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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.
Q: What did this lead to
A: This album included the earliest version of her later hit "Kiss with a Fist", which at this point was titled "Happy Slap".
|
C_5231298633a84a73b14f9a5cb6fbd559_1_q#6
|
What was her next album
| 0y
| 2x
|
{
"texts": [
"Florence and the Machine released their debut album Lungs in the United Kingdom on 6 July 2009."
],
"answer_starts": [
798
]
}
|
{
"text": "Florence and the Machine released their debut album Lungs in the United Kingdom on 6 July 2009.",
"answer_start": 798
}
|
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.
Q: What did this lead to
A: This album included the earliest version of her later hit "Kiss with a Fist", which at this point was titled "Happy Slap".
Q: What was her next album
A: Florence and the Machine released their debut album Lungs in the United Kingdom on 6 July 2009.
|
C_5231298633a84a73b14f9a5cb6fbd559_1_q#7
|
What did this make
| 0y
| 2x
|
{
"texts": [
"The album was officially launched with a set at the Rivoli Ballroom in Brockley, South East London."
],
"answer_starts": [
894
]
}
|
{
"text": "The album was officially launched with a set at the Rivoli Ballroom in Brockley, South East London.",
"answer_start": 894
}
|
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.
Q: What did this lead to
A: This album included the earliest version of her later hit "Kiss with a Fist", which at this point was titled "Happy Slap".
Q: What was her next album
A: Florence and the Machine released their debut album Lungs in the United Kingdom on 6 July 2009.
Q: What did this make
A: The album was officially launched with a set at the Rivoli Ballroom in Brockley, South East London.
|
C_5231298633a84a73b14f9a5cb6fbd559_1_q#8
|
Where did this peak at
| 0y
| 2x
|
{
"texts": [
"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."
],
"answer_starts": [
1055
]
}
|
{
"text": "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.",
"answer_start": 1055
}
|
C_5231298633a84a73b14f9a5cb6fbd559_0
|
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.
|
Influences
|
During interviews, Welch has cited Grace Slick and Alanis Morissette as influences and "heroes." She listed in her early influences the likes of John Cale, Siouxsie, David Byrne, Lou Reed, In a review of Ceremonials, Jody Rosen of Rolling Stone described Florence and the Machine's style as "dark, robust and romantic", deeming the ballad "Only If for a Night" as a mix of "classic soul and midnight-on-the-moors English art rock". Welch stated that her lyrics related to Renaissance artists : "We're dealing with all of the same things they did : love and death, time and pain, heaven and hell". Welch has used religious imagery in her music and performances, though she has stated "I'm not a religious person. Sex, violence, love, death, are the topics that I'm constantly wrestling with, it's all connected back to religion." Nick Welch, her father, contributed a "rock and roll element to the family mix"; in his twenties, he lived in a West End squat and attended the Squatters' Ball organised by Heathcote Williams where The 101ers played regularly. A self-confessed "frustrated performer", if Nick, as he put it, "nudged Flo in any way, it's only been to listen to the Ramones rather than Green Day". Evelyn had an equally strong yet completely different influence on her daughter. A visit to one of her mother's lectures left teenage Florence deeply impressed. She explained, "I aspire to something like that but with music. I hope that my music has some of the big themes--sex, death, love, violence--that will still be part of the human story in 200 years' time". Welch has stated she is an avid reader, and has been influenced by authors such as Gwendoline Riley, Kirsten Reed and David Vann. The art of literature is important to her. She actively participates in a fan run book club, 'Between Two Books'. Every few months, she will recommend a book to the club which they will read collectively. Welch enjoys poetry, and has mentioned that the poet Ted Hughes was a big influence on her first album, 'Lungs'.
|
C_5231298633a84a73b14f9a5cb6fbd559_0_q#0
|
Who influenced her
| 0y
| 2x
|
{
"texts": [
"During interviews, Welch has cited Grace Slick and Alanis Morissette as influences and \"heroes."
],
"answer_starts": [
0
]
}
|
{
"text": "During interviews, Welch has cited Grace Slick and Alanis Morissette as influences and \"heroes.",
"answer_start": 0
}
|
C_5231298633a84a73b14f9a5cb6fbd559_0
|
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.
|
Influences
|
During interviews, Welch has cited Grace Slick and Alanis Morissette as influences and "heroes." She listed in her early influences the likes of John Cale, Siouxsie, David Byrne, Lou Reed, In a review of Ceremonials, Jody Rosen of Rolling Stone described Florence and the Machine's style as "dark, robust and romantic", deeming the ballad "Only If for a Night" as a mix of "classic soul and midnight-on-the-moors English art rock". Welch stated that her lyrics related to Renaissance artists : "We're dealing with all of the same things they did : love and death, time and pain, heaven and hell". Welch has used religious imagery in her music and performances, though she has stated "I'm not a religious person. Sex, violence, love, death, are the topics that I'm constantly wrestling with, it's all connected back to religion." Nick Welch, her father, contributed a "rock and roll element to the family mix"; in his twenties, he lived in a West End squat and attended the Squatters' Ball organised by Heathcote Williams where The 101ers played regularly. A self-confessed "frustrated performer", if Nick, as he put it, "nudged Flo in any way, it's only been to listen to the Ramones rather than Green Day". Evelyn had an equally strong yet completely different influence on her daughter. A visit to one of her mother's lectures left teenage Florence deeply impressed. She explained, "I aspire to something like that but with music. I hope that my music has some of the big themes--sex, death, love, violence--that will still be part of the human story in 200 years' time". Welch has stated she is an avid reader, and has been influenced by authors such as Gwendoline Riley, Kirsten Reed and David Vann. The art of literature is important to her. She actively participates in a fan run book club, 'Between Two Books'. Every few months, she will recommend a book to the club which they will read collectively. Welch enjoys poetry, and has mentioned that the poet Ted Hughes was a big influence on her first album, 'Lungs'.
Q: Who influenced her
A: During interviews, Welch has cited Grace Slick and Alanis Morissette as influences and "heroes.
|
C_5231298633a84a73b14f9a5cb6fbd559_0_q#1
|
Who else did she site as a mentor
| 0y
| 2x
|
{
"texts": [
"She listed in her early influences the likes of John Cale, Siouxsie, David Byrne, Lou Reed,"
],
"answer_starts": [
97
]
}
|
{
"text": "She listed in her early influences the likes of John Cale, Siouxsie, David Byrne, Lou Reed,",
"answer_start": 97
}
|
C_5231298633a84a73b14f9a5cb6fbd559_0
|
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.
|
Influences
|
During interviews, Welch has cited Grace Slick and Alanis Morissette as influences and "heroes." She listed in her early influences the likes of John Cale, Siouxsie, David Byrne, Lou Reed, In a review of Ceremonials, Jody Rosen of Rolling Stone described Florence and the Machine's style as "dark, robust and romantic", deeming the ballad "Only If for a Night" as a mix of "classic soul and midnight-on-the-moors English art rock". Welch stated that her lyrics related to Renaissance artists : "We're dealing with all of the same things they did : love and death, time and pain, heaven and hell". Welch has used religious imagery in her music and performances, though she has stated "I'm not a religious person. Sex, violence, love, death, are the topics that I'm constantly wrestling with, it's all connected back to religion." Nick Welch, her father, contributed a "rock and roll element to the family mix"; in his twenties, he lived in a West End squat and attended the Squatters' Ball organised by Heathcote Williams where The 101ers played regularly. A self-confessed "frustrated performer", if Nick, as he put it, "nudged Flo in any way, it's only been to listen to the Ramones rather than Green Day". Evelyn had an equally strong yet completely different influence on her daughter. A visit to one of her mother's lectures left teenage Florence deeply impressed. She explained, "I aspire to something like that but with music. I hope that my music has some of the big themes--sex, death, love, violence--that will still be part of the human story in 200 years' time". Welch has stated she is an avid reader, and has been influenced by authors such as Gwendoline Riley, Kirsten Reed and David Vann. The art of literature is important to her. She actively participates in a fan run book club, 'Between Two Books'. Every few months, she will recommend a book to the club which they will read collectively. Welch enjoys poetry, and has mentioned that the poet Ted Hughes was a big influence on her first album, 'Lungs'.
Q: Who influenced her
A: During interviews, Welch has cited Grace Slick and Alanis Morissette as influences and "heroes.
Q: Who else did she site as a mentor
A: She listed in her early influences the likes of John Cale, Siouxsie, David Byrne, Lou Reed,
|
C_5231298633a84a73b14f9a5cb6fbd559_0_q#2
|
What was said in reviews
| 0y
| 2x
|
{
"texts": [
"In a review of Ceremonials, Jody Rosen of Rolling Stone described Florence and the Machine's style as \"dark, robust and romantic\", deeming the ballad"
],
"answer_starts": [
189
]
}
|
{
"text": "In a review of Ceremonials, Jody Rosen of Rolling Stone described Florence and the Machine's style as \"dark, robust and romantic\", deeming the ballad",
"answer_start": 189
}
|
C_5231298633a84a73b14f9a5cb6fbd559_0
|
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.
|
Influences
|
During interviews, Welch has cited Grace Slick and Alanis Morissette as influences and "heroes." She listed in her early influences the likes of John Cale, Siouxsie, David Byrne, Lou Reed, In a review of Ceremonials, Jody Rosen of Rolling Stone described Florence and the Machine's style as "dark, robust and romantic", deeming the ballad "Only If for a Night" as a mix of "classic soul and midnight-on-the-moors English art rock". Welch stated that her lyrics related to Renaissance artists : "We're dealing with all of the same things they did : love and death, time and pain, heaven and hell". Welch has used religious imagery in her music and performances, though she has stated "I'm not a religious person. Sex, violence, love, death, are the topics that I'm constantly wrestling with, it's all connected back to religion." Nick Welch, her father, contributed a "rock and roll element to the family mix"; in his twenties, he lived in a West End squat and attended the Squatters' Ball organised by Heathcote Williams where The 101ers played regularly. A self-confessed "frustrated performer", if Nick, as he put it, "nudged Flo in any way, it's only been to listen to the Ramones rather than Green Day". Evelyn had an equally strong yet completely different influence on her daughter. A visit to one of her mother's lectures left teenage Florence deeply impressed. She explained, "I aspire to something like that but with music. I hope that my music has some of the big themes--sex, death, love, violence--that will still be part of the human story in 200 years' time". Welch has stated she is an avid reader, and has been influenced by authors such as Gwendoline Riley, Kirsten Reed and David Vann. The art of literature is important to her. She actively participates in a fan run book club, 'Between Two Books'. Every few months, she will recommend a book to the club which they will read collectively. Welch enjoys poetry, and has mentioned that the poet Ted Hughes was a big influence on her first album, 'Lungs'.
Q: Who influenced her
A: During interviews, Welch has cited Grace Slick and Alanis Morissette as influences and "heroes.
Q: Who else did she site as a mentor
A: She listed in her early influences the likes of John Cale, Siouxsie, David Byrne, Lou Reed,
Q: What was said in reviews
A: In a review of Ceremonials, Jody Rosen of Rolling Stone described Florence and the Machine's style as "dark, robust and romantic", deeming the ballad
|
C_5231298633a84a73b14f9a5cb6fbd559_0_q#3
|
What did this make florencw do
| 0y
| 2x
|
{
"texts": [
"Only If for a Night\" as a mix of \"classic soul and midnight-on-the-moors English art rock\"."
],
"answer_starts": [
340
]
}
|
{
"text": "Only If for a Night\" as a mix of \"classic soul and midnight-on-the-moors English art rock\".",
"answer_start": 340
}
|
C_5231298633a84a73b14f9a5cb6fbd559_0
|
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.
|
Influences
|
During interviews, Welch has cited Grace Slick and Alanis Morissette as influences and "heroes." She listed in her early influences the likes of John Cale, Siouxsie, David Byrne, Lou Reed, In a review of Ceremonials, Jody Rosen of Rolling Stone described Florence and the Machine's style as "dark, robust and romantic", deeming the ballad "Only If for a Night" as a mix of "classic soul and midnight-on-the-moors English art rock". Welch stated that her lyrics related to Renaissance artists : "We're dealing with all of the same things they did : love and death, time and pain, heaven and hell". Welch has used religious imagery in her music and performances, though she has stated "I'm not a religious person. Sex, violence, love, death, are the topics that I'm constantly wrestling with, it's all connected back to religion." Nick Welch, her father, contributed a "rock and roll element to the family mix"; in his twenties, he lived in a West End squat and attended the Squatters' Ball organised by Heathcote Williams where The 101ers played regularly. A self-confessed "frustrated performer", if Nick, as he put it, "nudged Flo in any way, it's only been to listen to the Ramones rather than Green Day". Evelyn had an equally strong yet completely different influence on her daughter. A visit to one of her mother's lectures left teenage Florence deeply impressed. She explained, "I aspire to something like that but with music. I hope that my music has some of the big themes--sex, death, love, violence--that will still be part of the human story in 200 years' time". Welch has stated she is an avid reader, and has been influenced by authors such as Gwendoline Riley, Kirsten Reed and David Vann. The art of literature is important to her. She actively participates in a fan run book club, 'Between Two Books'. Every few months, she will recommend a book to the club which they will read collectively. Welch enjoys poetry, and has mentioned that the poet Ted Hughes was a big influence on her first album, 'Lungs'.
Q: Who influenced her
A: During interviews, Welch has cited Grace Slick and Alanis Morissette as influences and "heroes.
Q: Who else did she site as a mentor
A: She listed in her early influences the likes of John Cale, Siouxsie, David Byrne, Lou Reed,
Q: What was said in reviews
A: In a review of Ceremonials, Jody Rosen of Rolling Stone described Florence and the Machine's style as "dark, robust and romantic", deeming the ballad
Q: What did this make florencw do
A: Only If for a Night" as a mix of "classic soul and midnight-on-the-moors English art rock".
|
C_5231298633a84a73b14f9a5cb6fbd559_0_q#4
|
What does that mean for her
| 0y
| 2x
|
{
"texts": [
"Welch stated that her lyrics related to Renaissance artists : \"We're dealing with all of the same things they did"
],
"answer_starts": [
432
]
}
|
{
"text": "Welch stated that her lyrics related to Renaissance artists : \"We're dealing with all of the same things they did",
"answer_start": 432
}
|
C_5231298633a84a73b14f9a5cb6fbd559_0
|
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.
|
Influences
|
During interviews, Welch has cited Grace Slick and Alanis Morissette as influences and "heroes." She listed in her early influences the likes of John Cale, Siouxsie, David Byrne, Lou Reed, In a review of Ceremonials, Jody Rosen of Rolling Stone described Florence and the Machine's style as "dark, robust and romantic", deeming the ballad "Only If for a Night" as a mix of "classic soul and midnight-on-the-moors English art rock". Welch stated that her lyrics related to Renaissance artists : "We're dealing with all of the same things they did : love and death, time and pain, heaven and hell". Welch has used religious imagery in her music and performances, though she has stated "I'm not a religious person. Sex, violence, love, death, are the topics that I'm constantly wrestling with, it's all connected back to religion." Nick Welch, her father, contributed a "rock and roll element to the family mix"; in his twenties, he lived in a West End squat and attended the Squatters' Ball organised by Heathcote Williams where The 101ers played regularly. A self-confessed "frustrated performer", if Nick, as he put it, "nudged Flo in any way, it's only been to listen to the Ramones rather than Green Day". Evelyn had an equally strong yet completely different influence on her daughter. A visit to one of her mother's lectures left teenage Florence deeply impressed. She explained, "I aspire to something like that but with music. I hope that my music has some of the big themes--sex, death, love, violence--that will still be part of the human story in 200 years' time". Welch has stated she is an avid reader, and has been influenced by authors such as Gwendoline Riley, Kirsten Reed and David Vann. The art of literature is important to her. She actively participates in a fan run book club, 'Between Two Books'. Every few months, she will recommend a book to the club which they will read collectively. Welch enjoys poetry, and has mentioned that the poet Ted Hughes was a big influence on her first album, 'Lungs'.
Q: Who influenced her
A: During interviews, Welch has cited Grace Slick and Alanis Morissette as influences and "heroes.
Q: Who else did she site as a mentor
A: She listed in her early influences the likes of John Cale, Siouxsie, David Byrne, Lou Reed,
Q: What was said in reviews
A: In a review of Ceremonials, Jody Rosen of Rolling Stone described Florence and the Machine's style as "dark, robust and romantic", deeming the ballad
Q: What did this make florencw do
A: Only If for a Night" as a mix of "classic soul and midnight-on-the-moors English art rock".
Q: What does that mean for her
A: Welch stated that her lyrics related to Renaissance artists : "We're dealing with all of the same things they did
|
C_5231298633a84a73b14f9a5cb6fbd559_0_q#5
|
Who was in charge of everything
| 0y
| 2x
|
{
"texts": [
"We're dealing with all of the same things they did : love and death, time and pain, heaven and hell\"."
],
"answer_starts": [
495
]
}
|
{
"text": "We're dealing with all of the same things they did : love and death, time and pain, heaven and hell\".",
"answer_start": 495
}
|
C_5231298633a84a73b14f9a5cb6fbd559_0
|
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.
|
Influences
|
During interviews, Welch has cited Grace Slick and Alanis Morissette as influences and "heroes." She listed in her early influences the likes of John Cale, Siouxsie, David Byrne, Lou Reed, In a review of Ceremonials, Jody Rosen of Rolling Stone described Florence and the Machine's style as "dark, robust and romantic", deeming the ballad "Only If for a Night" as a mix of "classic soul and midnight-on-the-moors English art rock". Welch stated that her lyrics related to Renaissance artists : "We're dealing with all of the same things they did : love and death, time and pain, heaven and hell". Welch has used religious imagery in her music and performances, though she has stated "I'm not a religious person. Sex, violence, love, death, are the topics that I'm constantly wrestling with, it's all connected back to religion." Nick Welch, her father, contributed a "rock and roll element to the family mix"; in his twenties, he lived in a West End squat and attended the Squatters' Ball organised by Heathcote Williams where The 101ers played regularly. A self-confessed "frustrated performer", if Nick, as he put it, "nudged Flo in any way, it's only been to listen to the Ramones rather than Green Day". Evelyn had an equally strong yet completely different influence on her daughter. A visit to one of her mother's lectures left teenage Florence deeply impressed. She explained, "I aspire to something like that but with music. I hope that my music has some of the big themes--sex, death, love, violence--that will still be part of the human story in 200 years' time". Welch has stated she is an avid reader, and has been influenced by authors such as Gwendoline Riley, Kirsten Reed and David Vann. The art of literature is important to her. She actively participates in a fan run book club, 'Between Two Books'. Every few months, she will recommend a book to the club which they will read collectively. Welch enjoys poetry, and has mentioned that the poet Ted Hughes was a big influence on her first album, 'Lungs'.
Q: Who influenced her
A: During interviews, Welch has cited Grace Slick and Alanis Morissette as influences and "heroes.
Q: Who else did she site as a mentor
A: She listed in her early influences the likes of John Cale, Siouxsie, David Byrne, Lou Reed,
Q: What was said in reviews
A: In a review of Ceremonials, Jody Rosen of Rolling Stone described Florence and the Machine's style as "dark, robust and romantic", deeming the ballad
Q: What did this make florencw do
A: Only If for a Night" as a mix of "classic soul and midnight-on-the-moors English art rock".
Q: What does that mean for her
A: Welch stated that her lyrics related to Renaissance artists : "We're dealing with all of the same things they did
Q: Who was in charge of everything
A: We're dealing with all of the same things they did : love and death, time and pain, heaven and hell".
|
C_5231298633a84a73b14f9a5cb6fbd559_0_q#6
|
What else did she use
| 0y
| 2x
|
{
"texts": [
"I'm not a religious person. Sex, violence, love, death, are the topics that I'm constantly wrestling with, it's all connected back to religion.\""
],
"answer_starts": [
684
]
}
|
{
"text": "I'm not a religious person. Sex, violence, love, death, are the topics that I'm constantly wrestling with, it's all connected back to religion.\"",
"answer_start": 684
}
|
C_5231298633a84a73b14f9a5cb6fbd559_0
|
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.
|
Influences
|
During interviews, Welch has cited Grace Slick and Alanis Morissette as influences and "heroes." She listed in her early influences the likes of John Cale, Siouxsie, David Byrne, Lou Reed, In a review of Ceremonials, Jody Rosen of Rolling Stone described Florence and the Machine's style as "dark, robust and romantic", deeming the ballad "Only If for a Night" as a mix of "classic soul and midnight-on-the-moors English art rock". Welch stated that her lyrics related to Renaissance artists : "We're dealing with all of the same things they did : love and death, time and pain, heaven and hell". Welch has used religious imagery in her music and performances, though she has stated "I'm not a religious person. Sex, violence, love, death, are the topics that I'm constantly wrestling with, it's all connected back to religion." Nick Welch, her father, contributed a "rock and roll element to the family mix"; in his twenties, he lived in a West End squat and attended the Squatters' Ball organised by Heathcote Williams where The 101ers played regularly. A self-confessed "frustrated performer", if Nick, as he put it, "nudged Flo in any way, it's only been to listen to the Ramones rather than Green Day". Evelyn had an equally strong yet completely different influence on her daughter. A visit to one of her mother's lectures left teenage Florence deeply impressed. She explained, "I aspire to something like that but with music. I hope that my music has some of the big themes--sex, death, love, violence--that will still be part of the human story in 200 years' time". Welch has stated she is an avid reader, and has been influenced by authors such as Gwendoline Riley, Kirsten Reed and David Vann. The art of literature is important to her. She actively participates in a fan run book club, 'Between Two Books'. Every few months, she will recommend a book to the club which they will read collectively. Welch enjoys poetry, and has mentioned that the poet Ted Hughes was a big influence on her first album, 'Lungs'.
