the film's composer) and Fox studio executives convinced him that work would be the best thing for him at that time. When Daddy Long Legs was released in 1955, it did only moderately well at the box office. His next film for Paramount, Funny Face (1957), teamed him with Audrey Hepburn and Kay Thompson and despite the sumptuousness of the production and the strong reviews from critics, it failed to make back its cost. Similarly, Astaire's next project - his final musical at M-G-M, Silk Stockings (1957), in which he co-starred with Cyd Charisse, also lost money at the box office. As a result, Astaire withdrew from motion pictures for two years. During 1952, Astaire recorded The Astaire Story, a four-volume album with a quintet led by Oscar Peterson. The album, produced by Norman Granz, provided a musical overview of Astaire's career. The Astaire Story later won the Grammy Hall of Fame Award in 1999, a special Grammy award to honor recordings that are at least twenty-five years old and that have "qualitative or historical significance." His legacy at this point was 30 musical films in 25 years. Afterwards, Astaire announced that he was retiring from dancing in film to concentrate on dramatic acting, scoring rave reviews for the nuclear war drama On the Beach (1959).
|
C_bda66c01c60f46018de492e130ac9ea4_0_q#0
|
What did Astaire do with MGM?
| 0y
| 2x
|
{
"texts": [
"he starred in two musicals - one for M-G-M - Three Little Words with Vera-Ellen and Red Skelton"
],
"answer_starts": [
328
]
}
|
{
"text": "he starred in two musicals - one for M-G-M - Three Little Words with Vera-Ellen and Red Skelton",
"answer_start": 328
}
|
C_bda66c01c60f46018de492e130ac9ea4_0
|
Fred Astaire
|
Fred Astaire (born Frederick Austerlitz; May 10, 1899 - June 22, 1987) was an American dancer, singer, actor, choreographer and television presenter. He is widely regarded as one of the most influential dancers in the history of film and television musicals. His stage and subsequent film and television careers spanned a total of 76 years, during which he starred in more than 10 Broadway and London musicals, made 31 musical films, 4 television specials, and issued numerous recordings.
|
1948-1957: Productive years with MGM and second retirement
|
Retirement didn't last long. Astaire returned to the big screen to replace the injured Kelly in Easter Parade (1948) opposite Judy Garland, Ann Miller, and Peter Lawford and for a final reunion with Rogers (replacing Judy Garland) in The Barkleys of Broadway (1949). Both of these films revived Astaire's popularity and in 1950 he starred in two musicals - one for M-G-M - Three Little Words with Vera-Ellen and Red Skelton and one on loan-out to Paramount - Let's Dance with Betty Hutton. While Three Little Words did quite well at the box office, Let's Dance was a financial disappointment. Royal Wedding (1951) with Jane Powell and Peter Lawford proved to be very successful, but The Belle of New York (1952) with Vera-Ellen was a critical and box-office disaster. The Band Wagon (1953), which is considered to be one of the finest musicals ever made, received rave reviews from critics and drew huge crowds. But because of its excessive cost, it failed to make a profit on its first release. Soon after, Astaire, along with all the other remaining stars at M-G-M, was let go from his contract because of the advent of television and the downsizing of film production. In 1954, Astaire was about to start work on a new musical, Daddy Long Legs (1955) with Leslie Caron at 20th Century Fox, when his wife Phyllis became ill and suddenly died of lung cancer. Astaire was so bereaved that he wanted to shut down the picture and offered to pay the production costs out of his own pocket. However, Johnny Mercer (the film's composer) and Fox studio executives convinced him that work would be the best thing for him at that time. When Daddy Long Legs was released in 1955, it did only moderately well at the box office. His next film for Paramount, Funny Face (1957), teamed him with Audrey Hepburn and Kay Thompson and despite the sumptuousness of the production and the strong reviews from critics, it failed to make back its cost. Similarly, Astaire's next project - his final musical at M-G-M, Silk Stockings (1957), in which he co-starred with Cyd Charisse, also lost money at the box office. As a result, Astaire withdrew from motion pictures for two years. During 1952, Astaire recorded The Astaire Story, a four-volume album with a quintet led by Oscar Peterson. The album, produced by Norman Granz, provided a musical overview of Astaire's career. The Astaire Story later won the Grammy Hall of Fame Award in 1999, a special Grammy award to honor recordings that are at least twenty-five years old and that have "qualitative or historical significance." His legacy at this point was 30 musical films in 25 years. Afterwards, Astaire announced that he was retiring from dancing in film to concentrate on dramatic acting, scoring rave reviews for the nuclear war drama On the Beach (1959).
Q: What did Astaire do with MGM?
A: he starred in two musicals - one for M-G-M - Three Little Words with Vera-Ellen and Red Skelton
|
C_bda66c01c60f46018de492e130ac9ea4_0_q#1
|
Were the musicals successful?
| 1n
| 2x
|
{
"texts": [
"While Three Little Words did quite well at the box office, Let's Dance was a financial disappointment."
],
"answer_starts": [
490
]
}
|
{
"text": "While Three Little Words did quite well at the box office, Let's Dance was a financial disappointment.",
"answer_start": 490
}
|
C_bda66c01c60f46018de492e130ac9ea4_0
|
Fred Astaire
|
Fred Astaire (born Frederick Austerlitz; May 10, 1899 - June 22, 1987) was an American dancer, singer, actor, choreographer and television presenter. He is widely regarded as one of the most influential dancers in the history of film and television musicals. His stage and subsequent film and television careers spanned a total of 76 years, during which he starred in more than 10 Broadway and London musicals, made 31 musical films, 4 television specials, and issued numerous recordings.
|
1948-1957: Productive years with MGM and second retirement
|
Retirement didn't last long. Astaire returned to the big screen to replace the injured Kelly in Easter Parade (1948) opposite Judy Garland, Ann Miller, and Peter Lawford and for a final reunion with Rogers (replacing Judy Garland) in The Barkleys of Broadway (1949). Both of these films revived Astaire's popularity and in 1950 he starred in two musicals - one for M-G-M - Three Little Words with Vera-Ellen and Red Skelton and one on loan-out to Paramount - Let's Dance with Betty Hutton. While Three Little Words did quite well at the box office, Let's Dance was a financial disappointment. Royal Wedding (1951) with Jane Powell and Peter Lawford proved to be very successful, but The Belle of New York (1952) with Vera-Ellen was a critical and box-office disaster. The Band Wagon (1953), which is considered to be one of the finest musicals ever made, received rave reviews from critics and drew huge crowds. But because of its excessive cost, it failed to make a profit on its first release. Soon after, Astaire, along with all the other remaining stars at M-G-M, was let go from his contract because of the advent of television and the downsizing of film production. In 1954, Astaire was about to start work on a new musical, Daddy Long Legs (1955) with Leslie Caron at 20th Century Fox, when his wife Phyllis became ill and suddenly died of lung cancer. Astaire was so bereaved that he wanted to shut down the picture and offered to pay the production costs out of his own pocket. However, Johnny Mercer (the film's composer) and Fox studio executives convinced him that work would be the best thing for him at that time. When Daddy Long Legs was released in 1955, it did only moderately well at the box office. His next film for Paramount, Funny Face (1957), teamed him with Audrey Hepburn and Kay Thompson and despite the sumptuousness of the production and the strong reviews from critics, it failed to make back its cost. Similarly, Astaire's next project - his final musical at M-G-M, Silk Stockings (1957), in which he co-starred with Cyd Charisse, also lost money at the box office. As a result, Astaire withdrew from motion pictures for two years. During 1952, Astaire recorded The Astaire Story, a four-volume album with a quintet led by Oscar Peterson. The album, produced by Norman Granz, provided a musical overview of Astaire's career. The Astaire Story later won the Grammy Hall of Fame Award in 1999, a special Grammy award to honor recordings that are at least twenty-five years old and that have "qualitative or historical significance." His legacy at this point was 30 musical films in 25 years. Afterwards, Astaire announced that he was retiring from dancing in film to concentrate on dramatic acting, scoring rave reviews for the nuclear war drama On the Beach (1959).
Q: What did Astaire do with MGM?
A: he starred in two musicals - one for M-G-M - Three Little Words with Vera-Ellen and Red Skelton
Q: Were the musicals successful?
A: While Three Little Words did quite well at the box office, Let's Dance was a financial disappointment.
|
C_bda66c01c60f46018de492e130ac9ea4_0_q#2
|
Why did Astaire come out of retirement?
| 0y
| 2x
|
{
"texts": [
"Astaire returned to the big screen to replace the injured Kelly in Easter Parade (1948) opposite Judy Garland, Ann Miller, and Peter Lawford"
],
"answer_starts": [
29
]
}
|
{
"text": "Astaire returned to the big screen to replace the injured Kelly in Easter Parade (1948) opposite Judy Garland, Ann Miller, and Peter Lawford",
"answer_start": 29
}
|
C_bda66c01c60f46018de492e130ac9ea4_0
|
Fred Astaire
|
Fred Astaire (born Frederick Austerlitz; May 10, 1899 - June 22, 1987) was an American dancer, singer, actor, choreographer and television presenter. He is widely regarded as one of the most influential dancers in the history of film and television musicals. His stage and subsequent film and television careers spanned a total of 76 years, during which he starred in more than 10 Broadway and London musicals, made 31 musical films, 4 television specials, and issued numerous recordings.
|
1948-1957: Productive years with MGM and second retirement
|
Retirement didn't last long. Astaire returned to the big screen to replace the injured Kelly in Easter Parade (1948) opposite Judy Garland, Ann Miller, and Peter Lawford and for a final reunion with Rogers (replacing Judy Garland) in The Barkleys of Broadway (1949). Both of these films revived Astaire's popularity and in 1950 he starred in two musicals - one for M-G-M - Three Little Words with Vera-Ellen and Red Skelton and one on loan-out to Paramount - Let's Dance with Betty Hutton. While Three Little Words did quite well at the box office, Let's Dance was a financial disappointment. Royal Wedding (1951) with Jane Powell and Peter Lawford proved to be very successful, but The Belle of New York (1952) with Vera-Ellen was a critical and box-office disaster. The Band Wagon (1953), which is considered to be one of the finest musicals ever made, received rave reviews from critics and drew huge crowds. But because of its excessive cost, it failed to make a profit on its first release. Soon after, Astaire, along with all the other remaining stars at M-G-M, was let go from his contract because of the advent of television and the downsizing of film production. In 1954, Astaire was about to start work on a new musical, Daddy Long Legs (1955) with Leslie Caron at 20th Century Fox, when his wife Phyllis became ill and suddenly died of lung cancer. Astaire was so bereaved that he wanted to shut down the picture and offered to pay the production costs out of his own pocket. However, Johnny Mercer (the film's composer) and Fox studio executives convinced him that work would be the best thing for him at that time. When Daddy Long Legs was released in 1955, it did only moderately well at the box office. His next film for Paramount, Funny Face (1957), teamed him with Audrey Hepburn and Kay Thompson and despite the sumptuousness of the production and the strong reviews from critics, it failed to make back its cost. Similarly, Astaire's next project - his final musical at M-G-M, Silk Stockings (1957), in which he co-starred with Cyd Charisse, also lost money at the box office. As a result, Astaire withdrew from motion pictures for two years. During 1952, Astaire recorded The Astaire Story, a four-volume album with a quintet led by Oscar Peterson. The album, produced by Norman Granz, provided a musical overview of Astaire's career. The Astaire Story later won the Grammy Hall of Fame Award in 1999, a special Grammy award to honor recordings that are at least twenty-five years old and that have "qualitative or historical significance." His legacy at this point was 30 musical films in 25 years. Afterwards, Astaire announced that he was retiring from dancing in film to concentrate on dramatic acting, scoring rave reviews for the nuclear war drama On the Beach (1959).
Q: What did Astaire do with MGM?
A: he starred in two musicals - one for M-G-M - Three Little Words with Vera-Ellen and Red Skelton
Q: Were the musicals successful?
A: While Three Little Words did quite well at the box office, Let's Dance was a financial disappointment.
Q: Why did Astaire come out of retirement?
A: Astaire returned to the big screen to replace the injured Kelly in Easter Parade (1948) opposite Judy Garland, Ann Miller, and Peter Lawford
|
C_bda66c01c60f46018de492e130ac9ea4_0_q#3
|
When did he decide to retire for a second time?
| 1n
| 2x
|
{
"texts": [
"Astaire announced that he was retiring from dancing in film to concentrate on dramatic acting, scoring rave reviews for the nuclear war drama On the Beach (1959)."
],
"answer_starts": [
2634
]
}
|
{
"text": "Astaire announced that he was retiring from dancing in film to concentrate on dramatic acting, scoring rave reviews for the nuclear war drama On the Beach (1959).",
"answer_start": 2634
}
|
C_bda66c01c60f46018de492e130ac9ea4_0
|
Fred Astaire
|
Fred Astaire (born Frederick Austerlitz; May 10, 1899 - June 22, 1987) was an American dancer, singer, actor, choreographer and television presenter. He is widely regarded as one of the most influential dancers in the history of film and television musicals. His stage and subsequent film and television careers spanned a total of 76 years, during which he starred in more than 10 Broadway and London musicals, made 31 musical films, 4 television specials, and issued numerous recordings.
|
1948-1957: Productive years with MGM and second retirement
|
Retirement didn't last long. Astaire returned to the big screen to replace the injured Kelly in Easter Parade (1948) opposite Judy Garland, Ann Miller, and Peter Lawford and for a final reunion with Rogers (replacing Judy Garland) in The Barkleys of Broadway (1949). Both of these films revived Astaire's popularity and in 1950 he starred in two musicals - one for M-G-M - Three Little Words with Vera-Ellen and Red Skelton and one on loan-out to Paramount - Let's Dance with Betty Hutton. While Three Little Words did quite well at the box office, Let's Dance was a financial disappointment. Royal Wedding (1951) with Jane Powell and Peter Lawford proved to be very successful, but The Belle of New York (1952) with Vera-Ellen was a critical and box-office disaster. The Band Wagon (1953), which is considered to be one of the finest musicals ever made, received rave reviews from critics and drew huge crowds. But because of its excessive cost, it failed to make a profit on its first release. Soon after, Astaire, along with all the other remaining stars at M-G-M, was let go from his contract because of the advent of television and the downsizing of film production. In 1954, Astaire was about to start work on a new musical, Daddy Long Legs (1955) with Leslie Caron at 20th Century Fox, when his wife Phyllis became ill and suddenly died of lung cancer. Astaire was so bereaved that he wanted to shut down the picture and offered to pay the production costs out of his own pocket. However, Johnny Mercer (the film's composer) and Fox studio executives convinced him that work would be the best thing for him at that time. When Daddy Long Legs was released in 1955, it did only moderately well at the box office. His next film for Paramount, Funny Face (1957), teamed him with Audrey Hepburn and Kay Thompson and despite the sumptuousness of the production and the strong reviews from critics, it failed to make back its cost. Similarly, Astaire's next project - his final musical at M-G-M, Silk Stockings (1957), in which he co-starred with Cyd Charisse, also lost money at the box office. As a result, Astaire withdrew from motion pictures for two years. During 1952, Astaire recorded The Astaire Story, a four-volume album with a quintet led by Oscar Peterson. The album, produced by Norman Granz, provided a musical overview of Astaire's career. The Astaire Story later won the Grammy Hall of Fame Award in 1999, a special Grammy award to honor recordings that are at least twenty-five years old and that have "qualitative or historical significance." His legacy at this point was 30 musical films in 25 years. Afterwards, Astaire announced that he was retiring from dancing in film to concentrate on dramatic acting, scoring rave reviews for the nuclear war drama On the Beach (1959).
Q: What did Astaire do with MGM?
A: he starred in two musicals - one for M-G-M - Three Little Words with Vera-Ellen and Red Skelton
Q: Were the musicals successful?
A: While Three Little Words did quite well at the box office, Let's Dance was a financial disappointment.
Q: Why did Astaire come out of retirement?
A: Astaire returned to the big screen to replace the injured Kelly in Easter Parade (1948) opposite Judy Garland, Ann Miller, and Peter Lawford
Q: When did he decide to retire for a second time?
A: Astaire announced that he was retiring from dancing in film to concentrate on dramatic acting, scoring rave reviews for the nuclear war drama On the Beach (1959).
|
C_bda66c01c60f46018de492e130ac9ea4_0_q#4
|
Did he continue to act after On the Beach?
| 1n
| 2x
|
{
"texts": [
"unknown"
],
"answer_starts": [
2797
]
}
|
{
"text": "unknown",
"answer_start": 2797
}
|
C_bda66c01c60f46018de492e130ac9ea4_0
|
Fred Astaire
|
Fred Astaire (born Frederick Austerlitz; May 10, 1899 - June 22, 1987) was an American dancer, singer, actor, choreographer and television presenter. He is widely regarded as one of the most influential dancers in the history of film and television musicals. His stage and subsequent film and television careers spanned a total of 76 years, during which he starred in more than 10 Broadway and London musicals, made 31 musical films, 4 television specials, and issued numerous recordings.
|
1948-1957: Productive years with MGM and second retirement
|
Retirement didn't last long. Astaire returned to the big screen to replace the injured Kelly in Easter Parade (1948) opposite Judy Garland, Ann Miller, and Peter Lawford and for a final reunion with Rogers (replacing Judy Garland) in The Barkleys of Broadway (1949). Both of these films revived Astaire's popularity and in 1950 he starred in two musicals - one for M-G-M - Three Little Words with Vera-Ellen and Red Skelton and one on loan-out to Paramount - Let's Dance with Betty Hutton. While Three Little Words did quite well at the box office, Let's Dance was a financial disappointment. Royal Wedding (1951) with Jane Powell and Peter Lawford proved to be very successful, but The Belle of New York (1952) with Vera-Ellen was a critical and box-office disaster. The Band Wagon (1953), which is considered to be one of the finest musicals ever made, received rave reviews from critics and drew huge crowds. But because of its excessive cost, it failed to make a profit on its first release. Soon after, Astaire, along with all the other remaining stars at M-G-M, was let go from his contract because of the advent of television and the downsizing of film production. In 1954, Astaire was about to start work on a new musical, Daddy Long Legs (1955) with Leslie Caron at 20th Century Fox, when his wife Phyllis became ill and suddenly died of lung cancer. Astaire was so bereaved that he wanted to shut down the picture and offered to pay the production costs out of his own pocket. However, Johnny Mercer (the film's composer) and Fox studio executives convinced him that work would be the best thing for him at that time. When Daddy Long Legs was released in 1955, it did only moderately well at the box office. His next film for Paramount, Funny Face (1957), teamed him with Audrey Hepburn and Kay Thompson and despite the sumptuousness of the production and the strong reviews from critics, it failed to make back its cost. Similarly, Astaire's next project - his final musical at M-G-M, Silk Stockings (1957), in which he co-starred with Cyd Charisse, also lost money at the box office. As a result, Astaire withdrew from motion pictures for two years. During 1952, Astaire recorded The Astaire Story, a four-volume album with a quintet led by Oscar Peterson. The album, produced by Norman Granz, provided a musical overview of Astaire's career. The Astaire Story later won the Grammy Hall of Fame Award in 1999, a special Grammy award to honor recordings that are at least twenty-five years old and that have "qualitative or historical significance." His legacy at this point was 30 musical films in 25 years. Afterwards, Astaire announced that he was retiring from dancing in film to concentrate on dramatic acting, scoring rave reviews for the nuclear war drama On the Beach (1959).
Q: What did Astaire do with MGM?
A: he starred in two musicals - one for M-G-M - Three Little Words with Vera-Ellen and Red Skelton
Q: Were the musicals successful?
A: While Three Little Words did quite well at the box office, Let's Dance was a financial disappointment.
Q: Why did Astaire come out of retirement?
A: Astaire returned to the big screen to replace the injured Kelly in Easter Parade (1948) opposite Judy Garland, Ann Miller, and Peter Lawford
Q: When did he decide to retire for a second time?
A: Astaire announced that he was retiring from dancing in film to concentrate on dramatic acting, scoring rave reviews for the nuclear war drama On the Beach (1959).
Q: Did he continue to act after On the Beach?
A: unknown
|
C_bda66c01c60f46018de492e130ac9ea4_0_q#5
|
Are there any other interesting aspects about this article?
| 0y
| 0y
|
{
"texts": [
"Astaire recorded The Astaire Story, a four-volume album with a quintet led by Oscar Peterson. The album, produced by Norman Granz,"
],
"answer_starts": [
2176
]
}
|
{
"text": "Astaire recorded The Astaire Story, a four-volume album with a quintet led by Oscar Peterson. The album, produced by Norman Granz,",
"answer_start": 2176
}
|
C_bda66c01c60f46018de492e130ac9ea4_0
|
Fred Astaire
|
Fred Astaire (born Frederick Austerlitz; May 10, 1899 - June 22, 1987) was an American dancer, singer, actor, choreographer and television presenter. He is widely regarded as one of the most influential dancers in the history of film and television musicals. His stage and subsequent film and television careers spanned a total of 76 years, during which he starred in more than 10 Broadway and London musicals, made 31 musical films, 4 television specials, and issued numerous recordings.
|
1948-1957: Productive years with MGM and second retirement
|
Retirement didn't last long. Astaire returned to the big screen to replace the injured Kelly in Easter Parade (1948) opposite Judy Garland, Ann Miller, and Peter Lawford and for a final reunion with Rogers (replacing Judy Garland) in The Barkleys of Broadway (1949). Both of these films revived Astaire's popularity and in 1950 he starred in two musicals - one for M-G-M - Three Little Words with Vera-Ellen and Red Skelton and one on loan-out to Paramount - Let's Dance with Betty Hutton. While Three Little Words did quite well at the box office, Let's Dance was a financial disappointment. Royal Wedding (1951) with Jane Powell and Peter Lawford proved to be very successful, but The Belle of New York (1952) with Vera-Ellen was a critical and box-office disaster. The Band Wagon (1953), which is considered to be one of the finest musicals ever made, received rave reviews from critics and drew huge crowds. But because of its excessive cost, it failed to make a profit on its first release. Soon after, Astaire, along with all the other remaining stars at M-G-M, was let go from his contract because of the advent of television and the downsizing of film production. In 1954, Astaire was about to start work on a new musical, Daddy Long Legs (1955) with Leslie Caron at 20th Century Fox, when his wife Phyllis became ill and suddenly died of lung cancer. Astaire was so bereaved that he wanted to shut down the picture and offered to pay the production costs out of his own pocket. However, Johnny Mercer (the film's composer) and Fox studio executives convinced him that work would be the best thing for him at that time. When Daddy Long Legs was released in 1955, it did only moderately well at the box office. His next film for Paramount, Funny Face (1957), teamed him with Audrey Hepburn and Kay Thompson and despite the sumptuousness of the production and the strong reviews from critics, it failed to make back its cost. Similarly, Astaire's next project - his final musical at M-G-M, Silk Stockings (1957), in which he co-starred with Cyd Charisse, also lost money at the box office. As a result, Astaire withdrew from motion pictures for two years. During 1952, Astaire recorded The Astaire Story, a four-volume album with a quintet led by Oscar Peterson. The album, produced by Norman Granz, provided a musical overview of Astaire's career. The Astaire Story later won the Grammy Hall of Fame Award in 1999, a special Grammy award to honor recordings that are at least twenty-five years old and that have "qualitative or historical significance." His legacy at this point was 30 musical films in 25 years. Afterwards, Astaire announced that he was retiring from dancing in film to concentrate on dramatic acting, scoring rave reviews for the nuclear war drama On the Beach (1959).
Q: What did Astaire do with MGM?
A: he starred in two musicals - one for M-G-M - Three Little Words with Vera-Ellen and Red Skelton
Q: Were the musicals successful?
A: While Three Little Words did quite well at the box office, Let's Dance was a financial disappointment.
Q: Why did Astaire come out of retirement?
A: Astaire returned to the big screen to replace the injured Kelly in Easter Parade (1948) opposite Judy Garland, Ann Miller, and Peter Lawford
Q: When did he decide to retire for a second time?