Q: Who influenced her
A: During interviews, Welch has cited Grace Slick and Alanis Morissette as influences and "heroes.
Q: Who else did she site as a mentor
A: She listed in her early influences the likes of John Cale, Siouxsie, David Byrne, Lou Reed,
Q: What was said in reviews
A: In a review of Ceremonials, Jody Rosen of Rolling Stone described Florence and the Machine's style as "dark, robust and romantic", deeming the ballad
Q: What did this make florencw do
A: Only If for a Night" as a mix of "classic soul and midnight-on-the-moors English art rock".
Q: What does that mean for her
A: Welch stated that her lyrics related to Renaissance artists : "We're dealing with all of the same things they did
Q: Who was in charge of everything
A: We're dealing with all of the same things they did : love and death, time and pain, heaven and hell".
Q: What else did she use
A: I'm not a religious person. Sex, violence, love, death, are the topics that I'm constantly wrestling with, it's all connected back to religion."
|
C_5231298633a84a73b14f9a5cb6fbd559_0_q#7
|
What was her inspiration
| 0y
| 2x
|
{
"texts": [
"Nick Welch, her father, contributed a \"rock and roll element to the family mix\"; in his twenties,"
],
"answer_starts": [
830
]
}
|
{
"text": "Nick Welch, her father, contributed a \"rock and roll element to the family mix\"; in his twenties,",
"answer_start": 830
}
|
C_5231298633a84a73b14f9a5cb6fbd559_0
|
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.
|
Influences
|
During interviews, Welch has cited Grace Slick and Alanis Morissette as influences and "heroes." She listed in her early influences the likes of John Cale, Siouxsie, David Byrne, Lou Reed, In a review of Ceremonials, Jody Rosen of Rolling Stone described Florence and the Machine's style as "dark, robust and romantic", deeming the ballad "Only If for a Night" as a mix of "classic soul and midnight-on-the-moors English art rock". Welch stated that her lyrics related to Renaissance artists : "We're dealing with all of the same things they did : love and death, time and pain, heaven and hell". Welch has used religious imagery in her music and performances, though she has stated "I'm not a religious person. Sex, violence, love, death, are the topics that I'm constantly wrestling with, it's all connected back to religion." Nick Welch, her father, contributed a "rock and roll element to the family mix"; in his twenties, he lived in a West End squat and attended the Squatters' Ball organised by Heathcote Williams where The 101ers played regularly. A self-confessed "frustrated performer", if Nick, as he put it, "nudged Flo in any way, it's only been to listen to the Ramones rather than Green Day". Evelyn had an equally strong yet completely different influence on her daughter. A visit to one of her mother's lectures left teenage Florence deeply impressed. She explained, "I aspire to something like that but with music. I hope that my music has some of the big themes--sex, death, love, violence--that will still be part of the human story in 200 years' time". Welch has stated she is an avid reader, and has been influenced by authors such as Gwendoline Riley, Kirsten Reed and David Vann. The art of literature is important to her. She actively participates in a fan run book club, 'Between Two Books'. Every few months, she will recommend a book to the club which they will read collectively. Welch enjoys poetry, and has mentioned that the poet Ted Hughes was a big influence on her first album, 'Lungs'.
Q: Who influenced her
A: During interviews, Welch has cited Grace Slick and Alanis Morissette as influences and "heroes.
Q: Who else did she site as a mentor
A: She listed in her early influences the likes of John Cale, Siouxsie, David Byrne, Lou Reed,
Q: What was said in reviews
A: In a review of Ceremonials, Jody Rosen of Rolling Stone described Florence and the Machine's style as "dark, robust and romantic", deeming the ballad
Q: What did this make florencw do
A: Only If for a Night" as a mix of "classic soul and midnight-on-the-moors English art rock".
Q: What does that mean for her
A: Welch stated that her lyrics related to Renaissance artists : "We're dealing with all of the same things they did
Q: Who was in charge of everything
A: We're dealing with all of the same things they did : love and death, time and pain, heaven and hell".
Q: What else did she use
A: I'm not a religious person. Sex, violence, love, death, are the topics that I'm constantly wrestling with, it's all connected back to religion."
Q: What was her inspiration
A: Nick Welch, her father, contributed a "rock and roll element to the family mix"; in his twenties,
|
C_5231298633a84a73b14f9a5cb6fbd559_0_q#8
|
Who did this
| 0y
| 2x
|
{
"texts": [
"visit to one of her mother's lectures left teenage Florence deeply impressed."
],
"answer_starts": [
1292
]
}
|
{
"text": "visit to one of her mother's lectures left teenage Florence deeply impressed.",
"answer_start": 1292
}
|
C_d532af67125142a3a1029918c4123492_1
|
Adam West
|
Adam West was born William West Anderson on September 19, 1928, in Walla Walla, Washington. His father, Otto Anderson (1903-1984) was a farmer; and his mother, Audrey Volenne (nee Speer; 1906-1969) was an opera singer and concert pianist who was forced to abandon her own Hollywood dreams to care for her family. Following her example, West stated to his father as a youth that he intended to go to Hollywood after his completion of school. He moved to Seattle with his mother when he was 15, following his parents' divorce.
|
Post-Batman career
|
After his high-profile role, West, along with Burt Ward and Yvonne Craig (who played crime-fighting sidekicks Robin and Batgirl), was severely typecast. West's first post-Caped Crusader role was in the film The Girl Who Knew Too Much (1969). His lead performance against type as cynical tough guy Johnny Cain did not erode his Batman image; the movie was a box office disappointment. For a time, West made a living from personal appearances as Batman. In 1974, when Ward and Craig reprised their Batman roles for a TV public-service announcement about equal pay for women, West was absent. Instead, Dick Gautier filled in as Batman. One of West's more memorable Batman appearances, after the series had ended, was with the Memphis-based United States Wrestling Association, where he engaged in a war of words with Jerry "The King" Lawler while wearing the cowl and a tracksuit, and even name-dropping Spider-Man. West subsequently appeared in the theatrical films The Marriage of a Young Stockbrocker (1971), The Curse of the Moon Child (1972), The Specialist (1975), Hooper (as himself; 1978), The Happy Hooker Goes Hollywood (1980), One Dark Night (1983) and Young Lady Chatterley II (1985). West also appeared in such television films as The Eyes of Charles Sand (1972), Poor Devil (1973), Nevada Smith (1975), For the Love of It (1980) and I Take These Men (1983). West split his time between residences in Palm Springs, California and Ketchum, Idaho. He did guest shots on the television series; Maverick, Diagnosis: Murder, Love, American Style, Bonanza, The Big Valley, Night Gallery, Alias Smith and Jones, Mannix, Emergency!, Alice, Police Woman, Operation Petticoat, The American Girls, Vega$, Big Shamus, Little Shamus, Laverne & Shirley, Bewitched, Fantasy Island, The Love Boat, Hart to Hart, Zorro, The King of Queens, and George Lopez. West was also in an episode of Bonanza that supposedly never aired until reruns were shown and he made several guest appearances as himself on Family Feud. In 1986, he starred in the comedy police series titled The Last Precinct.
|
C_d532af67125142a3a1029918c4123492_1_q#0
|
What did West do in his post Batman career?
| 0y
| 2x
|
{
"texts": [
"West's first post-Caped Crusader role was in the film The Girl Who Knew Too Much (1969)."
],
"answer_starts": [
153
]
}
|
{
"text": "West's first post-Caped Crusader role was in the film The Girl Who Knew Too Much (1969).",
"answer_start": 153
}
|
C_d532af67125142a3a1029918c4123492_1
|
Adam West
|
Adam West was born William West Anderson on September 19, 1928, in Walla Walla, Washington. His father, Otto Anderson (1903-1984) was a farmer; and his mother, Audrey Volenne (nee Speer; 1906-1969) was an opera singer and concert pianist who was forced to abandon her own Hollywood dreams to care for her family. Following her example, West stated to his father as a youth that he intended to go to Hollywood after his completion of school. He moved to Seattle with his mother when he was 15, following his parents' divorce.
|
Post-Batman career
|
After his high-profile role, West, along with Burt Ward and Yvonne Craig (who played crime-fighting sidekicks Robin and Batgirl), was severely typecast. West's first post-Caped Crusader role was in the film The Girl Who Knew Too Much (1969). His lead performance against type as cynical tough guy Johnny Cain did not erode his Batman image; the movie was a box office disappointment. For a time, West made a living from personal appearances as Batman. In 1974, when Ward and Craig reprised their Batman roles for a TV public-service announcement about equal pay for women, West was absent. Instead, Dick Gautier filled in as Batman. One of West's more memorable Batman appearances, after the series had ended, was with the Memphis-based United States Wrestling Association, where he engaged in a war of words with Jerry "The King" Lawler while wearing the cowl and a tracksuit, and even name-dropping Spider-Man. West subsequently appeared in the theatrical films The Marriage of a Young Stockbrocker (1971), The Curse of the Moon Child (1972), The Specialist (1975), Hooper (as himself; 1978), The Happy Hooker Goes Hollywood (1980), One Dark Night (1983) and Young Lady Chatterley II (1985). West also appeared in such television films as The Eyes of Charles Sand (1972), Poor Devil (1973), Nevada Smith (1975), For the Love of It (1980) and I Take These Men (1983). West split his time between residences in Palm Springs, California and Ketchum, Idaho. He did guest shots on the television series; Maverick, Diagnosis: Murder, Love, American Style, Bonanza, The Big Valley, Night Gallery, Alias Smith and Jones, Mannix, Emergency!, Alice, Police Woman, Operation Petticoat, The American Girls, Vega$, Big Shamus, Little Shamus, Laverne & Shirley, Bewitched, Fantasy Island, The Love Boat, Hart to Hart, Zorro, The King of Queens, and George Lopez. West was also in an episode of Bonanza that supposedly never aired until reruns were shown and he made several guest appearances as himself on Family Feud. In 1986, he starred in the comedy police series titled The Last Precinct.
Q: What did West do in his post Batman career?
A: West's first post-Caped Crusader role was in the film The Girl Who Knew Too Much (1969).
|
C_d532af67125142a3a1029918c4123492_1_q#1
|
Who did he star with in The Girl Who Knew Too Much?
| 1n
| 2x
|
{
"texts": [
"unknown"
],
"answer_starts": [
2085
]
}
|
{
"text": "unknown",
"answer_start": 2085
}
|
C_d532af67125142a3a1029918c4123492_1
|
Adam West
|
Adam West was born William West Anderson on September 19, 1928, in Walla Walla, Washington. His father, Otto Anderson (1903-1984) was a farmer; and his mother, Audrey Volenne (nee Speer; 1906-1969) was an opera singer and concert pianist who was forced to abandon her own Hollywood dreams to care for her family. Following her example, West stated to his father as a youth that he intended to go to Hollywood after his completion of school. He moved to Seattle with his mother when he was 15, following his parents' divorce.
|
Post-Batman career
|
After his high-profile role, West, along with Burt Ward and Yvonne Craig (who played crime-fighting sidekicks Robin and Batgirl), was severely typecast. West's first post-Caped Crusader role was in the film The Girl Who Knew Too Much (1969). His lead performance against type as cynical tough guy Johnny Cain did not erode his Batman image; the movie was a box office disappointment. For a time, West made a living from personal appearances as Batman. In 1974, when Ward and Craig reprised their Batman roles for a TV public-service announcement about equal pay for women, West was absent. Instead, Dick Gautier filled in as Batman. One of West's more memorable Batman appearances, after the series had ended, was with the Memphis-based United States Wrestling Association, where he engaged in a war of words with Jerry "The King" Lawler while wearing the cowl and a tracksuit, and even name-dropping Spider-Man. West subsequently appeared in the theatrical films The Marriage of a Young Stockbrocker (1971), The Curse of the Moon Child (1972), The Specialist (1975), Hooper (as himself; 1978), The Happy Hooker Goes Hollywood (1980), One Dark Night (1983) and Young Lady Chatterley II (1985). West also appeared in such television films as The Eyes of Charles Sand (1972), Poor Devil (1973), Nevada Smith (1975), For the Love of It (1980) and I Take These Men (1983). West split his time between residences in Palm Springs, California and Ketchum, Idaho. He did guest shots on the television series; Maverick, Diagnosis: Murder, Love, American Style, Bonanza, The Big Valley, Night Gallery, Alias Smith and Jones, Mannix, Emergency!, Alice, Police Woman, Operation Petticoat, The American Girls, Vega$, Big Shamus, Little Shamus, Laverne & Shirley, Bewitched, Fantasy Island, The Love Boat, Hart to Hart, Zorro, The King of Queens, and George Lopez. West was also in an episode of Bonanza that supposedly never aired until reruns were shown and he made several guest appearances as himself on Family Feud. In 1986, he starred in the comedy police series titled The Last Precinct.
Q: What did West do in his post Batman career?
A: West's first post-Caped Crusader role was in the film The Girl Who Knew Too Much (1969).
Q: Who did he star with in The Girl Who Knew Too Much?
A: unknown
|
C_d532af67125142a3a1029918c4123492_1_q#2
|
Did the movie do well?
| 2m
| 1n
|
{
"texts": [
"the movie was a box office disappointment."
],
"answer_starts": [
341
]
}
|
{
"text": "the movie was a box office disappointment.",
"answer_start": 341
}
|
C_d532af67125142a3a1029918c4123492_1
|
Adam West
|
Adam West was born William West Anderson on September 19, 1928, in Walla Walla, Washington. His father, Otto Anderson (1903-1984) was a farmer; and his mother, Audrey Volenne (nee Speer; 1906-1969) was an opera singer and concert pianist who was forced to abandon her own Hollywood dreams to care for her family. Following her example, West stated to his father as a youth that he intended to go to Hollywood after his completion of school. He moved to Seattle with his mother when he was 15, following his parents' divorce.
|
Post-Batman career
|
After his high-profile role, West, along with Burt Ward and Yvonne Craig (who played crime-fighting sidekicks Robin and Batgirl), was severely typecast. West's first post-Caped Crusader role was in the film The Girl Who Knew Too Much (1969). His lead performance against type as cynical tough guy Johnny Cain did not erode his Batman image; the movie was a box office disappointment. For a time, West made a living from personal appearances as Batman. In 1974, when Ward and Craig reprised their Batman roles for a TV public-service announcement about equal pay for women, West was absent. Instead, Dick Gautier filled in as Batman. One of West's more memorable Batman appearances, after the series had ended, was with the Memphis-based United States Wrestling Association, where he engaged in a war of words with Jerry "The King" Lawler while wearing the cowl and a tracksuit, and even name-dropping Spider-Man. West subsequently appeared in the theatrical films The Marriage of a Young Stockbrocker (1971), The Curse of the Moon Child (1972), The Specialist (1975), Hooper (as himself; 1978), The Happy Hooker Goes Hollywood (1980), One Dark Night (1983) and Young Lady Chatterley II (1985). West also appeared in such television films as The Eyes of Charles Sand (1972), Poor Devil (1973), Nevada Smith (1975), For the Love of It (1980) and I Take These Men (1983). West split his time between residences in Palm Springs, California and Ketchum, Idaho. He did guest shots on the television series; Maverick, Diagnosis: Murder, Love, American Style, Bonanza, The Big Valley, Night Gallery, Alias Smith and Jones, Mannix, Emergency!, Alice, Police Woman, Operation Petticoat, The American Girls, Vega$, Big Shamus, Little Shamus, Laverne & Shirley, Bewitched, Fantasy Island, The Love Boat, Hart to Hart, Zorro, The King of Queens, and George Lopez. West was also in an episode of Bonanza that supposedly never aired until reruns were shown and he made several guest appearances as himself on Family Feud. In 1986, he starred in the comedy police series titled The Last Precinct.
Q: What did West do in his post Batman career?
A: West's first post-Caped Crusader role was in the film The Girl Who Knew Too Much (1969).
Q: Who did he star with in The Girl Who Knew Too Much?
A: unknown
Q: Did the movie do well?
A: the movie was a box office disappointment.
|
C_d532af67125142a3a1029918c4123492_1_q#3
|
What did West do next?
| 0y
| 2x
|
{
"texts": [
"West made a living from personal appearances as Batman."
],
"answer_starts": [
397
]
}
|
{
"text": "West made a living from personal appearances as Batman.",
"answer_start": 397
}
|
C_d532af67125142a3a1029918c4123492_1
|
Adam West
|
Adam West was born William West Anderson on September 19, 1928, in Walla Walla, Washington. His father, Otto Anderson (1903-1984) was a farmer; and his mother, Audrey Volenne (nee Speer; 1906-1969) was an opera singer and concert pianist who was forced to abandon her own Hollywood dreams to care for her family. Following her example, West stated to his father as a youth that he intended to go to Hollywood after his completion of school. He moved to Seattle with his mother when he was 15, following his parents' divorce.
|
Post-Batman career
|
After his high-profile role, West, along with Burt Ward and Yvonne Craig (who played crime-fighting sidekicks Robin and Batgirl), was severely typecast. West's first post-Caped Crusader role was in the film The Girl Who Knew Too Much (1969). His lead performance against type as cynical tough guy Johnny Cain did not erode his Batman image; the movie was a box office disappointment. For a time, West made a living from personal appearances as Batman. In 1974, when Ward and Craig reprised their Batman roles for a TV public-service announcement about equal pay for women, West was absent. Instead, Dick Gautier filled in as Batman. One of West's more memorable Batman appearances, after the series had ended, was with the Memphis-based United States Wrestling Association, where he engaged in a war of words with Jerry "The King" Lawler while wearing the cowl and a tracksuit, and even name-dropping Spider-Man. West subsequently appeared in the theatrical films The Marriage of a Young Stockbrocker (1971), The Curse of the Moon Child (1972), The Specialist (1975), Hooper (as himself; 1978), The Happy Hooker Goes Hollywood (1980), One Dark Night (1983) and Young Lady Chatterley II (1985). West also appeared in such television films as The Eyes of Charles Sand (1972), Poor Devil (1973), Nevada Smith (1975), For the Love of It (1980) and I Take These Men (1983). West split his time between residences in Palm Springs, California and Ketchum, Idaho. He did guest shots on the television series; Maverick, Diagnosis: Murder, Love, American Style, Bonanza, The Big Valley, Night Gallery, Alias Smith and Jones, Mannix, Emergency!, Alice, Police Woman, Operation Petticoat, The American Girls, Vega$, Big Shamus, Little Shamus, Laverne & Shirley, Bewitched, Fantasy Island, The Love Boat, Hart to Hart, Zorro, The King of Queens, and George Lopez. West was also in an episode of Bonanza that supposedly never aired until reruns were shown and he made several guest appearances as himself on Family Feud. In 1986, he starred in the comedy police series titled The Last Precinct.
Q: What did West do in his post Batman career?
A: West's first post-Caped Crusader role was in the film The Girl Who Knew Too Much (1969).
Q: Who did he star with in The Girl Who Knew Too Much?
A: unknown
Q: Did the movie do well?
A: the movie was a box office disappointment.
Q: What did West do next?