A: Astaire announced that he was retiring from dancing in film to concentrate on dramatic acting, scoring rave reviews for the nuclear war drama On the Beach (1959).
Q: Did he continue to act after On the Beach?
A: unknown
Q: Are there any other interesting aspects about this article?
A: Astaire recorded The Astaire Story, a four-volume album with a quintet led by Oscar Peterson. The album, produced by Norman Granz,
|
C_bda66c01c60f46018de492e130ac9ea4_0_q#6
|
Was the album successful?
| 0y
| 0y
|
{
"texts": [
"The Astaire Story later won the Grammy Hall of Fame Award in 1999, a special Grammy award to honor recordings that are at least twenty-five years old"
],
"answer_starts": [
2356
]
}
|
{
"text": "The Astaire Story later won the Grammy Hall of Fame Award in 1999, a special Grammy award to honor recordings that are at least twenty-five years old",
"answer_start": 2356
}
|
C_bda66c01c60f46018de492e130ac9ea4_0
|
Fred Astaire
|
Fred Astaire (born Frederick Austerlitz; May 10, 1899 - June 22, 1987) was an American dancer, singer, actor, choreographer and television presenter. He is widely regarded as one of the most influential dancers in the history of film and television musicals. His stage and subsequent film and television careers spanned a total of 76 years, during which he starred in more than 10 Broadway and London musicals, made 31 musical films, 4 television specials, and issued numerous recordings.
|
1948-1957: Productive years with MGM and second retirement
|
Retirement didn't last long. Astaire returned to the big screen to replace the injured Kelly in Easter Parade (1948) opposite Judy Garland, Ann Miller, and Peter Lawford and for a final reunion with Rogers (replacing Judy Garland) in The Barkleys of Broadway (1949). Both of these films revived Astaire's popularity and in 1950 he starred in two musicals - one for M-G-M - Three Little Words with Vera-Ellen and Red Skelton and one on loan-out to Paramount - Let's Dance with Betty Hutton. While Three Little Words did quite well at the box office, Let's Dance was a financial disappointment. Royal Wedding (1951) with Jane Powell and Peter Lawford proved to be very successful, but The Belle of New York (1952) with Vera-Ellen was a critical and box-office disaster. The Band Wagon (1953), which is considered to be one of the finest musicals ever made, received rave reviews from critics and drew huge crowds. But because of its excessive cost, it failed to make a profit on its first release. Soon after, Astaire, along with all the other remaining stars at M-G-M, was let go from his contract because of the advent of television and the downsizing of film production. In 1954, Astaire was about to start work on a new musical, Daddy Long Legs (1955) with Leslie Caron at 20th Century Fox, when his wife Phyllis became ill and suddenly died of lung cancer. Astaire was so bereaved that he wanted to shut down the picture and offered to pay the production costs out of his own pocket. However, Johnny Mercer (the film's composer) and Fox studio executives convinced him that work would be the best thing for him at that time. When Daddy Long Legs was released in 1955, it did only moderately well at the box office. His next film for Paramount, Funny Face (1957), teamed him with Audrey Hepburn and Kay Thompson and despite the sumptuousness of the production and the strong reviews from critics, it failed to make back its cost. Similarly, Astaire's next project - his final musical at M-G-M, Silk Stockings (1957), in which he co-starred with Cyd Charisse, also lost money at the box office. As a result, Astaire withdrew from motion pictures for two years. During 1952, Astaire recorded The Astaire Story, a four-volume album with a quintet led by Oscar Peterson. The album, produced by Norman Granz, provided a musical overview of Astaire's career. The Astaire Story later won the Grammy Hall of Fame Award in 1999, a special Grammy award to honor recordings that are at least twenty-five years old and that have "qualitative or historical significance." His legacy at this point was 30 musical films in 25 years. Afterwards, Astaire announced that he was retiring from dancing in film to concentrate on dramatic acting, scoring rave reviews for the nuclear war drama On the Beach (1959).
Q: What did Astaire do with MGM?
A: he starred in two musicals - one for M-G-M - Three Little Words with Vera-Ellen and Red Skelton
Q: Were the musicals successful?
A: While Three Little Words did quite well at the box office, Let's Dance was a financial disappointment.
Q: Why did Astaire come out of retirement?
A: Astaire returned to the big screen to replace the injured Kelly in Easter Parade (1948) opposite Judy Garland, Ann Miller, and Peter Lawford
Q: When did he decide to retire for a second time?
A: Astaire announced that he was retiring from dancing in film to concentrate on dramatic acting, scoring rave reviews for the nuclear war drama On the Beach (1959).
Q: Did he continue to act after On the Beach?
A: unknown
Q: Are there any other interesting aspects about this article?
A: Astaire recorded The Astaire Story, a four-volume album with a quintet led by Oscar Peterson. The album, produced by Norman Granz,
Q: Was the album successful?
A: The Astaire Story later won the Grammy Hall of Fame Award in 1999, a special Grammy award to honor recordings that are at least twenty-five years old
|
C_bda66c01c60f46018de492e130ac9ea4_0_q#7
|
Was there anything else significant in this time period?
| 0y
| 0y
|
{
"texts": [
"The Band Wagon (1953), which is considered to be one of the finest musicals ever made, received rave reviews from critics and drew huge crowds."
],
"answer_starts": [
768
]
}
|
{
"text": "The Band Wagon (1953), which is considered to be one of the finest musicals ever made, received rave reviews from critics and drew huge crowds.",
"answer_start": 768
}
|
C_bda66c01c60f46018de492e130ac9ea4_0
|
Fred Astaire
|
Fred Astaire (born Frederick Austerlitz; May 10, 1899 - June 22, 1987) was an American dancer, singer, actor, choreographer and television presenter. He is widely regarded as one of the most influential dancers in the history of film and television musicals. His stage and subsequent film and television careers spanned a total of 76 years, during which he starred in more than 10 Broadway and London musicals, made 31 musical films, 4 television specials, and issued numerous recordings.
|
1948-1957: Productive years with MGM and second retirement
|
Retirement didn't last long. Astaire returned to the big screen to replace the injured Kelly in Easter Parade (1948) opposite Judy Garland, Ann Miller, and Peter Lawford and for a final reunion with Rogers (replacing Judy Garland) in The Barkleys of Broadway (1949). Both of these films revived Astaire's popularity and in 1950 he starred in two musicals - one for M-G-M - Three Little Words with Vera-Ellen and Red Skelton and one on loan-out to Paramount - Let's Dance with Betty Hutton. While Three Little Words did quite well at the box office, Let's Dance was a financial disappointment. Royal Wedding (1951) with Jane Powell and Peter Lawford proved to be very successful, but The Belle of New York (1952) with Vera-Ellen was a critical and box-office disaster. The Band Wagon (1953), which is considered to be one of the finest musicals ever made, received rave reviews from critics and drew huge crowds. But because of its excessive cost, it failed to make a profit on its first release. Soon after, Astaire, along with all the other remaining stars at M-G-M, was let go from his contract because of the advent of television and the downsizing of film production. In 1954, Astaire was about to start work on a new musical, Daddy Long Legs (1955) with Leslie Caron at 20th Century Fox, when his wife Phyllis became ill and suddenly died of lung cancer. Astaire was so bereaved that he wanted to shut down the picture and offered to pay the production costs out of his own pocket. However, Johnny Mercer (the film's composer) and Fox studio executives convinced him that work would be the best thing for him at that time. When Daddy Long Legs was released in 1955, it did only moderately well at the box office. His next film for Paramount, Funny Face (1957), teamed him with Audrey Hepburn and Kay Thompson and despite the sumptuousness of the production and the strong reviews from critics, it failed to make back its cost. Similarly, Astaire's next project - his final musical at M-G-M, Silk Stockings (1957), in which he co-starred with Cyd Charisse, also lost money at the box office. As a result, Astaire withdrew from motion pictures for two years. During 1952, Astaire recorded The Astaire Story, a four-volume album with a quintet led by Oscar Peterson. The album, produced by Norman Granz, provided a musical overview of Astaire's career. The Astaire Story later won the Grammy Hall of Fame Award in 1999, a special Grammy award to honor recordings that are at least twenty-five years old and that have "qualitative or historical significance." His legacy at this point was 30 musical films in 25 years. Afterwards, Astaire announced that he was retiring from dancing in film to concentrate on dramatic acting, scoring rave reviews for the nuclear war drama On the Beach (1959).
Q: What did Astaire do with MGM?
A: he starred in two musicals - one for M-G-M - Three Little Words with Vera-Ellen and Red Skelton
Q: Were the musicals successful?
A: While Three Little Words did quite well at the box office, Let's Dance was a financial disappointment.
Q: Why did Astaire come out of retirement?
A: Astaire returned to the big screen to replace the injured Kelly in Easter Parade (1948) opposite Judy Garland, Ann Miller, and Peter Lawford
Q: When did he decide to retire for a second time?
A: Astaire announced that he was retiring from dancing in film to concentrate on dramatic acting, scoring rave reviews for the nuclear war drama On the Beach (1959).
Q: Did he continue to act after On the Beach?
A: unknown
Q: Are there any other interesting aspects about this article?
A: Astaire recorded The Astaire Story, a four-volume album with a quintet led by Oscar Peterson. The album, produced by Norman Granz,
Q: Was the album successful?
A: The Astaire Story later won the Grammy Hall of Fame Award in 1999, a special Grammy award to honor recordings that are at least twenty-five years old
Q: Was there anything else significant in this time period?
A: The Band Wagon (1953), which is considered to be one of the finest musicals ever made, received rave reviews from critics and drew huge crowds.
|
C_bda66c01c60f46018de492e130ac9ea4_0_q#8
|
What was Astaire's role in The Band Wagon?
| 1n
| 2x
|
{
"texts": [
"unknown"
],
"answer_starts": [
2797
]
}
|
{
"text": "unknown",
"answer_start": 2797
}
|
C_bda66c01c60f46018de492e130ac9ea4_1
|
Fred Astaire
|
Fred Astaire (born Frederick Austerlitz; May 10, 1899 - June 22, 1987) was an American dancer, singer, actor, choreographer and television presenter. He is widely regarded as one of the most influential dancers in the history of film and television musicals. His stage and subsequent film and television careers spanned a total of 76 years, during which he starred in more than 10 Broadway and London musicals, made 31 musical films, 4 television specials, and issued numerous recordings.
|
1940-1947: Drifting to an early retirement
|
In 1939, Astaire left RKO to freelance and pursue new film opportunities, with mixed though generally successful outcomes. Throughout this period, Astaire continued to value the input of choreographic collaborators and, unlike the 1930s when he worked almost exclusively with Hermes Pan, he tapped the talents of other choreographers in an effort to continually innovate. His first post-Ginger dance partner was the redoubtable Eleanor Powell--considered the finest female tap-dancer of her generation--in Broadway Melody of 1940, in which they performed a celebrated extended dance routine to Cole Porter's "Begin the Beguine." In his autobiography Steps in Time, Astaire remarked, "She 'put 'em down like a man,' no ricky-ticky-sissy stuff with Ellie. She really knocked out a tap dance in a class by herself." He played alongside Bing Crosby in Holiday Inn (1942) and later Blue Skies (1946) but, in spite of the enormous financial success of both, was reportedly dissatisfied with roles where he lost the girl to Crosby. The former film is particularly remembered for his virtuoso solo dance to "Let's Say it with Firecrackers" while the latter film featured an innovative song and dance routine to a song indelibly associated with him: "Puttin' On the Ritz." Other partners during this period included Paulette Goddard in Second Chorus (1940), in which he dance-conducted the Artie Shaw orchestra. He made two pictures with Rita Hayworth, the daughter of his former vaudeville dance idols, the Cansinos. The first, You'll Never Get Rich (1941), catapulted Hayworth to stardom and provided Astaire his third on-screen opportunity to integrate Latin American dance idioms into his style (the first being with Ginger Rogers in "The Carioca" number from Flying Down to Rio (1933) and the second, again with Rogers, was the "Dengozo" dance from The Story of Vernon and Irene Castle (1939)), taking advantage of Hayworth's professional Latin dance pedigree. His second film with Hayworth, You Were Never Lovelier (1942), was equally successful and featured a duet to Kern's "I'm Old Fashioned," which became the centerpiece of Jerome Robbins's 1983 New York City Ballet tribute to Astaire. He next appeared opposite the seventeen-year-old Joan Leslie in the wartime drama The Sky's the Limit (1943), in which he introduced Arlen and Mercer's "One for My Baby" while dancing on a bar counter in a dark and troubled routine. This film, which was choreographed by Astaire alone and achieved modest box office success, represented an important departure for Astaire from his usual charming happy-go-lucky screen persona, and confused contemporary critics. His next partner, Lucille Bremer, was featured in two lavish vehicles, both directed by Vincente Minnelli: the fantasy Yolanda and the Thief, which featured an avant-garde surrealistic ballet, and the musical revue Ziegfeld Follies (1946), which featured a memorable teaming of Astaire with Gene Kelly to "The Babbit and the Bromide," a Gershwin song Astaire had introduced with his sister Adele back in 1927. While Follies was a hit, Yolanda bombed at the box office, and Astaire, ever insecure and believing his career was beginning to falter, surprised his audiences by announcing his retirement during the production of Blue Skies (1946), nominating "Puttin' on the Ritz" as his farewell dance. After announcing his retirement in 1946, Astaire concentrated on his horse-racing interests and in 1947 founded the Fred Astaire Dance Studios, which he subsequently sold in 1966.
|
C_bda66c01c60f46018de492e130ac9ea4_1_q#0
|
What happened in 1940?
| 2m
| 2x
|
{
"texts": [
"His first post-Ginger dance partner was the redoubtable Eleanor Powell--considered the finest female tap-dancer of her generation--in Broadway Melody"
],
"answer_starts": [
372
]
}
|
{
"text": "His first post-Ginger dance partner was the redoubtable Eleanor Powell--considered the finest female tap-dancer of her generation--in Broadway Melody",
"answer_start": 372
}
|
C_bda66c01c60f46018de492e130ac9ea4_1
|
Fred Astaire
|
Fred Astaire (born Frederick Austerlitz; May 10, 1899 - June 22, 1987) was an American dancer, singer, actor, choreographer and television presenter. He is widely regarded as one of the most influential dancers in the history of film and television musicals. His stage and subsequent film and television careers spanned a total of 76 years, during which he starred in more than 10 Broadway and London musicals, made 31 musical films, 4 television specials, and issued numerous recordings.
|
1940-1947: Drifting to an early retirement
|
In 1939, Astaire left RKO to freelance and pursue new film opportunities, with mixed though generally successful outcomes. Throughout this period, Astaire continued to value the input of choreographic collaborators and, unlike the 1930s when he worked almost exclusively with Hermes Pan, he tapped the talents of other choreographers in an effort to continually innovate. His first post-Ginger dance partner was the redoubtable Eleanor Powell--considered the finest female tap-dancer of her generation--in Broadway Melody of 1940, in which they performed a celebrated extended dance routine to Cole Porter's "Begin the Beguine." In his autobiography Steps in Time, Astaire remarked, "She 'put 'em down like a man,' no ricky-ticky-sissy stuff with Ellie. She really knocked out a tap dance in a class by herself." He played alongside Bing Crosby in Holiday Inn (1942) and later Blue Skies (1946) but, in spite of the enormous financial success of both, was reportedly dissatisfied with roles where he lost the girl to Crosby. The former film is particularly remembered for his virtuoso solo dance to "Let's Say it with Firecrackers" while the latter film featured an innovative song and dance routine to a song indelibly associated with him: "Puttin' On the Ritz." Other partners during this period included Paulette Goddard in Second Chorus (1940), in which he dance-conducted the Artie Shaw orchestra. He made two pictures with Rita Hayworth, the daughter of his former vaudeville dance idols, the Cansinos. The first, You'll Never Get Rich (1941), catapulted Hayworth to stardom and provided Astaire his third on-screen opportunity to integrate Latin American dance idioms into his style (the first being with Ginger Rogers in "The Carioca" number from Flying Down to Rio (1933) and the second, again with Rogers, was the "Dengozo" dance from The Story of Vernon and Irene Castle (1939)), taking advantage of Hayworth's professional Latin dance pedigree. His second film with Hayworth, You Were Never Lovelier (1942), was equally successful and featured a duet to Kern's "I'm Old Fashioned," which became the centerpiece of Jerome Robbins's 1983 New York City Ballet tribute to Astaire. He next appeared opposite the seventeen-year-old Joan Leslie in the wartime drama The Sky's the Limit (1943), in which he introduced Arlen and Mercer's "One for My Baby" while dancing on a bar counter in a dark and troubled routine. This film, which was choreographed by Astaire alone and achieved modest box office success, represented an important departure for Astaire from his usual charming happy-go-lucky screen persona, and confused contemporary critics. His next partner, Lucille Bremer, was featured in two lavish vehicles, both directed by Vincente Minnelli: the fantasy Yolanda and the Thief, which featured an avant-garde surrealistic ballet, and the musical revue Ziegfeld Follies (1946), which featured a memorable teaming of Astaire with Gene Kelly to "The Babbit and the Bromide," a Gershwin song Astaire had introduced with his sister Adele back in 1927. While Follies was a hit, Yolanda bombed at the box office, and Astaire, ever insecure and believing his career was beginning to falter, surprised his audiences by announcing his retirement during the production of Blue Skies (1946), nominating "Puttin' on the Ritz" as his farewell dance. After announcing his retirement in 1946, Astaire concentrated on his horse-racing interests and in 1947 founded the Fred Astaire Dance Studios, which he subsequently sold in 1966.
Q: What happened in 1940?
A: His first post-Ginger dance partner was the redoubtable Eleanor Powell--considered the finest female tap-dancer of her generation--in Broadway Melody
|
C_bda66c01c60f46018de492e130ac9ea4_1_q#1
|
What Broadway shows was he in?
| 2m
| 2x
|
{
"texts": [
"Broadway Melody of 1940, in which they performed a celebrated extended dance routine to Cole Porter's \"Begin the Beguine."
],
"answer_starts": [
506
]
}
|
{
"text": "Broadway Melody of 1940, in which they performed a celebrated extended dance routine to Cole Porter's \"Begin the Beguine.",
"answer_start": 506
}
|
C_bda66c01c60f46018de492e130ac9ea4_1
|
Fred Astaire
|
Fred Astaire (born Frederick Austerlitz; May 10, 1899 - June 22, 1987) was an American dancer, singer, actor, choreographer and television presenter. He is widely regarded as one of the most influential dancers in the history of film and television musicals. His stage and subsequent film and television careers spanned a total of 76 years, during which he starred in more than 10 Broadway and London musicals, made 31 musical films, 4 television specials, and issued numerous recordings.
|
1940-1947: Drifting to an early retirement
|
In 1939, Astaire left RKO to freelance and pursue new film opportunities, with mixed though generally successful outcomes. Throughout this period, Astaire continued to value the input of choreographic collaborators and, unlike the 1930s when he worked almost exclusively with Hermes Pan, he tapped the talents of other choreographers in an effort to continually innovate. His first post-Ginger dance partner was the redoubtable Eleanor Powell--considered the finest female tap-dancer of her generation--in Broadway Melody of 1940, in which they performed a celebrated extended dance routine to Cole Porter's "Begin the Beguine." In his autobiography Steps in Time, Astaire remarked, "She 'put 'em down like a man,' no ricky-ticky-sissy stuff with Ellie. She really knocked out a tap dance in a class by herself." He played alongside Bing Crosby in Holiday Inn (1942) and later Blue Skies (1946) but, in spite of the enormous financial success of both, was reportedly dissatisfied with roles where he lost the girl to Crosby. The former film is particularly remembered for his virtuoso solo dance to "Let's Say it with Firecrackers" while the latter film featured an innovative song and dance routine to a song indelibly associated with him: "Puttin' On the Ritz." Other partners during this period included Paulette Goddard in Second Chorus (1940), in which he dance-conducted the Artie Shaw orchestra. He made two pictures with Rita Hayworth, the daughter of his former vaudeville dance idols, the Cansinos. The first, You'll Never Get Rich (1941), catapulted Hayworth to stardom and provided Astaire his third on-screen opportunity to integrate Latin American dance idioms into his style (the first being with Ginger Rogers in "The Carioca" number from Flying Down to Rio (1933) and the second, again with Rogers, was the "Dengozo" dance from The Story of Vernon and Irene Castle (1939)), taking advantage of Hayworth's professional Latin dance pedigree. His second film with Hayworth, You Were Never Lovelier (1942), was equally successful and featured a duet to Kern's "I'm Old Fashioned," which became the centerpiece of Jerome Robbins's 1983 New York City Ballet tribute to Astaire. He next appeared opposite the seventeen-year-old Joan Leslie in the wartime drama The Sky's the Limit (1943), in which he introduced Arlen and Mercer's "One for My Baby" while dancing on a bar counter in a dark and troubled routine. This film, which was choreographed by Astaire alone and achieved modest box office success, represented an important departure for Astaire from his usual charming happy-go-lucky screen persona, and confused contemporary critics. His next partner, Lucille Bremer, was featured in two lavish vehicles, both directed by Vincente Minnelli: the fantasy Yolanda and the Thief, which featured an avant-garde surrealistic ballet, and the musical revue Ziegfeld Follies (1946), which featured a memorable teaming of Astaire with Gene Kelly to "The Babbit and the Bromide," a Gershwin song Astaire had introduced with his sister Adele back in 1927. While Follies was a hit, Yolanda bombed at the box office, and Astaire, ever insecure and believing his career was beginning to falter, surprised his audiences by announcing his retirement during the production of Blue Skies (1946), nominating "Puttin' on the Ritz" as his farewell dance. After announcing his retirement in 1946, Astaire concentrated on his horse-racing interests and in 1947 founded the Fred Astaire Dance Studios, which he subsequently sold in 1966.
Q: What happened in 1940?
A: His first post-Ginger dance partner was the redoubtable Eleanor Powell--considered the finest female tap-dancer of her generation--in Broadway Melody
Q: What Broadway shows was he in?
A: Broadway Melody of 1940, in which they performed a celebrated extended dance routine to Cole Porter's "Begin the Beguine.
|
C_bda66c01c60f46018de492e130ac9ea4_1_q#2
|
Who else did he perform with?
| 2m
| 2x
|
{
"texts": [
"He played alongside Bing Crosby in Holiday Inn (1942) and later Blue Skies (1946)"
],
"answer_starts": [
814
]
}
|
{
"text": "He played alongside Bing Crosby in Holiday Inn (1942) and later Blue Skies (1946)",
"answer_start": 814
}
|
C_bda66c01c60f46018de492e130ac9ea4_1
|
Fred Astaire
|
Fred Astaire (born Frederick Austerlitz; May 10, 1899 - June 22, 1987) was an American dancer, singer, actor, choreographer and television presenter. He is widely regarded as one of the most influential dancers in the history of film and television musicals. His stage and subsequent film and television careers spanned a total of 76 years, during which he starred in more than 10 Broadway and London musicals, made 31 musical films, 4 television specials, and issued numerous recordings.
|
1940-1947: Drifting to an early retirement
|
In 1939, Astaire left RKO to freelance and pursue new film opportunities, with mixed though generally successful outcomes. Throughout this period, Astaire continued to value the input of choreographic collaborators and, unlike the 1930s when he worked almost exclusively with Hermes Pan, he tapped the talents of other choreographers in an effort to continually innovate. His first post-Ginger dance partner was the redoubtable Eleanor Powell--considered the finest female tap-dancer of her generation--in Broadway Melody of 1940, in which they performed a celebrated extended dance routine to Cole Porter's "Begin the Beguine." In his autobiography Steps in Time, Astaire remarked, "She 'put 'em down like a man,' no ricky-ticky-sissy stuff with Ellie. She really knocked out a tap dance in a class by herself." He played alongside Bing Crosby in Holiday Inn (1942) and later Blue Skies (1946) but, in spite of the enormous financial success of both, was reportedly dissatisfied with roles where he lost the girl to Crosby. The former film is particularly remembered for his virtuoso solo dance to "Let's Say it with Firecrackers" while the latter film featured an innovative song and dance routine to a song indelibly associated with him: "Puttin' On the Ritz." Other partners during this period included Paulette Goddard in Second Chorus (1940), in which he dance-conducted the Artie Shaw orchestra. He made two pictures with Rita Hayworth, the daughter of his former vaudeville dance idols, the Cansinos. The first, You'll Never Get Rich (1941), catapulted Hayworth to stardom and provided Astaire his third on-screen opportunity to integrate Latin American dance idioms into his style (the first being with Ginger Rogers in "The Carioca" number from Flying Down to Rio (1933) and the second, again with Rogers, was the "Dengozo" dance from The Story of Vernon and Irene Castle (1939)), taking advantage of Hayworth's professional Latin dance pedigree. His second film with Hayworth, You Were Never Lovelier (1942), was equally successful and featured a duet to Kern's "I'm Old Fashioned," which became the centerpiece of Jerome Robbins's 1983 New York City Ballet tribute to Astaire. He next appeared opposite the seventeen-year-old Joan Leslie in the wartime drama The Sky's the Limit (1943), in which he introduced Arlen and Mercer's "One for My Baby" while dancing on a bar counter in a dark and troubled routine. This film, which was choreographed by Astaire alone and achieved modest box office success, represented an important departure for Astaire from his usual charming happy-go-lucky screen persona, and confused contemporary critics. His next partner, Lucille Bremer, was featured in two lavish vehicles, both directed by Vincente Minnelli: the fantasy Yolanda and the Thief, which featured an avant-garde surrealistic ballet, and the musical revue Ziegfeld Follies (1946), which featured a memorable teaming of Astaire with Gene Kelly to "The Babbit and the Bromide," a Gershwin song Astaire had introduced with his sister Adele back in 1927. While Follies was a hit, Yolanda bombed at the box office, and Astaire, ever insecure and believing his career was beginning to falter, surprised his audiences by announcing his retirement during the production of Blue Skies (1946), nominating "Puttin' on the Ritz" as his farewell dance. After announcing his retirement in 1946, Astaire concentrated on his horse-racing interests and in 1947 founded the Fred Astaire Dance Studios, which he subsequently sold in 1966.