A: West made a living from personal appearances as Batman.
|
C_d532af67125142a3a1029918c4123492_1_q#4
|
Did he do many appearances?
| 0y
| 2x
|
{
"texts": [
"One of West's more memorable Batman appearances, after the series had ended, was with the Memphis-based United States Wrestling Association,"
],
"answer_starts": [
634
]
}
|
{
"text": "One of West's more memorable Batman appearances, after the series had ended, was with the Memphis-based United States Wrestling Association,",
"answer_start": 634
}
|
C_d532af67125142a3a1029918c4123492_0
|
Adam West
|
Adam West was born William West Anderson on September 19, 1928, in Walla Walla, Washington. His father, Otto Anderson (1903-1984) was a farmer; and his mother, Audrey Volenne (nee Speer; 1906-1969) was an opera singer and concert pianist who was forced to abandon her own Hollywood dreams to care for her family. Following her example, West stated to his father as a youth that he intended to go to Hollywood after his completion of school. He moved to Seattle with his mother when he was 15, following his parents' divorce.
|
Return to Batman
|
West often reprised his role as Batman/Bruce Wayne, first in the short-lived animated series The New Adventures of Batman, and in other shows such as The Batman/Tarzan Adventure Hour, Tarzan and the Super 7, Super Friends: The Legendary Super Powers Show, and The Super Powers Team: Galactic Guardians (succeeding Olan Soule in the role). In 1979, West once again donned the Batsuit for the live-action TV special Legends of the Superheroes. In 1985, DC Comics named West as one of the honorees in the company's 50th-anniversary publication Fifty Who Made DC Great for his work on the Batman series. West was considered to play Thomas Wayne, Bruce Wayne's father, in Tim Burton's 1989 Batman film. Originally, he wanted to play Batman. West never appeared in any of the theatrically released post-1960s Batman franchise motion pictures and, to date, neither has Burt Ward (Robin, from the TV series). West made an appearance in a 1992 episode of Batman: The Animated Series on Fox, but not as Batman (as the role of Batman was already being played by Kevin Conroy). Instead, he portrayed Simon Trent, a washed-up actor who used to play a superhero in a TV series called The Gray Ghost and who now has difficulty finding work. West later had a recurring role as the voice of Mayor Grange in the WB animated series The Batman. The actor vocally reprised his role as Batman for the CGI-animated short film Batman: New Times. He co-starred with Mark Hamill, who vocally portrayed The Joker and had originally played the role on Batman: The Animated Series. West also voiced Thomas Wayne in an episode of the cartoon series Batman: The Brave and the Bold.
|
C_d532af67125142a3a1029918c4123492_0_q#0
|
When did he return to batman?
| 0y
| 2x
|
{
"texts": [
"In 1979, West once again donned the Batsuit for the live-action TV special"
],
"answer_starts": [
339
]
}
|
{
"text": "In 1979, West once again donned the Batsuit for the live-action TV special",
"answer_start": 339
}
|
C_d532af67125142a3a1029918c4123492_0
|
Adam West
|
Adam West was born William West Anderson on September 19, 1928, in Walla Walla, Washington. His father, Otto Anderson (1903-1984) was a farmer; and his mother, Audrey Volenne (nee Speer; 1906-1969) was an opera singer and concert pianist who was forced to abandon her own Hollywood dreams to care for her family. Following her example, West stated to his father as a youth that he intended to go to Hollywood after his completion of school. He moved to Seattle with his mother when he was 15, following his parents' divorce.
|
Return to Batman
|
West often reprised his role as Batman/Bruce Wayne, first in the short-lived animated series The New Adventures of Batman, and in other shows such as The Batman/Tarzan Adventure Hour, Tarzan and the Super 7, Super Friends: The Legendary Super Powers Show, and The Super Powers Team: Galactic Guardians (succeeding Olan Soule in the role). In 1979, West once again donned the Batsuit for the live-action TV special Legends of the Superheroes. In 1985, DC Comics named West as one of the honorees in the company's 50th-anniversary publication Fifty Who Made DC Great for his work on the Batman series. West was considered to play Thomas Wayne, Bruce Wayne's father, in Tim Burton's 1989 Batman film. Originally, he wanted to play Batman. West never appeared in any of the theatrically released post-1960s Batman franchise motion pictures and, to date, neither has Burt Ward (Robin, from the TV series). West made an appearance in a 1992 episode of Batman: The Animated Series on Fox, but not as Batman (as the role of Batman was already being played by Kevin Conroy). Instead, he portrayed Simon Trent, a washed-up actor who used to play a superhero in a TV series called The Gray Ghost and who now has difficulty finding work. West later had a recurring role as the voice of Mayor Grange in the WB animated series The Batman. The actor vocally reprised his role as Batman for the CGI-animated short film Batman: New Times. He co-starred with Mark Hamill, who vocally portrayed The Joker and had originally played the role on Batman: The Animated Series. West also voiced Thomas Wayne in an episode of the cartoon series Batman: The Brave and the Bold.
Q: When did he return to batman?
A: In 1979, West once again donned the Batsuit for the live-action TV special
|
C_d532af67125142a3a1029918c4123492_0_q#1
|
Why did he come back to batman?
| 2m
| 2x
|
{
"texts": [
"West often reprised his role as Batman/Bruce Wayne, first in the short-lived animated series The New Adventures of Batman,"
],
"answer_starts": [
0
]
}
|
{
"text": "West often reprised his role as Batman/Bruce Wayne, first in the short-lived animated series The New Adventures of Batman,",
"answer_start": 0
}
|
C_d532af67125142a3a1029918c4123492_0
|
Adam West
|
Adam West was born William West Anderson on September 19, 1928, in Walla Walla, Washington. His father, Otto Anderson (1903-1984) was a farmer; and his mother, Audrey Volenne (nee Speer; 1906-1969) was an opera singer and concert pianist who was forced to abandon her own Hollywood dreams to care for her family. Following her example, West stated to his father as a youth that he intended to go to Hollywood after his completion of school. He moved to Seattle with his mother when he was 15, following his parents' divorce.
|
Return to Batman
|
West often reprised his role as Batman/Bruce Wayne, first in the short-lived animated series The New Adventures of Batman, and in other shows such as The Batman/Tarzan Adventure Hour, Tarzan and the Super 7, Super Friends: The Legendary Super Powers Show, and The Super Powers Team: Galactic Guardians (succeeding Olan Soule in the role). In 1979, West once again donned the Batsuit for the live-action TV special Legends of the Superheroes. In 1985, DC Comics named West as one of the honorees in the company's 50th-anniversary publication Fifty Who Made DC Great for his work on the Batman series. West was considered to play Thomas Wayne, Bruce Wayne's father, in Tim Burton's 1989 Batman film. Originally, he wanted to play Batman. West never appeared in any of the theatrically released post-1960s Batman franchise motion pictures and, to date, neither has Burt Ward (Robin, from the TV series). West made an appearance in a 1992 episode of Batman: The Animated Series on Fox, but not as Batman (as the role of Batman was already being played by Kevin Conroy). Instead, he portrayed Simon Trent, a washed-up actor who used to play a superhero in a TV series called The Gray Ghost and who now has difficulty finding work. West later had a recurring role as the voice of Mayor Grange in the WB animated series The Batman. The actor vocally reprised his role as Batman for the CGI-animated short film Batman: New Times. He co-starred with Mark Hamill, who vocally portrayed The Joker and had originally played the role on Batman: The Animated Series. West also voiced Thomas Wayne in an episode of the cartoon series Batman: The Brave and the Bold.
Q: When did he return to batman?
A: In 1979, West once again donned the Batsuit for the live-action TV special
Q: Why did he come back to batman?
A: West often reprised his role as Batman/Bruce Wayne, first in the short-lived animated series The New Adventures of Batman,
|
C_d532af67125142a3a1029918c4123492_0_q#2
|
What was the live action tv special called?
| 1n
| 2x
|
{
"texts": [
"The Super Powers Team: Galactic Guardians"
],
"answer_starts": [
260
]
}
|
{
"text": "The Super Powers Team: Galactic Guardians",
"answer_start": 260
}
|
C_d532af67125142a3a1029918c4123492_0
|
Adam West
|
Adam West was born William West Anderson on September 19, 1928, in Walla Walla, Washington. His father, Otto Anderson (1903-1984) was a farmer; and his mother, Audrey Volenne (nee Speer; 1906-1969) was an opera singer and concert pianist who was forced to abandon her own Hollywood dreams to care for her family. Following her example, West stated to his father as a youth that he intended to go to Hollywood after his completion of school. He moved to Seattle with his mother when he was 15, following his parents' divorce.
|
Return to Batman
|
West often reprised his role as Batman/Bruce Wayne, first in the short-lived animated series The New Adventures of Batman, and in other shows such as The Batman/Tarzan Adventure Hour, Tarzan and the Super 7, Super Friends: The Legendary Super Powers Show, and The Super Powers Team: Galactic Guardians (succeeding Olan Soule in the role). In 1979, West once again donned the Batsuit for the live-action TV special Legends of the Superheroes. In 1985, DC Comics named West as one of the honorees in the company's 50th-anniversary publication Fifty Who Made DC Great for his work on the Batman series. West was considered to play Thomas Wayne, Bruce Wayne's father, in Tim Burton's 1989 Batman film. Originally, he wanted to play Batman. West never appeared in any of the theatrically released post-1960s Batman franchise motion pictures and, to date, neither has Burt Ward (Robin, from the TV series). West made an appearance in a 1992 episode of Batman: The Animated Series on Fox, but not as Batman (as the role of Batman was already being played by Kevin Conroy). Instead, he portrayed Simon Trent, a washed-up actor who used to play a superhero in a TV series called The Gray Ghost and who now has difficulty finding work. West later had a recurring role as the voice of Mayor Grange in the WB animated series The Batman. The actor vocally reprised his role as Batman for the CGI-animated short film Batman: New Times. He co-starred with Mark Hamill, who vocally portrayed The Joker and had originally played the role on Batman: The Animated Series. West also voiced Thomas Wayne in an episode of the cartoon series Batman: The Brave and the Bold.
Q: When did he return to batman?
A: In 1979, West once again donned the Batsuit for the live-action TV special
Q: Why did he come back to batman?
A: West often reprised his role as Batman/Bruce Wayne, first in the short-lived animated series The New Adventures of Batman,
Q: What was the live action tv special called?
A: The Super Powers Team: Galactic Guardians
|
C_d532af67125142a3a1029918c4123492_0_q#3
|
How did the show do?
| 1n
| 2x
|
{
"texts": [
"unknown"
],
"answer_starts": [
1653
]
}
|
{
"text": "unknown",
"answer_start": 1653
}
|
C_d532af67125142a3a1029918c4123492_0
|
Adam West
|
Adam West was born William West Anderson on September 19, 1928, in Walla Walla, Washington. His father, Otto Anderson (1903-1984) was a farmer; and his mother, Audrey Volenne (nee Speer; 1906-1969) was an opera singer and concert pianist who was forced to abandon her own Hollywood dreams to care for her family. Following her example, West stated to his father as a youth that he intended to go to Hollywood after his completion of school. He moved to Seattle with his mother when he was 15, following his parents' divorce.
|
Return to Batman
|
West often reprised his role as Batman/Bruce Wayne, first in the short-lived animated series The New Adventures of Batman, and in other shows such as The Batman/Tarzan Adventure Hour, Tarzan and the Super 7, Super Friends: The Legendary Super Powers Show, and The Super Powers Team: Galactic Guardians (succeeding Olan Soule in the role). In 1979, West once again donned the Batsuit for the live-action TV special Legends of the Superheroes. In 1985, DC Comics named West as one of the honorees in the company's 50th-anniversary publication Fifty Who Made DC Great for his work on the Batman series. West was considered to play Thomas Wayne, Bruce Wayne's father, in Tim Burton's 1989 Batman film. Originally, he wanted to play Batman. West never appeared in any of the theatrically released post-1960s Batman franchise motion pictures and, to date, neither has Burt Ward (Robin, from the TV series). West made an appearance in a 1992 episode of Batman: The Animated Series on Fox, but not as Batman (as the role of Batman was already being played by Kevin Conroy). Instead, he portrayed Simon Trent, a washed-up actor who used to play a superhero in a TV series called The Gray Ghost and who now has difficulty finding work. West later had a recurring role as the voice of Mayor Grange in the WB animated series The Batman. The actor vocally reprised his role as Batman for the CGI-animated short film Batman: New Times. He co-starred with Mark Hamill, who vocally portrayed The Joker and had originally played the role on Batman: The Animated Series. West also voiced Thomas Wayne in an episode of the cartoon series Batman: The Brave and the Bold.
Q: When did he return to batman?
A: In 1979, West once again donned the Batsuit for the live-action TV special
Q: Why did he come back to batman?
A: West often reprised his role as Batman/Bruce Wayne, first in the short-lived animated series The New Adventures of Batman,
Q: What was the live action tv special called?
A: The Super Powers Team: Galactic Guardians
Q: How did the show do?
A: unknown
|
C_d532af67125142a3a1029918c4123492_0_q#4
|
What did he do after that series?
| 0y
| 2x
|
{
"texts": [
"West was considered to play Thomas Wayne, Bruce Wayne's father, in Tim Burton's 1989 Batman film."
],
"answer_starts": [
601
]
}
|
{
"text": "West was considered to play Thomas Wayne, Bruce Wayne's father, in Tim Burton's 1989 Batman film.",
"answer_start": 601
}
|
C_66bac46059de4271a1db329e237a1465_0
|
Bobby Timmons
|
Timmons was born in Philadelphia, Pennsylvania, the son of a minister. He had a sister, Eleanor. Both of his parents, and several aunts and uncles, played the piano. From an early age Timmons studied music with an uncle, Robert Habershaw, who also taught McCoy Tyner.
|
Summer 1961 to 1974
|
Timmons left Blakey for the second time in June 1961, encouraged by the success of his compositions, including jukebox plays of "Dat Dere", which Oscar Brown had recorded after adding lyrics. Timmons then formed his own bands, initially with Ron Carter on bass and Tootie Heath on drums. They toured around the US, including the West Coast, but played most in and around New York. In the initial stages of this trio, Timmons liked the group sounds of the trios led by Red Garland and Ahmad Jamal. According to Tootie Heath, Timmons was at the peak of his fame at that point, but was addicted to heroin, and used a lot of the money that the band was paid maintaining his habit. In 1963 Timmons' playing, with Lewis Powers on bass and Ron McCurdy on drums, was described by a Washington Post reviewer as "flexible and adventuresome [...] Glossing over everything is an undeniable sheen of church music and spirituals." In 1965 the same reviewer commented that Timmons was employing musicians who were of much lower ability: "Timmons lacks a certain passion but I wonder if this is not the fault of his sidemen." Timmons started playing vibes in the mid-1960s. He occasionally played organ, but recorded only one track on that instrument - a 1964 version of "Moanin'" on From the Bottom. Recordings as a leader continued, usually as part of a trio or quartet, but, after joining Milestone Records around 1967, Timmons' album Got to Get It! featured him as part of a nonet, playing arrangements by Tom McIntosh. Timmons' career declined quickly in the 1960s, in part because of drug abuse and alcoholism and partly as a result of frustration at being typecast as a composer and player of seemingly simple pieces of music. In 1968 he made his second, final, recording for Milestone, Do You Know the Way? In the following year he played in a quartet led by Sonny Red, with Dexter Gordon on one of the saxophonist's temporary returns to the US from Europe, and in a trio backing vocalist Etta Jones. Timmons continued to play in the early 1970s, mostly in small groups or in combination with other pianists, and mainly in the New York area. According to saxophonist Jimmy Heath, Timmons joined Clark Terry's big band for a tour of Europe in 1974. He was unwell and drank on the plane to Sweden, and fell while drinking at the bar before the band's first concert, in Malmo. Susceptible to blood clotting, he was flown back to the US. On March 1, 1974, he died from cirrhosis, at the age of 38, at St Vincent's Hospital in New York. He had been in hospital for a month. He was buried in Philadelphia, and was survived by his wife, Estelle, and son, also Bobby.
|
C_66bac46059de4271a1db329e237a1465_0_q#0
|
What happened in 1961
| 0y
| 2x
|
{
"texts": [
"Timmons left Blakey for the second time in June 1961, encouraged by the success of his compositions, including jukebox plays of \"Dat Dere\","
],
"answer_starts": [
0
]
}
|
{
"text": "Timmons left Blakey for the second time in June 1961, encouraged by the success of his compositions, including jukebox plays of \"Dat Dere\",",
"answer_start": 0
}
|
C_66bac46059de4271a1db329e237a1465_0
|
Bobby Timmons
|
Timmons was born in Philadelphia, Pennsylvania, the son of a minister. He had a sister, Eleanor. Both of his parents, and several aunts and uncles, played the piano. From an early age Timmons studied music with an uncle, Robert Habershaw, who also taught McCoy Tyner.
|
Summer 1961 to 1974
|
Timmons left Blakey for the second time in June 1961, encouraged by the success of his compositions, including jukebox plays of "Dat Dere", which Oscar Brown had recorded after adding lyrics. Timmons then formed his own bands, initially with Ron Carter on bass and Tootie Heath on drums. They toured around the US, including the West Coast, but played most in and around New York. In the initial stages of this trio, Timmons liked the group sounds of the trios led by Red Garland and Ahmad Jamal. According to Tootie Heath, Timmons was at the peak of his fame at that point, but was addicted to heroin, and used a lot of the money that the band was paid maintaining his habit. In 1963 Timmons' playing, with Lewis Powers on bass and Ron McCurdy on drums, was described by a Washington Post reviewer as "flexible and adventuresome [...] Glossing over everything is an undeniable sheen of church music and spirituals." In 1965 the same reviewer commented that Timmons was employing musicians who were of much lower ability: "Timmons lacks a certain passion but I wonder if this is not the fault of his sidemen." Timmons started playing vibes in the mid-1960s. He occasionally played organ, but recorded only one track on that instrument - a 1964 version of "Moanin'" on From the Bottom. Recordings as a leader continued, usually as part of a trio or quartet, but, after joining Milestone Records around 1967, Timmons' album Got to Get It! featured him as part of a nonet, playing arrangements by Tom McIntosh. Timmons' career declined quickly in the 1960s, in part because of drug abuse and alcoholism and partly as a result of frustration at being typecast as a composer and player of seemingly simple pieces of music. In 1968 he made his second, final, recording for Milestone, Do You Know the Way? In the following year he played in a quartet led by Sonny Red, with Dexter Gordon on one of the saxophonist's temporary returns to the US from Europe, and in a trio backing vocalist Etta Jones. Timmons continued to play in the early 1970s, mostly in small groups or in combination with other pianists, and mainly in the New York area. According to saxophonist Jimmy Heath, Timmons joined Clark Terry's big band for a tour of Europe in 1974. He was unwell and drank on the plane to Sweden, and fell while drinking at the bar before the band's first concert, in Malmo. Susceptible to blood clotting, he was flown back to the US. On March 1, 1974, he died from cirrhosis, at the age of 38, at St Vincent's Hospital in New York. He had been in hospital for a month. He was buried in Philadelphia, and was survived by his wife, Estelle, and son, also Bobby.
Q: What happened in 1961
A: Timmons left Blakey for the second time in June 1961, encouraged by the success of his compositions, including jukebox plays of "Dat Dere",
|
C_66bac46059de4271a1db329e237a1465_0_q#1
|
What did he do after he left
| 0y
| 2x
|
{
"texts": [
"Timmons then formed his own bands, initially with Ron Carter on bass and Tootie Heath on drums. They toured around the US, including the West Coast,"
],
"answer_starts": [
192
]
}
|
{
"text": "Timmons then formed his own bands, initially with Ron Carter on bass and Tootie Heath on drums. They toured around the US, including the West Coast,",
"answer_start": 192
}
|
C_66bac46059de4271a1db329e237a1465_0
|
Bobby Timmons
|
Timmons was born in Philadelphia, Pennsylvania, the son of a minister. He had a sister, Eleanor. Both of his parents, and several aunts and uncles, played the piano. From an early age Timmons studied music with an uncle, Robert Habershaw, who also taught McCoy Tyner.
|
Summer 1961 to 1974
|
Timmons left Blakey for the second time in June 1961, encouraged by the success of his compositions, including jukebox plays of "Dat Dere", which Oscar Brown had recorded after adding lyrics. Timmons then formed his own bands, initially with Ron Carter on bass and Tootie Heath on drums. They toured around the US, including the West Coast, but played most in and around New York. In the initial stages of this trio, Timmons liked the group sounds of the trios led by Red Garland and Ahmad Jamal. According to Tootie Heath, Timmons was at the peak of his fame at that point, but was addicted to heroin, and used a lot of the money that the band was paid maintaining his habit. In 1963 Timmons' playing, with Lewis Powers on bass and Ron McCurdy on drums, was described by a Washington Post reviewer as "flexible and adventuresome [...] Glossing over everything is an undeniable sheen of church music and spirituals." In 1965 the same reviewer commented that Timmons was employing musicians who were of much lower ability: "Timmons lacks a certain passion but I wonder if this is not the fault of his sidemen." Timmons started playing vibes in the mid-1960s. He occasionally played organ, but recorded only one track on that instrument - a 1964 version of "Moanin'" on From the Bottom. Recordings as a leader continued, usually as part of a trio or quartet, but, after joining Milestone Records around 1967, Timmons' album Got to Get It! featured him as part of a nonet, playing arrangements by Tom McIntosh. Timmons' career declined quickly in the 1960s, in part because of drug abuse and alcoholism and partly as a result of frustration at being typecast as a composer and player of seemingly simple pieces of music. In 1968 he made his second, final, recording for Milestone, Do You Know the Way? In the following year he played in a quartet led by Sonny Red, with Dexter Gordon on one of the saxophonist's temporary returns to the US from Europe, and in a trio backing vocalist Etta Jones. Timmons continued to play in the early 1970s, mostly in small groups or in combination with other pianists, and mainly in the New York area. According to saxophonist Jimmy Heath, Timmons joined Clark Terry's big band for a tour of Europe in 1974. He was unwell and drank on the plane to Sweden, and fell while drinking at the bar before the band's first concert, in Malmo. Susceptible to blood clotting, he was flown back to the US. On March 1, 1974, he died from cirrhosis, at the age of 38, at St Vincent's Hospital in New York. He had been in hospital for a month. He was buried in Philadelphia, and was survived by his wife, Estelle, and son, also Bobby.
Q: What happened in 1961
A: Timmons left Blakey for the second time in June 1961, encouraged by the success of his compositions, including jukebox plays of "Dat Dere",
Q: What did he do after he left
A: Timmons then formed his own bands, initially with Ron Carter on bass and Tootie Heath on drums. They toured around the US, including the West Coast,
|
C_66bac46059de4271a1db329e237a1465_0_q#2
|
did they make any albums
| 1n
| 0y
|
{
"texts": [
"after joining Milestone Records around 1967, Timmons' album Got to Get It! featured him as part of a nonet, playing arrangements by Tom McIntosh."
],
"answer_starts": [
1363
]
}
|
{
"text": "after joining Milestone Records around 1967, Timmons' album Got to Get It! featured him as part of a nonet, playing arrangements by Tom McIntosh.",
"answer_start": 1363
}
|
C_66bac46059de4271a1db329e237a1465_0
|
Bobby Timmons
|
Timmons was born in Philadelphia, Pennsylvania, the son of a minister. He had a sister, Eleanor. Both of his parents, and several aunts and uncles, played the piano. From an early age Timmons studied music with an uncle, Robert Habershaw, who also taught McCoy Tyner.
|
Summer 1961 to 1974
|
Timmons left Blakey for the second time in June 1961, encouraged by the success of his compositions, including jukebox plays of "Dat Dere", which Oscar Brown had recorded after adding lyrics. Timmons then formed his own bands, initially with Ron Carter on bass and Tootie Heath on drums. They toured around the US, including the West Coast, but played most in and around New York. In the initial stages of this trio, Timmons liked the group sounds of the trios led by Red Garland and Ahmad Jamal. According to Tootie Heath, Timmons was at the peak of his fame at that point, but was addicted to heroin, and used a lot of the money that the band was paid maintaining his habit. In 1963 Timmons' playing, with Lewis Powers on bass and Ron McCurdy on drums, was described by a Washington Post reviewer as "flexible and adventuresome [...] Glossing over everything is an undeniable sheen of church music and spirituals." In 1965 the same reviewer commented that Timmons was employing musicians who were of much lower ability: "Timmons lacks a certain passion but I wonder if this is not the fault of his sidemen." Timmons started playing vibes in the mid-1960s. He occasionally played organ, but recorded only one track on that instrument - a 1964 version of "Moanin'" on From the Bottom. Recordings as a leader continued, usually as part of a trio or quartet, but, after joining Milestone Records around 1967, Timmons' album Got to Get It! featured him as part of a nonet, playing arrangements by Tom McIntosh. Timmons' career declined quickly in the 1960s, in part because of drug abuse and alcoholism and partly as a result of frustration at being typecast as a composer and player of seemingly simple pieces of music. In 1968 he made his second, final, recording for Milestone, Do You Know the Way? In the following year he played in a quartet led by Sonny Red, with Dexter Gordon on one of the saxophonist's temporary returns to the US from Europe, and in a trio backing vocalist Etta Jones. Timmons continued to play in the early 1970s, mostly in small groups or in combination with other pianists, and mainly in the New York area. According to saxophonist Jimmy Heath, Timmons joined Clark Terry's big band for a tour of Europe in 1974. He was unwell and drank on the plane to Sweden, and fell while drinking at the bar before the band's first concert, in Malmo. Susceptible to blood clotting, he was flown back to the US. On March 1, 1974, he died from cirrhosis, at the age of 38, at St Vincent's Hospital in New York. He had been in hospital for a month. He was buried in Philadelphia, and was survived by his wife, Estelle, and son, also Bobby.
Q: What happened in 1961
A: Timmons left Blakey for the second time in June 1961, encouraged by the success of his compositions, including jukebox plays of "Dat Dere",
Q: What did he do after he left
A: Timmons then formed his own bands, initially with Ron Carter on bass and Tootie Heath on drums. They toured around the US, including the West Coast,
Q: did they make any albums
A: after joining Milestone Records around 1967, Timmons' album Got to Get It! featured him as part of a nonet, playing arrangements by Tom McIntosh.
|
C_66bac46059de4271a1db329e237a1465_0_q#3
|
What happened after this time period
| 0y
| 2x
|
{
"texts": [
"Timmons' career declined quickly in the 1960s, in part because of drug abuse and alcoholism and partly as a result of frustration at being typecast as a composer"
],
"answer_starts": [
1510
]
}
|
{
"text": "Timmons' career declined quickly in the 1960s, in part because of drug abuse and alcoholism and partly as a result of frustration at being typecast as a composer",
"answer_start": 1510
}
|
C_66bac46059de4271a1db329e237a1465_0
|
Bobby Timmons
|
Timmons was born in Philadelphia, Pennsylvania, the son of a minister. He had a sister, Eleanor. Both of his parents, and several aunts and uncles, played the piano. From an early age Timmons studied music with an uncle, Robert Habershaw, who also taught McCoy Tyner.
|
Summer 1961 to 1974
|
Timmons left Blakey for the second time in June 1961, encouraged by the success of his compositions, including jukebox plays of "Dat Dere", which Oscar Brown had recorded after adding lyrics. Timmons then formed his own bands, initially with Ron Carter on bass and Tootie Heath on drums. They toured around the US, including the West Coast, but played most in and around New York. In the initial stages of this trio, Timmons liked the group sounds of the trios led by Red Garland and Ahmad Jamal. According to Tootie Heath, Timmons was at the peak of his fame at that point, but was addicted to heroin, and used a lot of the money that the band was paid maintaining his habit. In 1963 Timmons' playing, with Lewis Powers on bass and Ron McCurdy on drums, was described by a Washington Post reviewer as "flexible and adventuresome [...] Glossing over everything is an undeniable sheen of church music and spirituals." In 1965 the same reviewer commented that Timmons was employing musicians who were of much lower ability: "Timmons lacks a certain passion but I wonder if this is not the fault of his sidemen." Timmons started playing vibes in the mid-1960s. He occasionally played organ, but recorded only one track on that instrument - a 1964 version of "Moanin'" on From the Bottom. Recordings as a leader continued, usually as part of a trio or quartet, but, after joining Milestone Records around 1967, Timmons' album Got to Get It! featured him as part of a nonet, playing arrangements by Tom McIntosh. Timmons' career declined quickly in the 1960s, in part because of drug abuse and alcoholism and partly as a result of frustration at being typecast as a composer and player of seemingly simple pieces of music. In 1968 he made his second, final, recording for Milestone, Do You Know the Way? In the following year he played in a quartet led by Sonny Red, with Dexter Gordon on one of the saxophonist's temporary returns to the US from Europe, and in a trio backing vocalist Etta Jones. Timmons continued to play in the early 1970s, mostly in small groups or in combination with other pianists, and mainly in the New York area. According to saxophonist Jimmy Heath, Timmons joined Clark Terry's big band for a tour of Europe in 1974. He was unwell and drank on the plane to Sweden, and fell while drinking at the bar before the band's first concert, in Malmo. Susceptible to blood clotting, he was flown back to the US. On March 1, 1974, he died from cirrhosis, at the age of 38, at St Vincent's Hospital in New York. He had been in hospital for a month. He was buried in Philadelphia, and was survived by his wife, Estelle, and son, also Bobby.
Q: What happened in 1961
A: Timmons left Blakey for the second time in June 1961, encouraged by the success of his compositions, including jukebox plays of "Dat Dere",
Q: What did he do after he left
A: Timmons then formed his own bands, initially with Ron Carter on bass and Tootie Heath on drums. They toured around the US, including the West Coast,
Q: did they make any albums
A: after joining Milestone Records around 1967, Timmons' album Got to Get It! featured him as part of a nonet, playing arrangements by Tom McIntosh.
Q: What happened after this time period
A: Timmons' career declined quickly in the 1960s, in part because of drug abuse and alcoholism and partly as a result of frustration at being typecast as a composer
|
C_66bac46059de4271a1db329e237a1465_0_q#4
|
Did he ever have any more success
| 0y
| 0y
|
{
"texts": [
"In the following year he played in a quartet led by Sonny Red, with Dexter Gordon on one of the saxophonist's temporary returns to the US from Europe,"
],
"answer_starts": [
1801
]
}
|
{
"text": "In the following year he played in a quartet led by Sonny Red, with Dexter Gordon on one of the saxophonist's temporary returns to the US from Europe,",
"answer_start": 1801
}
|
C_66bac46059de4271a1db329e237a1465_0
|
Bobby Timmons
|
Timmons was born in Philadelphia, Pennsylvania, the son of a minister. He had a sister, Eleanor. Both of his parents, and several aunts and uncles, played the piano. From an early age Timmons studied music with an uncle, Robert Habershaw, who also taught McCoy Tyner.
|
Summer 1961 to 1974
|
Timmons left Blakey for the second time in June 1961, encouraged by the success of his compositions, including jukebox plays of "Dat Dere", which Oscar Brown had recorded after adding lyrics. Timmons then formed his own bands, initially with Ron Carter on bass and Tootie Heath on drums. They toured around the US, including the West Coast, but played most in and around New York. In the initial stages of this trio, Timmons liked the group sounds of the trios led by Red Garland and Ahmad Jamal. According to Tootie Heath, Timmons was at the peak of his fame at that point, but was addicted to heroin, and used a lot of the money that the band was paid maintaining his habit. In 1963 Timmons' playing, with Lewis Powers on bass and Ron McCurdy on drums, was described by a Washington Post reviewer as "flexible and adventuresome [...] Glossing over everything is an undeniable sheen of church music and spirituals." In 1965 the same reviewer commented that Timmons was employing musicians who were of much lower ability: "Timmons lacks a certain passion but I wonder if this is not the fault of his sidemen." Timmons started playing vibes in the mid-1960s. He occasionally played organ, but recorded only one track on that instrument - a 1964 version of "Moanin'" on From the Bottom. Recordings as a leader continued, usually as part of a trio or quartet, but, after joining Milestone Records around 1967, Timmons' album Got to Get It! featured him as part of a nonet, playing arrangements by Tom McIntosh. Timmons' career declined quickly in the 1960s, in part because of drug abuse and alcoholism and partly as a result of frustration at being typecast as a composer and player of seemingly simple pieces of music. In 1968 he made his second, final, recording for Milestone, Do You Know the Way? In the following year he played in a quartet led by Sonny Red, with Dexter Gordon on one of the saxophonist's temporary returns to the US from Europe, and in a trio backing vocalist Etta Jones. Timmons continued to play in the early 1970s, mostly in small groups or in combination with other pianists, and mainly in the New York area. According to saxophonist Jimmy Heath, Timmons joined Clark Terry's big band for a tour of Europe in 1974. He was unwell and drank on the plane to Sweden, and fell while drinking at the bar before the band's first concert, in Malmo. Susceptible to blood clotting, he was flown back to the US. On March 1, 1974, he died from cirrhosis, at the age of 38, at St Vincent's Hospital in New York. He had been in hospital for a month. He was buried in Philadelphia, and was survived by his wife, Estelle, and son, also Bobby.
Q: What happened in 1961
A: Timmons left Blakey for the second time in June 1961, encouraged by the success of his compositions, including jukebox plays of "Dat Dere",
Q: What did he do after he left
A: Timmons then formed his own bands, initially with Ron Carter on bass and Tootie Heath on drums. They toured around the US, including the West Coast,
Q: did they make any albums
A: after joining Milestone Records around 1967, Timmons' album Got to Get It! featured him as part of a nonet, playing arrangements by Tom McIntosh.
Q: What happened after this time period
A: Timmons' career declined quickly in the 1960s, in part because of drug abuse and alcoholism and partly as a result of frustration at being typecast as a composer
Q: Did he ever have any more success
A: In the following year he played in a quartet led by Sonny Red, with Dexter Gordon on one of the saxophonist's temporary returns to the US from Europe,
|
C_66bac46059de4271a1db329e237a1465_0_q#5
|
What else did he do besides play with Sonny
| 0y
| 2x
|
{
"texts": [
"Timmons continued to play in the early 1970s, mostly in small groups or in combination with other pianists, and mainly in the New York area."
],
"answer_starts": [
1995
]
}
|
{
"text": "Timmons continued to play in the early 1970s, mostly in small groups or in combination with other pianists, and mainly in the New York area.",
"answer_start": 1995
}
|
C_66bac46059de4271a1db329e237a1465_0
|
Bobby Timmons
|
Timmons was born in Philadelphia, Pennsylvania, the son of a minister. He had a sister, Eleanor. Both of his parents, and several aunts and uncles, played the piano. From an early age Timmons studied music with an uncle, Robert Habershaw, who also taught McCoy Tyner.
|
Summer 1961 to 1974
|
Timmons left Blakey for the second time in June 1961, encouraged by the success of his compositions, including jukebox plays of "Dat Dere", which Oscar Brown had recorded after adding lyrics. Timmons then formed his own bands, initially with Ron Carter on bass and Tootie Heath on drums. They toured around the US, including the West Coast, but played most in and around New York. In the initial stages of this trio, Timmons liked the group sounds of the trios led by Red Garland and Ahmad Jamal. According to Tootie Heath, Timmons was at the peak of his fame at that point, but was addicted to heroin, and used a lot of the money that the band was paid maintaining his habit. In 1963 Timmons' playing, with Lewis Powers on bass and Ron McCurdy on drums, was described by a Washington Post reviewer as "flexible and adventuresome [...] Glossing over everything is an undeniable sheen of church music and spirituals." In 1965 the same reviewer commented that Timmons was employing musicians who were of much lower ability: "Timmons lacks a certain passion but I wonder if this is not the fault of his sidemen." Timmons started playing vibes in the mid-1960s. He occasionally played organ, but recorded only one track on that instrument - a 1964 version of "Moanin'" on From the Bottom. Recordings as a leader continued, usually as part of a trio or quartet, but, after joining Milestone Records around 1967, Timmons' album Got to Get It! featured him as part of a nonet, playing arrangements by Tom McIntosh. Timmons' career declined quickly in the 1960s, in part because of drug abuse and alcoholism and partly as a result of frustration at being typecast as a composer and player of seemingly simple pieces of music. In 1968 he made his second, final, recording for Milestone, Do You Know the Way? In the following year he played in a quartet led by Sonny Red, with Dexter Gordon on one of the saxophonist's temporary returns to the US from Europe, and in a trio backing vocalist Etta Jones. Timmons continued to play in the early 1970s, mostly in small groups or in combination with other pianists, and mainly in the New York area. According to saxophonist Jimmy Heath, Timmons joined Clark Terry's big band for a tour of Europe in 1974. He was unwell and drank on the plane to Sweden, and fell while drinking at the bar before the band's first concert, in Malmo. Susceptible to blood clotting, he was flown back to the US. On March 1, 1974, he died from cirrhosis, at the age of 38, at St Vincent's Hospital in New York. He had been in hospital for a month. He was buried in Philadelphia, and was survived by his wife, Estelle, and son, also Bobby.
Q: What happened in 1961
A: Timmons left Blakey for the second time in June 1961, encouraged by the success of his compositions, including jukebox plays of "Dat Dere",
Q: What did he do after he left
A: Timmons then formed his own bands, initially with Ron Carter on bass and Tootie Heath on drums. They toured around the US, including the West Coast,
Q: did they make any albums
A: after joining Milestone Records around 1967, Timmons' album Got to Get It! featured him as part of a nonet, playing arrangements by Tom McIntosh.
Q: What happened after this time period
A: Timmons' career declined quickly in the 1960s, in part because of drug abuse and alcoholism and partly as a result of frustration at being typecast as a composer
Q: Did he ever have any more success
A: In the following year he played in a quartet led by Sonny Red, with Dexter Gordon on one of the saxophonist's temporary returns to the US from Europe,
Q: What else did he do besides play with Sonny
A: Timmons continued to play in the early 1970s, mostly in small groups or in combination with other pianists, and mainly in the New York area.
|
C_66bac46059de4271a1db329e237a1465_0_q#6
|
Did he have drug problems
| 0y
| 0y
|
{
"texts": [
"He was unwell and drank on the plane to Sweden, and fell while drinking at the bar before the band's first concert, in Malmo."
],
"answer_starts": [
2243
]
}
|
{
"text": "He was unwell and drank on the plane to Sweden, and fell while drinking at the bar before the band's first concert, in Malmo.",
"answer_start": 2243
}
|
C_66bac46059de4271a1db329e237a1465_0
|
Bobby Timmons
|
Timmons was born in Philadelphia, Pennsylvania, the son of a minister. He had a sister, Eleanor. Both of his parents, and several aunts and uncles, played the piano. From an early age Timmons studied music with an uncle, Robert Habershaw, who also taught McCoy Tyner.
|
Summer 1961 to 1974
|
Timmons left Blakey for the second time in June 1961, encouraged by the success of his compositions, including jukebox plays of "Dat Dere", which Oscar Brown had recorded after adding lyrics. Timmons then formed his own bands, initially with Ron Carter on bass and Tootie Heath on drums. They toured around the US, including the West Coast, but played most in and around New York. In the initial stages of this trio, Timmons liked the group sounds of the trios led by Red Garland and Ahmad Jamal. According to Tootie Heath, Timmons was at the peak of his fame at that point, but was addicted to heroin, and used a lot of the money that the band was paid maintaining his habit. In 1963 Timmons' playing, with Lewis Powers on bass and Ron McCurdy on drums, was described by a Washington Post reviewer as "flexible and adventuresome [...] Glossing over everything is an undeniable sheen of church music and spirituals." In 1965 the same reviewer commented that Timmons was employing musicians who were of much lower ability: "Timmons lacks a certain passion but I wonder if this is not the fault of his sidemen." Timmons started playing vibes in the mid-1960s. He occasionally played organ, but recorded only one track on that instrument - a 1964 version of "Moanin'" on From the Bottom. Recordings as a leader continued, usually as part of a trio or quartet, but, after joining Milestone Records around 1967, Timmons' album Got to Get It! featured him as part of a nonet, playing arrangements by Tom McIntosh. Timmons' career declined quickly in the 1960s, in part because of drug abuse and alcoholism and partly as a result of frustration at being typecast as a composer and player of seemingly simple pieces of music. In 1968 he made his second, final, recording for Milestone, Do You Know the Way? In the following year he played in a quartet led by Sonny Red, with Dexter Gordon on one of the saxophonist's temporary returns to the US from Europe, and in a trio backing vocalist Etta Jones. Timmons continued to play in the early 1970s, mostly in small groups or in combination with other pianists, and mainly in the New York area. According to saxophonist Jimmy Heath, Timmons joined Clark Terry's big band for a tour of Europe in 1974. He was unwell and drank on the plane to Sweden, and fell while drinking at the bar before the band's first concert, in Malmo. Susceptible to blood clotting, he was flown back to the US. On March 1, 1974, he died from cirrhosis, at the age of 38, at St Vincent's Hospital in New York. He had been in hospital for a month. He was buried in Philadelphia, and was survived by his wife, Estelle, and son, also Bobby.
Q: What happened in 1961
A: Timmons left Blakey for the second time in June 1961, encouraged by the success of his compositions, including jukebox plays of "Dat Dere",
Q: What did he do after he left
A: Timmons then formed his own bands, initially with Ron Carter on bass and Tootie Heath on drums. They toured around the US, including the West Coast,
Q: did they make any albums
A: after joining Milestone Records around 1967, Timmons' album Got to Get It! featured him as part of a nonet, playing arrangements by Tom McIntosh.
Q: What happened after this time period
A: Timmons' career declined quickly in the 1960s, in part because of drug abuse and alcoholism and partly as a result of frustration at being typecast as a composer
Q: Did he ever have any more success
A: In the following year he played in a quartet led by Sonny Red, with Dexter Gordon on one of the saxophonist's temporary returns to the US from Europe,
Q: What else did he do besides play with Sonny
A: Timmons continued to play in the early 1970s, mostly in small groups or in combination with other pianists, and mainly in the New York area.
Q: Did he have drug problems
A: He was unwell and drank on the plane to Sweden, and fell while drinking at the bar before the band's first concert, in Malmo.
|
C_66bac46059de4271a1db329e237a1465_0_q#7
|
did alcohol hurt his career
| 0y
| 0y
|
{
"texts": [
"On March 1, 1974, he died from cirrhosis, at the age of 38, at St Vincent's Hospital in New York."