Q: What happened in 1940?
A: His first post-Ginger dance partner was the redoubtable Eleanor Powell--considered the finest female tap-dancer of her generation--in Broadway Melody
Q: What Broadway shows was he in?
A: Broadway Melody of 1940, in which they performed a celebrated extended dance routine to Cole Porter's "Begin the Beguine.
Q: Who else did he perform with?
A: He played alongside Bing Crosby in Holiday Inn (1942) and later Blue Skies (1946)
|
C_bda66c01c60f46018de492e130ac9ea4_1_q#3
|
How were his performances received?
| 1n
| 2x
|
{
"texts": [
"in spite of the enormous financial success of both, was reportedly dissatisfied with roles"
],
"answer_starts": [
901
]
}
|
{
"text": "in spite of the enormous financial success of both, was reportedly dissatisfied with roles",
"answer_start": 901
}
|
C_bda66c01c60f46018de492e130ac9ea4_1
|
Fred Astaire
|
Fred Astaire (born Frederick Austerlitz; May 10, 1899 - June 22, 1987) was an American dancer, singer, actor, choreographer and television presenter. He is widely regarded as one of the most influential dancers in the history of film and television musicals. His stage and subsequent film and television careers spanned a total of 76 years, during which he starred in more than 10 Broadway and London musicals, made 31 musical films, 4 television specials, and issued numerous recordings.
|
1940-1947: Drifting to an early retirement
|
In 1939, Astaire left RKO to freelance and pursue new film opportunities, with mixed though generally successful outcomes. Throughout this period, Astaire continued to value the input of choreographic collaborators and, unlike the 1930s when he worked almost exclusively with Hermes Pan, he tapped the talents of other choreographers in an effort to continually innovate. His first post-Ginger dance partner was the redoubtable Eleanor Powell--considered the finest female tap-dancer of her generation--in Broadway Melody of 1940, in which they performed a celebrated extended dance routine to Cole Porter's "Begin the Beguine." In his autobiography Steps in Time, Astaire remarked, "She 'put 'em down like a man,' no ricky-ticky-sissy stuff with Ellie. She really knocked out a tap dance in a class by herself." He played alongside Bing Crosby in Holiday Inn (1942) and later Blue Skies (1946) but, in spite of the enormous financial success of both, was reportedly dissatisfied with roles where he lost the girl to Crosby. The former film is particularly remembered for his virtuoso solo dance to "Let's Say it with Firecrackers" while the latter film featured an innovative song and dance routine to a song indelibly associated with him: "Puttin' On the Ritz." Other partners during this period included Paulette Goddard in Second Chorus (1940), in which he dance-conducted the Artie Shaw orchestra. He made two pictures with Rita Hayworth, the daughter of his former vaudeville dance idols, the Cansinos. The first, You'll Never Get Rich (1941), catapulted Hayworth to stardom and provided Astaire his third on-screen opportunity to integrate Latin American dance idioms into his style (the first being with Ginger Rogers in "The Carioca" number from Flying Down to Rio (1933) and the second, again with Rogers, was the "Dengozo" dance from The Story of Vernon and Irene Castle (1939)), taking advantage of Hayworth's professional Latin dance pedigree. His second film with Hayworth, You Were Never Lovelier (1942), was equally successful and featured a duet to Kern's "I'm Old Fashioned," which became the centerpiece of Jerome Robbins's 1983 New York City Ballet tribute to Astaire. He next appeared opposite the seventeen-year-old Joan Leslie in the wartime drama The Sky's the Limit (1943), in which he introduced Arlen and Mercer's "One for My Baby" while dancing on a bar counter in a dark and troubled routine. This film, which was choreographed by Astaire alone and achieved modest box office success, represented an important departure for Astaire from his usual charming happy-go-lucky screen persona, and confused contemporary critics. His next partner, Lucille Bremer, was featured in two lavish vehicles, both directed by Vincente Minnelli: the fantasy Yolanda and the Thief, which featured an avant-garde surrealistic ballet, and the musical revue Ziegfeld Follies (1946), which featured a memorable teaming of Astaire with Gene Kelly to "The Babbit and the Bromide," a Gershwin song Astaire had introduced with his sister Adele back in 1927. While Follies was a hit, Yolanda bombed at the box office, and Astaire, ever insecure and believing his career was beginning to falter, surprised his audiences by announcing his retirement during the production of Blue Skies (1946), nominating "Puttin' on the Ritz" as his farewell dance. After announcing his retirement in 1946, Astaire concentrated on his horse-racing interests and in 1947 founded the Fred Astaire Dance Studios, which he subsequently sold in 1966.
Q: What happened in 1940?
A: His first post-Ginger dance partner was the redoubtable Eleanor Powell--considered the finest female tap-dancer of her generation--in Broadway Melody
Q: What Broadway shows was he in?
A: Broadway Melody of 1940, in which they performed a celebrated extended dance routine to Cole Porter's "Begin the Beguine.
Q: Who else did he perform with?
A: He played alongside Bing Crosby in Holiday Inn (1942) and later Blue Skies (1946)
Q: How were his performances received?
A: in spite of the enormous financial success of both, was reportedly dissatisfied with roles
|
C_bda66c01c60f46018de492e130ac9ea4_1_q#4
|
So what did he decide to do after that?
| 2m
| 2x
|
{
"texts": [
"He made two pictures with Rita Hayworth, the daughter of his former vaudeville dance idols, the Cansinos."
],
"answer_starts": [
1405
]
}
|
{
"text": "He made two pictures with Rita Hayworth, the daughter of his former vaudeville dance idols, the Cansinos.",
"answer_start": 1405
}
|
C_bda66c01c60f46018de492e130ac9ea4_1
|
Fred Astaire
|
Fred Astaire (born Frederick Austerlitz; May 10, 1899 - June 22, 1987) was an American dancer, singer, actor, choreographer and television presenter. He is widely regarded as one of the most influential dancers in the history of film and television musicals. His stage and subsequent film and television careers spanned a total of 76 years, during which he starred in more than 10 Broadway and London musicals, made 31 musical films, 4 television specials, and issued numerous recordings.
|
1940-1947: Drifting to an early retirement
|
In 1939, Astaire left RKO to freelance and pursue new film opportunities, with mixed though generally successful outcomes. Throughout this period, Astaire continued to value the input of choreographic collaborators and, unlike the 1930s when he worked almost exclusively with Hermes Pan, he tapped the talents of other choreographers in an effort to continually innovate. His first post-Ginger dance partner was the redoubtable Eleanor Powell--considered the finest female tap-dancer of her generation--in Broadway Melody of 1940, in which they performed a celebrated extended dance routine to Cole Porter's "Begin the Beguine." In his autobiography Steps in Time, Astaire remarked, "She 'put 'em down like a man,' no ricky-ticky-sissy stuff with Ellie. She really knocked out a tap dance in a class by herself." He played alongside Bing Crosby in Holiday Inn (1942) and later Blue Skies (1946) but, in spite of the enormous financial success of both, was reportedly dissatisfied with roles where he lost the girl to Crosby. The former film is particularly remembered for his virtuoso solo dance to "Let's Say it with Firecrackers" while the latter film featured an innovative song and dance routine to a song indelibly associated with him: "Puttin' On the Ritz." Other partners during this period included Paulette Goddard in Second Chorus (1940), in which he dance-conducted the Artie Shaw orchestra. He made two pictures with Rita Hayworth, the daughter of his former vaudeville dance idols, the Cansinos. The first, You'll Never Get Rich (1941), catapulted Hayworth to stardom and provided Astaire his third on-screen opportunity to integrate Latin American dance idioms into his style (the first being with Ginger Rogers in "The Carioca" number from Flying Down to Rio (1933) and the second, again with Rogers, was the "Dengozo" dance from The Story of Vernon and Irene Castle (1939)), taking advantage of Hayworth's professional Latin dance pedigree. His second film with Hayworth, You Were Never Lovelier (1942), was equally successful and featured a duet to Kern's "I'm Old Fashioned," which became the centerpiece of Jerome Robbins's 1983 New York City Ballet tribute to Astaire. He next appeared opposite the seventeen-year-old Joan Leslie in the wartime drama The Sky's the Limit (1943), in which he introduced Arlen and Mercer's "One for My Baby" while dancing on a bar counter in a dark and troubled routine. This film, which was choreographed by Astaire alone and achieved modest box office success, represented an important departure for Astaire from his usual charming happy-go-lucky screen persona, and confused contemporary critics. His next partner, Lucille Bremer, was featured in two lavish vehicles, both directed by Vincente Minnelli: the fantasy Yolanda and the Thief, which featured an avant-garde surrealistic ballet, and the musical revue Ziegfeld Follies (1946), which featured a memorable teaming of Astaire with Gene Kelly to "The Babbit and the Bromide," a Gershwin song Astaire had introduced with his sister Adele back in 1927. While Follies was a hit, Yolanda bombed at the box office, and Astaire, ever insecure and believing his career was beginning to falter, surprised his audiences by announcing his retirement during the production of Blue Skies (1946), nominating "Puttin' on the Ritz" as his farewell dance. After announcing his retirement in 1946, Astaire concentrated on his horse-racing interests and in 1947 founded the Fred Astaire Dance Studios, which he subsequently sold in 1966.
Q: What happened in 1940?
A: His first post-Ginger dance partner was the redoubtable Eleanor Powell--considered the finest female tap-dancer of her generation--in Broadway Melody
Q: What Broadway shows was he in?
A: Broadway Melody of 1940, in which they performed a celebrated extended dance routine to Cole Porter's "Begin the Beguine.
Q: Who else did he perform with?
A: He played alongside Bing Crosby in Holiday Inn (1942) and later Blue Skies (1946)
Q: How were his performances received?
A: in spite of the enormous financial success of both, was reportedly dissatisfied with roles
Q: So what did he decide to do after that?
A: He made two pictures with Rita Hayworth, the daughter of his former vaudeville dance idols, the Cansinos.
|
C_bda66c01c60f46018de492e130ac9ea4_1_q#5
|
What were the names of the pictures?
| 2m
| 2x
|
{
"texts": [
"The first, You'll Never Get Rich (1941), catapulted Hayworth to stardom"
],
"answer_starts": [
1511
]
}
|
{
"text": "The first, You'll Never Get Rich (1941), catapulted Hayworth to stardom",
"answer_start": 1511
}
|
C_bda66c01c60f46018de492e130ac9ea4_1
|
Fred Astaire
|
Fred Astaire (born Frederick Austerlitz; May 10, 1899 - June 22, 1987) was an American dancer, singer, actor, choreographer and television presenter. He is widely regarded as one of the most influential dancers in the history of film and television musicals. His stage and subsequent film and television careers spanned a total of 76 years, during which he starred in more than 10 Broadway and London musicals, made 31 musical films, 4 television specials, and issued numerous recordings.
|
1940-1947: Drifting to an early retirement
|
In 1939, Astaire left RKO to freelance and pursue new film opportunities, with mixed though generally successful outcomes. Throughout this period, Astaire continued to value the input of choreographic collaborators and, unlike the 1930s when he worked almost exclusively with Hermes Pan, he tapped the talents of other choreographers in an effort to continually innovate. His first post-Ginger dance partner was the redoubtable Eleanor Powell--considered the finest female tap-dancer of her generation--in Broadway Melody of 1940, in which they performed a celebrated extended dance routine to Cole Porter's "Begin the Beguine." In his autobiography Steps in Time, Astaire remarked, "She 'put 'em down like a man,' no ricky-ticky-sissy stuff with Ellie. She really knocked out a tap dance in a class by herself." He played alongside Bing Crosby in Holiday Inn (1942) and later Blue Skies (1946) but, in spite of the enormous financial success of both, was reportedly dissatisfied with roles where he lost the girl to Crosby. The former film is particularly remembered for his virtuoso solo dance to "Let's Say it with Firecrackers" while the latter film featured an innovative song and dance routine to a song indelibly associated with him: "Puttin' On the Ritz." Other partners during this period included Paulette Goddard in Second Chorus (1940), in which he dance-conducted the Artie Shaw orchestra. He made two pictures with Rita Hayworth, the daughter of his former vaudeville dance idols, the Cansinos. The first, You'll Never Get Rich (1941), catapulted Hayworth to stardom and provided Astaire his third on-screen opportunity to integrate Latin American dance idioms into his style (the first being with Ginger Rogers in "The Carioca" number from Flying Down to Rio (1933) and the second, again with Rogers, was the "Dengozo" dance from The Story of Vernon and Irene Castle (1939)), taking advantage of Hayworth's professional Latin dance pedigree. His second film with Hayworth, You Were Never Lovelier (1942), was equally successful and featured a duet to Kern's "I'm Old Fashioned," which became the centerpiece of Jerome Robbins's 1983 New York City Ballet tribute to Astaire. He next appeared opposite the seventeen-year-old Joan Leslie in the wartime drama The Sky's the Limit (1943), in which he introduced Arlen and Mercer's "One for My Baby" while dancing on a bar counter in a dark and troubled routine. This film, which was choreographed by Astaire alone and achieved modest box office success, represented an important departure for Astaire from his usual charming happy-go-lucky screen persona, and confused contemporary critics. His next partner, Lucille Bremer, was featured in two lavish vehicles, both directed by Vincente Minnelli: the fantasy Yolanda and the Thief, which featured an avant-garde surrealistic ballet, and the musical revue Ziegfeld Follies (1946), which featured a memorable teaming of Astaire with Gene Kelly to "The Babbit and the Bromide," a Gershwin song Astaire had introduced with his sister Adele back in 1927. While Follies was a hit, Yolanda bombed at the box office, and Astaire, ever insecure and believing his career was beginning to falter, surprised his audiences by announcing his retirement during the production of Blue Skies (1946), nominating "Puttin' on the Ritz" as his farewell dance. After announcing his retirement in 1946, Astaire concentrated on his horse-racing interests and in 1947 founded the Fred Astaire Dance Studios, which he subsequently sold in 1966.
Q: What happened in 1940?
A: His first post-Ginger dance partner was the redoubtable Eleanor Powell--considered the finest female tap-dancer of her generation--in Broadway Melody
Q: What Broadway shows was he in?
A: Broadway Melody of 1940, in which they performed a celebrated extended dance routine to Cole Porter's "Begin the Beguine.
Q: Who else did he perform with?
A: He played alongside Bing Crosby in Holiday Inn (1942) and later Blue Skies (1946)
Q: How were his performances received?
A: in spite of the enormous financial success of both, was reportedly dissatisfied with roles
Q: So what did he decide to do after that?
A: He made two pictures with Rita Hayworth, the daughter of his former vaudeville dance idols, the Cansinos.
Q: What were the names of the pictures?
A: The first, You'll Never Get Rich (1941), catapulted Hayworth to stardom
|
C_bda66c01c60f46018de492e130ac9ea4_1_q#6
|
Did any of the films receive awards or honors?
| 2m
| 0y
|
{
"texts": [
"This film, which was choreographed by Astaire alone and achieved modest box office success,"
],
"answer_starts": [
2424
]
}
|
{
"text": "This film, which was choreographed by Astaire alone and achieved modest box office success,",
"answer_start": 2424
}
|
C_bda66c01c60f46018de492e130ac9ea4_1
|
Fred Astaire
|
Fred Astaire (born Frederick Austerlitz; May 10, 1899 - June 22, 1987) was an American dancer, singer, actor, choreographer and television presenter. He is widely regarded as one of the most influential dancers in the history of film and television musicals. His stage and subsequent film and television careers spanned a total of 76 years, during which he starred in more than 10 Broadway and London musicals, made 31 musical films, 4 television specials, and issued numerous recordings.
|
1940-1947: Drifting to an early retirement
|
In 1939, Astaire left RKO to freelance and pursue new film opportunities, with mixed though generally successful outcomes. Throughout this period, Astaire continued to value the input of choreographic collaborators and, unlike the 1930s when he worked almost exclusively with Hermes Pan, he tapped the talents of other choreographers in an effort to continually innovate. His first post-Ginger dance partner was the redoubtable Eleanor Powell--considered the finest female tap-dancer of her generation--in Broadway Melody of 1940, in which they performed a celebrated extended dance routine to Cole Porter's "Begin the Beguine." In his autobiography Steps in Time, Astaire remarked, "She 'put 'em down like a man,' no ricky-ticky-sissy stuff with Ellie. She really knocked out a tap dance in a class by herself." He played alongside Bing Crosby in Holiday Inn (1942) and later Blue Skies (1946) but, in spite of the enormous financial success of both, was reportedly dissatisfied with roles where he lost the girl to Crosby. The former film is particularly remembered for his virtuoso solo dance to "Let's Say it with Firecrackers" while the latter film featured an innovative song and dance routine to a song indelibly associated with him: "Puttin' On the Ritz." Other partners during this period included Paulette Goddard in Second Chorus (1940), in which he dance-conducted the Artie Shaw orchestra. He made two pictures with Rita Hayworth, the daughter of his former vaudeville dance idols, the Cansinos. The first, You'll Never Get Rich (1941), catapulted Hayworth to stardom and provided Astaire his third on-screen opportunity to integrate Latin American dance idioms into his style (the first being with Ginger Rogers in "The Carioca" number from Flying Down to Rio (1933) and the second, again with Rogers, was the "Dengozo" dance from The Story of Vernon and Irene Castle (1939)), taking advantage of Hayworth's professional Latin dance pedigree. His second film with Hayworth, You Were Never Lovelier (1942), was equally successful and featured a duet to Kern's "I'm Old Fashioned," which became the centerpiece of Jerome Robbins's 1983 New York City Ballet tribute to Astaire. He next appeared opposite the seventeen-year-old Joan Leslie in the wartime drama The Sky's the Limit (1943), in which he introduced Arlen and Mercer's "One for My Baby" while dancing on a bar counter in a dark and troubled routine. This film, which was choreographed by Astaire alone and achieved modest box office success, represented an important departure for Astaire from his usual charming happy-go-lucky screen persona, and confused contemporary critics. His next partner, Lucille Bremer, was featured in two lavish vehicles, both directed by Vincente Minnelli: the fantasy Yolanda and the Thief, which featured an avant-garde surrealistic ballet, and the musical revue Ziegfeld Follies (1946), which featured a memorable teaming of Astaire with Gene Kelly to "The Babbit and the Bromide," a Gershwin song Astaire had introduced with his sister Adele back in 1927. While Follies was a hit, Yolanda bombed at the box office, and Astaire, ever insecure and believing his career was beginning to falter, surprised his audiences by announcing his retirement during the production of Blue Skies (1946), nominating "Puttin' on the Ritz" as his farewell dance. After announcing his retirement in 1946, Astaire concentrated on his horse-racing interests and in 1947 founded the Fred Astaire Dance Studios, which he subsequently sold in 1966.
Q: What happened in 1940?
A: His first post-Ginger dance partner was the redoubtable Eleanor Powell--considered the finest female tap-dancer of her generation--in Broadway Melody
Q: What Broadway shows was he in?
A: Broadway Melody of 1940, in which they performed a celebrated extended dance routine to Cole Porter's "Begin the Beguine.
Q: Who else did he perform with?
A: He played alongside Bing Crosby in Holiday Inn (1942) and later Blue Skies (1946)
Q: How were his performances received?
A: in spite of the enormous financial success of both, was reportedly dissatisfied with roles
Q: So what did he decide to do after that?
A: He made two pictures with Rita Hayworth, the daughter of his former vaudeville dance idols, the Cansinos.
Q: What were the names of the pictures?
A: The first, You'll Never Get Rich (1941), catapulted Hayworth to stardom
Q: Did any of the films receive awards or honors?
A: This film, which was choreographed by Astaire alone and achieved modest box office success,
|
C_bda66c01c60f46018de492e130ac9ea4_1_q#7
|
Was he in any other films during this time period?
| 2m
| 0y
|
{
"texts": [
"His second film with Hayworth, You Were Never Lovelier (1942), was equally successful"
],
"answer_starts": [
1959
]
}
|
{
"text": "His second film with Hayworth, You Were Never Lovelier (1942), was equally successful",
"answer_start": 1959
}
|
C_bda66c01c60f46018de492e130ac9ea4_1
|
Fred Astaire
|
Fred Astaire (born Frederick Austerlitz; May 10, 1899 - June 22, 1987) was an American dancer, singer, actor, choreographer and television presenter. He is widely regarded as one of the most influential dancers in the history of film and television musicals. His stage and subsequent film and television careers spanned a total of 76 years, during which he starred in more than 10 Broadway and London musicals, made 31 musical films, 4 television specials, and issued numerous recordings.
|
1940-1947: Drifting to an early retirement
|
In 1939, Astaire left RKO to freelance and pursue new film opportunities, with mixed though generally successful outcomes. Throughout this period, Astaire continued to value the input of choreographic collaborators and, unlike the 1930s when he worked almost exclusively with Hermes Pan, he tapped the talents of other choreographers in an effort to continually innovate. His first post-Ginger dance partner was the redoubtable Eleanor Powell--considered the finest female tap-dancer of her generation--in Broadway Melody of 1940, in which they performed a celebrated extended dance routine to Cole Porter's "Begin the Beguine." In his autobiography Steps in Time, Astaire remarked, "She 'put 'em down like a man,' no ricky-ticky-sissy stuff with Ellie. She really knocked out a tap dance in a class by herself." He played alongside Bing Crosby in Holiday Inn (1942) and later Blue Skies (1946) but, in spite of the enormous financial success of both, was reportedly dissatisfied with roles where he lost the girl to Crosby. The former film is particularly remembered for his virtuoso solo dance to "Let's Say it with Firecrackers" while the latter film featured an innovative song and dance routine to a song indelibly associated with him: "Puttin' On the Ritz." Other partners during this period included Paulette Goddard in Second Chorus (1940), in which he dance-conducted the Artie Shaw orchestra. He made two pictures with Rita Hayworth, the daughter of his former vaudeville dance idols, the Cansinos. The first, You'll Never Get Rich (1941), catapulted Hayworth to stardom and provided Astaire his third on-screen opportunity to integrate Latin American dance idioms into his style (the first being with Ginger Rogers in "The Carioca" number from Flying Down to Rio (1933) and the second, again with Rogers, was the "Dengozo" dance from The Story of Vernon and Irene Castle (1939)), taking advantage of Hayworth's professional Latin dance pedigree. His second film with Hayworth, You Were Never Lovelier (1942), was equally successful and featured a duet to Kern's "I'm Old Fashioned," which became the centerpiece of Jerome Robbins's 1983 New York City Ballet tribute to Astaire. He next appeared opposite the seventeen-year-old Joan Leslie in the wartime drama The Sky's the Limit (1943), in which he introduced Arlen and Mercer's "One for My Baby" while dancing on a bar counter in a dark and troubled routine. This film, which was choreographed by Astaire alone and achieved modest box office success, represented an important departure for Astaire from his usual charming happy-go-lucky screen persona, and confused contemporary critics. His next partner, Lucille Bremer, was featured in two lavish vehicles, both directed by Vincente Minnelli: the fantasy Yolanda and the Thief, which featured an avant-garde surrealistic ballet, and the musical revue Ziegfeld Follies (1946), which featured a memorable teaming of Astaire with Gene Kelly to "The Babbit and the Bromide," a Gershwin song Astaire had introduced with his sister Adele back in 1927. While Follies was a hit, Yolanda bombed at the box office, and Astaire, ever insecure and believing his career was beginning to falter, surprised his audiences by announcing his retirement during the production of Blue Skies (1946), nominating "Puttin' on the Ritz" as his farewell dance. After announcing his retirement in 1946, Astaire concentrated on his horse-racing interests and in 1947 founded the Fred Astaire Dance Studios, which he subsequently sold in 1966.