],
"answer_starts": [
2429
]
}
|
{
"text": "On March 1, 1974, he died from cirrhosis, at the age of 38, at St Vincent's Hospital in New York.",
"answer_start": 2429
}
|
C_66bac46059de4271a1db329e237a1465_0
|
Bobby Timmons
|
Timmons was born in Philadelphia, Pennsylvania, the son of a minister. He had a sister, Eleanor. Both of his parents, and several aunts and uncles, played the piano. From an early age Timmons studied music with an uncle, Robert Habershaw, who also taught McCoy Tyner.
|
Summer 1961 to 1974
|
Timmons left Blakey for the second time in June 1961, encouraged by the success of his compositions, including jukebox plays of "Dat Dere", which Oscar Brown had recorded after adding lyrics. Timmons then formed his own bands, initially with Ron Carter on bass and Tootie Heath on drums. They toured around the US, including the West Coast, but played most in and around New York. In the initial stages of this trio, Timmons liked the group sounds of the trios led by Red Garland and Ahmad Jamal. According to Tootie Heath, Timmons was at the peak of his fame at that point, but was addicted to heroin, and used a lot of the money that the band was paid maintaining his habit. In 1963 Timmons' playing, with Lewis Powers on bass and Ron McCurdy on drums, was described by a Washington Post reviewer as "flexible and adventuresome [...] Glossing over everything is an undeniable sheen of church music and spirituals." In 1965 the same reviewer commented that Timmons was employing musicians who were of much lower ability: "Timmons lacks a certain passion but I wonder if this is not the fault of his sidemen." Timmons started playing vibes in the mid-1960s. He occasionally played organ, but recorded only one track on that instrument - a 1964 version of "Moanin'" on From the Bottom. Recordings as a leader continued, usually as part of a trio or quartet, but, after joining Milestone Records around 1967, Timmons' album Got to Get It! featured him as part of a nonet, playing arrangements by Tom McIntosh. Timmons' career declined quickly in the 1960s, in part because of drug abuse and alcoholism and partly as a result of frustration at being typecast as a composer and player of seemingly simple pieces of music. In 1968 he made his second, final, recording for Milestone, Do You Know the Way? In the following year he played in a quartet led by Sonny Red, with Dexter Gordon on one of the saxophonist's temporary returns to the US from Europe, and in a trio backing vocalist Etta Jones. Timmons continued to play in the early 1970s, mostly in small groups or in combination with other pianists, and mainly in the New York area. According to saxophonist Jimmy Heath, Timmons joined Clark Terry's big band for a tour of Europe in 1974. He was unwell and drank on the plane to Sweden, and fell while drinking at the bar before the band's first concert, in Malmo. Susceptible to blood clotting, he was flown back to the US. On March 1, 1974, he died from cirrhosis, at the age of 38, at St Vincent's Hospital in New York. He had been in hospital for a month. He was buried in Philadelphia, and was survived by his wife, Estelle, and son, also Bobby.
Q: What happened in 1961
A: Timmons left Blakey for the second time in June 1961, encouraged by the success of his compositions, including jukebox plays of "Dat Dere",
Q: What did he do after he left
A: Timmons then formed his own bands, initially with Ron Carter on bass and Tootie Heath on drums. They toured around the US, including the West Coast,
Q: did they make any albums
A: after joining Milestone Records around 1967, Timmons' album Got to Get It! featured him as part of a nonet, playing arrangements by Tom McIntosh.
Q: What happened after this time period
A: Timmons' career declined quickly in the 1960s, in part because of drug abuse and alcoholism and partly as a result of frustration at being typecast as a composer
Q: Did he ever have any more success
A: In the following year he played in a quartet led by Sonny Red, with Dexter Gordon on one of the saxophonist's temporary returns to the US from Europe,
Q: What else did he do besides play with Sonny
A: Timmons continued to play in the early 1970s, mostly in small groups or in combination with other pianists, and mainly in the New York area.
Q: Did he have drug problems
A: He was unwell and drank on the plane to Sweden, and fell while drinking at the bar before the band's first concert, in Malmo.
Q: did alcohol hurt his career
A: On March 1, 1974, he died from cirrhosis, at the age of 38, at St Vincent's Hospital in New York.
|
C_66bac46059de4271a1db329e237a1465_0_q#8
|
Are there any other interesting aspects about this article?
| 0y
| 0y
|
{
"texts": [
"In 1963 Timmons' playing, with Lewis Powers on bass and Ron McCurdy on drums, was described by a Washington Post reviewer as \"flexible and adventuresome [...]"
],
"answer_starts": [
678
]
}
|
{
"text": "In 1963 Timmons' playing, with Lewis Powers on bass and Ron McCurdy on drums, was described by a Washington Post reviewer as \"flexible and adventuresome [...]",
"answer_start": 678
}
|
C_66bac46059de4271a1db329e237a1465_0
|
Bobby Timmons
|
Timmons was born in Philadelphia, Pennsylvania, the son of a minister. He had a sister, Eleanor. Both of his parents, and several aunts and uncles, played the piano. From an early age Timmons studied music with an uncle, Robert Habershaw, who also taught McCoy Tyner.
|
Summer 1961 to 1974
|
Timmons left Blakey for the second time in June 1961, encouraged by the success of his compositions, including jukebox plays of "Dat Dere", which Oscar Brown had recorded after adding lyrics. Timmons then formed his own bands, initially with Ron Carter on bass and Tootie Heath on drums. They toured around the US, including the West Coast, but played most in and around New York. In the initial stages of this trio, Timmons liked the group sounds of the trios led by Red Garland and Ahmad Jamal. According to Tootie Heath, Timmons was at the peak of his fame at that point, but was addicted to heroin, and used a lot of the money that the band was paid maintaining his habit. In 1963 Timmons' playing, with Lewis Powers on bass and Ron McCurdy on drums, was described by a Washington Post reviewer as "flexible and adventuresome [...] Glossing over everything is an undeniable sheen of church music and spirituals." In 1965 the same reviewer commented that Timmons was employing musicians who were of much lower ability: "Timmons lacks a certain passion but I wonder if this is not the fault of his sidemen." Timmons started playing vibes in the mid-1960s. He occasionally played organ, but recorded only one track on that instrument - a 1964 version of "Moanin'" on From the Bottom. Recordings as a leader continued, usually as part of a trio or quartet, but, after joining Milestone Records around 1967, Timmons' album Got to Get It! featured him as part of a nonet, playing arrangements by Tom McIntosh. Timmons' career declined quickly in the 1960s, in part because of drug abuse and alcoholism and partly as a result of frustration at being typecast as a composer and player of seemingly simple pieces of music. In 1968 he made his second, final, recording for Milestone, Do You Know the Way? In the following year he played in a quartet led by Sonny Red, with Dexter Gordon on one of the saxophonist's temporary returns to the US from Europe, and in a trio backing vocalist Etta Jones. Timmons continued to play in the early 1970s, mostly in small groups or in combination with other pianists, and mainly in the New York area. According to saxophonist Jimmy Heath, Timmons joined Clark Terry's big band for a tour of Europe in 1974. He was unwell and drank on the plane to Sweden, and fell while drinking at the bar before the band's first concert, in Malmo. Susceptible to blood clotting, he was flown back to the US. On March 1, 1974, he died from cirrhosis, at the age of 38, at St Vincent's Hospital in New York. He had been in hospital for a month. He was buried in Philadelphia, and was survived by his wife, Estelle, and son, also Bobby.
Q: What happened in 1961
A: Timmons left Blakey for the second time in June 1961, encouraged by the success of his compositions, including jukebox plays of "Dat Dere",
Q: What did he do after he left
A: Timmons then formed his own bands, initially with Ron Carter on bass and Tootie Heath on drums. They toured around the US, including the West Coast,
Q: did they make any albums
A: after joining Milestone Records around 1967, Timmons' album Got to Get It! featured him as part of a nonet, playing arrangements by Tom McIntosh.
Q: What happened after this time period
A: Timmons' career declined quickly in the 1960s, in part because of drug abuse and alcoholism and partly as a result of frustration at being typecast as a composer
Q: Did he ever have any more success
A: In the following year he played in a quartet led by Sonny Red, with Dexter Gordon on one of the saxophonist's temporary returns to the US from Europe,
Q: What else did he do besides play with Sonny
A: Timmons continued to play in the early 1970s, mostly in small groups or in combination with other pianists, and mainly in the New York area.
Q: Did he have drug problems
A: He was unwell and drank on the plane to Sweden, and fell while drinking at the bar before the band's first concert, in Malmo.
Q: did alcohol hurt his career
A: On March 1, 1974, he died from cirrhosis, at the age of 38, at St Vincent's Hospital in New York.
Q: Are there any other interesting aspects about this article?
A: In 1963 Timmons' playing, with Lewis Powers on bass and Ron McCurdy on drums, was described by a Washington Post reviewer as "flexible and adventuresome [...]
|
C_66bac46059de4271a1db329e237a1465_0_q#9
|
was the band popular
| 0y
| 1n
|
{
"texts": [
"In 1965 the same reviewer commented that Timmons was employing musicians who were of much lower ability:"
],
"answer_starts": [
918
]
}
|
{
"text": "In 1965 the same reviewer commented that Timmons was employing musicians who were of much lower ability:",
"answer_start": 918
}
|
C_422ccee520714890b5360f6831b199de_0
|
Gary Ablett Sr.
|
Born in Drouin to Alfred and Colleen Ablett, Gary Ablett grew up in the Latrobe Valley in Victoria's Gippsland region alongside his four elder brothers and three sisters. Ablett displayed a love for sport at an early age, winning the state school high jump at 10 years of age. He was also awarded both club and competition best and fairest awards for Drouin at the under-11s, under-12s and under-14s levels. After citing waning interest in school, Ablett dropped out of high school at the age of 15 years to become a bricklayer's labourer.
|
A footballing family
|
Two of Ablett's brothers played in the Victorian Football League - Kevin Ablett, who played for Hawthorn, Richmond and Geelong, and Geoff Ablett, who played for Hawthorn, Richmond and St Kilda. Ablett's eldest son, Gary Ablett Jr., has followed in his footsteps to play for Geelong. In 2007 and 2009, Ablett Jr. won the Cats' best and fairest award, emulating a feat established by his father in his first season with the Cats back in 1984; he also won the Brownlow Medal in 2009 and 2013. Another son, Nathan, was drafted in 2004 (48th pick) by Geelong under the father-son rule. Nathan initially refused to play AFL Football because of his father's experience with the media, but, with encouragement from the club, was signed ahead of the 2005 AFL Season and has since established himself in the full forward role Gary Snr made his own. On 29 September 2007, both Gary Jr. and Nathan contributed to Geelong winning its first flag in 44 years, capturing the premiership that proved elusive to Gary Snr in his 12 years at the club. Nathan retired suddenly before the 2008 season, but he and his brother Gary Jr. were members of the Gold Coast Football Club's inaugural team for the 2011 season. In addition to his sons, Ablett has a nephew, Luke Ablett, who played for the Sydney Swans and won a premiership with them in 2005. Two other nephews, from his sister's marriage to Hawthorn legend Michael Tuck, also played in the AFL - Richmond's Shane Tuck and Travis Tuck, who played for Hawthorn.
|
C_422ccee520714890b5360f6831b199de_0_q#0
|
Was their other members of his family that played football?
| 0y
| 0y
|
{
"texts": [
"Two of Ablett's brothers played in the Victorian Football League -"
],
"answer_starts": [
0
]
}
|
{
"text": "Two of Ablett's brothers played in the Victorian Football League -",
"answer_start": 0
}
|
C_422ccee520714890b5360f6831b199de_0
|
Gary Ablett Sr.
|
Born in Drouin to Alfred and Colleen Ablett, Gary Ablett grew up in the Latrobe Valley in Victoria's Gippsland region alongside his four elder brothers and three sisters. Ablett displayed a love for sport at an early age, winning the state school high jump at 10 years of age. He was also awarded both club and competition best and fairest awards for Drouin at the under-11s, under-12s and under-14s levels. After citing waning interest in school, Ablett dropped out of high school at the age of 15 years to become a bricklayer's labourer.
|
A footballing family
|
Two of Ablett's brothers played in the Victorian Football League - Kevin Ablett, who played for Hawthorn, Richmond and Geelong, and Geoff Ablett, who played for Hawthorn, Richmond and St Kilda. Ablett's eldest son, Gary Ablett Jr., has followed in his footsteps to play for Geelong. In 2007 and 2009, Ablett Jr. won the Cats' best and fairest award, emulating a feat established by his father in his first season with the Cats back in 1984; he also won the Brownlow Medal in 2009 and 2013. Another son, Nathan, was drafted in 2004 (48th pick) by Geelong under the father-son rule. Nathan initially refused to play AFL Football because of his father's experience with the media, but, with encouragement from the club, was signed ahead of the 2005 AFL Season and has since established himself in the full forward role Gary Snr made his own. On 29 September 2007, both Gary Jr. and Nathan contributed to Geelong winning its first flag in 44 years, capturing the premiership that proved elusive to Gary Snr in his 12 years at the club. Nathan retired suddenly before the 2008 season, but he and his brother Gary Jr. were members of the Gold Coast Football Club's inaugural team for the 2011 season. In addition to his sons, Ablett has a nephew, Luke Ablett, who played for the Sydney Swans and won a premiership with them in 2005. Two other nephews, from his sister's marriage to Hawthorn legend Michael Tuck, also played in the AFL - Richmond's Shane Tuck and Travis Tuck, who played for Hawthorn.
Q: Was their other members of his family that played football?
A: Two of Ablett's brothers played in the Victorian Football League -
|
C_422ccee520714890b5360f6831b199de_0_q#1
|
Were they as good as Ablett?
| 1n
| 2x
|
{
"texts": [
"unknown"
],
"answer_starts": [
1497
]
}
|
{
"text": "unknown",
"answer_start": 1497
}
|
C_422ccee520714890b5360f6831b199de_0
|
Gary Ablett Sr.
|
Born in Drouin to Alfred and Colleen Ablett, Gary Ablett grew up in the Latrobe Valley in Victoria's Gippsland region alongside his four elder brothers and three sisters. Ablett displayed a love for sport at an early age, winning the state school high jump at 10 years of age. He was also awarded both club and competition best and fairest awards for Drouin at the under-11s, under-12s and under-14s levels. After citing waning interest in school, Ablett dropped out of high school at the age of 15 years to become a bricklayer's labourer.
|
A footballing family
|
Two of Ablett's brothers played in the Victorian Football League - Kevin Ablett, who played for Hawthorn, Richmond and Geelong, and Geoff Ablett, who played for Hawthorn, Richmond and St Kilda. Ablett's eldest son, Gary Ablett Jr., has followed in his footsteps to play for Geelong. In 2007 and 2009, Ablett Jr. won the Cats' best and fairest award, emulating a feat established by his father in his first season with the Cats back in 1984; he also won the Brownlow Medal in 2009 and 2013. Another son, Nathan, was drafted in 2004 (48th pick) by Geelong under the father-son rule. Nathan initially refused to play AFL Football because of his father's experience with the media, but, with encouragement from the club, was signed ahead of the 2005 AFL Season and has since established himself in the full forward role Gary Snr made his own. On 29 September 2007, both Gary Jr. and Nathan contributed to Geelong winning its first flag in 44 years, capturing the premiership that proved elusive to Gary Snr in his 12 years at the club. Nathan retired suddenly before the 2008 season, but he and his brother Gary Jr. were members of the Gold Coast Football Club's inaugural team for the 2011 season. In addition to his sons, Ablett has a nephew, Luke Ablett, who played for the Sydney Swans and won a premiership with them in 2005. Two other nephews, from his sister's marriage to Hawthorn legend Michael Tuck, also played in the AFL - Richmond's Shane Tuck and Travis Tuck, who played for Hawthorn.
Q: Was their other members of his family that played football?
A: Two of Ablett's brothers played in the Victorian Football League -
Q: Were they as good as Ablett?
A: unknown
|
C_422ccee520714890b5360f6831b199de_0_q#2
|
Did they play on the same team?
| 1n
| 2x
|
{
"texts": [
"unknown"
],
"answer_starts": [
1497
]
}
|
{
"text": "unknown",
"answer_start": 1497
}
|
C_422ccee520714890b5360f6831b199de_0
|
Gary Ablett Sr.
|
Born in Drouin to Alfred and Colleen Ablett, Gary Ablett grew up in the Latrobe Valley in Victoria's Gippsland region alongside his four elder brothers and three sisters. Ablett displayed a love for sport at an early age, winning the state school high jump at 10 years of age. He was also awarded both club and competition best and fairest awards for Drouin at the under-11s, under-12s and under-14s levels. After citing waning interest in school, Ablett dropped out of high school at the age of 15 years to become a bricklayer's labourer.
|
A footballing family
|
Two of Ablett's brothers played in the Victorian Football League - Kevin Ablett, who played for Hawthorn, Richmond and Geelong, and Geoff Ablett, who played for Hawthorn, Richmond and St Kilda. Ablett's eldest son, Gary Ablett Jr., has followed in his footsteps to play for Geelong. In 2007 and 2009, Ablett Jr. won the Cats' best and fairest award, emulating a feat established by his father in his first season with the Cats back in 1984; he also won the Brownlow Medal in 2009 and 2013. Another son, Nathan, was drafted in 2004 (48th pick) by Geelong under the father-son rule. Nathan initially refused to play AFL Football because of his father's experience with the media, but, with encouragement from the club, was signed ahead of the 2005 AFL Season and has since established himself in the full forward role Gary Snr made his own. On 29 September 2007, both Gary Jr. and Nathan contributed to Geelong winning its first flag in 44 years, capturing the premiership that proved elusive to Gary Snr in his 12 years at the club. Nathan retired suddenly before the 2008 season, but he and his brother Gary Jr. were members of the Gold Coast Football Club's inaugural team for the 2011 season. In addition to his sons, Ablett has a nephew, Luke Ablett, who played for the Sydney Swans and won a premiership with them in 2005. Two other nephews, from his sister's marriage to Hawthorn legend Michael Tuck, also played in the AFL - Richmond's Shane Tuck and Travis Tuck, who played for Hawthorn.
Q: Was their other members of his family that played football?
A: Two of Ablett's brothers played in the Victorian Football League -
Q: Were they as good as Ablett?
A: unknown
Q: Did they play on the same team?