Q: What happened in 1940?
A: His first post-Ginger dance partner was the redoubtable Eleanor Powell--considered the finest female tap-dancer of her generation--in Broadway Melody
Q: What Broadway shows was he in?
A: Broadway Melody of 1940, in which they performed a celebrated extended dance routine to Cole Porter's "Begin the Beguine.
Q: Who else did he perform with?
A: He played alongside Bing Crosby in Holiday Inn (1942) and later Blue Skies (1946)
Q: How were his performances received?
A: in spite of the enormous financial success of both, was reportedly dissatisfied with roles
Q: So what did he decide to do after that?
A: He made two pictures with Rita Hayworth, the daughter of his former vaudeville dance idols, the Cansinos.
Q: What were the names of the pictures?
A: The first, You'll Never Get Rich (1941), catapulted Hayworth to stardom
Q: Did any of the films receive awards or honors?
A: This film, which was choreographed by Astaire alone and achieved modest box office success,
Q: Was he in any other films during this time period?
A: His second film with Hayworth, You Were Never Lovelier (1942), was equally successful
|
C_bda66c01c60f46018de492e130ac9ea4_1_q#8
|
Did he perform with anybody else?
| 2m
| 0y
|
{
"texts": [
"He next appeared opposite the seventeen-year-old Joan Leslie in the wartime drama The Sky's the Limit"
],
"answer_starts": [
2191
]
}
|
{
"text": "He next appeared opposite the seventeen-year-old Joan Leslie in the wartime drama The Sky's the Limit",
"answer_start": 2191
}
|
C_bda66c01c60f46018de492e130ac9ea4_1
|
Fred Astaire
|
Fred Astaire (born Frederick Austerlitz; May 10, 1899 - June 22, 1987) was an American dancer, singer, actor, choreographer and television presenter. He is widely regarded as one of the most influential dancers in the history of film and television musicals. His stage and subsequent film and television careers spanned a total of 76 years, during which he starred in more than 10 Broadway and London musicals, made 31 musical films, 4 television specials, and issued numerous recordings.
|
1940-1947: Drifting to an early retirement
|
In 1939, Astaire left RKO to freelance and pursue new film opportunities, with mixed though generally successful outcomes. Throughout this period, Astaire continued to value the input of choreographic collaborators and, unlike the 1930s when he worked almost exclusively with Hermes Pan, he tapped the talents of other choreographers in an effort to continually innovate. His first post-Ginger dance partner was the redoubtable Eleanor Powell--considered the finest female tap-dancer of her generation--in Broadway Melody of 1940, in which they performed a celebrated extended dance routine to Cole Porter's "Begin the Beguine." In his autobiography Steps in Time, Astaire remarked, "She 'put 'em down like a man,' no ricky-ticky-sissy stuff with Ellie. She really knocked out a tap dance in a class by herself." He played alongside Bing Crosby in Holiday Inn (1942) and later Blue Skies (1946) but, in spite of the enormous financial success of both, was reportedly dissatisfied with roles where he lost the girl to Crosby. The former film is particularly remembered for his virtuoso solo dance to "Let's Say it with Firecrackers" while the latter film featured an innovative song and dance routine to a song indelibly associated with him: "Puttin' On the Ritz." Other partners during this period included Paulette Goddard in Second Chorus (1940), in which he dance-conducted the Artie Shaw orchestra. He made two pictures with Rita Hayworth, the daughter of his former vaudeville dance idols, the Cansinos. The first, You'll Never Get Rich (1941), catapulted Hayworth to stardom and provided Astaire his third on-screen opportunity to integrate Latin American dance idioms into his style (the first being with Ginger Rogers in "The Carioca" number from Flying Down to Rio (1933) and the second, again with Rogers, was the "Dengozo" dance from The Story of Vernon and Irene Castle (1939)), taking advantage of Hayworth's professional Latin dance pedigree. His second film with Hayworth, You Were Never Lovelier (1942), was equally successful and featured a duet to Kern's "I'm Old Fashioned," which became the centerpiece of Jerome Robbins's 1983 New York City Ballet tribute to Astaire. He next appeared opposite the seventeen-year-old Joan Leslie in the wartime drama The Sky's the Limit (1943), in which he introduced Arlen and Mercer's "One for My Baby" while dancing on a bar counter in a dark and troubled routine. This film, which was choreographed by Astaire alone and achieved modest box office success, represented an important departure for Astaire from his usual charming happy-go-lucky screen persona, and confused contemporary critics. His next partner, Lucille Bremer, was featured in two lavish vehicles, both directed by Vincente Minnelli: the fantasy Yolanda and the Thief, which featured an avant-garde surrealistic ballet, and the musical revue Ziegfeld Follies (1946), which featured a memorable teaming of Astaire with Gene Kelly to "The Babbit and the Bromide," a Gershwin song Astaire had introduced with his sister Adele back in 1927. While Follies was a hit, Yolanda bombed at the box office, and Astaire, ever insecure and believing his career was beginning to falter, surprised his audiences by announcing his retirement during the production of Blue Skies (1946), nominating "Puttin' on the Ritz" as his farewell dance. After announcing his retirement in 1946, Astaire concentrated on his horse-racing interests and in 1947 founded the Fred Astaire Dance Studios, which he subsequently sold in 1966.
Q: What happened in 1940?
A: His first post-Ginger dance partner was the redoubtable Eleanor Powell--considered the finest female tap-dancer of her generation--in Broadway Melody
Q: What Broadway shows was he in?
A: Broadway Melody of 1940, in which they performed a celebrated extended dance routine to Cole Porter's "Begin the Beguine.
Q: Who else did he perform with?
A: He played alongside Bing Crosby in Holiday Inn (1942) and later Blue Skies (1946)
Q: How were his performances received?
A: in spite of the enormous financial success of both, was reportedly dissatisfied with roles
Q: So what did he decide to do after that?
A: He made two pictures with Rita Hayworth, the daughter of his former vaudeville dance idols, the Cansinos.
Q: What were the names of the pictures?
A: The first, You'll Never Get Rich (1941), catapulted Hayworth to stardom
Q: Did any of the films receive awards or honors?
A: This film, which was choreographed by Astaire alone and achieved modest box office success,
Q: Was he in any other films during this time period?
A: His second film with Hayworth, You Were Never Lovelier (1942), was equally successful
Q: Did he perform with anybody else?
A: He next appeared opposite the seventeen-year-old Joan Leslie in the wartime drama The Sky's the Limit
|
C_bda66c01c60f46018de492e130ac9ea4_1_q#9
|
Did it get good reviews?
| 1n
| 2x
|
{
"texts": [
"unknown"
],
"answer_starts": [
3534
]
}
|
{
"text": "unknown",
"answer_start": 3534
}
|
C_dd4bbf9373d74dd89742ed1d4a7f7dba_0
|
Tom DeLay
|
Thomas Dale "Tom" DeLay (; born April 8, 1947) is a former member of the United States House of Representatives, representing Texas's 22nd congressional district from 1985 until 2006. He was Republican Party (GOP) House Majority Leader from 2003-05. DeLay began his career as a politician in 1978 when he was elected to the Texas House of Representatives.
|
Foreign policy
|
DeLay has been a strong supporter of the State of Israel, saying, "The Republican leadership, especially that leadership in the House, has made pro-Israel policy a fundamental component of our foreign policy agenda and it drives the Democrat [sic] leadership crazy--because they just can't figure out why we do it!" In a 2002 speech, DeLay promised to "use every tool at my disposal to ensure that the Republican Conference, and the House of Representatives, continues to preserve and strengthen America's alliance with the State of Israel." On a 2003 trip to Israel, DeLay toured the nation and addressed members of the Knesset. His opposition to land concessions is so strong that Aryeh Eldad, the deputy of Israel's conservative National Union party, remarked, "As I shook his hand, I told Tom DeLay that until I heard him speak, I thought I was farthest to the right in the Knesset." Former Mossad chief Danny Yatom said "The Likud is nothing compared to this guy." In 2005, in a snub to the Bush administration, DeLay was the "driving force behind the rejection of direct aid" to the Palestinian Authority. The deal had been brokered by the American Israel Public Affairs Committee. In the wake of the legislation, some Jewish leaders expressed concern "about the degree to which the Texas Republican, an evangelical Christian who opposes the creation of a Palestinian state, will go to undercut American and Israeli attempts to achieve a two-state solution." DeLay has long been a strong critic of Cuban leader Fidel Castro's regime, which DeLay has called a "thugocracy", and a supporter of the U.S. trade embargo against Cuba.
|
C_dd4bbf9373d74dd89742ed1d4a7f7dba_0_q#0
|
What was a major foreign policy bill he introduced?
| 2m
| 2x
|
{
"texts": [
"In 2005, in a snub to the Bush administration, DeLay was the \"driving force behind the rejection of direct aid\" to the Palestinian Authority."
],
"answer_starts": [
973
]
}
|
{
"text": "In 2005, in a snub to the Bush administration, DeLay was the \"driving force behind the rejection of direct aid\" to the Palestinian Authority.",
"answer_start": 973
}
|
C_dd4bbf9373d74dd89742ed1d4a7f7dba_0
|
Tom DeLay
|
Thomas Dale "Tom" DeLay (; born April 8, 1947) is a former member of the United States House of Representatives, representing Texas's 22nd congressional district from 1985 until 2006. He was Republican Party (GOP) House Majority Leader from 2003-05. DeLay began his career as a politician in 1978 when he was elected to the Texas House of Representatives.
|
Foreign policy
|
DeLay has been a strong supporter of the State of Israel, saying, "The Republican leadership, especially that leadership in the House, has made pro-Israel policy a fundamental component of our foreign policy agenda and it drives the Democrat [sic] leadership crazy--because they just can't figure out why we do it!" In a 2002 speech, DeLay promised to "use every tool at my disposal to ensure that the Republican Conference, and the House of Representatives, continues to preserve and strengthen America's alliance with the State of Israel." On a 2003 trip to Israel, DeLay toured the nation and addressed members of the Knesset. His opposition to land concessions is so strong that Aryeh Eldad, the deputy of Israel's conservative National Union party, remarked, "As I shook his hand, I told Tom DeLay that until I heard him speak, I thought I was farthest to the right in the Knesset." Former Mossad chief Danny Yatom said "The Likud is nothing compared to this guy." In 2005, in a snub to the Bush administration, DeLay was the "driving force behind the rejection of direct aid" to the Palestinian Authority. The deal had been brokered by the American Israel Public Affairs Committee. In the wake of the legislation, some Jewish leaders expressed concern "about the degree to which the Texas Republican, an evangelical Christian who opposes the creation of a Palestinian state, will go to undercut American and Israeli attempts to achieve a two-state solution." DeLay has long been a strong critic of Cuban leader Fidel Castro's regime, which DeLay has called a "thugocracy", and a supporter of the U.S. trade embargo against Cuba.
Q: What was a major foreign policy bill he introduced?
A: In 2005, in a snub to the Bush administration, DeLay was the "driving force behind the rejection of direct aid" to the Palestinian Authority.
|
C_dd4bbf9373d74dd89742ed1d4a7f7dba_0_q#1
|
HOw did the Bush administration respond?
| 0y
| 2x
|
{
"texts": [
"In the wake of the legislation, some Jewish leaders expressed concern"
],
"answer_starts": [
1191
]
}
|
{
"text": "In the wake of the legislation, some Jewish leaders expressed concern",
"answer_start": 1191
}
|
C_dd4bbf9373d74dd89742ed1d4a7f7dba_0
|
Tom DeLay
|
Thomas Dale "Tom" DeLay (; born April 8, 1947) is a former member of the United States House of Representatives, representing Texas's 22nd congressional district from 1985 until 2006. He was Republican Party (GOP) House Majority Leader from 2003-05. DeLay began his career as a politician in 1978 when he was elected to the Texas House of Representatives.
|
Foreign policy
|
DeLay has been a strong supporter of the State of Israel, saying, "The Republican leadership, especially that leadership in the House, has made pro-Israel policy a fundamental component of our foreign policy agenda and it drives the Democrat [sic] leadership crazy--because they just can't figure out why we do it!" In a 2002 speech, DeLay promised to "use every tool at my disposal to ensure that the Republican Conference, and the House of Representatives, continues to preserve and strengthen America's alliance with the State of Israel." On a 2003 trip to Israel, DeLay toured the nation and addressed members of the Knesset. His opposition to land concessions is so strong that Aryeh Eldad, the deputy of Israel's conservative National Union party, remarked, "As I shook his hand, I told Tom DeLay that until I heard him speak, I thought I was farthest to the right in the Knesset." Former Mossad chief Danny Yatom said "The Likud is nothing compared to this guy." In 2005, in a snub to the Bush administration, DeLay was the "driving force behind the rejection of direct aid" to the Palestinian Authority. The deal had been brokered by the American Israel Public Affairs Committee. In the wake of the legislation, some Jewish leaders expressed concern "about the degree to which the Texas Republican, an evangelical Christian who opposes the creation of a Palestinian state, will go to undercut American and Israeli attempts to achieve a two-state solution." DeLay has long been a strong critic of Cuban leader Fidel Castro's regime, which DeLay has called a "thugocracy", and a supporter of the U.S. trade embargo against Cuba.
Q: What was a major foreign policy bill he introduced?
A: In 2005, in a snub to the Bush administration, DeLay was the "driving force behind the rejection of direct aid" to the Palestinian Authority.
Q: HOw did the Bush administration respond?
A: In the wake of the legislation, some Jewish leaders expressed concern
|
C_dd4bbf9373d74dd89742ed1d4a7f7dba_0_q#2
|
What were they concerned about?
| 2m
| 2x
|
{
"texts": [
"the degree to which the Texas Republican, an evangelical Christian who opposes the creation of a Palestinian state, will go to undercut American and Israeli attempts to achieve a two-state"
],
"answer_starts": [
1268
]
}
|
{
"text": "the degree to which the Texas Republican, an evangelical Christian who opposes the creation of a Palestinian state, will go to undercut American and Israeli attempts to achieve a two-state",
"answer_start": 1268
}
|
C_dd4bbf9373d74dd89742ed1d4a7f7dba_0
|
Tom DeLay
|
Thomas Dale "Tom" DeLay (; born April 8, 1947) is a former member of the United States House of Representatives, representing Texas's 22nd congressional district from 1985 until 2006. He was Republican Party (GOP) House Majority Leader from 2003-05. DeLay began his career as a politician in 1978 when he was elected to the Texas House of Representatives.
|
Foreign policy
|
DeLay has been a strong supporter of the State of Israel, saying, "The Republican leadership, especially that leadership in the House, has made pro-Israel policy a fundamental component of our foreign policy agenda and it drives the Democrat [sic] leadership crazy--because they just can't figure out why we do it!" In a 2002 speech, DeLay promised to "use every tool at my disposal to ensure that the Republican Conference, and the House of Representatives, continues to preserve and strengthen America's alliance with the State of Israel." On a 2003 trip to Israel, DeLay toured the nation and addressed members of the Knesset. His opposition to land concessions is so strong that Aryeh Eldad, the deputy of Israel's conservative National Union party, remarked, "As I shook his hand, I told Tom DeLay that until I heard him speak, I thought I was farthest to the right in the Knesset." Former Mossad chief Danny Yatom said "The Likud is nothing compared to this guy." In 2005, in a snub to the Bush administration, DeLay was the "driving force behind the rejection of direct aid" to the Palestinian Authority. The deal had been brokered by the American Israel Public Affairs Committee. In the wake of the legislation, some Jewish leaders expressed concern "about the degree to which the Texas Republican, an evangelical Christian who opposes the creation of a Palestinian state, will go to undercut American and Israeli attempts to achieve a two-state solution." DeLay has long been a strong critic of Cuban leader Fidel Castro's regime, which DeLay has called a "thugocracy", and a supporter of the U.S. trade embargo against Cuba.
Q: What was a major foreign policy bill he introduced?
A: In 2005, in a snub to the Bush administration, DeLay was the "driving force behind the rejection of direct aid" to the Palestinian Authority.
Q: HOw did the Bush administration respond?
A: In the wake of the legislation, some Jewish leaders expressed concern
Q: What were they concerned about?
A: the degree to which the Texas Republican, an evangelical Christian who opposes the creation of a Palestinian state, will go to undercut American and Israeli attempts to achieve a two-state
|
C_dd4bbf9373d74dd89742ed1d4a7f7dba_0_q#3
|
Were there othe major bills he introduced?
| 1n
| 2x
|
{
"texts": [
"unknown"
],
"answer_starts": [
1639
]
}
|
{
"text": "unknown",
"answer_start": 1639
}
|
C_dd4bbf9373d74dd89742ed1d4a7f7dba_0
|
Tom DeLay
|
Thomas Dale "Tom" DeLay (; born April 8, 1947) is a former member of the United States House of Representatives, representing Texas's 22nd congressional district from 1985 until 2006. He was Republican Party (GOP) House Majority Leader from 2003-05. DeLay began his career as a politician in 1978 when he was elected to the Texas House of Representatives.
|
Foreign policy
|
DeLay has been a strong supporter of the State of Israel, saying, "The Republican leadership, especially that leadership in the House, has made pro-Israel policy a fundamental component of our foreign policy agenda and it drives the Democrat [sic] leadership crazy--because they just can't figure out why we do it!" In a 2002 speech, DeLay promised to "use every tool at my disposal to ensure that the Republican Conference, and the House of Representatives, continues to preserve and strengthen America's alliance with the State of Israel." On a 2003 trip to Israel, DeLay toured the nation and addressed members of the Knesset. His opposition to land concessions is so strong that Aryeh Eldad, the deputy of Israel's conservative National Union party, remarked, "As I shook his hand, I told Tom DeLay that until I heard him speak, I thought I was farthest to the right in the Knesset." Former Mossad chief Danny Yatom said "The Likud is nothing compared to this guy." In 2005, in a snub to the Bush administration, DeLay was the "driving force behind the rejection of direct aid" to the Palestinian Authority. The deal had been brokered by the American Israel Public Affairs Committee. In the wake of the legislation, some Jewish leaders expressed concern "about the degree to which the Texas Republican, an evangelical Christian who opposes the creation of a Palestinian state, will go to undercut American and Israeli attempts to achieve a two-state solution." DeLay has long been a strong critic of Cuban leader Fidel Castro's regime, which DeLay has called a "thugocracy", and a supporter of the U.S. trade embargo against Cuba.
Q: What was a major foreign policy bill he introduced?
A: In 2005, in a snub to the Bush administration, DeLay was the "driving force behind the rejection of direct aid" to the Palestinian Authority.
Q: HOw did the Bush administration respond?
A: In the wake of the legislation, some Jewish leaders expressed concern
Q: What were they concerned about?
A: the degree to which the Texas Republican, an evangelical Christian who opposes the creation of a Palestinian state, will go to undercut American and Israeli attempts to achieve a two-state
Q: Were there othe major bills he introduced?
A: unknown
|
C_dd4bbf9373d74dd89742ed1d4a7f7dba_0_q#4
|
was he involved in proposing or negotiating any treaties?
| 2m
| 1n
|
{
"texts": [
"On a 2003 trip to Israel, DeLay toured the nation and addressed members of the Knesset."
],
"answer_starts": [
544
]
}
|
{
"text": "On a 2003 trip to Israel, DeLay toured the nation and addressed members of the Knesset.",
"answer_start": 544
}
|
C_dd4bbf9373d74dd89742ed1d4a7f7dba_0
|
Tom DeLay
|
Thomas Dale "Tom" DeLay (; born April 8, 1947) is a former member of the United States House of Representatives, representing Texas's 22nd congressional district from 1985 until 2006. He was Republican Party (GOP) House Majority Leader from 2003-05. DeLay began his career as a politician in 1978 when he was elected to the Texas House of Representatives.
|
Foreign policy
|
DeLay has been a strong supporter of the State of Israel, saying, "The Republican leadership, especially that leadership in the House, has made pro-Israel policy a fundamental component of our foreign policy agenda and it drives the Democrat [sic] leadership crazy--because they just can't figure out why we do it!" In a 2002 speech, DeLay promised to "use every tool at my disposal to ensure that the Republican Conference, and the House of Representatives, continues to preserve and strengthen America's alliance with the State of Israel." On a 2003 trip to Israel, DeLay toured the nation and addressed members of the Knesset. His opposition to land concessions is so strong that Aryeh Eldad, the deputy of Israel's conservative National Union party, remarked, "As I shook his hand, I told Tom DeLay that until I heard him speak, I thought I was farthest to the right in the Knesset." Former Mossad chief Danny Yatom said "The Likud is nothing compared to this guy." In 2005, in a snub to the Bush administration, DeLay was the "driving force behind the rejection of direct aid" to the Palestinian Authority. The deal had been brokered by the American Israel Public Affairs Committee. In the wake of the legislation, some Jewish leaders expressed concern "about the degree to which the Texas Republican, an evangelical Christian who opposes the creation of a Palestinian state, will go to undercut American and Israeli attempts to achieve a two-state solution." DeLay has long been a strong critic of Cuban leader Fidel Castro's regime, which DeLay has called a "thugocracy", and a supporter of the U.S. trade embargo against Cuba.
Q: What was a major foreign policy bill he introduced?
A: In 2005, in a snub to the Bush administration, DeLay was the "driving force behind the rejection of direct aid" to the Palestinian Authority.
Q: HOw did the Bush administration respond?
A: In the wake of the legislation, some Jewish leaders expressed concern
Q: What were they concerned about?
A: the degree to which the Texas Republican, an evangelical Christian who opposes the creation of a Palestinian state, will go to undercut American and Israeli attempts to achieve a two-state
Q: Were there othe major bills he introduced?
A: unknown
Q: was he involved in proposing or negotiating any treaties?