A: unknown
|
C_422ccee520714890b5360f6831b199de_0_q#3
|
Where was his family from?
| 1n
| 2x
|
{
"texts": [
"unknown"
],
"answer_starts": [
1497
]
}
|
{
"text": "unknown",
"answer_start": 1497
}
|
C_9f9c3397a7114f4cabea4c4c25bbba4c_1
|
José Martí
|
Jose Julian Marti Perez (January 28, 1853 - May 19, 1895) was a Cuban National Hero and an important figure in Latin American literature. During his life, he worked as a poet, essayist, journalist, translator, professor, and publisher. He was very politically active, and is considered an important revolutionary philosopher and political theorist. Through his writings and political activity, he became a symbol of Cuba's bid for independence against Spain in the 19th century, and is referred to as the "Apostle of Cuban Independence."
|
Modernism
|
The modernists, in general, use a subjective language. Marti's stylistic creed is part of the necessity to de-codify the logic rigor and the linguistic construction and to eliminate the intellectual, abstract and systematic expression. There is the deliberate intention and awareness to expand the expressive system of the language. The style changes the form of thinking. Without falling into unilateralism, Marti values the expression because language is an impression and a feeling through the form. Modernism mostly searches for the visions and realities, the expression takes in the impressions, the state of mind, without reflection and without concept. This is the law of subjectivity. We can see this in works of Marti, one of the first modernists, who conceives the literary task like an invisible unity, an expressive totality, considering the style like "a form of the content" (forma del contenido). The difference that Marti established between prose and poetry are conceptual. Poetry, as he believes, is a language of the permanent subjective: the intuition and the vision. The prose is an instrument and a method of spreading the ideas, and has the goal of elevating, encouraging and animating these ideas rather than having the expression of tearing up the heart, complaining and moaning. The prose is a service to his people. Marti produces a system of specific signs "an ideological code" (codigo ideologico). These symbols claim their moral value and construct signs of ethic conduct. Marti's modernism was a spiritual attitude that was reflected on the language. All his writing defines his moral world. One could also say that his ideological and spiritual sphere is fortified in his writing. The difference between Marti and other modernist initiators such as Manuel Gutierrez Najera, Julian del Casal, and Jose Asuncion Silva (and the similarity between him and Manuel Gonzalez Prada) lies in the profound and transcendent value that he gave to literature, converting prose into an article or the work of a journalist. This hard work was important in giving literature authentic and independent value and distancing it from mere formal amusement. Manuel Gutierez Najera, Ruben Dario, Miguel de Unamuno and Jose Enrique Rodo saved the Martinian articles, which will have an endless value in the writings of the American continent. Apart from Martinian articles. essay writing and literature starts to authorize itself as an alternative and privileged way to talk about politics. Literature starts to apply itself the only hermeneutics able to resolve the enigmas of a Latin American identity.
|
C_9f9c3397a7114f4cabea4c4c25bbba4c_1_q#0
|
what has modernism have to do with jose?
| 0y
| 2x
|
{
"texts": [
"We can see this in works of Marti, one of the first modernists, who conceives the literary task like an invisible unity, an expressive totality,"
],
"answer_starts": [
693
]
}
|
{
"text": "We can see this in works of Marti, one of the first modernists, who conceives the literary task like an invisible unity, an expressive totality,",
"answer_start": 693
}
|
C_9f9c3397a7114f4cabea4c4c25bbba4c_1
|
José Martí
|
Jose Julian Marti Perez (January 28, 1853 - May 19, 1895) was a Cuban National Hero and an important figure in Latin American literature. During his life, he worked as a poet, essayist, journalist, translator, professor, and publisher. He was very politically active, and is considered an important revolutionary philosopher and political theorist. Through his writings and political activity, he became a symbol of Cuba's bid for independence against Spain in the 19th century, and is referred to as the "Apostle of Cuban Independence."
|
Modernism
|
The modernists, in general, use a subjective language. Marti's stylistic creed is part of the necessity to de-codify the logic rigor and the linguistic construction and to eliminate the intellectual, abstract and systematic expression. There is the deliberate intention and awareness to expand the expressive system of the language. The style changes the form of thinking. Without falling into unilateralism, Marti values the expression because language is an impression and a feeling through the form. Modernism mostly searches for the visions and realities, the expression takes in the impressions, the state of mind, without reflection and without concept. This is the law of subjectivity. We can see this in works of Marti, one of the first modernists, who conceives the literary task like an invisible unity, an expressive totality, considering the style like "a form of the content" (forma del contenido). The difference that Marti established between prose and poetry are conceptual. Poetry, as he believes, is a language of the permanent subjective: the intuition and the vision. The prose is an instrument and a method of spreading the ideas, and has the goal of elevating, encouraging and animating these ideas rather than having the expression of tearing up the heart, complaining and moaning. The prose is a service to his people. Marti produces a system of specific signs "an ideological code" (codigo ideologico). These symbols claim their moral value and construct signs of ethic conduct. Marti's modernism was a spiritual attitude that was reflected on the language. All his writing defines his moral world. One could also say that his ideological and spiritual sphere is fortified in his writing. The difference between Marti and other modernist initiators such as Manuel Gutierrez Najera, Julian del Casal, and Jose Asuncion Silva (and the similarity between him and Manuel Gonzalez Prada) lies in the profound and transcendent value that he gave to literature, converting prose into an article or the work of a journalist. This hard work was important in giving literature authentic and independent value and distancing it from mere formal amusement. Manuel Gutierez Najera, Ruben Dario, Miguel de Unamuno and Jose Enrique Rodo saved the Martinian articles, which will have an endless value in the writings of the American continent. Apart from Martinian articles. essay writing and literature starts to authorize itself as an alternative and privileged way to talk about politics. Literature starts to apply itself the only hermeneutics able to resolve the enigmas of a Latin American identity.
Q: what has modernism have to do with jose?
A: We can see this in works of Marti, one of the first modernists, who conceives the literary task like an invisible unity, an expressive totality,
|
C_9f9c3397a7114f4cabea4c4c25bbba4c_1_q#1
|
what were some examples of his modernism?
| 0y
| 2x
|
{
"texts": [
"Marti produces a system of specific signs \"an ideological code\" ("
],
"answer_starts": [
1345
]
}
|
{
"text": "Marti produces a system of specific signs \"an ideological code\" (",
"answer_start": 1345
}
|
C_9f9c3397a7114f4cabea4c4c25bbba4c_1
|
José Martí
|
Jose Julian Marti Perez (January 28, 1853 - May 19, 1895) was a Cuban National Hero and an important figure in Latin American literature. During his life, he worked as a poet, essayist, journalist, translator, professor, and publisher. He was very politically active, and is considered an important revolutionary philosopher and political theorist. Through his writings and political activity, he became a symbol of Cuba's bid for independence against Spain in the 19th century, and is referred to as the "Apostle of Cuban Independence."
|
Modernism
|
The modernists, in general, use a subjective language. Marti's stylistic creed is part of the necessity to de-codify the logic rigor and the linguistic construction and to eliminate the intellectual, abstract and systematic expression. There is the deliberate intention and awareness to expand the expressive system of the language. The style changes the form of thinking. Without falling into unilateralism, Marti values the expression because language is an impression and a feeling through the form. Modernism mostly searches for the visions and realities, the expression takes in the impressions, the state of mind, without reflection and without concept. This is the law of subjectivity. We can see this in works of Marti, one of the first modernists, who conceives the literary task like an invisible unity, an expressive totality, considering the style like "a form of the content" (forma del contenido). The difference that Marti established between prose and poetry are conceptual. Poetry, as he believes, is a language of the permanent subjective: the intuition and the vision. The prose is an instrument and a method of spreading the ideas, and has the goal of elevating, encouraging and animating these ideas rather than having the expression of tearing up the heart, complaining and moaning. The prose is a service to his people. Marti produces a system of specific signs "an ideological code" (codigo ideologico). These symbols claim their moral value and construct signs of ethic conduct. Marti's modernism was a spiritual attitude that was reflected on the language. All his writing defines his moral world. One could also say that his ideological and spiritual sphere is fortified in his writing. The difference between Marti and other modernist initiators such as Manuel Gutierrez Najera, Julian del Casal, and Jose Asuncion Silva (and the similarity between him and Manuel Gonzalez Prada) lies in the profound and transcendent value that he gave to literature, converting prose into an article or the work of a journalist. This hard work was important in giving literature authentic and independent value and distancing it from mere formal amusement. Manuel Gutierez Najera, Ruben Dario, Miguel de Unamuno and Jose Enrique Rodo saved the Martinian articles, which will have an endless value in the writings of the American continent. Apart from Martinian articles. essay writing and literature starts to authorize itself as an alternative and privileged way to talk about politics. Literature starts to apply itself the only hermeneutics able to resolve the enigmas of a Latin American identity.
Q: what has modernism have to do with jose?
A: We can see this in works of Marti, one of the first modernists, who conceives the literary task like an invisible unity, an expressive totality,
Q: what were some examples of his modernism?
A: Marti produces a system of specific signs "an ideological code" (
|
C_9f9c3397a7114f4cabea4c4c25bbba4c_1_q#2
|
what was the code for?
| 2m
| 2x
|
{
"texts": [
"These symbols claim their moral value and construct signs of ethic conduct."
],
"answer_starts": [
1430
]
}
|
{
"text": "These symbols claim their moral value and construct signs of ethic conduct.",
"answer_start": 1430
}
|
C_9f9c3397a7114f4cabea4c4c25bbba4c_1
|
José Martí
|
Jose Julian Marti Perez (January 28, 1853 - May 19, 1895) was a Cuban National Hero and an important figure in Latin American literature. During his life, he worked as a poet, essayist, journalist, translator, professor, and publisher. He was very politically active, and is considered an important revolutionary philosopher and political theorist. Through his writings and political activity, he became a symbol of Cuba's bid for independence against Spain in the 19th century, and is referred to as the "Apostle of Cuban Independence."
|
Modernism
|
The modernists, in general, use a subjective language. Marti's stylistic creed is part of the necessity to de-codify the logic rigor and the linguistic construction and to eliminate the intellectual, abstract and systematic expression. There is the deliberate intention and awareness to expand the expressive system of the language. The style changes the form of thinking. Without falling into unilateralism, Marti values the expression because language is an impression and a feeling through the form. Modernism mostly searches for the visions and realities, the expression takes in the impressions, the state of mind, without reflection and without concept. This is the law of subjectivity. We can see this in works of Marti, one of the first modernists, who conceives the literary task like an invisible unity, an expressive totality, considering the style like "a form of the content" (forma del contenido). The difference that Marti established between prose and poetry are conceptual. Poetry, as he believes, is a language of the permanent subjective: the intuition and the vision. The prose is an instrument and a method of spreading the ideas, and has the goal of elevating, encouraging and animating these ideas rather than having the expression of tearing up the heart, complaining and moaning. The prose is a service to his people. Marti produces a system of specific signs "an ideological code" (codigo ideologico). These symbols claim their moral value and construct signs of ethic conduct. Marti's modernism was a spiritual attitude that was reflected on the language. All his writing defines his moral world. One could also say that his ideological and spiritual sphere is fortified in his writing. The difference between Marti and other modernist initiators such as Manuel Gutierrez Najera, Julian del Casal, and Jose Asuncion Silva (and the similarity between him and Manuel Gonzalez Prada) lies in the profound and transcendent value that he gave to literature, converting prose into an article or the work of a journalist. This hard work was important in giving literature authentic and independent value and distancing it from mere formal amusement. Manuel Gutierez Najera, Ruben Dario, Miguel de Unamuno and Jose Enrique Rodo saved the Martinian articles, which will have an endless value in the writings of the American continent. Apart from Martinian articles. essay writing and literature starts to authorize itself as an alternative and privileged way to talk about politics. Literature starts to apply itself the only hermeneutics able to resolve the enigmas of a Latin American identity.
Q: what has modernism have to do with jose?
A: We can see this in works of Marti, one of the first modernists, who conceives the literary task like an invisible unity, an expressive totality,
Q: what were some examples of his modernism?
A: Marti produces a system of specific signs "an ideological code" (
Q: what was the code for?
A: These symbols claim their moral value and construct signs of ethic conduct.
|
C_9f9c3397a7114f4cabea4c4c25bbba4c_1_q#3
|
were these symbols followed?
| 1n
| 0y
|
{
"texts": [
"One could also say that his ideological and spiritual sphere is fortified in his writing."
],
"answer_starts": [
1626
]
}
|
{
"text": "One could also say that his ideological and spiritual sphere is fortified in his writing.",
"answer_start": 1626
}
|
C_9f9c3397a7114f4cabea4c4c25bbba4c_0
|
José Martí
|
Jose Julian Marti Perez (January 28, 1853 - May 19, 1895) was a Cuban National Hero and an important figure in Latin American literature. During his life, he worked as a poet, essayist, journalist, translator, professor, and publisher. He was very politically active, and is considered an important revolutionary philosopher and political theorist. Through his writings and political activity, he became a symbol of Cuba's bid for independence against Spain in the 19th century, and is referred to as the "Apostle of Cuban Independence."
|
Legacy
|
Marti's dedication to the cause of Cuban independence and his passionate belief in democracy and justice has made him a hero for all Cubans, a symbol of unity, the "Apostle", a great leader. His ultimate goal of building a democratic, just, and stable republic in Cuba and his obsession with the practical execution of this goal led him to become the most charismatic leader of the 1895 colonial revolution. His work with the Cuban emigre community, enlisting the support of Cuban workers and socialist leaders to form the Cuban Revolutionary Party, put into motion the Cuban war of independence. His foresight into the future, shown in his warnings against American political interests for Cuba, was confirmed by the swift occupation of Cuba by the United States following the Spanish-American War. His belief in the inseparability of Cuban and Latin American sovereignty and the expression thereof in his writings have contributed to the shape of the modern Latin American Identity. His works are a cornerstone of Latin American and political literature and his prolific contributions to the fields of journalism, poetry, and prose are highly acclaimed. Marti's writings on the concepts of Cuban nationalism fuelled the 1895 revolution and have continued to inform conflicting visions of the Cuban nation. The Cuban nation-state under Fidel Castro consistently claimed Marti as a crucial inspiration for its Communist revolutionary government. During Castro's regime, the politics and death of Marti were used to justify certain actions of the Cuban state. The Cuban government claimed that Marti had supported a single party system, creating a precedent for an all-powerful communist government. Castro used this explanation throughout the late 20th century to deter Cuban citizens from demanding a multiparty system. The vast amount of writing that Marti produced in his lifetime makes it difficult to determine his exact political ideology, but his major goal was the liberation of Cuba from Spain and the establishment of a democratic republican government. Despite Marti never having supported communism or single party systems, Cuban leaders repeatedly claimed that Marti's Partido Revolucionario Cubano was a "forerunner of the Communist Party". Marti's nuanced, often ambivalent positions on the most important issues of his day have led Marxist interpreters to see a class conflict between the proletariat and the bourgeoisie as the main theme of his works, while others, namely the Cuban diasporic communities in Miami and elsewhere have identified a liberal-capitalist emphasis. These Cuban exiles still honor Marti as a figure of hope for the Cuban nation in exile and condemn Castro's regime for manipulating his works and creating a "Castroite Marti" to justify its "intolerance and abridgments of human rights". His writings thus remain a key ideological weapon in the battle over the fate of the Cuban nation. One further example of his legacy is that his name has been chosen for several institutions or NGOs from various countries, such as Romania, where a public school from Bucharest and the Romanian-Cuban Friendship Association from Targoviste are both named "Jose Marti". A gigantic statue was unveiled on his 123rd birth anniversary and President Raul Castro was present at the ceremony.
|
C_9f9c3397a7114f4cabea4c4c25bbba4c_0_q#0
|
What are some of Marti's most significant works?
| 0y
| 2x
|
{
"texts": [
"Marti's dedication to the cause of Cuban independence and his passionate belief in democracy and justice has made him a hero for all Cubans,"
],
"answer_starts": [
0
]
}
|
{
"text": "Marti's dedication to the cause of Cuban independence and his passionate belief in democracy and justice has made him a hero for all Cubans,",
"answer_start": 0
}
|
C_9f9c3397a7114f4cabea4c4c25bbba4c_0
|
José Martí
|
Jose Julian Marti Perez (January 28, 1853 - May 19, 1895) was a Cuban National Hero and an important figure in Latin American literature. During his life, he worked as a poet, essayist, journalist, translator, professor, and publisher. He was very politically active, and is considered an important revolutionary philosopher and political theorist. Through his writings and political activity, he became a symbol of Cuba's bid for independence against Spain in the 19th century, and is referred to as the "Apostle of Cuban Independence."
|
Legacy
|
Marti's dedication to the cause of Cuban independence and his passionate belief in democracy and justice has made him a hero for all Cubans, a symbol of unity, the "Apostle", a great leader. His ultimate goal of building a democratic, just, and stable republic in Cuba and his obsession with the practical execution of this goal led him to become the most charismatic leader of the 1895 colonial revolution. His work with the Cuban emigre community, enlisting the support of Cuban workers and socialist leaders to form the Cuban Revolutionary Party, put into motion the Cuban war of independence. His foresight into the future, shown in his warnings against American political interests for Cuba, was confirmed by the swift occupation of Cuba by the United States following the Spanish-American War. His belief in the inseparability of Cuban and Latin American sovereignty and the expression thereof in his writings have contributed to the shape of the modern Latin American Identity. His works are a cornerstone of Latin American and political literature and his prolific contributions to the fields of journalism, poetry, and prose are highly acclaimed. Marti's writings on the concepts of Cuban nationalism fuelled the 1895 revolution and have continued to inform conflicting visions of the Cuban nation. The Cuban nation-state under Fidel Castro consistently claimed Marti as a crucial inspiration for its Communist revolutionary government. During Castro's regime, the politics and death of Marti were used to justify certain actions of the Cuban state. The Cuban government claimed that Marti had supported a single party system, creating a precedent for an all-powerful communist government. Castro used this explanation throughout the late 20th century to deter Cuban citizens from demanding a multiparty system. The vast amount of writing that Marti produced in his lifetime makes it difficult to determine his exact political ideology, but his major goal was the liberation of Cuba from Spain and the establishment of a democratic republican government. Despite Marti never having supported communism or single party systems, Cuban leaders repeatedly claimed that Marti's Partido Revolucionario Cubano was a "forerunner of the Communist Party". Marti's nuanced, often ambivalent positions on the most important issues of his day have led Marxist interpreters to see a class conflict between the proletariat and the bourgeoisie as the main theme of his works, while others, namely the Cuban diasporic communities in Miami and elsewhere have identified a liberal-capitalist emphasis. These Cuban exiles still honor Marti as a figure of hope for the Cuban nation in exile and condemn Castro's regime for manipulating his works and creating a "Castroite Marti" to justify its "intolerance and abridgments of human rights". His writings thus remain a key ideological weapon in the battle over the fate of the Cuban nation. One further example of his legacy is that his name has been chosen for several institutions or NGOs from various countries, such as Romania, where a public school from Bucharest and the Romanian-Cuban Friendship Association from Targoviste are both named "Jose Marti". A gigantic statue was unveiled on his 123rd birth anniversary and President Raul Castro was present at the ceremony.
Q: What are some of Marti's most significant works?
A: Marti's dedication to the cause of Cuban independence and his passionate belief in democracy and justice has made him a hero for all Cubans,
|
C_9f9c3397a7114f4cabea4c4c25bbba4c_0_q#1
|
How did he contribute to Cuban independence?
| 0y
| 2x
|
{
"texts": [
"become the most charismatic leader of the 1895 colonial revolution."
],
"answer_starts": [
340
]
}
|
{
"text": "become the most charismatic leader of the 1895 colonial revolution.",
"answer_start": 340
}
|
C_9f9c3397a7114f4cabea4c4c25bbba4c_0
|
José Martí
|
Jose Julian Marti Perez (January 28, 1853 - May 19, 1895) was a Cuban National Hero and an important figure in Latin American literature. During his life, he worked as a poet, essayist, journalist, translator, professor, and publisher. He was very politically active, and is considered an important revolutionary philosopher and political theorist. Through his writings and political activity, he became a symbol of Cuba's bid for independence against Spain in the 19th century, and is referred to as the "Apostle of Cuban Independence."
|
Legacy
|
Marti's dedication to the cause of Cuban independence and his passionate belief in democracy and justice has made him a hero for all Cubans, a symbol of unity, the "Apostle", a great leader. His ultimate goal of building a democratic, just, and stable republic in Cuba and his obsession with the practical execution of this goal led him to become the most charismatic leader of the 1895 colonial revolution. His work with the Cuban emigre community, enlisting the support of Cuban workers and socialist leaders to form the Cuban Revolutionary Party, put into motion the Cuban war of independence. His foresight into the future, shown in his warnings against American political interests for Cuba, was confirmed by the swift occupation of Cuba by the United States following the Spanish-American War. His belief in the inseparability of Cuban and Latin American sovereignty and the expression thereof in his writings have contributed to the shape of the modern Latin American Identity. His works are a cornerstone of Latin American and political literature and his prolific contributions to the fields of journalism, poetry, and prose are highly acclaimed. Marti's writings on the concepts of Cuban nationalism fuelled the 1895 revolution and have continued to inform conflicting visions of the Cuban nation. The Cuban nation-state under Fidel Castro consistently claimed Marti as a crucial inspiration for its Communist revolutionary government. During Castro's regime, the politics and death of Marti were used to justify certain actions of the Cuban state. The Cuban government claimed that Marti had supported a single party system, creating a precedent for an all-powerful communist government. Castro used this explanation throughout the late 20th century to deter Cuban citizens from demanding a multiparty system. The vast amount of writing that Marti produced in his lifetime makes it difficult to determine his exact political ideology, but his major goal was the liberation of Cuba from Spain and the establishment of a democratic republican government. Despite Marti never having supported communism or single party systems, Cuban leaders repeatedly claimed that Marti's Partido Revolucionario Cubano was a "forerunner of the Communist Party". Marti's nuanced, often ambivalent positions on the most important issues of his day have led Marxist interpreters to see a class conflict between the proletariat and the bourgeoisie as the main theme of his works, while others, namely the Cuban diasporic communities in Miami and elsewhere have identified a liberal-capitalist emphasis. These Cuban exiles still honor Marti as a figure of hope for the Cuban nation in exile and condemn Castro's regime for manipulating his works and creating a "Castroite Marti" to justify its "intolerance and abridgments of human rights". His writings thus remain a key ideological weapon in the battle over the fate of the Cuban nation. One further example of his legacy is that his name has been chosen for several institutions or NGOs from various countries, such as Romania, where a public school from Bucharest and the Romanian-Cuban Friendship Association from Targoviste are both named "Jose Marti". A gigantic statue was unveiled on his 123rd birth anniversary and President Raul Castro was present at the ceremony.
Q: What are some of Marti's most significant works?
A: Marti's dedication to the cause of Cuban independence and his passionate belief in democracy and justice has made him a hero for all Cubans,
Q: How did he contribute to Cuban independence?