A: On a 2003 trip to Israel, DeLay toured the nation and addressed members of the Knesset.
|
C_dd4bbf9373d74dd89742ed1d4a7f7dba_0_q#5
|
what did he say in his address?
| 0y
| 2x
|
{
"texts": [
"His opposition to land concessions is so strong that Aryeh Eldad, the deputy of Israel's conservative National Union party, remarked,"
],
"answer_starts": [
632
]
}
|
{
"text": "His opposition to land concessions is so strong that Aryeh Eldad, the deputy of Israel's conservative National Union party, remarked,",
"answer_start": 632
}
|
C_dd4bbf9373d74dd89742ed1d4a7f7dba_1
|
Tom DeLay
|
Thomas Dale "Tom" DeLay (; born April 8, 1947) is a former member of the United States House of Representatives, representing Texas's 22nd congressional district from 1985 until 2006. He was Republican Party (GOP) House Majority Leader from 2003-05. DeLay began his career as a politician in 1978 when he was elected to the Texas House of Representatives.
|
Legislative and electoral methods
|
DeLay was known to "primary" Republicans who resisted his votes (i.e., to threaten to endorse and to support a Republican primary challenge to the disobedient representative), and, like many of his predecessors in Congress, used promises of future committee chairmanships to bargain for support among the rank-and-file members of the party. Employing a method known as "catch and release", DeLay allowed centrist or moderately conservative Republicans to take turns voting against controversial bills. If a representative said that a bill was unpopular in his district, then DeLay would ask him to vote for it only if his vote were necessary for passage; if his vote were not needed, then the representative would be able to vote against the party without reprisal, a practice which has been followed by other party leaders and whips from both sides of the aisle, Democrat and Republican, respectively, when in power. In the 108th Congress, a preliminary Medicare vote passed 216-215, a vote on Head Start passed 217-216, a vote on school vouchers for Washington, D.C., passed 209-208, and "Fast track", usually called "trade promotion authority", passed by one vote as well. Both political supporters and opponents remarked on DeLay's ability to sway the votes of his party, a method DeLay described as "growing the vote". DeLay was noted for involving lobbyists in the process of passing House bills. One lobbyist said, "I've had members pull me aside and ask me to talk to another member of Congress about a bill or amendment, but I've never been asked to work on a bill--at least like they are asking us to whip bills now." His ability to raise money gave him additional influence. During the 2004 election cycle, DeLay's political action committee ARMPAC was one of the top contributors to Republican congressional candidates, contributing over $980,000 in total. Partly as a result of DeLay's management abilities, the House Republican caucus under him displayed unprecedented, sustained party cohesion. On September 30, 2004, the House Ethics Committee unanimously admonished DeLay because he "offered to endorse Representative [Nick] Smith's son in exchange for Representative Smith's vote in favor of the Medicare bill."
|
C_dd4bbf9373d74dd89742ed1d4a7f7dba_1_q#0
|
What were some of his legislative and electoral methods?
| 0y
| 2x
|
{
"texts": [
"used promises of future committee chairmanships to bargain for support among the rank-and-file members of the party."
],
"answer_starts": [
224
]
}
|
{
"text": "used promises of future committee chairmanships to bargain for support among the rank-and-file members of the party.",
"answer_start": 224
}
|
C_dd4bbf9373d74dd89742ed1d4a7f7dba_1
|
Tom DeLay
|
Thomas Dale "Tom" DeLay (; born April 8, 1947) is a former member of the United States House of Representatives, representing Texas's 22nd congressional district from 1985 until 2006. He was Republican Party (GOP) House Majority Leader from 2003-05. DeLay began his career as a politician in 1978 when he was elected to the Texas House of Representatives.
|
Legislative and electoral methods
|
DeLay was known to "primary" Republicans who resisted his votes (i.e., to threaten to endorse and to support a Republican primary challenge to the disobedient representative), and, like many of his predecessors in Congress, used promises of future committee chairmanships to bargain for support among the rank-and-file members of the party. Employing a method known as "catch and release", DeLay allowed centrist or moderately conservative Republicans to take turns voting against controversial bills. If a representative said that a bill was unpopular in his district, then DeLay would ask him to vote for it only if his vote were necessary for passage; if his vote were not needed, then the representative would be able to vote against the party without reprisal, a practice which has been followed by other party leaders and whips from both sides of the aisle, Democrat and Republican, respectively, when in power. In the 108th Congress, a preliminary Medicare vote passed 216-215, a vote on Head Start passed 217-216, a vote on school vouchers for Washington, D.C., passed 209-208, and "Fast track", usually called "trade promotion authority", passed by one vote as well. Both political supporters and opponents remarked on DeLay's ability to sway the votes of his party, a method DeLay described as "growing the vote". DeLay was noted for involving lobbyists in the process of passing House bills. One lobbyist said, "I've had members pull me aside and ask me to talk to another member of Congress about a bill or amendment, but I've never been asked to work on a bill--at least like they are asking us to whip bills now." His ability to raise money gave him additional influence. During the 2004 election cycle, DeLay's political action committee ARMPAC was one of the top contributors to Republican congressional candidates, contributing over $980,000 in total. Partly as a result of DeLay's management abilities, the House Republican caucus under him displayed unprecedented, sustained party cohesion. On September 30, 2004, the House Ethics Committee unanimously admonished DeLay because he "offered to endorse Representative [Nick] Smith's son in exchange for Representative Smith's vote in favor of the Medicare bill."
Q: What were some of his legislative and electoral methods?
A: used promises of future committee chairmanships to bargain for support among the rank-and-file members of the party.
|
C_dd4bbf9373d74dd89742ed1d4a7f7dba_1_q#1
|
Did he usually keep his promises?
| 1n
| 2x
|
{
"texts": [
"unknown"
],
"answer_starts": [
2233
]
}
|
{
"text": "unknown",
"answer_start": 2233
}
|
C_dd4bbf9373d74dd89742ed1d4a7f7dba_1
|
Tom DeLay
|
Thomas Dale "Tom" DeLay (; born April 8, 1947) is a former member of the United States House of Representatives, representing Texas's 22nd congressional district from 1985 until 2006. He was Republican Party (GOP) House Majority Leader from 2003-05. DeLay began his career as a politician in 1978 when he was elected to the Texas House of Representatives.
|
Legislative and electoral methods
|
DeLay was known to "primary" Republicans who resisted his votes (i.e., to threaten to endorse and to support a Republican primary challenge to the disobedient representative), and, like many of his predecessors in Congress, used promises of future committee chairmanships to bargain for support among the rank-and-file members of the party. Employing a method known as "catch and release", DeLay allowed centrist or moderately conservative Republicans to take turns voting against controversial bills. If a representative said that a bill was unpopular in his district, then DeLay would ask him to vote for it only if his vote were necessary for passage; if his vote were not needed, then the representative would be able to vote against the party without reprisal, a practice which has been followed by other party leaders and whips from both sides of the aisle, Democrat and Republican, respectively, when in power. In the 108th Congress, a preliminary Medicare vote passed 216-215, a vote on Head Start passed 217-216, a vote on school vouchers for Washington, D.C., passed 209-208, and "Fast track", usually called "trade promotion authority", passed by one vote as well. Both political supporters and opponents remarked on DeLay's ability to sway the votes of his party, a method DeLay described as "growing the vote". DeLay was noted for involving lobbyists in the process of passing House bills. One lobbyist said, "I've had members pull me aside and ask me to talk to another member of Congress about a bill or amendment, but I've never been asked to work on a bill--at least like they are asking us to whip bills now." His ability to raise money gave him additional influence. During the 2004 election cycle, DeLay's political action committee ARMPAC was one of the top contributors to Republican congressional candidates, contributing over $980,000 in total. Partly as a result of DeLay's management abilities, the House Republican caucus under him displayed unprecedented, sustained party cohesion. On September 30, 2004, the House Ethics Committee unanimously admonished DeLay because he "offered to endorse Representative [Nick] Smith's son in exchange for Representative Smith's vote in favor of the Medicare bill."
Q: What were some of his legislative and electoral methods?
A: used promises of future committee chairmanships to bargain for support among the rank-and-file members of the party.
Q: Did he usually keep his promises?
A: unknown
|
C_dd4bbf9373d74dd89742ed1d4a7f7dba_1_q#2
|
Did he have any other methods or tactics?
| 0y
| 0y
|
{
"texts": [
"Employing a method known as \"catch and release\", DeLay allowed centrist or moderately conservative Republicans to take turns voting against controversial bills."
],
"answer_starts": [
341
]
}
|
{
"text": "Employing a method known as \"catch and release\", DeLay allowed centrist or moderately conservative Republicans to take turns voting against controversial bills.",
"answer_start": 341
}
|
C_dd4bbf9373d74dd89742ed1d4a7f7dba_1
|
Tom DeLay
|
Thomas Dale "Tom" DeLay (; born April 8, 1947) is a former member of the United States House of Representatives, representing Texas's 22nd congressional district from 1985 until 2006. He was Republican Party (GOP) House Majority Leader from 2003-05. DeLay began his career as a politician in 1978 when he was elected to the Texas House of Representatives.
|
Legislative and electoral methods
|
DeLay was known to "primary" Republicans who resisted his votes (i.e., to threaten to endorse and to support a Republican primary challenge to the disobedient representative), and, like many of his predecessors in Congress, used promises of future committee chairmanships to bargain for support among the rank-and-file members of the party. Employing a method known as "catch and release", DeLay allowed centrist or moderately conservative Republicans to take turns voting against controversial bills. If a representative said that a bill was unpopular in his district, then DeLay would ask him to vote for it only if his vote were necessary for passage; if his vote were not needed, then the representative would be able to vote against the party without reprisal, a practice which has been followed by other party leaders and whips from both sides of the aisle, Democrat and Republican, respectively, when in power. In the 108th Congress, a preliminary Medicare vote passed 216-215, a vote on Head Start passed 217-216, a vote on school vouchers for Washington, D.C., passed 209-208, and "Fast track", usually called "trade promotion authority", passed by one vote as well. Both political supporters and opponents remarked on DeLay's ability to sway the votes of his party, a method DeLay described as "growing the vote". DeLay was noted for involving lobbyists in the process of passing House bills. One lobbyist said, "I've had members pull me aside and ask me to talk to another member of Congress about a bill or amendment, but I've never been asked to work on a bill--at least like they are asking us to whip bills now." His ability to raise money gave him additional influence. During the 2004 election cycle, DeLay's political action committee ARMPAC was one of the top contributors to Republican congressional candidates, contributing over $980,000 in total. Partly as a result of DeLay's management abilities, the House Republican caucus under him displayed unprecedented, sustained party cohesion. On September 30, 2004, the House Ethics Committee unanimously admonished DeLay because he "offered to endorse Representative [Nick] Smith's son in exchange for Representative Smith's vote in favor of the Medicare bill."
Q: What were some of his legislative and electoral methods?
A: used promises of future committee chairmanships to bargain for support among the rank-and-file members of the party.
Q: Did he usually keep his promises?
A: unknown
Q: Did he have any other methods or tactics?
A: Employing a method known as "catch and release", DeLay allowed centrist or moderately conservative Republicans to take turns voting against controversial bills.
|
C_dd4bbf9373d74dd89742ed1d4a7f7dba_1_q#3
|
Was this effective?
| 0y
| 0y
|
{
"texts": [
"Both political supporters and opponents remarked on DeLay's ability to sway the votes of his party,"
],
"answer_starts": [
1177
]
}
|
{
"text": "Both political supporters and opponents remarked on DeLay's ability to sway the votes of his party,",
"answer_start": 1177
}
|
C_dd4bbf9373d74dd89742ed1d4a7f7dba_1
|
Tom DeLay
|
Thomas Dale "Tom" DeLay (; born April 8, 1947) is a former member of the United States House of Representatives, representing Texas's 22nd congressional district from 1985 until 2006. He was Republican Party (GOP) House Majority Leader from 2003-05. DeLay began his career as a politician in 1978 when he was elected to the Texas House of Representatives.
|
Legislative and electoral methods
|
DeLay was known to "primary" Republicans who resisted his votes (i.e., to threaten to endorse and to support a Republican primary challenge to the disobedient representative), and, like many of his predecessors in Congress, used promises of future committee chairmanships to bargain for support among the rank-and-file members of the party. Employing a method known as "catch and release", DeLay allowed centrist or moderately conservative Republicans to take turns voting against controversial bills. If a representative said that a bill was unpopular in his district, then DeLay would ask him to vote for it only if his vote were necessary for passage; if his vote were not needed, then the representative would be able to vote against the party without reprisal, a practice which has been followed by other party leaders and whips from both sides of the aisle, Democrat and Republican, respectively, when in power. In the 108th Congress, a preliminary Medicare vote passed 216-215, a vote on Head Start passed 217-216, a vote on school vouchers for Washington, D.C., passed 209-208, and "Fast track", usually called "trade promotion authority", passed by one vote as well. Both political supporters and opponents remarked on DeLay's ability to sway the votes of his party, a method DeLay described as "growing the vote". DeLay was noted for involving lobbyists in the process of passing House bills. One lobbyist said, "I've had members pull me aside and ask me to talk to another member of Congress about a bill or amendment, but I've never been asked to work on a bill--at least like they are asking us to whip bills now." His ability to raise money gave him additional influence. During the 2004 election cycle, DeLay's political action committee ARMPAC was one of the top contributors to Republican congressional candidates, contributing over $980,000 in total. Partly as a result of DeLay's management abilities, the House Republican caucus under him displayed unprecedented, sustained party cohesion. On September 30, 2004, the House Ethics Committee unanimously admonished DeLay because he "offered to endorse Representative [Nick] Smith's son in exchange for Representative Smith's vote in favor of the Medicare bill."
Q: What were some of his legislative and electoral methods?
A: used promises of future committee chairmanships to bargain for support among the rank-and-file members of the party.
Q: Did he usually keep his promises?
A: unknown
Q: Did he have any other methods or tactics?
A: Employing a method known as "catch and release", DeLay allowed centrist or moderately conservative Republicans to take turns voting against controversial bills.
Q: Was this effective?
A: Both political supporters and opponents remarked on DeLay's ability to sway the votes of his party,
|
C_dd4bbf9373d74dd89742ed1d4a7f7dba_1_q#4
|
What was he most known for?
| 0y
| 2x
|
{
"texts": [
"On September 30, 2004, the House Ethics Committee unanimously admonished DeLay"
],
"answer_starts": [
2013
]
}
|
{
"text": "On September 30, 2004, the House Ethics Committee unanimously admonished DeLay",
"answer_start": 2013
}
|
C_dd4bbf9373d74dd89742ed1d4a7f7dba_1
|
Tom DeLay
|
Thomas Dale "Tom" DeLay (; born April 8, 1947) is a former member of the United States House of Representatives, representing Texas's 22nd congressional district from 1985 until 2006. He was Republican Party (GOP) House Majority Leader from 2003-05. DeLay began his career as a politician in 1978 when he was elected to the Texas House of Representatives.
|
Legislative and electoral methods
|
DeLay was known to "primary" Republicans who resisted his votes (i.e., to threaten to endorse and to support a Republican primary challenge to the disobedient representative), and, like many of his predecessors in Congress, used promises of future committee chairmanships to bargain for support among the rank-and-file members of the party. Employing a method known as "catch and release", DeLay allowed centrist or moderately conservative Republicans to take turns voting against controversial bills. If a representative said that a bill was unpopular in his district, then DeLay would ask him to vote for it only if his vote were necessary for passage; if his vote were not needed, then the representative would be able to vote against the party without reprisal, a practice which has been followed by other party leaders and whips from both sides of the aisle, Democrat and Republican, respectively, when in power. In the 108th Congress, a preliminary Medicare vote passed 216-215, a vote on Head Start passed 217-216, a vote on school vouchers for Washington, D.C., passed 209-208, and "Fast track", usually called "trade promotion authority", passed by one vote as well. Both political supporters and opponents remarked on DeLay's ability to sway the votes of his party, a method DeLay described as "growing the vote". DeLay was noted for involving lobbyists in the process of passing House bills. One lobbyist said, "I've had members pull me aside and ask me to talk to another member of Congress about a bill or amendment, but I've never been asked to work on a bill--at least like they are asking us to whip bills now." His ability to raise money gave him additional influence. During the 2004 election cycle, DeLay's political action committee ARMPAC was one of the top contributors to Republican congressional candidates, contributing over $980,000 in total. Partly as a result of DeLay's management abilities, the House Republican caucus under him displayed unprecedented, sustained party cohesion. On September 30, 2004, the House Ethics Committee unanimously admonished DeLay because he "offered to endorse Representative [Nick] Smith's son in exchange for Representative Smith's vote in favor of the Medicare bill."
Q: What were some of his legislative and electoral methods?
A: used promises of future committee chairmanships to bargain for support among the rank-and-file members of the party.
Q: Did he usually keep his promises?
A: unknown
Q: Did he have any other methods or tactics?
A: Employing a method known as "catch and release", DeLay allowed centrist or moderately conservative Republicans to take turns voting against controversial bills.
Q: Was this effective?
A: Both political supporters and opponents remarked on DeLay's ability to sway the votes of his party,
Q: What was he most known for?
A: On September 30, 2004, the House Ethics Committee unanimously admonished DeLay
|
C_dd4bbf9373d74dd89742ed1d4a7f7dba_1_q#5
|
What did they admonish him for?
| 1n
| 2x
|
{
"texts": [
"he \"offered to endorse Representative [Nick] Smith's son in exchange for Representative Smith's vote in favor of the Medicare bill.\""
],
"answer_starts": [
2100
]
}
|
{
"text": "he \"offered to endorse Representative [Nick] Smith's son in exchange for Representative Smith's vote in favor of the Medicare bill.\"",
"answer_start": 2100
}
|
C_c6c79a4f96a74f119c45191b1aa2ab43_0
|
William Thomson, 1st Baron Kelvin
|
William Thomson, 1st Baron Kelvin, (26 June 1824 - 17 December 1907) was a Scots-Irish mathematical physicist and engineer who was born in Belfast in 1824. At the University of Glasgow he did important work in the mathematical analysis of electricity and formulation of the first and second laws of thermodynamics, and did much to unify the emerging discipline of physics in its modern form. He worked closely with mathematics professor Hugh Blackburn in his work.
|
Calculations on data rate
|
Though now eminent in the academic field, Thomson was obscure to the general public. In September 1852, he married childhood sweetheart Margaret Crum, daughter of Walter Crum; but her health broke down on their honeymoon and, over the next seventeen years, Thomson was distracted by her suffering. On 16 October 1854, George Gabriel Stokes wrote to Thomson to try to re-interest him in work by asking his opinion on some experiments of Michael Faraday on the proposed transatlantic telegraph cable. Faraday had demonstrated how the construction of a cable would limit the rate at which messages could be sent - in modern terms, the bandwidth. Thomson jumped at the problem and published his response that month. He expressed his results in terms of the data rate that could be achieved and the economic consequences in terms of the potential revenue of the transatlantic undertaking. In a further 1855 analysis, Thomson stressed the impact that the design of the cable would have on its profitability. Thomson contended that the signalling speed through a given cable was inversely proportional to the square of the length of the cable. Thomson's results were disputed at a meeting of the British Association in 1856 by Wildman Whitehouse, the electrician of the Atlantic Telegraph Company. Whitehouse had possibly misinterpreted the results of his own experiments but was doubtless feeling financial pressure as plans for the cable were already well under way. He believed that Thomson's calculations implied that the cable must be "abandoned as being practically and commercially impossible." Thomson attacked Whitehouse's contention in a letter to the popular Athenaeum magazine, pitching himself into the public eye. Thomson recommended a larger conductor with a larger cross section of insulation. However, he thought Whitehouse no fool and suspected that he might have the practical skill to make the existing design work. Thomson's work had, however, caught the eye of the project's undertakers and in December 1856, he was elected to the board of directors of the Atlantic Telegraph Company.
|
C_c6c79a4f96a74f119c45191b1aa2ab43_0_q#0
|
What does William have to do with calculations on data rate?
| 2m
| 2x
|
{
"texts": [
"Thomson contended that the signalling speed through a given cable was inversely proportional to the square of the length of the cable."
],
"answer_starts": [
1004
]
}
|
{
"text": "Thomson contended that the signalling speed through a given cable was inversely proportional to the square of the length of the cable.",
"answer_start": 1004
}
|
C_c6c79a4f96a74f119c45191b1aa2ab43_0
|
William Thomson, 1st Baron Kelvin
|
William Thomson, 1st Baron Kelvin, (26 June 1824 - 17 December 1907) was a Scots-Irish mathematical physicist and engineer who was born in Belfast in 1824. At the University of Glasgow he did important work in the mathematical analysis of electricity and formulation of the first and second laws of thermodynamics, and did much to unify the emerging discipline of physics in its modern form. He worked closely with mathematics professor Hugh Blackburn in his work.
|
Calculations on data rate
|
Though now eminent in the academic field, Thomson was obscure to the general public. In September 1852, he married childhood sweetheart Margaret Crum, daughter of Walter Crum; but her health broke down on their honeymoon and, over the next seventeen years, Thomson was distracted by her suffering. On 16 October 1854, George Gabriel Stokes wrote to Thomson to try to re-interest him in work by asking his opinion on some experiments of Michael Faraday on the proposed transatlantic telegraph cable. Faraday had demonstrated how the construction of a cable would limit the rate at which messages could be sent - in modern terms, the bandwidth. Thomson jumped at the problem and published his response that month. He expressed his results in terms of the data rate that could be achieved and the economic consequences in terms of the potential revenue of the transatlantic undertaking. In a further 1855 analysis, Thomson stressed the impact that the design of the cable would have on its profitability. Thomson contended that the signalling speed through a given cable was inversely proportional to the square of the length of the cable. Thomson's results were disputed at a meeting of the British Association in 1856 by Wildman Whitehouse, the electrician of the Atlantic Telegraph Company. Whitehouse had possibly misinterpreted the results of his own experiments but was doubtless feeling financial pressure as plans for the cable were already well under way. He believed that Thomson's calculations implied that the cable must be "abandoned as being practically and commercially impossible." Thomson attacked Whitehouse's contention in a letter to the popular Athenaeum magazine, pitching himself into the public eye. Thomson recommended a larger conductor with a larger cross section of insulation. However, he thought Whitehouse no fool and suspected that he might have the practical skill to make the existing design work. Thomson's work had, however, caught the eye of the project's undertakers and in December 1856, he was elected to the board of directors of the Atlantic Telegraph Company.
Q: What does William have to do with calculations on data rate?
A: Thomson contended that the signalling speed through a given cable was inversely proportional to the square of the length of the cable.
|
C_c6c79a4f96a74f119c45191b1aa2ab43_0_q#1
|
How were his contributions helpful to society?
| 2m
| 2x
|
{
"texts": [
"December 1856, he was elected to the board of directors of the Atlantic Telegraph Company."
],
"answer_starts": [
2012
]
}
|
{
"text": "December 1856, he was elected to the board of directors of the Atlantic Telegraph Company.",
"answer_start": 2012
}
|
C_c6c79a4f96a74f119c45191b1aa2ab43_0
|
William Thomson, 1st Baron Kelvin
|
William Thomson, 1st Baron Kelvin, (26 June 1824 - 17 December 1907) was a Scots-Irish mathematical physicist and engineer who was born in Belfast in 1824. At the University of Glasgow he did important work in the mathematical analysis of electricity and formulation of the first and second laws of thermodynamics, and did much to unify the emerging discipline of physics in its modern form. He worked closely with mathematics professor Hugh Blackburn in his work.
|
Calculations on data rate
|
Though now eminent in the academic field, Thomson was obscure to the general public. In September 1852, he married childhood sweetheart Margaret Crum, daughter of Walter Crum; but her health broke down on their honeymoon and, over the next seventeen years, Thomson was distracted by her suffering. On 16 October 1854, George Gabriel Stokes wrote to Thomson to try to re-interest him in work by asking his opinion on some experiments of Michael Faraday on the proposed transatlantic telegraph cable. Faraday had demonstrated how the construction of a cable would limit the rate at which messages could be sent - in modern terms, the bandwidth. Thomson jumped at the problem and published his response that month. He expressed his results in terms of the data rate that could be achieved and the economic consequences in terms of the potential revenue of the transatlantic undertaking. In a further 1855 analysis, Thomson stressed the impact that the design of the cable would have on its profitability. Thomson contended that the signalling speed through a given cable was inversely proportional to the square of the length of the cable. Thomson's results were disputed at a meeting of the British Association in 1856 by Wildman Whitehouse, the electrician of the Atlantic Telegraph Company. Whitehouse had possibly misinterpreted the results of his own experiments but was doubtless feeling financial pressure as plans for the cable were already well under way. He believed that Thomson's calculations implied that the cable must be "abandoned as being practically and commercially impossible." Thomson attacked Whitehouse's contention in a letter to the popular Athenaeum magazine, pitching himself into the public eye. Thomson recommended a larger conductor with a larger cross section of insulation. However, he thought Whitehouse no fool and suspected that he might have the practical skill to make the existing design work. Thomson's work had, however, caught the eye of the project's undertakers and in December 1856, he was elected to the board of directors of the Atlantic Telegraph Company.