A: become the most charismatic leader of the 1895 colonial revolution.
|
C_9f9c3397a7114f4cabea4c4c25bbba4c_0_q#2
|
Is he remembered for any contributions outside of Cuba?
| 0y
| 2x
|
{
"texts": [
"His foresight into the future, shown in his warnings against American political interests for Cuba, was confirmed by the swift occupation of Cuba"
],
"answer_starts": [
597
]
}
|
{
"text": "His foresight into the future, shown in his warnings against American political interests for Cuba, was confirmed by the swift occupation of Cuba",
"answer_start": 597
}
|
C_9f9c3397a7114f4cabea4c4c25bbba4c_0
|
José Martí
|
Jose Julian Marti Perez (January 28, 1853 - May 19, 1895) was a Cuban National Hero and an important figure in Latin American literature. During his life, he worked as a poet, essayist, journalist, translator, professor, and publisher. He was very politically active, and is considered an important revolutionary philosopher and political theorist. Through his writings and political activity, he became a symbol of Cuba's bid for independence against Spain in the 19th century, and is referred to as the "Apostle of Cuban Independence."
|
Legacy
|
Marti's dedication to the cause of Cuban independence and his passionate belief in democracy and justice has made him a hero for all Cubans, a symbol of unity, the "Apostle", a great leader. His ultimate goal of building a democratic, just, and stable republic in Cuba and his obsession with the practical execution of this goal led him to become the most charismatic leader of the 1895 colonial revolution. His work with the Cuban emigre community, enlisting the support of Cuban workers and socialist leaders to form the Cuban Revolutionary Party, put into motion the Cuban war of independence. His foresight into the future, shown in his warnings against American political interests for Cuba, was confirmed by the swift occupation of Cuba by the United States following the Spanish-American War. His belief in the inseparability of Cuban and Latin American sovereignty and the expression thereof in his writings have contributed to the shape of the modern Latin American Identity. His works are a cornerstone of Latin American and political literature and his prolific contributions to the fields of journalism, poetry, and prose are highly acclaimed. Marti's writings on the concepts of Cuban nationalism fuelled the 1895 revolution and have continued to inform conflicting visions of the Cuban nation. The Cuban nation-state under Fidel Castro consistently claimed Marti as a crucial inspiration for its Communist revolutionary government. During Castro's regime, the politics and death of Marti were used to justify certain actions of the Cuban state. The Cuban government claimed that Marti had supported a single party system, creating a precedent for an all-powerful communist government. Castro used this explanation throughout the late 20th century to deter Cuban citizens from demanding a multiparty system. The vast amount of writing that Marti produced in his lifetime makes it difficult to determine his exact political ideology, but his major goal was the liberation of Cuba from Spain and the establishment of a democratic republican government. Despite Marti never having supported communism or single party systems, Cuban leaders repeatedly claimed that Marti's Partido Revolucionario Cubano was a "forerunner of the Communist Party". Marti's nuanced, often ambivalent positions on the most important issues of his day have led Marxist interpreters to see a class conflict between the proletariat and the bourgeoisie as the main theme of his works, while others, namely the Cuban diasporic communities in Miami and elsewhere have identified a liberal-capitalist emphasis. These Cuban exiles still honor Marti as a figure of hope for the Cuban nation in exile and condemn Castro's regime for manipulating his works and creating a "Castroite Marti" to justify its "intolerance and abridgments of human rights". His writings thus remain a key ideological weapon in the battle over the fate of the Cuban nation. One further example of his legacy is that his name has been chosen for several institutions or NGOs from various countries, such as Romania, where a public school from Bucharest and the Romanian-Cuban Friendship Association from Targoviste are both named "Jose Marti". A gigantic statue was unveiled on his 123rd birth anniversary and President Raul Castro was present at the ceremony.
Q: What are some of Marti's most significant works?
A: Marti's dedication to the cause of Cuban independence and his passionate belief in democracy and justice has made him a hero for all Cubans,
Q: How did he contribute to Cuban independence?
A: become the most charismatic leader of the 1895 colonial revolution.
Q: Is he remembered for any contributions outside of Cuba?
A: His foresight into the future, shown in his warnings against American political interests for Cuba, was confirmed by the swift occupation of Cuba
|
C_9f9c3397a7114f4cabea4c4c25bbba4c_0_q#3
|
Besides his political contributions, what other things have been part of his legacy?
| 0y
| 2x
|
{
"texts": [
"His works are a cornerstone of Latin American and political literature and his prolific contributions to the fields of journalism, poetry, and prose are highly acclaimed."
],
"answer_starts": [
985
]
}
|
{
"text": "His works are a cornerstone of Latin American and political literature and his prolific contributions to the fields of journalism, poetry, and prose are highly acclaimed.",
"answer_start": 985
}
|
C_03ce076d137a497d9314ca5882803ada_0
|
Kelis
|
Kelis Rogers was born and raised in the Harlem neighborhood of Manhattan in the Frederick Douglass Houses. Her first name is a portmanteau of her father's name, Kenneth (1944-2000), and her mother's name, Eveliss. Her father Kenneth was an African American jazz musician and Pentecostal minister, and was formerly a professor at Wesleyan University. Her mother Eveliss is a Chinese-Puerto Rican fashion designer who inspired Kelis to pursue her singing career.
|
2006-2008: Kelis Was Here
|
Kelis contributed a track titled "80's Joint" to the soundtrack of the 2006 dance film Step Up. She collaborated with Busta Rhymes and will.i.am on the track "I Love My Bitch", the second single from Rhymes's 2006 album The Big Bang. This was the second time Kelis teamed up with Rhymes, the first being his 2001 song "What It Is". Kelis's fourth studio album, Kelis Was Here, was released in August 2006, and debuted and peaked at number ten on the Billboard 200. Despite the career-high debut, the album has sold only 157,000 copies in the United States as of 2007, according to Nielsen SoundScan. Its lead single, "Bossy" (featuring Too Short), achieved frequent airplay on urban radio and was a moderate hit in the U.S., peaking at number 16. "Bossy" went multi-platinum as a mobile phone ringtone, according to the RIAA. Kelis Was Here was nominated for Best Contemporary R&B Album at the 2007 Grammy Awards. The second single released from the album by her American label, Jive, was a collaboration with Nas, "Blindfold Me". The song missed the Billboard Hot 100 and reached number 91 on the R&B chart. Her European label, Virgin, instead released the Cee-Lo-featuring "Lil Star", which was another hit for Kelis in the United Kingdom, peaking at number three. In the UK, Kelis Was Here charted at number 41 and has sold 60,000 copies, earning a silver certification from the BPI. In Australia, the album reached number 96 on the ARIA Albums Chart and the track "I Don't Think So" was used in promotion for the 2008 season of the reality series Big Brother Australia. The song subsequently peaked at number 27 on the ARIA chart and became a top ten urban hit. During mid 2007, Kelis toured in Europe, appearing in numerous festivals across the United Kingdom, France, and Germany, such as Wireless, Rise and Gurtenfestival. Ford chose Kelis to help advertise the 2007 Ford Edge, and she recorded a theme song for the commercial, entitled "Push It to the Edge", with help from producer Scott Storch. According to Kelis, she received no support from Jive Records for Kelis Was Here, and the label dropped her in late 2007. Her manager at the time said that the singer was working with Cee-Lo Green on an alternative dance album and would be shopping a pop album produced by songwriter Guy Chambers, who co-wrote hits such as Robbie Williams's "Angels". Scottish electronica producer Calvin Harris was also said to be collaborating with her. Kelis later said of this period, "I was like, 'I will never put out another record again, I hate this business, I hate all these people.' I was in this race that I didn't even realise that I was in. I woke up and ten years had passed. That was never my plan". She subsequently took a hiatus from music. After Kelis left Jive, the label released a fourteen-track greatest hits album entitled The Hits in March 2008. The album does not contain any previously unreleased songs; Ol' Dirty Bastard's "Got Your Money", N.E.R.D's "Truth or Dare", and Richard X's "Finest Dreams" appear on the album alongside every charted Kelis single to that date, with the exception of "Blindfold Me".
|
C_03ce076d137a497d9314ca5882803ada_0_q#0
|
what happened in 98?
| 1n
| 2x
|
{
"texts": [
"unknown"
],
"answer_starts": [
3130
]
}
|
{
"text": "unknown",
"answer_start": 3130
}
|
C_03ce076d137a497d9314ca5882803ada_0
|
Kelis
|
Kelis Rogers was born and raised in the Harlem neighborhood of Manhattan in the Frederick Douglass Houses. Her first name is a portmanteau of her father's name, Kenneth (1944-2000), and her mother's name, Eveliss. Her father Kenneth was an African American jazz musician and Pentecostal minister, and was formerly a professor at Wesleyan University. Her mother Eveliss is a Chinese-Puerto Rican fashion designer who inspired Kelis to pursue her singing career.
|
2006-2008: Kelis Was Here
|
Kelis contributed a track titled "80's Joint" to the soundtrack of the 2006 dance film Step Up. She collaborated with Busta Rhymes and will.i.am on the track "I Love My Bitch", the second single from Rhymes's 2006 album The Big Bang. This was the second time Kelis teamed up with Rhymes, the first being his 2001 song "What It Is". Kelis's fourth studio album, Kelis Was Here, was released in August 2006, and debuted and peaked at number ten on the Billboard 200. Despite the career-high debut, the album has sold only 157,000 copies in the United States as of 2007, according to Nielsen SoundScan. Its lead single, "Bossy" (featuring Too Short), achieved frequent airplay on urban radio and was a moderate hit in the U.S., peaking at number 16. "Bossy" went multi-platinum as a mobile phone ringtone, according to the RIAA. Kelis Was Here was nominated for Best Contemporary R&B Album at the 2007 Grammy Awards. The second single released from the album by her American label, Jive, was a collaboration with Nas, "Blindfold Me". The song missed the Billboard Hot 100 and reached number 91 on the R&B chart. Her European label, Virgin, instead released the Cee-Lo-featuring "Lil Star", which was another hit for Kelis in the United Kingdom, peaking at number three. In the UK, Kelis Was Here charted at number 41 and has sold 60,000 copies, earning a silver certification from the BPI. In Australia, the album reached number 96 on the ARIA Albums Chart and the track "I Don't Think So" was used in promotion for the 2008 season of the reality series Big Brother Australia. The song subsequently peaked at number 27 on the ARIA chart and became a top ten urban hit. During mid 2007, Kelis toured in Europe, appearing in numerous festivals across the United Kingdom, France, and Germany, such as Wireless, Rise and Gurtenfestival. Ford chose Kelis to help advertise the 2007 Ford Edge, and she recorded a theme song for the commercial, entitled "Push It to the Edge", with help from producer Scott Storch. According to Kelis, she received no support from Jive Records for Kelis Was Here, and the label dropped her in late 2007. Her manager at the time said that the singer was working with Cee-Lo Green on an alternative dance album and would be shopping a pop album produced by songwriter Guy Chambers, who co-wrote hits such as Robbie Williams's "Angels". Scottish electronica producer Calvin Harris was also said to be collaborating with her. Kelis later said of this period, "I was like, 'I will never put out another record again, I hate this business, I hate all these people.' I was in this race that I didn't even realise that I was in. I woke up and ten years had passed. That was never my plan". She subsequently took a hiatus from music. After Kelis left Jive, the label released a fourteen-track greatest hits album entitled The Hits in March 2008. The album does not contain any previously unreleased songs; Ol' Dirty Bastard's "Got Your Money", N.E.R.D's "Truth or Dare", and Richard X's "Finest Dreams" appear on the album alongside every charted Kelis single to that date, with the exception of "Blindfold Me".
Q: what happened in 98?
A: unknown
|
C_03ce076d137a497d9314ca5882803ada_0_q#1
|
what happened in 2006?
| 0y
| 2x
|
{
"texts": [
"Kelis contributed a track titled \"80's Joint\" to the soundtrack of the 2006 dance film Step Up."
],
"answer_starts": [
0
]
}
|
{
"text": "Kelis contributed a track titled \"80's Joint\" to the soundtrack of the 2006 dance film Step Up.",
"answer_start": 0
}
|
C_03ce076d137a497d9314ca5882803ada_0
|
Kelis
|
Kelis Rogers was born and raised in the Harlem neighborhood of Manhattan in the Frederick Douglass Houses. Her first name is a portmanteau of her father's name, Kenneth (1944-2000), and her mother's name, Eveliss. Her father Kenneth was an African American jazz musician and Pentecostal minister, and was formerly a professor at Wesleyan University. Her mother Eveliss is a Chinese-Puerto Rican fashion designer who inspired Kelis to pursue her singing career.
|
2006-2008: Kelis Was Here
|
Kelis contributed a track titled "80's Joint" to the soundtrack of the 2006 dance film Step Up. She collaborated with Busta Rhymes and will.i.am on the track "I Love My Bitch", the second single from Rhymes's 2006 album The Big Bang. This was the second time Kelis teamed up with Rhymes, the first being his 2001 song "What It Is". Kelis's fourth studio album, Kelis Was Here, was released in August 2006, and debuted and peaked at number ten on the Billboard 200. Despite the career-high debut, the album has sold only 157,000 copies in the United States as of 2007, according to Nielsen SoundScan. Its lead single, "Bossy" (featuring Too Short), achieved frequent airplay on urban radio and was a moderate hit in the U.S., peaking at number 16. "Bossy" went multi-platinum as a mobile phone ringtone, according to the RIAA. Kelis Was Here was nominated for Best Contemporary R&B Album at the 2007 Grammy Awards. The second single released from the album by her American label, Jive, was a collaboration with Nas, "Blindfold Me". The song missed the Billboard Hot 100 and reached number 91 on the R&B chart. Her European label, Virgin, instead released the Cee-Lo-featuring "Lil Star", which was another hit for Kelis in the United Kingdom, peaking at number three. In the UK, Kelis Was Here charted at number 41 and has sold 60,000 copies, earning a silver certification from the BPI. In Australia, the album reached number 96 on the ARIA Albums Chart and the track "I Don't Think So" was used in promotion for the 2008 season of the reality series Big Brother Australia. The song subsequently peaked at number 27 on the ARIA chart and became a top ten urban hit. During mid 2007, Kelis toured in Europe, appearing in numerous festivals across the United Kingdom, France, and Germany, such as Wireless, Rise and Gurtenfestival. Ford chose Kelis to help advertise the 2007 Ford Edge, and she recorded a theme song for the commercial, entitled "Push It to the Edge", with help from producer Scott Storch. According to Kelis, she received no support from Jive Records for Kelis Was Here, and the label dropped her in late 2007. Her manager at the time said that the singer was working with Cee-Lo Green on an alternative dance album and would be shopping a pop album produced by songwriter Guy Chambers, who co-wrote hits such as Robbie Williams's "Angels". Scottish electronica producer Calvin Harris was also said to be collaborating with her. Kelis later said of this period, "I was like, 'I will never put out another record again, I hate this business, I hate all these people.' I was in this race that I didn't even realise that I was in. I woke up and ten years had passed. That was never my plan". She subsequently took a hiatus from music. After Kelis left Jive, the label released a fourteen-track greatest hits album entitled The Hits in March 2008. The album does not contain any previously unreleased songs; Ol' Dirty Bastard's "Got Your Money", N.E.R.D's "Truth or Dare", and Richard X's "Finest Dreams" appear on the album alongside every charted Kelis single to that date, with the exception of "Blindfold Me".
Q: what happened in 98?
A: unknown
Q: what happened in 2006?
A: Kelis contributed a track titled "80's Joint" to the soundtrack of the 2006 dance film Step Up.
|
C_03ce076d137a497d9314ca5882803ada_0_q#2
|
was the album successful?
| 2m
| 2x
|
{
"texts": [
"Despite the career-high debut, the album has sold only 157,000 copies in the United States as of 2007,"
],
"answer_starts": [
466
]
}
|
{
"text": "Despite the career-high debut, the album has sold only 157,000 copies in the United States as of 2007,",
"answer_start": 466
}
|
C_03ce076d137a497d9314ca5882803ada_0
|
Kelis
|
Kelis Rogers was born and raised in the Harlem neighborhood of Manhattan in the Frederick Douglass Houses. Her first name is a portmanteau of her father's name, Kenneth (1944-2000), and her mother's name, Eveliss. Her father Kenneth was an African American jazz musician and Pentecostal minister, and was formerly a professor at Wesleyan University. Her mother Eveliss is a Chinese-Puerto Rican fashion designer who inspired Kelis to pursue her singing career.
|
2006-2008: Kelis Was Here
|
Kelis contributed a track titled "80's Joint" to the soundtrack of the 2006 dance film Step Up. She collaborated with Busta Rhymes and will.i.am on the track "I Love My Bitch", the second single from Rhymes's 2006 album The Big Bang. This was the second time Kelis teamed up with Rhymes, the first being his 2001 song "What It Is". Kelis's fourth studio album, Kelis Was Here, was released in August 2006, and debuted and peaked at number ten on the Billboard 200. Despite the career-high debut, the album has sold only 157,000 copies in the United States as of 2007, according to Nielsen SoundScan. Its lead single, "Bossy" (featuring Too Short), achieved frequent airplay on urban radio and was a moderate hit in the U.S., peaking at number 16. "Bossy" went multi-platinum as a mobile phone ringtone, according to the RIAA. Kelis Was Here was nominated for Best Contemporary R&B Album at the 2007 Grammy Awards. The second single released from the album by her American label, Jive, was a collaboration with Nas, "Blindfold Me". The song missed the Billboard Hot 100 and reached number 91 on the R&B chart. Her European label, Virgin, instead released the Cee-Lo-featuring "Lil Star", which was another hit for Kelis in the United Kingdom, peaking at number three. In the UK, Kelis Was Here charted at number 41 and has sold 60,000 copies, earning a silver certification from the BPI. In Australia, the album reached number 96 on the ARIA Albums Chart and the track "I Don't Think So" was used in promotion for the 2008 season of the reality series Big Brother Australia. The song subsequently peaked at number 27 on the ARIA chart and became a top ten urban hit. During mid 2007, Kelis toured in Europe, appearing in numerous festivals across the United Kingdom, France, and Germany, such as Wireless, Rise and Gurtenfestival. Ford chose Kelis to help advertise the 2007 Ford Edge, and she recorded a theme song for the commercial, entitled "Push It to the Edge", with help from producer Scott Storch. According to Kelis, she received no support from Jive Records for Kelis Was Here, and the label dropped her in late 2007. Her manager at the time said that the singer was working with Cee-Lo Green on an alternative dance album and would be shopping a pop album produced by songwriter Guy Chambers, who co-wrote hits such as Robbie Williams's "Angels". Scottish electronica producer Calvin Harris was also said to be collaborating with her. Kelis later said of this period, "I was like, 'I will never put out another record again, I hate this business, I hate all these people.' I was in this race that I didn't even realise that I was in. I woke up and ten years had passed. That was never my plan". She subsequently took a hiatus from music. After Kelis left Jive, the label released a fourteen-track greatest hits album entitled The Hits in March 2008. The album does not contain any previously unreleased songs; Ol' Dirty Bastard's "Got Your Money", N.E.R.D's "Truth or Dare", and Richard X's "Finest Dreams" appear on the album alongside every charted Kelis single to that date, with the exception of "Blindfold Me".
Q: what happened in 98?
A: unknown
Q: what happened in 2006?
A: Kelis contributed a track titled "80's Joint" to the soundtrack of the 2006 dance film Step Up.
Q: was the album successful?
A: Despite the career-high debut, the album has sold only 157,000 copies in the United States as of 2007,
|
C_03ce076d137a497d9314ca5882803ada_0_q#3
|
did the album sell well overseas?
| 0y
| 0y
|
{
"texts": [
"In the UK, Kelis Was Here charted at number 41 and has sold 60,000 copies, earning a silver certification from the BPI."