Q: What does William have to do with calculations on data rate?
A: Thomson contended that the signalling speed through a given cable was inversely proportional to the square of the length of the cable.
Q: How were his contributions helpful to society?
A: December 1856, he was elected to the board of directors of the Atlantic Telegraph Company.
|
C_c6c79a4f96a74f119c45191b1aa2ab43_0_q#2
|
Are there any other interesting aspects about this article?
| 0y
| 0y
|
{
"texts": [
"Thomson attacked Whitehouse's contention in a letter to the popular Athenaeum magazine, pitching himself into the public eye."
],
"answer_starts": [
1598
]
}
|
{
"text": "Thomson attacked Whitehouse's contention in a letter to the popular Athenaeum magazine, pitching himself into the public eye.",
"answer_start": 1598
}
|
C_c6c79a4f96a74f119c45191b1aa2ab43_0
|
William Thomson, 1st Baron Kelvin
|
William Thomson, 1st Baron Kelvin, (26 June 1824 - 17 December 1907) was a Scots-Irish mathematical physicist and engineer who was born in Belfast in 1824. At the University of Glasgow he did important work in the mathematical analysis of electricity and formulation of the first and second laws of thermodynamics, and did much to unify the emerging discipline of physics in its modern form. He worked closely with mathematics professor Hugh Blackburn in his work.
|
Calculations on data rate
|
Though now eminent in the academic field, Thomson was obscure to the general public. In September 1852, he married childhood sweetheart Margaret Crum, daughter of Walter Crum; but her health broke down on their honeymoon and, over the next seventeen years, Thomson was distracted by her suffering. On 16 October 1854, George Gabriel Stokes wrote to Thomson to try to re-interest him in work by asking his opinion on some experiments of Michael Faraday on the proposed transatlantic telegraph cable. Faraday had demonstrated how the construction of a cable would limit the rate at which messages could be sent - in modern terms, the bandwidth. Thomson jumped at the problem and published his response that month. He expressed his results in terms of the data rate that could be achieved and the economic consequences in terms of the potential revenue of the transatlantic undertaking. In a further 1855 analysis, Thomson stressed the impact that the design of the cable would have on its profitability. Thomson contended that the signalling speed through a given cable was inversely proportional to the square of the length of the cable. Thomson's results were disputed at a meeting of the British Association in 1856 by Wildman Whitehouse, the electrician of the Atlantic Telegraph Company. Whitehouse had possibly misinterpreted the results of his own experiments but was doubtless feeling financial pressure as plans for the cable were already well under way. He believed that Thomson's calculations implied that the cable must be "abandoned as being practically and commercially impossible." Thomson attacked Whitehouse's contention in a letter to the popular Athenaeum magazine, pitching himself into the public eye. Thomson recommended a larger conductor with a larger cross section of insulation. However, he thought Whitehouse no fool and suspected that he might have the practical skill to make the existing design work. Thomson's work had, however, caught the eye of the project's undertakers and in December 1856, he was elected to the board of directors of the Atlantic Telegraph Company.
Q: What does William have to do with calculations on data rate?
A: Thomson contended that the signalling speed through a given cable was inversely proportional to the square of the length of the cable.
Q: How were his contributions helpful to society?
A: December 1856, he was elected to the board of directors of the Atlantic Telegraph Company.
Q: Are there any other interesting aspects about this article?
A: Thomson attacked Whitehouse's contention in a letter to the popular Athenaeum magazine, pitching himself into the public eye.
|
C_c6c79a4f96a74f119c45191b1aa2ab43_0_q#3
|
How did the public react to this letter?
| 2m
| 2x
|
{
"texts": [
"caught the eye of the project's undertakers and in December 1856, he was elected to the board of directors of the Atlantic Telegraph Company."
],
"answer_starts": [
1961
]
}
|
{
"text": "caught the eye of the project's undertakers and in December 1856, he was elected to the board of directors of the Atlantic Telegraph Company.",
"answer_start": 1961
}
|
C_c6c79a4f96a74f119c45191b1aa2ab43_0
|
William Thomson, 1st Baron Kelvin
|
William Thomson, 1st Baron Kelvin, (26 June 1824 - 17 December 1907) was a Scots-Irish mathematical physicist and engineer who was born in Belfast in 1824. At the University of Glasgow he did important work in the mathematical analysis of electricity and formulation of the first and second laws of thermodynamics, and did much to unify the emerging discipline of physics in its modern form. He worked closely with mathematics professor Hugh Blackburn in his work.
|
Calculations on data rate
|
Though now eminent in the academic field, Thomson was obscure to the general public. In September 1852, he married childhood sweetheart Margaret Crum, daughter of Walter Crum; but her health broke down on their honeymoon and, over the next seventeen years, Thomson was distracted by her suffering. On 16 October 1854, George Gabriel Stokes wrote to Thomson to try to re-interest him in work by asking his opinion on some experiments of Michael Faraday on the proposed transatlantic telegraph cable. Faraday had demonstrated how the construction of a cable would limit the rate at which messages could be sent - in modern terms, the bandwidth. Thomson jumped at the problem and published his response that month. He expressed his results in terms of the data rate that could be achieved and the economic consequences in terms of the potential revenue of the transatlantic undertaking. In a further 1855 analysis, Thomson stressed the impact that the design of the cable would have on its profitability. Thomson contended that the signalling speed through a given cable was inversely proportional to the square of the length of the cable. Thomson's results were disputed at a meeting of the British Association in 1856 by Wildman Whitehouse, the electrician of the Atlantic Telegraph Company. Whitehouse had possibly misinterpreted the results of his own experiments but was doubtless feeling financial pressure as plans for the cable were already well under way. He believed that Thomson's calculations implied that the cable must be "abandoned as being practically and commercially impossible." Thomson attacked Whitehouse's contention in a letter to the popular Athenaeum magazine, pitching himself into the public eye. Thomson recommended a larger conductor with a larger cross section of insulation. However, he thought Whitehouse no fool and suspected that he might have the practical skill to make the existing design work. Thomson's work had, however, caught the eye of the project's undertakers and in December 1856, he was elected to the board of directors of the Atlantic Telegraph Company.
Q: What does William have to do with calculations on data rate?
A: Thomson contended that the signalling speed through a given cable was inversely proportional to the square of the length of the cable.
Q: How were his contributions helpful to society?
A: December 1856, he was elected to the board of directors of the Atlantic Telegraph Company.
Q: Are there any other interesting aspects about this article?
A: Thomson attacked Whitehouse's contention in a letter to the popular Athenaeum magazine, pitching himself into the public eye.
Q: How did the public react to this letter?
A: caught the eye of the project's undertakers and in December 1856, he was elected to the board of directors of the Atlantic Telegraph Company.
|
C_c6c79a4f96a74f119c45191b1aa2ab43_0_q#4
|
What did he do once in the board of directors?
| 1n
| 2x
|
{
"texts": [
"unknown"
],
"answer_starts": [
2103
]
}
|
{
"text": "unknown",
"answer_start": 2103
}
|
C_c6c79a4f96a74f119c45191b1aa2ab43_0
|
William Thomson, 1st Baron Kelvin
|
William Thomson, 1st Baron Kelvin, (26 June 1824 - 17 December 1907) was a Scots-Irish mathematical physicist and engineer who was born in Belfast in 1824. At the University of Glasgow he did important work in the mathematical analysis of electricity and formulation of the first and second laws of thermodynamics, and did much to unify the emerging discipline of physics in its modern form. He worked closely with mathematics professor Hugh Blackburn in his work.
|
Calculations on data rate
|
Though now eminent in the academic field, Thomson was obscure to the general public. In September 1852, he married childhood sweetheart Margaret Crum, daughter of Walter Crum; but her health broke down on their honeymoon and, over the next seventeen years, Thomson was distracted by her suffering. On 16 October 1854, George Gabriel Stokes wrote to Thomson to try to re-interest him in work by asking his opinion on some experiments of Michael Faraday on the proposed transatlantic telegraph cable. Faraday had demonstrated how the construction of a cable would limit the rate at which messages could be sent - in modern terms, the bandwidth. Thomson jumped at the problem and published his response that month. He expressed his results in terms of the data rate that could be achieved and the economic consequences in terms of the potential revenue of the transatlantic undertaking. In a further 1855 analysis, Thomson stressed the impact that the design of the cable would have on its profitability. Thomson contended that the signalling speed through a given cable was inversely proportional to the square of the length of the cable. Thomson's results were disputed at a meeting of the British Association in 1856 by Wildman Whitehouse, the electrician of the Atlantic Telegraph Company. Whitehouse had possibly misinterpreted the results of his own experiments but was doubtless feeling financial pressure as plans for the cable were already well under way. He believed that Thomson's calculations implied that the cable must be "abandoned as being practically and commercially impossible." Thomson attacked Whitehouse's contention in a letter to the popular Athenaeum magazine, pitching himself into the public eye. Thomson recommended a larger conductor with a larger cross section of insulation. However, he thought Whitehouse no fool and suspected that he might have the practical skill to make the existing design work. Thomson's work had, however, caught the eye of the project's undertakers and in December 1856, he was elected to the board of directors of the Atlantic Telegraph Company.
Q: What does William have to do with calculations on data rate?
A: Thomson contended that the signalling speed through a given cable was inversely proportional to the square of the length of the cable.
Q: How were his contributions helpful to society?
A: December 1856, he was elected to the board of directors of the Atlantic Telegraph Company.
Q: Are there any other interesting aspects about this article?
A: Thomson attacked Whitehouse's contention in a letter to the popular Athenaeum magazine, pitching himself into the public eye.
Q: How did the public react to this letter?
A: caught the eye of the project's undertakers and in December 1856, he was elected to the board of directors of the Atlantic Telegraph Company.
Q: What did he do once in the board of directors?
A: unknown
|
C_c6c79a4f96a74f119c45191b1aa2ab43_0_q#5
|
What are other interesting aspects of his calculation methods?
| 1n
| 2x
|
{
"texts": [
"Thomson recommended a larger conductor with a larger cross section of insulation."
],
"answer_starts": [
1724
]
}
|
{
"text": "Thomson recommended a larger conductor with a larger cross section of insulation.",
"answer_start": 1724
}
|
C_c6c79a4f96a74f119c45191b1aa2ab43_1
|
William Thomson, 1st Baron Kelvin
|
William Thomson, 1st Baron Kelvin, (26 June 1824 - 17 December 1907) was a Scots-Irish mathematical physicist and engineer who was born in Belfast in 1824. At the University of Glasgow he did important work in the mathematical analysis of electricity and formulation of the first and second laws of thermodynamics, and did much to unify the emerging discipline of physics in its modern form. He worked closely with mathematics professor Hugh Blackburn in his work.
|
Cambridge
|
William's father was able to make a generous provision for his favourite son's education and, in 1841, installed him, with extensive letters of introduction and ample accommodation, at Peterhouse, Cambridge. In 1845 Thomson graduated as Second Wrangler. He also won the First Smith's Prize, which, unlike the tripos, is a test of original research. Robert Leslie Ellis, one of the examiners, is said to have declared to another examiner "You and I are just about fit to mend his pens." While at Cambridge, Thomson was active in sports, athletics and sculling, winning the Colquhoun Sculls in 1843. He also took a lively interest in the classics, music, and literature; but the real love of his intellectual life was the pursuit of science. The study of mathematics, physics, and in particular, of electricity, had captivated his imagination. In 1845, he gave the first mathematical development of Faraday's idea that electric induction takes place through an intervening medium, or "dielectric", and not by some incomprehensible "action at a distance". He also devised the mathematical technique of electrical images, which became a powerful agent in solving problems of electrostatics, the science which deals with the forces between electrically charged bodies at rest. It was partly in response to his encouragement that Faraday undertook the research in September 1845 that led to the discovery of the Faraday effect, which established that light and magnetic (and thus electric) phenomena were related. He was elected a fellow of St. Peter's (as Peterhouse was often called at the time) in June 1845. On gaining the fellowship, he spent some time in the laboratory of the celebrated Henri Victor Regnault, at Paris; but in 1846 he was appointed to the chair of natural philosophy in the University of Glasgow. At twenty-two he found himself wearing the gown of a learned professor in one of the oldest Universities in the country, and lecturing to the class of which he was a first year student but a few years before.
|
C_c6c79a4f96a74f119c45191b1aa2ab43_1_q#0
|
What was relevant during this time period?
| 0y
| 2x
|
{
"texts": [
"While at Cambridge, Thomson was active in sports,"
],
"answer_starts": [
487
]
}
|
{
"text": "While at Cambridge, Thomson was active in sports,",
"answer_start": 487
}
|
C_c6c79a4f96a74f119c45191b1aa2ab43_1
|
William Thomson, 1st Baron Kelvin
|
William Thomson, 1st Baron Kelvin, (26 June 1824 - 17 December 1907) was a Scots-Irish mathematical physicist and engineer who was born in Belfast in 1824. At the University of Glasgow he did important work in the mathematical analysis of electricity and formulation of the first and second laws of thermodynamics, and did much to unify the emerging discipline of physics in its modern form. He worked closely with mathematics professor Hugh Blackburn in his work.
|
Cambridge
|
William's father was able to make a generous provision for his favourite son's education and, in 1841, installed him, with extensive letters of introduction and ample accommodation, at Peterhouse, Cambridge. In 1845 Thomson graduated as Second Wrangler. He also won the First Smith's Prize, which, unlike the tripos, is a test of original research. Robert Leslie Ellis, one of the examiners, is said to have declared to another examiner "You and I are just about fit to mend his pens." While at Cambridge, Thomson was active in sports, athletics and sculling, winning the Colquhoun Sculls in 1843. He also took a lively interest in the classics, music, and literature; but the real love of his intellectual life was the pursuit of science. The study of mathematics, physics, and in particular, of electricity, had captivated his imagination. In 1845, he gave the first mathematical development of Faraday's idea that electric induction takes place through an intervening medium, or "dielectric", and not by some incomprehensible "action at a distance". He also devised the mathematical technique of electrical images, which became a powerful agent in solving problems of electrostatics, the science which deals with the forces between electrically charged bodies at rest. It was partly in response to his encouragement that Faraday undertook the research in September 1845 that led to the discovery of the Faraday effect, which established that light and magnetic (and thus electric) phenomena were related. He was elected a fellow of St. Peter's (as Peterhouse was often called at the time) in June 1845. On gaining the fellowship, he spent some time in the laboratory of the celebrated Henri Victor Regnault, at Paris; but in 1846 he was appointed to the chair of natural philosophy in the University of Glasgow. At twenty-two he found himself wearing the gown of a learned professor in one of the oldest Universities in the country, and lecturing to the class of which he was a first year student but a few years before.
Q: What was relevant during this time period?
A: While at Cambridge, Thomson was active in sports,
|
C_c6c79a4f96a74f119c45191b1aa2ab43_1_q#1
|
What studies did he pursue?
| 0y
| 2x
|
{
"texts": [
"He also took a lively interest in the classics, music, and literature; but the real love of his intellectual life was the pursuit of science."
],
"answer_starts": [
599
]
}
|
{
"text": "He also took a lively interest in the classics, music, and literature; but the real love of his intellectual life was the pursuit of science.",
"answer_start": 599
}
|
C_c6c79a4f96a74f119c45191b1aa2ab43_1
|
William Thomson, 1st Baron Kelvin
|
William Thomson, 1st Baron Kelvin, (26 June 1824 - 17 December 1907) was a Scots-Irish mathematical physicist and engineer who was born in Belfast in 1824. At the University of Glasgow he did important work in the mathematical analysis of electricity and formulation of the first and second laws of thermodynamics, and did much to unify the emerging discipline of physics in its modern form. He worked closely with mathematics professor Hugh Blackburn in his work.
|
Cambridge
|
William's father was able to make a generous provision for his favourite son's education and, in 1841, installed him, with extensive letters of introduction and ample accommodation, at Peterhouse, Cambridge. In 1845 Thomson graduated as Second Wrangler. He also won the First Smith's Prize, which, unlike the tripos, is a test of original research. Robert Leslie Ellis, one of the examiners, is said to have declared to another examiner "You and I are just about fit to mend his pens." While at Cambridge, Thomson was active in sports, athletics and sculling, winning the Colquhoun Sculls in 1843. He also took a lively interest in the classics, music, and literature; but the real love of his intellectual life was the pursuit of science. The study of mathematics, physics, and in particular, of electricity, had captivated his imagination. In 1845, he gave the first mathematical development of Faraday's idea that electric induction takes place through an intervening medium, or "dielectric", and not by some incomprehensible "action at a distance". He also devised the mathematical technique of electrical images, which became a powerful agent in solving problems of electrostatics, the science which deals with the forces between electrically charged bodies at rest. It was partly in response to his encouragement that Faraday undertook the research in September 1845 that led to the discovery of the Faraday effect, which established that light and magnetic (and thus electric) phenomena were related. He was elected a fellow of St. Peter's (as Peterhouse was often called at the time) in June 1845. On gaining the fellowship, he spent some time in the laboratory of the celebrated Henri Victor Regnault, at Paris; but in 1846 he was appointed to the chair of natural philosophy in the University of Glasgow. At twenty-two he found himself wearing the gown of a learned professor in one of the oldest Universities in the country, and lecturing to the class of which he was a first year student but a few years before.
Q: What was relevant during this time period?
A: While at Cambridge, Thomson was active in sports,
Q: What studies did he pursue?
A: He also took a lively interest in the classics, music, and literature; but the real love of his intellectual life was the pursuit of science.
|
C_c6c79a4f96a74f119c45191b1aa2ab43_1_q#2
|
Did he win any awards or have outstanding achievements?
| 0y
| 0y
|
{
"texts": [
"He was elected a fellow of St. Peter's"
],
"answer_starts": [
1511
]
}
|
{
"text": "He was elected a fellow of St. Peter's",
"answer_start": 1511
}
|
C_c6c79a4f96a74f119c45191b1aa2ab43_1
|
William Thomson, 1st Baron Kelvin
|
William Thomson, 1st Baron Kelvin, (26 June 1824 - 17 December 1907) was a Scots-Irish mathematical physicist and engineer who was born in Belfast in 1824. At the University of Glasgow he did important work in the mathematical analysis of electricity and formulation of the first and second laws of thermodynamics, and did much to unify the emerging discipline of physics in its modern form. He worked closely with mathematics professor Hugh Blackburn in his work.
|
Cambridge
|
William's father was able to make a generous provision for his favourite son's education and, in 1841, installed him, with extensive letters of introduction and ample accommodation, at Peterhouse, Cambridge. In 1845 Thomson graduated as Second Wrangler. He also won the First Smith's Prize, which, unlike the tripos, is a test of original research. Robert Leslie Ellis, one of the examiners, is said to have declared to another examiner "You and I are just about fit to mend his pens." While at Cambridge, Thomson was active in sports, athletics and sculling, winning the Colquhoun Sculls in 1843. He also took a lively interest in the classics, music, and literature; but the real love of his intellectual life was the pursuit of science. The study of mathematics, physics, and in particular, of electricity, had captivated his imagination. In 1845, he gave the first mathematical development of Faraday's idea that electric induction takes place through an intervening medium, or "dielectric", and not by some incomprehensible "action at a distance". He also devised the mathematical technique of electrical images, which became a powerful agent in solving problems of electrostatics, the science which deals with the forces between electrically charged bodies at rest. It was partly in response to his encouragement that Faraday undertook the research in September 1845 that led to the discovery of the Faraday effect, which established that light and magnetic (and thus electric) phenomena were related. He was elected a fellow of St. Peter's (as Peterhouse was often called at the time) in June 1845. On gaining the fellowship, he spent some time in the laboratory of the celebrated Henri Victor Regnault, at Paris; but in 1846 he was appointed to the chair of natural philosophy in the University of Glasgow. At twenty-two he found himself wearing the gown of a learned professor in one of the oldest Universities in the country, and lecturing to the class of which he was a first year student but a few years before.
Q: What was relevant during this time period?
A: While at Cambridge, Thomson was active in sports,
Q: What studies did he pursue?
A: He also took a lively interest in the classics, music, and literature; but the real love of his intellectual life was the pursuit of science.
Q: Did he win any awards or have outstanding achievements?
A: He was elected a fellow of St. Peter's
|
C_c6c79a4f96a74f119c45191b1aa2ab43_1_q#3
|
Did he graduate from Cambridge with a degree in what field?
| 1n
| 2x
|
{
"texts": [
"At twenty-two he found himself wearing the gown of a learned professor in one of the oldest Universities in the country,"
],
"answer_starts": [
1818
]
}
|
{
"text": "At twenty-two he found himself wearing the gown of a learned professor in one of the oldest Universities in the country,",
"answer_start": 1818
}
|
C_c6c79a4f96a74f119c45191b1aa2ab43_1
|
William Thomson, 1st Baron Kelvin
|
William Thomson, 1st Baron Kelvin, (26 June 1824 - 17 December 1907) was a Scots-Irish mathematical physicist and engineer who was born in Belfast in 1824. At the University of Glasgow he did important work in the mathematical analysis of electricity and formulation of the first and second laws of thermodynamics, and did much to unify the emerging discipline of physics in its modern form. He worked closely with mathematics professor Hugh Blackburn in his work.
|
Cambridge
|
William's father was able to make a generous provision for his favourite son's education and, in 1841, installed him, with extensive letters of introduction and ample accommodation, at Peterhouse, Cambridge. In 1845 Thomson graduated as Second Wrangler. He also won the First Smith's Prize, which, unlike the tripos, is a test of original research. Robert Leslie Ellis, one of the examiners, is said to have declared to another examiner "You and I are just about fit to mend his pens." While at Cambridge, Thomson was active in sports, athletics and sculling, winning the Colquhoun Sculls in 1843. He also took a lively interest in the classics, music, and literature; but the real love of his intellectual life was the pursuit of science. The study of mathematics, physics, and in particular, of electricity, had captivated his imagination. In 1845, he gave the first mathematical development of Faraday's idea that electric induction takes place through an intervening medium, or "dielectric", and not by some incomprehensible "action at a distance". He also devised the mathematical technique of electrical images, which became a powerful agent in solving problems of electrostatics, the science which deals with the forces between electrically charged bodies at rest. It was partly in response to his encouragement that Faraday undertook the research in September 1845 that led to the discovery of the Faraday effect, which established that light and magnetic (and thus electric) phenomena were related. He was elected a fellow of St. Peter's (as Peterhouse was often called at the time) in June 1845. On gaining the fellowship, he spent some time in the laboratory of the celebrated Henri Victor Regnault, at Paris; but in 1846 he was appointed to the chair of natural philosophy in the University of Glasgow. At twenty-two he found himself wearing the gown of a learned professor in one of the oldest Universities in the country, and lecturing to the class of which he was a first year student but a few years before.
Q: What was relevant during this time period?
A: While at Cambridge, Thomson was active in sports,
Q: What studies did he pursue?
A: He also took a lively interest in the classics, music, and literature; but the real love of his intellectual life was the pursuit of science.
Q: Did he win any awards or have outstanding achievements?
A: He was elected a fellow of St. Peter's
Q: Did he graduate from Cambridge with a degree in what field?
A: At twenty-two he found himself wearing the gown of a learned professor in one of the oldest Universities in the country,
|
C_c6c79a4f96a74f119c45191b1aa2ab43_1_q#4
|
what years was he attending cambridge?
| 0y
| 2x
|
{
"texts": [
"William's father was able to make a generous provision for his favourite son's education and, in 1841, installed him,"
],
"answer_starts": [
0
]
}
|
{
"text": "William's father was able to make a generous provision for his favourite son's education and, in 1841, installed him,",
"answer_start": 0
}
|
C_0e5b7eb3f50c426284de8feadfc1ee64_1
|
Leonard Bernstein
|
Leonard Bernstein ( BURN-styne; August 25, 1918 - October 14, 1990) was an American composer, conductor, author, music lecturer, and pianist. He was among the first conductors born and educated in the US to receive worldwide acclaim. According to music critic Donal Henahan, he was "one of the most prodigiously talented and successful musicians in American history."
|
Social activism
|
While Bernstein was very well known for his music compositions and conducting, he was also known for his outspoken political views and his strong desire to further social change. His first aspirations for social change were made apparent in his producing (as a student) a recently banned opera, The Cradle Will Rock, by Marc Blitzstein, about the disparity between the working and upper class. His first opera, Trouble in Tahiti, was dedicated to Blitzstein and has a strong social theme, criticizing American civilization and suburban upper-class life in particular. As he went on in his career Bernstein would go on to fight for everything from the influences of "American Music" to the disarming of western nuclear weapons. Like many of his friends and colleagues, Bernstein had been involved in various left wing causes and organizations since the 1940s. He was blacklisted by the US State Department and CBS in the early 1950s, but unlike others his career was not greatly affected, and he was never required to testify before the House Un-American Activities Committee. His political life received substantial press coverage though in 1970, due to a gathering hosted at his Manhattan apartment on January 14, 1970. Bernstein and his wife held the event seeking to raise awareness and money for the defense of several members of the Black Panther Party against a variety of charges. The New York Times initially covered the gathering as a lifestyle item, but later posted an editorial harshly unfavorable to Bernstein following generally negative reaction to the widely publicized story. This reaction culminated in June 1970 with the appearance of "Radical Chic: That Party at Lenny's", an essay by satirist Tom Wolfe featured on the cover of the magazine New York. The article contrasted the Bernsteins' comfortable lifestyle in one of the world's most expensive neighborhoods with the anti-establishment politics of the Black Panthers. It led to the popularization of "radical chic" as a critical term. Both Bernstein and his wife Felicia responded to the criticism, arguing that they were motivated not by a shallow desire to express fashionable sympathy but by their concern for civil liberties. Bernstein was named in the book Red Channels: The Report of Communist Influence in Radio and Television (1950) as a Communist along with Aaron Copland, Lena Horne, Pete Seeger, Artie Shaw and other prominent figures of the performing arts. Red Channels was issued by the right-wing journal Counterattack and was edited by Vincent Hartnett, who was later found to have libeled and defamed the noted radio personality John Henry Faulk.
|
C_0e5b7eb3f50c426284de8feadfc1ee64_1_q#0
|
what did he have to do with social activism?
| 0y
| 2x
|
{
"texts": [
"Bernstein would go on to fight for everything from the influences of \"American Music\" to the disarming of western nuclear weapons."
],
"answer_starts": [
596
]
}
|
{
"text": "Bernstein would go on to fight for everything from the influences of \"American Music\" to the disarming of western nuclear weapons.",
"answer_start": 596
}
|
C_0e5b7eb3f50c426284de8feadfc1ee64_1
|
Leonard Bernstein
|
Leonard Bernstein ( BURN-styne; August 25, 1918 - October 14, 1990) was an American composer, conductor, author, music lecturer, and pianist. He was among the first conductors born and educated in the US to receive worldwide acclaim. According to music critic Donal Henahan, he was "one of the most prodigiously talented and successful musicians in American history."
|
Social activism
|
While Bernstein was very well known for his music compositions and conducting, he was also known for his outspoken political views and his strong desire to further social change. His first aspirations for social change were made apparent in his producing (as a student) a recently banned opera, The Cradle Will Rock, by Marc Blitzstein, about the disparity between the working and upper class. His first opera, Trouble in Tahiti, was dedicated to Blitzstein and has a strong social theme, criticizing American civilization and suburban upper-class life in particular. As he went on in his career Bernstein would go on to fight for everything from the influences of "American Music" to the disarming of western nuclear weapons. Like many of his friends and colleagues, Bernstein had been involved in various left wing causes and organizations since the 1940s. He was blacklisted by the US State Department and CBS in the early 1950s, but unlike others his career was not greatly affected, and he was never required to testify before the House Un-American Activities Committee. His political life received substantial press coverage though in 1970, due to a gathering hosted at his Manhattan apartment on January 14, 1970. Bernstein and his wife held the event seeking to raise awareness and money for the defense of several members of the Black Panther Party against a variety of charges. The New York Times initially covered the gathering as a lifestyle item, but later posted an editorial harshly unfavorable to Bernstein following generally negative reaction to the widely publicized story. This reaction culminated in June 1970 with the appearance of "Radical Chic: That Party at Lenny's", an essay by satirist Tom Wolfe featured on the cover of the magazine New York. The article contrasted the Bernsteins' comfortable lifestyle in one of the world's most expensive neighborhoods with the anti-establishment politics of the Black Panthers. It led to the popularization of "radical chic" as a critical term. Both Bernstein and his wife Felicia responded to the criticism, arguing that they were motivated not by a shallow desire to express fashionable sympathy but by their concern for civil liberties. Bernstein was named in the book Red Channels: The Report of Communist Influence in Radio and Television (1950) as a Communist along with Aaron Copland, Lena Horne, Pete Seeger, Artie Shaw and other prominent figures of the performing arts. Red Channels was issued by the right-wing journal Counterattack and was edited by Vincent Hartnett, who was later found to have libeled and defamed the noted radio personality John Henry Faulk.
Q: what did he have to do with social activism?
A: Bernstein would go on to fight for everything from the influences of "American Music" to the disarming of western nuclear weapons.
|
C_0e5b7eb3f50c426284de8feadfc1ee64_1_q#1
|
Are there any other interesting aspects about this article?
| 0y
| 0y
|
{
"texts": [
"He was blacklisted by the US State Department and CBS in the early 1950s,"
],
"answer_starts": [
860
]
}
|
{
"text": "He was blacklisted by the US State Department and CBS in the early 1950s,",
"answer_start": 860
}
|
C_0e5b7eb3f50c426284de8feadfc1ee64_1
|
Leonard Bernstein
|
Leonard Bernstein ( BURN-styne; August 25, 1918 - October 14, 1990) was an American composer, conductor, author, music lecturer, and pianist. He was among the first conductors born and educated in the US to receive worldwide acclaim. According to music critic Donal Henahan, he was "one of the most prodigiously talented and successful musicians in American history."
|
Social activism
|
While Bernstein was very well known for his music compositions and conducting, he was also known for his outspoken political views and his strong desire to further social change. His first aspirations for social change were made apparent in his producing (as a student) a recently banned opera, The Cradle Will Rock, by Marc Blitzstein, about the disparity between the working and upper class. His first opera, Trouble in Tahiti, was dedicated to Blitzstein and has a strong social theme, criticizing American civilization and suburban upper-class life in particular. As he went on in his career Bernstein would go on to fight for everything from the influences of "American Music" to the disarming of western nuclear weapons. Like many of his friends and colleagues, Bernstein had been involved in various left wing causes and organizations since the 1940s. He was blacklisted by the US State Department and CBS in the early 1950s, but unlike others his career was not greatly affected, and he was never required to testify before the House Un-American Activities Committee. His political life received substantial press coverage though in 1970, due to a gathering hosted at his Manhattan apartment on January 14, 1970. Bernstein and his wife held the event seeking to raise awareness and money for the defense of several members of the Black Panther Party against a variety of charges. The New York Times initially covered the gathering as a lifestyle item, but later posted an editorial harshly unfavorable to Bernstein following generally negative reaction to the widely publicized story. This reaction culminated in June 1970 with the appearance of "Radical Chic: That Party at Lenny's", an essay by satirist Tom Wolfe featured on the cover of the magazine New York. The article contrasted the Bernsteins' comfortable lifestyle in one of the world's most expensive neighborhoods with the anti-establishment politics of the Black Panthers. It led to the popularization of "radical chic" as a critical term. Both Bernstein and his wife Felicia responded to the criticism, arguing that they were motivated not by a shallow desire to express fashionable sympathy but by their concern for civil liberties. Bernstein was named in the book Red Channels: The Report of Communist Influence in Radio and Television (1950) as a Communist along with Aaron Copland, Lena Horne, Pete Seeger, Artie Shaw and other prominent figures of the performing arts. Red Channels was issued by the right-wing journal Counterattack and was edited by Vincent Hartnett, who was later found to have libeled and defamed the noted radio personality John Henry Faulk.
Q: what did he have to do with social activism?
A: Bernstein would go on to fight for everything from the influences of "American Music" to the disarming of western nuclear weapons.
Q: Are there any other interesting aspects about this article?
A: He was blacklisted by the US State Department and CBS in the early 1950s,
|
C_0e5b7eb3f50c426284de8feadfc1ee64_1_q#2
|
what was he blacklisted for?
| 0y
| 2x
|
{
"texts": [
"Bernstein had been involved in various left wing causes"
],
"answer_starts": [
769
]
}
|
{
"text": "Bernstein had been involved in various left wing causes",
"answer_start": 769
}
|
C_0e5b7eb3f50c426284de8feadfc1ee64_1
|
Leonard Bernstein
|
Leonard Bernstein ( BURN-styne; August 25, 1918 - October 14, 1990) was an American composer, conductor, author, music lecturer, and pianist. He was among the first conductors born and educated in the US to receive worldwide acclaim. According to music critic Donal Henahan, he was "one of the most prodigiously talented and successful musicians in American history."
|
Social activism
|
While Bernstein was very well known for his music compositions and conducting, he was also known for his outspoken political views and his strong desire to further social change. His first aspirations for social change were made apparent in his producing (as a student) a recently banned opera, The Cradle Will Rock, by Marc Blitzstein, about the disparity between the working and upper class. His first opera, Trouble in Tahiti, was dedicated to Blitzstein and has a strong social theme, criticizing American civilization and suburban upper-class life in particular. As he went on in his career Bernstein would go on to fight for everything from the influences of "American Music" to the disarming of western nuclear weapons. Like many of his friends and colleagues, Bernstein had been involved in various left wing causes and organizations since the 1940s. He was blacklisted by the US State Department and CBS in the early 1950s, but unlike others his career was not greatly affected, and he was never required to testify before the House Un-American Activities Committee. His political life received substantial press coverage though in 1970, due to a gathering hosted at his Manhattan apartment on January 14, 1970. Bernstein and his wife held the event seeking to raise awareness and money for the defense of several members of the Black Panther Party against a variety of charges. The New York Times initially covered the gathering as a lifestyle item, but later posted an editorial harshly unfavorable to Bernstein following generally negative reaction to the widely publicized story. This reaction culminated in June 1970 with the appearance of "Radical Chic: That Party at Lenny's", an essay by satirist Tom Wolfe featured on the cover of the magazine New York. The article contrasted the Bernsteins' comfortable lifestyle in one of the world's most expensive neighborhoods with the anti-establishment politics of the Black Panthers. It led to the popularization of "radical chic" as a critical term. Both Bernstein and his wife Felicia responded to the criticism, arguing that they were motivated not by a shallow desire to express fashionable sympathy but by their concern for civil liberties. Bernstein was named in the book Red Channels: The Report of Communist Influence in Radio and Television (1950) as a Communist along with Aaron Copland, Lena Horne, Pete Seeger, Artie Shaw and other prominent figures of the performing arts. Red Channels was issued by the right-wing journal Counterattack and was edited by Vincent Hartnett, who was later found to have libeled and defamed the noted radio personality John Henry Faulk.
Q: what did he have to do with social activism?
A: Bernstein would go on to fight for everything from the influences of "American Music" to the disarming of western nuclear weapons.
Q: Are there any other interesting aspects about this article?
A: He was blacklisted by the US State Department and CBS in the early 1950s,
Q: what was he blacklisted for?
A: Bernstein had been involved in various left wing causes
|
C_0e5b7eb3f50c426284de8feadfc1ee64_1_q#3
|
are there examples of any?
| 0y
| 0y
|
{
"texts": [
"Bernstein and his wife held the event seeking to raise awareness and money for the defense of several members of the Black Panther"
],
"answer_starts": [
1222
]
}
|
{
"text": "Bernstein and his wife held the event seeking to raise awareness and money for the defense of several members of the Black Panther",
"answer_start": 1222
}
|
C_0e5b7eb3f50c426284de8feadfc1ee64_1
|
Leonard Bernstein
|
Leonard Bernstein ( BURN-styne; August 25, 1918 - October 14, 1990) was an American composer, conductor, author, music lecturer, and pianist. He was among the first conductors born and educated in the US to receive worldwide acclaim. According to music critic Donal Henahan, he was "one of the most prodigiously talented and successful musicians in American history."
|
Social activism
|
While Bernstein was very well known for his music compositions and conducting, he was also known for his outspoken political views and his strong desire to further social change. His first aspirations for social change were made apparent in his producing (as a student) a recently banned opera, The Cradle Will Rock, by Marc Blitzstein, about the disparity between the working and upper class. His first opera, Trouble in Tahiti, was dedicated to Blitzstein and has a strong social theme, criticizing American civilization and suburban upper-class life in particular. As he went on in his career Bernstein would go on to fight for everything from the influences of "American Music" to the disarming of western nuclear weapons. Like many of his friends and colleagues, Bernstein had been involved in various left wing causes and organizations since the 1940s. He was blacklisted by the US State Department and CBS in the early 1950s, but unlike others his career was not greatly affected, and he was never required to testify before the House Un-American Activities Committee. His political life received substantial press coverage though in 1970, due to a gathering hosted at his Manhattan apartment on January 14, 1970. Bernstein and his wife held the event seeking to raise awareness and money for the defense of several members of the Black Panther Party against a variety of charges. The New York Times initially covered the gathering as a lifestyle item, but later posted an editorial harshly unfavorable to Bernstein following generally negative reaction to the widely publicized story. This reaction culminated in June 1970 with the appearance of "Radical Chic: That Party at Lenny's", an essay by satirist Tom Wolfe featured on the cover of the magazine New York. The article contrasted the Bernsteins' comfortable lifestyle in one of the world's most expensive neighborhoods with the anti-establishment politics of the Black Panthers. It led to the popularization of "radical chic" as a critical term. Both Bernstein and his wife Felicia responded to the criticism, arguing that they were motivated not by a shallow desire to express fashionable sympathy but by their concern for civil liberties. Bernstein was named in the book Red Channels: The Report of Communist Influence in Radio and Television (1950) as a Communist along with Aaron Copland, Lena Horne, Pete Seeger, Artie Shaw and other prominent figures of the performing arts. Red Channels was issued by the right-wing journal Counterattack and was edited by Vincent Hartnett, who was later found to have libeled and defamed the noted radio personality John Henry Faulk.
Q: what did he have to do with social activism?
A: Bernstein would go on to fight for everything from the influences of "American Music" to the disarming of western nuclear weapons.
Q: Are there any other interesting aspects about this article?
A: He was blacklisted by the US State Department and CBS in the early 1950s,
Q: what was he blacklisted for?
A: Bernstein had been involved in various left wing causes
Q: are there examples of any?
A: Bernstein and his wife held the event seeking to raise awareness and money for the defense of several members of the Black Panther
|
C_0e5b7eb3f50c426284de8feadfc1ee64_1_q#4
|
which event did they hold?
| 0y
| 2x
|
{
"texts": [
"a gathering hosted at his Manhattan apartment"
],
"answer_starts": [
1155
]
}
|
{
"text": "a gathering hosted at his Manhattan apartment",
"answer_start": 1155
}
|
C_0e5b7eb3f50c426284de8feadfc1ee64_0
|
Leonard Bernstein
|
Leonard Bernstein ( BURN-styne; August 25, 1918 - October 14, 1990) was an American composer, conductor, author, music lecturer, and pianist. He was among the first conductors born and educated in the US to receive worldwide acclaim. According to music critic Donal Henahan, he was "one of the most prodigiously talented and successful musicians in American history."
|
Influence and characteristics as a conductor
|
Bernstein recorded extensively from the mid-1940s until just a few months before his death. Aside from those 1940s recordings, which were made for RCA Victor, Bernstein recorded primarily for Columbia Masterworks Records, especially when he was music director of the New York Philharmonic between 1958 and 1971. His typical pattern of recording at that time was to record major works in the studio immediately after they were presented in the orchestra's subscription concerts or on one of the Young People's Concerts, with any spare time used to record short orchestral showpieces and similar works. Many of these performances were digitally remastered and reissued by Sony as part of their 100 Volume, 125 CDs "Royal Edition" and their later "Bernstein Century" series. In 2010 many of these recordings were repackaged in a 60 CD "Bernstein Symphony Edition". His later recordings (starting with Bizet's Carmen in 1972) were mostly made for Deutsche Grammophon, though he would occasionally return to the Columbia Masterworks label. Notable exceptions include recordings of Gustav Mahler's Song of the Earth and Mozart's 15th piano concerto and "Linz" symphony with the Vienna Philharmonic Orchestra for Decca Records (1966); Berlioz's Symphonie fantastique and Harold in Italy (1976) for EMI; and Wagner's Tristan und Isolde (1981) for Philips Records, a label that like Deutsche Grammophon was part of PolyGram at that time. Unlike his studio recordings for Columbia Masterworks, most of his later Deutsche Grammophon recordings were taken from live concerts (or edited together from several concerts with additional sessions to correct errors). Many replicate repertoire that he recorded in the 1950s and 60s. In addition to his audio recordings, many of Bernstein's concerts from the 1970s onwards were recorded on motion picture film by the German film company Unitel. This included a complete cycle of the Mahler symphonies (with the Vienna Philharmonic and London Symphony Orchestra), as well as complete cycles of the Beethoven, Brahms and Schumann symphonies recorded at the same series of concerts as the audio recordings by Deutsche Grammophon. Many of these films appeared on Laserdisc and are now on DVD. In total Bernstein was awarded 16 Grammys for his recordings in various categories, including several for posthumously released recordings. He was also awarded a Lifetime Achievement Grammy in 1985.
|
C_0e5b7eb3f50c426284de8feadfc1ee64_0_q#0
|
Who influenced Bernstein?
| 1n
| 2x
|
{
"texts": [
"unknown"
],
"answer_starts": [
2422
]
}
|
{
"text": "unknown",
"answer_start": 2422
}
|
C_0e5b7eb3f50c426284de8feadfc1ee64_0
|
Leonard Bernstein
|
Leonard Bernstein ( BURN-styne; August 25, 1918 - October 14, 1990) was an American composer, conductor, author, music lecturer, and pianist. He was among the first conductors born and educated in the US to receive worldwide acclaim. According to music critic Donal Henahan, he was "one of the most prodigiously talented and successful musicians in American history."
|
Influence and characteristics as a conductor
|
Bernstein recorded extensively from the mid-1940s until just a few months before his death. Aside from those 1940s recordings, which were made for RCA Victor, Bernstein recorded primarily for Columbia Masterworks Records, especially when he was music director of the New York Philharmonic between 1958 and 1971. His typical pattern of recording at that time was to record major works in the studio immediately after they were presented in the orchestra's subscription concerts or on one of the Young People's Concerts, with any spare time used to record short orchestral showpieces and similar works. Many of these performances were digitally remastered and reissued by Sony as part of their 100 Volume, 125 CDs "Royal Edition" and their later "Bernstein Century" series. In 2010 many of these recordings were repackaged in a 60 CD "Bernstein Symphony Edition". His later recordings (starting with Bizet's Carmen in 1972) were mostly made for Deutsche Grammophon, though he would occasionally return to the Columbia Masterworks label. Notable exceptions include recordings of Gustav Mahler's Song of the Earth and Mozart's 15th piano concerto and "Linz" symphony with the Vienna Philharmonic Orchestra for Decca Records (1966); Berlioz's Symphonie fantastique and Harold in Italy (1976) for EMI; and Wagner's Tristan und Isolde (1981) for Philips Records, a label that like Deutsche Grammophon was part of PolyGram at that time. Unlike his studio recordings for Columbia Masterworks, most of his later Deutsche Grammophon recordings were taken from live concerts (or edited together from several concerts with additional sessions to correct errors). Many replicate repertoire that he recorded in the 1950s and 60s. In addition to his audio recordings, many of Bernstein's concerts from the 1970s onwards were recorded on motion picture film by the German film company Unitel. This included a complete cycle of the Mahler symphonies (with the Vienna Philharmonic and London Symphony Orchestra), as well as complete cycles of the Beethoven, Brahms and Schumann symphonies recorded at the same series of concerts as the audio recordings by Deutsche Grammophon. Many of these films appeared on Laserdisc and are now on DVD. In total Bernstein was awarded 16 Grammys for his recordings in various categories, including several for posthumously released recordings. He was also awarded a Lifetime Achievement Grammy in 1985.
Q: Who influenced Bernstein?
A: unknown
|
C_0e5b7eb3f50c426284de8feadfc1ee64_0_q#1
|
What can you tell me about Bernstein?
| 0y
| 2x
|
{
"texts": [
"Bernstein recorded extensively from the mid-1940s until just a few months before his death."
],
"answer_starts": [
0
]
}
|
{
"text": "Bernstein recorded extensively from the mid-1940s until just a few months before his death.",
"answer_start": 0
}
|
C_0e5b7eb3f50c426284de8feadfc1ee64_0
|
Leonard Bernstein
|
Leonard Bernstein ( BURN-styne; August 25, 1918 - October 14, 1990) was an American composer, conductor, author, music lecturer, and pianist. He was among the first conductors born and educated in the US to receive worldwide acclaim. According to music critic Donal Henahan, he was "one of the most prodigiously talented and successful musicians in American history."
|
Influence and characteristics as a conductor
|
Bernstein recorded extensively from the mid-1940s until just a few months before his death. Aside from those 1940s recordings, which were made for RCA Victor, Bernstein recorded primarily for Columbia Masterworks Records, especially when he was music director of the New York Philharmonic between 1958 and 1971. His typical pattern of recording at that time was to record major works in the studio immediately after they were presented in the orchestra's subscription concerts or on one of the Young People's Concerts, with any spare time used to record short orchestral showpieces and similar works. Many of these performances were digitally remastered and reissued by Sony as part of their 100 Volume, 125 CDs "Royal Edition" and their later "Bernstein Century" series. In 2010 many of these recordings were repackaged in a 60 CD "Bernstein Symphony Edition". His later recordings (starting with Bizet's Carmen in 1972) were mostly made for Deutsche Grammophon, though he would occasionally return to the Columbia Masterworks label. Notable exceptions include recordings of Gustav Mahler's Song of the Earth and Mozart's 15th piano concerto and "Linz" symphony with the Vienna Philharmonic Orchestra for Decca Records (1966); Berlioz's Symphonie fantastique and Harold in Italy (1976) for EMI; and Wagner's Tristan und Isolde (1981) for Philips Records, a label that like Deutsche Grammophon was part of PolyGram at that time. Unlike his studio recordings for Columbia Masterworks, most of his later Deutsche Grammophon recordings were taken from live concerts (or edited together from several concerts with additional sessions to correct errors). Many replicate repertoire that he recorded in the 1950s and 60s. In addition to his audio recordings, many of Bernstein's concerts from the 1970s onwards were recorded on motion picture film by the German film company Unitel. This included a complete cycle of the Mahler symphonies (with the Vienna Philharmonic and London Symphony Orchestra), as well as complete cycles of the Beethoven, Brahms and Schumann symphonies recorded at the same series of concerts as the audio recordings by Deutsche Grammophon. Many of these films appeared on Laserdisc and are now on DVD. In total Bernstein was awarded 16 Grammys for his recordings in various categories, including several for posthumously released recordings. He was also awarded a Lifetime Achievement Grammy in 1985.
Q: Who influenced Bernstein?
A: unknown
Q: What can you tell me about Bernstein?
A: Bernstein recorded extensively from the mid-1940s until just a few months before his death.
|
C_0e5b7eb3f50c426284de8feadfc1ee64_0_q#2
|
What did Bernstein record?
| 0y
| 2x
|
{
"texts": [
"recordings, which were made for RCA Victor, Bernstein recorded primarily for Columbia Masterworks Records,"
],
"answer_starts": [
115
]
}
|
{
"text": "recordings, which were made for RCA Victor, Bernstein recorded primarily for Columbia Masterworks Records,",
"answer_start": 115
}
|
C_0e5b7eb3f50c426284de8feadfc1ee64_0
|
Leonard Bernstein
|
Leonard Bernstein ( BURN-styne; August 25, 1918 - October 14, 1990) was an American composer, conductor, author, music lecturer, and pianist. He was among the first conductors born and educated in the US to receive worldwide acclaim. According to music critic Donal Henahan, he was "one of the most prodigiously talented and successful musicians in American history."
|
Influence and characteristics as a conductor
|
Bernstein recorded extensively from the mid-1940s until just a few months before his death. Aside from those 1940s recordings, which were made for RCA Victor, Bernstein recorded primarily for Columbia Masterworks Records, especially when he was music director of the New York Philharmonic between 1958 and 1971. His typical pattern of recording at that time was to record major works in the studio immediately after they were presented in the orchestra's subscription concerts or on one of the Young People's Concerts, with any spare time used to record short orchestral showpieces and similar works. Many of these performances were digitally remastered and reissued by Sony as part of their 100 Volume, 125 CDs "Royal Edition" and their later "Bernstein Century" series. In 2010 many of these recordings were repackaged in a 60 CD "Bernstein Symphony Edition". His later recordings (starting with Bizet's Carmen in 1972) were mostly made for Deutsche Grammophon, though he would occasionally return to the Columbia Masterworks label. Notable exceptions include recordings of Gustav Mahler's Song of the Earth and Mozart's 15th piano concerto and "Linz" symphony with the Vienna Philharmonic Orchestra for Decca Records (1966); Berlioz's Symphonie fantastique and Harold in Italy (1976) for EMI; and Wagner's Tristan und Isolde (1981) for Philips Records, a label that like Deutsche Grammophon was part of PolyGram at that time. Unlike his studio recordings for Columbia Masterworks, most of his later Deutsche Grammophon recordings were taken from live concerts (or edited together from several concerts with additional sessions to correct errors). Many replicate repertoire that he recorded in the 1950s and 60s. In addition to his audio recordings, many of Bernstein's concerts from the 1970s onwards were recorded on motion picture film by the German film company Unitel. This included a complete cycle of the Mahler symphonies (with the Vienna Philharmonic and London Symphony Orchestra), as well as complete cycles of the Beethoven, Brahms and Schumann symphonies recorded at the same series of concerts as the audio recordings by Deutsche Grammophon. Many of these films appeared on Laserdisc and are now on DVD. In total Bernstein was awarded 16 Grammys for his recordings in various categories, including several for posthumously released recordings. He was also awarded a Lifetime Achievement Grammy in 1985.
Q: Who influenced Bernstein?
A: unknown
Q: What can you tell me about Bernstein?
A: Bernstein recorded extensively from the mid-1940s until just a few months before his death.
Q: What did Bernstein record?
A: recordings, which were made for RCA Victor, Bernstein recorded primarily for Columbia Masterworks Records,
|
C_0e5b7eb3f50c426284de8feadfc1ee64_0_q#3
|
Was his music successful?
| 0y
| 2x
|
{
"texts": [
"unknown"
],
"answer_starts": [
2422
]
}
|
{
"text": "unknown",
"answer_start": 2422
}
|
C_0e5b7eb3f50c426284de8feadfc1ee64_0
|
Leonard Bernstein
|
Leonard Bernstein ( BURN-styne; August 25, 1918 - October 14, 1990) was an American composer, conductor, author, music lecturer, and pianist. He was among the first conductors born and educated in the US to receive worldwide acclaim. According to music critic Donal Henahan, he was "one of the most prodigiously talented and successful musicians in American history."
|
Influence and characteristics as a conductor
|
Bernstein recorded extensively from the mid-1940s until just a few months before his death. Aside from those 1940s recordings, which were made for RCA Victor, Bernstein recorded primarily for Columbia Masterworks Records, especially when he was music director of the New York Philharmonic between 1958 and 1971. His typical pattern of recording at that time was to record major works in the studio immediately after they were presented in the orchestra's subscription concerts or on one of the Young People's Concerts, with any spare time used to record short orchestral showpieces and similar works. Many of these performances were digitally remastered and reissued by Sony as part of their 100 Volume, 125 CDs "Royal Edition" and their later "Bernstein Century" series. In 2010 many of these recordings were repackaged in a 60 CD "Bernstein Symphony Edition". His later recordings (starting with Bizet's Carmen in 1972) were mostly made for Deutsche Grammophon, though he would occasionally return to the Columbia Masterworks label. Notable exceptions include recordings of Gustav Mahler's Song of the Earth and Mozart's 15th piano concerto and "Linz" symphony with the Vienna Philharmonic Orchestra for Decca Records (1966); Berlioz's Symphonie fantastique and Harold in Italy (1976) for EMI; and Wagner's Tristan und Isolde (1981) for Philips Records, a label that like Deutsche Grammophon was part of PolyGram at that time. Unlike his studio recordings for Columbia Masterworks, most of his later Deutsche Grammophon recordings were taken from live concerts (or edited together from several concerts with additional sessions to correct errors). Many replicate repertoire that he recorded in the 1950s and 60s. In addition to his audio recordings, many of Bernstein's concerts from the 1970s onwards were recorded on motion picture film by the German film company Unitel. This included a complete cycle of the Mahler symphonies (with the Vienna Philharmonic and London Symphony Orchestra), as well as complete cycles of the Beethoven, Brahms and Schumann symphonies recorded at the same series of concerts as the audio recordings by Deutsche Grammophon. Many of these films appeared on Laserdisc and are now on DVD. In total Bernstein was awarded 16 Grammys for his recordings in various categories, including several for posthumously released recordings. He was also awarded a Lifetime Achievement Grammy in 1985.
Q: Who influenced Bernstein?
A: unknown
Q: What can you tell me about Bernstein?
A: Bernstein recorded extensively from the mid-1940s until just a few months before his death.
Q: What did Bernstein record?
A: recordings, which were made for RCA Victor, Bernstein recorded primarily for Columbia Masterworks Records,
Q: Was his music successful?
A: unknown
|
C_0e5b7eb3f50c426284de8feadfc1ee64_0_q#4
|
What type of music is Bernstein known for?
| 1n
| 2x
|
{
"texts": [
"unknown"
],
"answer_starts": [
2422
]
}
|
{
"text": "unknown",
"answer_start": 2422
}
|
C_5231298633a84a73b14f9a5cb6fbd559_1
|
Florence Welch
|
Florence Leontine Mary Welch was born in Camberwell, London on 28 August 1986. Her father is Nick Russell Welch, an advertising executive. Her mother, Evelyn Welch (nee Evelyn Kathleen Samuels), is an American emigrant from New York City who was educated at Harvard University and the Warburg Institute, University of London. Evelyn is currently Professor of Renaissance Studies and Vice-Principal for Arts and Sciences at King's College London.
|
2006-10: Beginnings with Florence + the Machine
|
According to Welch, the band name "Florence + the Machine" had "started off as a private joke that got out of hand. I made music with my friend, who we called Isabella Machine, to which I was Florence Robot. When I was about an hour away from my first gig, I still didn't have a name, so I thought 'Okay, I'll be Florence Robot/Isa Machine', before realising that name was so long it'd drive me mad". In 2006, Welch's performances with Isabella Summers in small London venues under the joint name Florence Robot/Isa Machine began to attract notice. In 2007, Welch recorded with a band named Ashok, who released an album titled Plans on the Filthy Lucre/About Records label. This album included the earliest version of her later hit "Kiss with a Fist", which at this point was titled "Happy Slap". Florence and the Machine released their debut album Lungs in the United Kingdom on 6 July 2009. The album was officially launched with a set at the Rivoli Ballroom in Brockley, South East London. It peaked at number one in the UK and number two in Ireland. As of 6 August 2009, the album had sold over 100,000 copies in the UK and by 10 August it had been at number two for five consecutive weeks. Following its 25 July 2009 release for download in the United States, the album debuted at number seventeen on the Billboard Heatseekers Albums chart, ultimately peaking at number one. The album was released physically in the US on 20 October by Universal Republic. The album was produced by James Ford, Paul Epworth, Steve Mackey and Charlie Hugall. Welch contributed vocals to David Byrne and Fatboy Slim's 2010 album Here Lies Love, an album about Imelda Marcos. As of January 2011, Welch was working with Drake on material slated for his upcoming album. On 27 February 2011, Welch replaced pregnant Dido and sang her portion of Best Original Song nominee "If I Rise" (from 127 Hours) with A. R. Rahman at the 83rd Academy Awards.
|
C_5231298633a84a73b14f9a5cb6fbd559_1_q#0
|
What was the joke
| 0y
| 2x
|
{
"texts": [
"According to Welch, the band name \"Florence + the Machine\" had \"started off as a private joke that got out of hand."
],
"answer_starts": [
0
]
}
|
{
"text": "According to Welch, the band name \"Florence + the Machine\" had \"started off as a private joke that got out of hand.",
"answer_start": 0
}
|
C_5231298633a84a73b14f9a5cb6fbd559_1
|
Florence Welch
|
Florence Leontine Mary Welch was born in Camberwell, London on 28 August 1986. Her father is Nick Russell Welch, an advertising executive. Her mother, Evelyn Welch (nee Evelyn Kathleen Samuels), is an American emigrant from New York City who was educated at Harvard University and the Warburg Institute, University of London. Evelyn is currently Professor of Renaissance Studies and Vice-Principal for Arts and Sciences at King's College London.
|
2006-10: Beginnings with Florence + the Machine
|
According to Welch, the band name "Florence + the Machine" had "started off as a private joke that got out of hand. I made music with my friend, who we called Isabella Machine, to which I was Florence Robot. When I was about an hour away from my first gig, I still didn't have a name, so I thought 'Okay, I'll be Florence Robot/Isa Machine', before realising that name was so long it'd drive me mad". In 2006, Welch's performances with Isabella Summers in small London venues under the joint name Florence Robot/Isa Machine began to attract notice. In 2007, Welch recorded with a band named Ashok, who released an album titled Plans on the Filthy Lucre/About Records label. This album included the earliest version of her later hit "Kiss with a Fist", which at this point was titled "Happy Slap". Florence and the Machine released their debut album Lungs in the United Kingdom on 6 July 2009. The album was officially launched with a set at the Rivoli Ballroom in Brockley, South East London. It peaked at number one in the UK and number two in Ireland. As of 6 August 2009, the album had sold over 100,000 copies in the UK and by 10 August it had been at number two for five consecutive weeks. Following its 25 July 2009 release for download in the United States, the album debuted at number seventeen on the Billboard Heatseekers Albums chart, ultimately peaking at number one. The album was released physically in the US on 20 October by Universal Republic. The album was produced by James Ford, Paul Epworth, Steve Mackey and Charlie Hugall. Welch contributed vocals to David Byrne and Fatboy Slim's 2010 album Here Lies Love, an album about Imelda Marcos. As of January 2011, Welch was working with Drake on material slated for his upcoming album. On 27 February 2011, Welch replaced pregnant Dido and sang her portion of Best Original Song nominee "If I Rise" (from 127 Hours) with A. R. Rahman at the 83rd Academy Awards.
Q: What was the joke
A: According to Welch, the band name "Florence + the Machine" had "started off as a private joke that got out of hand.
|
C_5231298633a84a73b14f9a5cb6fbd559_1_q#1
|
What was the joke
| 0y
| 2x
|
{
"texts": [
"I made music with my friend, who we called Isabella Machine, to which I was Florence Robot."
],
"answer_starts": [
116
]
}
|
{
"text": "I made music with my friend, who we called Isabella Machine, to which I was Florence Robot.",
"answer_start": 116
}
|
C_5231298633a84a73b14f9a5cb6fbd559_1
|
Florence Welch
|
Florence Leontine Mary Welch was born in Camberwell, London on 28 August 1986. Her father is Nick Russell Welch, an advertising executive. Her mother, Evelyn Welch (nee Evelyn Kathleen Samuels), is an American emigrant from New York City who was educated at Harvard University and the Warburg Institute, University of London. Evelyn is currently Professor of Renaissance Studies and Vice-Principal for Arts and Sciences at King's College London.
|
2006-10: Beginnings with Florence + the Machine
|
According to Welch, the band name "Florence + the Machine" had "started off as a private joke that got out of hand. I made music with my friend, who we called Isabella Machine, to which I was Florence Robot. When I was about an hour away from my first gig, I still didn't have a name, so I thought 'Okay, I'll be Florence Robot/Isa Machine', before realising that name was so long it'd drive me mad". In 2006, Welch's performances with Isabella Summers in small London venues under the joint name Florence Robot/Isa Machine began to attract notice. In 2007, Welch recorded with a band named Ashok, who released an album titled Plans on the Filthy Lucre/About Records label. This album included the earliest version of her later hit "Kiss with a Fist", which at this point was titled "Happy Slap". Florence and the Machine released their debut album Lungs in the United Kingdom on 6 July 2009. The album was officially launched with a set at the Rivoli Ballroom in Brockley, South East London. It peaked at number one in the UK and number two in Ireland. As of 6 August 2009, the album had sold over 100,000 copies in the UK and by 10 August it had been at number two for five consecutive weeks. Following its 25 July 2009 release for download in the United States, the album debuted at number seventeen on the Billboard Heatseekers Albums chart, ultimately peaking at number one. The album was released physically in the US on 20 October by Universal Republic. The album was produced by James Ford, Paul Epworth, Steve Mackey and Charlie Hugall. Welch contributed vocals to David Byrne and Fatboy Slim's 2010 album Here Lies Love, an album about Imelda Marcos. As of January 2011, Welch was working with Drake on material slated for his upcoming album. On 27 February 2011, Welch replaced pregnant Dido and sang her portion of Best Original Song nominee "If I Rise" (from 127 Hours) with A. R. Rahman at the 83rd Academy Awards.
Q: What was the joke
A: According to Welch, the band name "Florence + the Machine" had "started off as a private joke that got out of hand.
Q: What was the joke
A: I made music with my friend, who we called Isabella Machine, to which I was Florence Robot.
|
C_5231298633a84a73b14f9a5cb6fbd559_1_q#2
|
Why was this the name she choose
| 0y
| 2x
|
{
"texts": [
"first gig, I still didn't have a name, so I thought 'Okay, I'll be Florence Robot/Isa Machine', before realising that name was so long it'd drive me mad"
],
"answer_starts": [
246
]
}
|
{
"text": "first gig, I still didn't have a name, so I thought 'Okay, I'll be Florence Robot/Isa Machine', before realising that name was so long it'd drive me mad",
"answer_start": 246
}
|
C_5231298633a84a73b14f9a5cb6fbd559_1
|
Florence Welch
|
Florence Leontine Mary Welch was born in Camberwell, London on 28 August 1986. Her father is Nick Russell Welch, an advertising executive. Her mother, Evelyn Welch (nee Evelyn Kathleen Samuels), is an American emigrant from New York City who was educated at Harvard University and the Warburg Institute, University of London. Evelyn is currently Professor of Renaissance Studies and Vice-Principal for Arts and Sciences at King's College London.
|
2006-10: Beginnings with Florence + the Machine
|
According to Welch, the band name "Florence + the Machine" had "started off as a private joke that got out of hand. I made music with my friend, who we called Isabella Machine, to which I was Florence Robot. When I was about an hour away from my first gig, I still didn't have a name, so I thought 'Okay, I'll be Florence Robot/Isa Machine', before realising that name was so long it'd drive me mad". In 2006, Welch's performances with Isabella Summers in small London venues under the joint name Florence Robot/Isa Machine began to attract notice. In 2007, Welch recorded with a band named Ashok, who released an album titled Plans on the Filthy Lucre/About Records label. This album included the earliest version of her later hit "Kiss with a Fist", which at this point was titled "Happy Slap". Florence and the Machine released their debut album Lungs in the United Kingdom on 6 July 2009. The album was officially launched with a set at the Rivoli Ballroom in Brockley, South East London. It peaked at number one in the UK and number two in Ireland. As of 6 August 2009, the album had sold over 100,000 copies in the UK and by 10 August it had been at number two for five consecutive weeks. Following its 25 July 2009 release for download in the United States, the album debuted at number seventeen on the Billboard Heatseekers Albums chart, ultimately peaking at number one. The album was released physically in the US on 20 October by Universal Republic. The album was produced by James Ford, Paul Epworth, Steve Mackey and Charlie Hugall. Welch contributed vocals to David Byrne and Fatboy Slim's 2010 album Here Lies Love, an album about Imelda Marcos. As of January 2011, Welch was working with Drake on material slated for his upcoming album. On 27 February 2011, Welch replaced pregnant Dido and sang her portion of Best Original Song nominee "If I Rise" (from 127 Hours) with A. R. Rahman at the 83rd Academy Awards.
Q: What was the joke
A: According to Welch, the band name "Florence + the Machine" had "started off as a private joke that got out of hand.
Q: What was the joke
A: I made music with my friend, who we called Isabella Machine, to which I was Florence Robot.
Q: Why was this the name she choose
A: first gig, I still didn't have a name, so I thought 'Okay, I'll be Florence Robot/Isa Machine', before realising that name was so long it'd drive me mad
|
C_5231298633a84a73b14f9a5cb6fbd559_1_q#3
|
So how lond did this last
| 0y
| 2x
|
{
"texts": [
"In 2006, Welch's performances with Isabella Summers in small London venues under the joint name Florence Robot/Isa Machine began to attract notice."
],
"answer_starts": [
401
]
}
|
{
"text": "In 2006, Welch's performances with Isabella Summers in small London venues under the joint name Florence Robot/Isa Machine began to attract notice.",
"answer_start": 401
}
|
C_5231298633a84a73b14f9a5cb6fbd559_1
|
Florence Welch
|
Florence Leontine Mary Welch was born in Camberwell, London on 28 August 1986. Her father is Nick Russell Welch, an advertising executive. Her mother, Evelyn Welch (nee Evelyn Kathleen Samuels), is an American emigrant from New York City who was educated at Harvard University and the Warburg Institute, University of London. Evelyn is currently Professor of Renaissance Studies and Vice-Principal for Arts and Sciences at King's College London.
|
2006-10: Beginnings with Florence + the Machine
|
According to Welch, the band name "Florence + the Machine" had "started off as a private joke that got out of hand. I made music with my friend, who we called Isabella Machine, to which I was Florence Robot. When I was about an hour away from my first gig, I still didn't have a name, so I thought 'Okay, I'll be Florence Robot/Isa Machine', before realising that name was so long it'd drive me mad". In 2006, Welch's performances with Isabella Summers in small London venues under the joint name Florence Robot/Isa Machine began to attract notice. In 2007, Welch recorded with a band named Ashok, who released an album titled Plans on the Filthy Lucre/About Records label. This album included the earliest version of her later hit "Kiss with a Fist", which at this point was titled "Happy Slap". Florence and the Machine released their debut album Lungs in the United Kingdom on 6 July 2009. The album was officially launched with a set at the Rivoli Ballroom in Brockley, South East London. It peaked at number one in the UK and number two in Ireland. As of 6 August 2009, the album had sold over 100,000 copies in the UK and by 10 August it had been at number two for five consecutive weeks. Following its 25 July 2009 release for download in the United States, the album debuted at number seventeen on the Billboard Heatseekers Albums chart, ultimately peaking at number one. The album was released physically in the US on 20 October by Universal Republic. The album was produced by James Ford, Paul Epworth, Steve Mackey and Charlie Hugall. Welch contributed vocals to David Byrne and Fatboy Slim's 2010 album Here Lies Love, an album about Imelda Marcos. As of January 2011, Welch was working with Drake on material slated for his upcoming album. On 27 February 2011, Welch replaced pregnant Dido and sang her portion of Best Original Song nominee "If I Rise" (from 127 Hours) with A. R. Rahman at the 83rd Academy Awards.
Q: What was the joke
A: According to Welch, the band name "Florence + the Machine" had "started off as a private joke that got out of hand.
Q: What was the joke
A: I made music with my friend, who we called Isabella Machine, to which I was Florence Robot.
Q: Why was this the name she choose
A: first gig, I still didn't have a name, so I thought 'Okay, I'll be Florence Robot/Isa Machine', before realising that name was so long it'd drive me mad
Q: So how lond did this last
A: In 2006, Welch's performances with Isabella Summers in small London venues under the joint name Florence Robot/Isa Machine began to attract notice.
|
C_5231298633a84a73b14f9a5cb6fbd559_1_q#4
|
What did this lead too
| 0y
| 2x
|
{
"texts": [
"Welch recorded with a band named Ashok, who released an album titled Plans on the Filthy Lucre/About Records label."
],
"answer_starts": [
558
]
}
|
{
"text": "Welch recorded with a band named Ashok, who released an album titled Plans on the Filthy Lucre/About Records label.",
"answer_start": 558
}
|
C_5231298633a84a73b14f9a5cb6fbd559_1
|
Florence Welch
|
Florence Leontine Mary Welch was born in Camberwell, London on 28 August 1986. Her father is Nick Russell Welch, an advertising executive. Her mother, Evelyn Welch (nee Evelyn Kathleen Samuels), is an American emigrant from New York City who was educated at Harvard University and the Warburg Institute, University of London. Evelyn is currently Professor of Renaissance Studies and Vice-Principal for Arts and Sciences at King's College London.
|
2006-10: Beginnings with Florence + the Machine
|
According to Welch, the band name "Florence + the Machine" had "started off as a private joke that got out of hand. I made music with my friend, who we called Isabella Machine, to which I was Florence Robot. When I was about an hour away from my first gig, I still didn't have a name, so I thought 'Okay, I'll be Florence Robot/Isa Machine', before realising that name was so long it'd drive me mad". In 2006, Welch's performances with Isabella Summers in small London venues under the joint name Florence Robot/Isa Machine began to attract notice. In 2007, Welch recorded with a band named Ashok, who released an album titled Plans on the Filthy Lucre/About Records label. This album included the earliest version of her later hit "Kiss with a Fist", which at this point was titled "Happy Slap". Florence and the Machine released their debut album Lungs in the United Kingdom on 6 July 2009. The album was officially launched with a set at the Rivoli Ballroom in Brockley, South East London. It peaked at number one in the UK and number two in Ireland. As of 6 August 2009, the album had sold over 100,000 copies in the UK and by 10 August it had been at number two for five consecutive weeks. Following its 25 July 2009 release for download in the United States, the album debuted at number seventeen on the Billboard Heatseekers Albums chart, ultimately peaking at number one. The album was released physically in the US on 20 October by Universal Republic. The album was produced by James Ford, Paul Epworth, Steve Mackey and Charlie Hugall. Welch contributed vocals to David Byrne and Fatboy Slim's 2010 album Here Lies Love, an album about Imelda Marcos. As of January 2011, Welch was working with Drake on material slated for his upcoming album. On 27 February 2011, Welch replaced pregnant Dido and sang her portion of Best Original Song nominee "If I Rise" (from 127 Hours) with A. R. Rahman at the 83rd Academy Awards.
Q: What was the joke
A: According to Welch, the band name "Florence + the Machine" had "started off as a private joke that got out of hand.
Q: What was the joke
A: I made music with my friend, who we called Isabella Machine, to which I was Florence Robot.
Q: Why was this the name she choose
A: first gig, I still didn't have a name, so I thought 'Okay, I'll be Florence Robot/Isa Machine', before realising that name was so long it'd drive me mad
Q: So how lond did this last
A: In 2006, Welch's performances with Isabella Summers in small London venues under the joint name Florence Robot/Isa Machine began to attract notice.
Q: What did this lead too
A: Welch recorded with a band named Ashok, who released an album titled Plans on the Filthy Lucre/About Records label.
|
C_5231298633a84a73b14f9a5cb6fbd559_1_q#5
|
What did this lead to
| 0y
| 2x
|
{
"texts": [
"This album included the earliest version of her later hit \"Kiss with a Fist\", which at this point was titled \"Happy Slap\"."
],
"answer_starts": [
674
]
}
|
{
"text": "This album included the earliest version of her later hit \"Kiss with a Fist\", which at this point was titled \"Happy Slap\".",
"answer_start": 674
}
|
Subsets and Splits
No community queries yet
The top public SQL queries from the community will appear here once available.