],
"answer_starts": [
1269
]
}
|
{
"text": "In the UK, Kelis Was Here charted at number 41 and has sold 60,000 copies, earning a silver certification from the BPI.",
"answer_start": 1269
}
|
C_03ce076d137a497d9314ca5882803ada_0
|
Kelis
|
Kelis Rogers was born and raised in the Harlem neighborhood of Manhattan in the Frederick Douglass Houses. Her first name is a portmanteau of her father's name, Kenneth (1944-2000), and her mother's name, Eveliss. Her father Kenneth was an African American jazz musician and Pentecostal minister, and was formerly a professor at Wesleyan University. Her mother Eveliss is a Chinese-Puerto Rican fashion designer who inspired Kelis to pursue her singing career.
|
2006-2008: Kelis Was Here
|
Kelis contributed a track titled "80's Joint" to the soundtrack of the 2006 dance film Step Up. She collaborated with Busta Rhymes and will.i.am on the track "I Love My Bitch", the second single from Rhymes's 2006 album The Big Bang. This was the second time Kelis teamed up with Rhymes, the first being his 2001 song "What It Is". Kelis's fourth studio album, Kelis Was Here, was released in August 2006, and debuted and peaked at number ten on the Billboard 200. Despite the career-high debut, the album has sold only 157,000 copies in the United States as of 2007, according to Nielsen SoundScan. Its lead single, "Bossy" (featuring Too Short), achieved frequent airplay on urban radio and was a moderate hit in the U.S., peaking at number 16. "Bossy" went multi-platinum as a mobile phone ringtone, according to the RIAA. Kelis Was Here was nominated for Best Contemporary R&B Album at the 2007 Grammy Awards. The second single released from the album by her American label, Jive, was a collaboration with Nas, "Blindfold Me". The song missed the Billboard Hot 100 and reached number 91 on the R&B chart. Her European label, Virgin, instead released the Cee-Lo-featuring "Lil Star", which was another hit for Kelis in the United Kingdom, peaking at number three. In the UK, Kelis Was Here charted at number 41 and has sold 60,000 copies, earning a silver certification from the BPI. In Australia, the album reached number 96 on the ARIA Albums Chart and the track "I Don't Think So" was used in promotion for the 2008 season of the reality series Big Brother Australia. The song subsequently peaked at number 27 on the ARIA chart and became a top ten urban hit. During mid 2007, Kelis toured in Europe, appearing in numerous festivals across the United Kingdom, France, and Germany, such as Wireless, Rise and Gurtenfestival. Ford chose Kelis to help advertise the 2007 Ford Edge, and she recorded a theme song for the commercial, entitled "Push It to the Edge", with help from producer Scott Storch. According to Kelis, she received no support from Jive Records for Kelis Was Here, and the label dropped her in late 2007. Her manager at the time said that the singer was working with Cee-Lo Green on an alternative dance album and would be shopping a pop album produced by songwriter Guy Chambers, who co-wrote hits such as Robbie Williams's "Angels". Scottish electronica producer Calvin Harris was also said to be collaborating with her. Kelis later said of this period, "I was like, 'I will never put out another record again, I hate this business, I hate all these people.' I was in this race that I didn't even realise that I was in. I woke up and ten years had passed. That was never my plan". She subsequently took a hiatus from music. After Kelis left Jive, the label released a fourteen-track greatest hits album entitled The Hits in March 2008. The album does not contain any previously unreleased songs; Ol' Dirty Bastard's "Got Your Money", N.E.R.D's "Truth or Dare", and Richard X's "Finest Dreams" appear on the album alongside every charted Kelis single to that date, with the exception of "Blindfold Me".
Q: what happened in 98?
A: unknown
Q: what happened in 2006?
A: Kelis contributed a track titled "80's Joint" to the soundtrack of the 2006 dance film Step Up.
Q: was the album successful?
A: Despite the career-high debut, the album has sold only 157,000 copies in the United States as of 2007,
Q: did the album sell well overseas?
A: In the UK, Kelis Was Here charted at number 41 and has sold 60,000 copies, earning a silver certification from the BPI.
|
C_03ce076d137a497d9314ca5882803ada_0_q#4
|
what happened in 2007?
| 0y
| 2x
|
{
"texts": [
"Kelis Was Here was nominated for Best Contemporary R&B Album at the 2007 Grammy Awards."
],
"answer_starts": [
827
]
}
|
{
"text": "Kelis Was Here was nominated for Best Contemporary R&B Album at the 2007 Grammy Awards.",
"answer_start": 827
}
|
C_03ce076d137a497d9314ca5882803ada_0
|
Kelis
|
Kelis Rogers was born and raised in the Harlem neighborhood of Manhattan in the Frederick Douglass Houses. Her first name is a portmanteau of her father's name, Kenneth (1944-2000), and her mother's name, Eveliss. Her father Kenneth was an African American jazz musician and Pentecostal minister, and was formerly a professor at Wesleyan University. Her mother Eveliss is a Chinese-Puerto Rican fashion designer who inspired Kelis to pursue her singing career.
|
2006-2008: Kelis Was Here
|
Kelis contributed a track titled "80's Joint" to the soundtrack of the 2006 dance film Step Up. She collaborated with Busta Rhymes and will.i.am on the track "I Love My Bitch", the second single from Rhymes's 2006 album The Big Bang. This was the second time Kelis teamed up with Rhymes, the first being his 2001 song "What It Is". Kelis's fourth studio album, Kelis Was Here, was released in August 2006, and debuted and peaked at number ten on the Billboard 200. Despite the career-high debut, the album has sold only 157,000 copies in the United States as of 2007, according to Nielsen SoundScan. Its lead single, "Bossy" (featuring Too Short), achieved frequent airplay on urban radio and was a moderate hit in the U.S., peaking at number 16. "Bossy" went multi-platinum as a mobile phone ringtone, according to the RIAA. Kelis Was Here was nominated for Best Contemporary R&B Album at the 2007 Grammy Awards. The second single released from the album by her American label, Jive, was a collaboration with Nas, "Blindfold Me". The song missed the Billboard Hot 100 and reached number 91 on the R&B chart. Her European label, Virgin, instead released the Cee-Lo-featuring "Lil Star", which was another hit for Kelis in the United Kingdom, peaking at number three. In the UK, Kelis Was Here charted at number 41 and has sold 60,000 copies, earning a silver certification from the BPI. In Australia, the album reached number 96 on the ARIA Albums Chart and the track "I Don't Think So" was used in promotion for the 2008 season of the reality series Big Brother Australia. The song subsequently peaked at number 27 on the ARIA chart and became a top ten urban hit. During mid 2007, Kelis toured in Europe, appearing in numerous festivals across the United Kingdom, France, and Germany, such as Wireless, Rise and Gurtenfestival. Ford chose Kelis to help advertise the 2007 Ford Edge, and she recorded a theme song for the commercial, entitled "Push It to the Edge", with help from producer Scott Storch. According to Kelis, she received no support from Jive Records for Kelis Was Here, and the label dropped her in late 2007. Her manager at the time said that the singer was working with Cee-Lo Green on an alternative dance album and would be shopping a pop album produced by songwriter Guy Chambers, who co-wrote hits such as Robbie Williams's "Angels". Scottish electronica producer Calvin Harris was also said to be collaborating with her. Kelis later said of this period, "I was like, 'I will never put out another record again, I hate this business, I hate all these people.' I was in this race that I didn't even realise that I was in. I woke up and ten years had passed. That was never my plan". She subsequently took a hiatus from music. After Kelis left Jive, the label released a fourteen-track greatest hits album entitled The Hits in March 2008. The album does not contain any previously unreleased songs; Ol' Dirty Bastard's "Got Your Money", N.E.R.D's "Truth or Dare", and Richard X's "Finest Dreams" appear on the album alongside every charted Kelis single to that date, with the exception of "Blindfold Me".
Q: what happened in 98?
A: unknown
Q: what happened in 2006?
A: Kelis contributed a track titled "80's Joint" to the soundtrack of the 2006 dance film Step Up.
Q: was the album successful?
A: Despite the career-high debut, the album has sold only 157,000 copies in the United States as of 2007,
Q: did the album sell well overseas?
A: In the UK, Kelis Was Here charted at number 41 and has sold 60,000 copies, earning a silver certification from the BPI.
Q: what happened in 2007?
A: Kelis Was Here was nominated for Best Contemporary R&B Album at the 2007 Grammy Awards.
|
C_03ce076d137a497d9314ca5882803ada_0_q#5
|
was there a number one single on the album?
| 2m
| 2x
|
{
"texts": [
"the track \"I Don't Think So\" was used in promotion for the 2008 season of the reality series Big Brother Australia."
],
"answer_starts": [
1460
]
}
|
{
"text": "the track \"I Don't Think So\" was used in promotion for the 2008 season of the reality series Big Brother Australia.",
"answer_start": 1460
}
|
C_03ce076d137a497d9314ca5882803ada_0
|
Kelis
|
Kelis Rogers was born and raised in the Harlem neighborhood of Manhattan in the Frederick Douglass Houses. Her first name is a portmanteau of her father's name, Kenneth (1944-2000), and her mother's name, Eveliss. Her father Kenneth was an African American jazz musician and Pentecostal minister, and was formerly a professor at Wesleyan University. Her mother Eveliss is a Chinese-Puerto Rican fashion designer who inspired Kelis to pursue her singing career.
|
2006-2008: Kelis Was Here
|
Kelis contributed a track titled "80's Joint" to the soundtrack of the 2006 dance film Step Up. She collaborated with Busta Rhymes and will.i.am on the track "I Love My Bitch", the second single from Rhymes's 2006 album The Big Bang. This was the second time Kelis teamed up with Rhymes, the first being his 2001 song "What It Is". Kelis's fourth studio album, Kelis Was Here, was released in August 2006, and debuted and peaked at number ten on the Billboard 200. Despite the career-high debut, the album has sold only 157,000 copies in the United States as of 2007, according to Nielsen SoundScan. Its lead single, "Bossy" (featuring Too Short), achieved frequent airplay on urban radio and was a moderate hit in the U.S., peaking at number 16. "Bossy" went multi-platinum as a mobile phone ringtone, according to the RIAA. Kelis Was Here was nominated for Best Contemporary R&B Album at the 2007 Grammy Awards. The second single released from the album by her American label, Jive, was a collaboration with Nas, "Blindfold Me". The song missed the Billboard Hot 100 and reached number 91 on the R&B chart. Her European label, Virgin, instead released the Cee-Lo-featuring "Lil Star", which was another hit for Kelis in the United Kingdom, peaking at number three. In the UK, Kelis Was Here charted at number 41 and has sold 60,000 copies, earning a silver certification from the BPI. In Australia, the album reached number 96 on the ARIA Albums Chart and the track "I Don't Think So" was used in promotion for the 2008 season of the reality series Big Brother Australia. The song subsequently peaked at number 27 on the ARIA chart and became a top ten urban hit. During mid 2007, Kelis toured in Europe, appearing in numerous festivals across the United Kingdom, France, and Germany, such as Wireless, Rise and Gurtenfestival. Ford chose Kelis to help advertise the 2007 Ford Edge, and she recorded a theme song for the commercial, entitled "Push It to the Edge", with help from producer Scott Storch. According to Kelis, she received no support from Jive Records for Kelis Was Here, and the label dropped her in late 2007. Her manager at the time said that the singer was working with Cee-Lo Green on an alternative dance album and would be shopping a pop album produced by songwriter Guy Chambers, who co-wrote hits such as Robbie Williams's "Angels". Scottish electronica producer Calvin Harris was also said to be collaborating with her. Kelis later said of this period, "I was like, 'I will never put out another record again, I hate this business, I hate all these people.' I was in this race that I didn't even realise that I was in. I woke up and ten years had passed. That was never my plan". She subsequently took a hiatus from music. After Kelis left Jive, the label released a fourteen-track greatest hits album entitled The Hits in March 2008. The album does not contain any previously unreleased songs; Ol' Dirty Bastard's "Got Your Money", N.E.R.D's "Truth or Dare", and Richard X's "Finest Dreams" appear on the album alongside every charted Kelis single to that date, with the exception of "Blindfold Me".
Q: what happened in 98?
A: unknown
Q: what happened in 2006?
A: Kelis contributed a track titled "80's Joint" to the soundtrack of the 2006 dance film Step Up.
Q: was the album successful?
A: Despite the career-high debut, the album has sold only 157,000 copies in the United States as of 2007,
Q: did the album sell well overseas?
A: In the UK, Kelis Was Here charted at number 41 and has sold 60,000 copies, earning a silver certification from the BPI.
Q: what happened in 2007?
A: Kelis Was Here was nominated for Best Contemporary R&B Album at the 2007 Grammy Awards.
Q: was there a number one single on the album?
A: the track "I Don't Think So" was used in promotion for the 2008 season of the reality series Big Brother Australia.
|
C_03ce076d137a497d9314ca5882803ada_0_q#6
|
what happened in 2008?
| 0y
| 2x
|
{
"texts": [
"According to Kelis, she received no support from Jive Records for Kelis Was Here, and the label dropped her in late 2007."
],
"answer_starts": [
2008
]
}
|
{
"text": "According to Kelis, she received no support from Jive Records for Kelis Was Here, and the label dropped her in late 2007.",
"answer_start": 2008
}
|
C_03ce076d137a497d9314ca5882803ada_0
|
Kelis
|
Kelis Rogers was born and raised in the Harlem neighborhood of Manhattan in the Frederick Douglass Houses. Her first name is a portmanteau of her father's name, Kenneth (1944-2000), and her mother's name, Eveliss. Her father Kenneth was an African American jazz musician and Pentecostal minister, and was formerly a professor at Wesleyan University. Her mother Eveliss is a Chinese-Puerto Rican fashion designer who inspired Kelis to pursue her singing career.
|
2006-2008: Kelis Was Here
|
Kelis contributed a track titled "80's Joint" to the soundtrack of the 2006 dance film Step Up. She collaborated with Busta Rhymes and will.i.am on the track "I Love My Bitch", the second single from Rhymes's 2006 album The Big Bang. This was the second time Kelis teamed up with Rhymes, the first being his 2001 song "What It Is". Kelis's fourth studio album, Kelis Was Here, was released in August 2006, and debuted and peaked at number ten on the Billboard 200. Despite the career-high debut, the album has sold only 157,000 copies in the United States as of 2007, according to Nielsen SoundScan. Its lead single, "Bossy" (featuring Too Short), achieved frequent airplay on urban radio and was a moderate hit in the U.S., peaking at number 16. "Bossy" went multi-platinum as a mobile phone ringtone, according to the RIAA. Kelis Was Here was nominated for Best Contemporary R&B Album at the 2007 Grammy Awards. The second single released from the album by her American label, Jive, was a collaboration with Nas, "Blindfold Me". The song missed the Billboard Hot 100 and reached number 91 on the R&B chart. Her European label, Virgin, instead released the Cee-Lo-featuring "Lil Star", which was another hit for Kelis in the United Kingdom, peaking at number three. In the UK, Kelis Was Here charted at number 41 and has sold 60,000 copies, earning a silver certification from the BPI. In Australia, the album reached number 96 on the ARIA Albums Chart and the track "I Don't Think So" was used in promotion for the 2008 season of the reality series Big Brother Australia. The song subsequently peaked at number 27 on the ARIA chart and became a top ten urban hit. During mid 2007, Kelis toured in Europe, appearing in numerous festivals across the United Kingdom, France, and Germany, such as Wireless, Rise and Gurtenfestival. Ford chose Kelis to help advertise the 2007 Ford Edge, and she recorded a theme song for the commercial, entitled "Push It to the Edge", with help from producer Scott Storch. According to Kelis, she received no support from Jive Records for Kelis Was Here, and the label dropped her in late 2007. Her manager at the time said that the singer was working with Cee-Lo Green on an alternative dance album and would be shopping a pop album produced by songwriter Guy Chambers, who co-wrote hits such as Robbie Williams's "Angels". Scottish electronica producer Calvin Harris was also said to be collaborating with her. Kelis later said of this period, "I was like, 'I will never put out another record again, I hate this business, I hate all these people.' I was in this race that I didn't even realise that I was in. I woke up and ten years had passed. That was never my plan". She subsequently took a hiatus from music. After Kelis left Jive, the label released a fourteen-track greatest hits album entitled The Hits in March 2008. The album does not contain any previously unreleased songs; Ol' Dirty Bastard's "Got Your Money", N.E.R.D's "Truth or Dare", and Richard X's "Finest Dreams" appear on the album alongside every charted Kelis single to that date, with the exception of "Blindfold Me".
Q: what happened in 98?
A: unknown
Q: what happened in 2006?
A: Kelis contributed a track titled "80's Joint" to the soundtrack of the 2006 dance film Step Up.
Q: was the album successful?
A: Despite the career-high debut, the album has sold only 157,000 copies in the United States as of 2007,
Q: did the album sell well overseas?
A: In the UK, Kelis Was Here charted at number 41 and has sold 60,000 copies, earning a silver certification from the BPI.
Q: what happened in 2007?
A: Kelis Was Here was nominated for Best Contemporary R&B Album at the 2007 Grammy Awards.
Q: was there a number one single on the album?
A: the track "I Don't Think So" was used in promotion for the 2008 season of the reality series Big Brother Australia.
Q: what happened in 2008?
A: According to Kelis, she received no support from Jive Records for Kelis Was Here, and the label dropped her in late 2007.
|
C_03ce076d137a497d9314ca5882803ada_0_q#7
|
how long was she with jive?
| 1n
| 2x
|
{
"texts": [
"unknown"
],
"answer_starts": [
3130
]
}
|
{
"text": "unknown",
"answer_start": 3130
}
|
C_03ce076d137a497d9314ca5882803ada_0
|
Kelis
|
Kelis Rogers was born and raised in the Harlem neighborhood of Manhattan in the Frederick Douglass Houses. Her first name is a portmanteau of her father's name, Kenneth (1944-2000), and her mother's name, Eveliss. Her father Kenneth was an African American jazz musician and Pentecostal minister, and was formerly a professor at Wesleyan University. Her mother Eveliss is a Chinese-Puerto Rican fashion designer who inspired Kelis to pursue her singing career.
|
2006-2008: Kelis Was Here
|
Kelis contributed a track titled "80's Joint" to the soundtrack of the 2006 dance film Step Up. She collaborated with Busta Rhymes and will.i.am on the track "I Love My Bitch", the second single from Rhymes's 2006 album The Big Bang. This was the second time Kelis teamed up with Rhymes, the first being his 2001 song "What It Is". Kelis's fourth studio album, Kelis Was Here, was released in August 2006, and debuted and peaked at number ten on the Billboard 200. Despite the career-high debut, the album has sold only 157,000 copies in the United States as of 2007, according to Nielsen SoundScan. Its lead single, "Bossy" (featuring Too Short), achieved frequent airplay on urban radio and was a moderate hit in the U.S., peaking at number 16. "Bossy" went multi-platinum as a mobile phone ringtone, according to the RIAA. Kelis Was Here was nominated for Best Contemporary R&B Album at the 2007 Grammy Awards. The second single released from the album by her American label, Jive, was a collaboration with Nas, "Blindfold Me". The song missed the Billboard Hot 100 and reached number 91 on the R&B chart. Her European label, Virgin, instead released the Cee-Lo-featuring "Lil Star", which was another hit for Kelis in the United Kingdom, peaking at number three. In the UK, Kelis Was Here charted at number 41 and has sold 60,000 copies, earning a silver certification from the BPI. In Australia, the album reached number 96 on the ARIA Albums Chart and the track "I Don't Think So" was used in promotion for the 2008 season of the reality series Big Brother Australia. The song subsequently peaked at number 27 on the ARIA chart and became a top ten urban hit. During mid 2007, Kelis toured in Europe, appearing in numerous festivals across the United Kingdom, France, and Germany, such as Wireless, Rise and Gurtenfestival. Ford chose Kelis to help advertise the 2007 Ford Edge, and she recorded a theme song for the commercial, entitled "Push It to the Edge", with help from producer Scott Storch. According to Kelis, she received no support from Jive Records for Kelis Was Here, and the label dropped her in late 2007. Her manager at the time said that the singer was working with Cee-Lo Green on an alternative dance album and would be shopping a pop album produced by songwriter Guy Chambers, who co-wrote hits such as Robbie Williams's "Angels". Scottish electronica producer Calvin Harris was also said to be collaborating with her. Kelis later said of this period, "I was like, 'I will never put out another record again, I hate this business, I hate all these people.' I was in this race that I didn't even realise that I was in. I woke up and ten years had passed. That was never my plan". She subsequently took a hiatus from music. After Kelis left Jive, the label released a fourteen-track greatest hits album entitled The Hits in March 2008. The album does not contain any previously unreleased songs; Ol' Dirty Bastard's "Got Your Money", N.E.R.D's "Truth or Dare", and Richard X's "Finest Dreams" appear on the album alongside every charted Kelis single to that date, with the exception of "Blindfold Me".
Q: what happened in 98?
A: unknown
Q: what happened in 2006?
A: Kelis contributed a track titled "80's Joint" to the soundtrack of the 2006 dance film Step Up.
Q: was the album successful?
A: Despite the career-high debut, the album has sold only 157,000 copies in the United States as of 2007,
Q: did the album sell well overseas?
A: In the UK, Kelis Was Here charted at number 41 and has sold 60,000 copies, earning a silver certification from the BPI.
Q: what happened in 2007?
A: Kelis Was Here was nominated for Best Contemporary R&B Album at the 2007 Grammy Awards.
Q: was there a number one single on the album?
A: the track "I Don't Think So" was used in promotion for the 2008 season of the reality series Big Brother Australia.
Q: what happened in 2008?
A: According to Kelis, she received no support from Jive Records for Kelis Was Here, and the label dropped her in late 2007.
Q: how long was she with jive?
A: unknown
|
C_03ce076d137a497d9314ca5882803ada_0_q#8
|
any other important information?
| 0y
| 0y
|
{
"texts": [
"After Kelis left Jive, the label released a fourteen-track greatest hits album entitled The Hits in March 2008."
],
"answer_starts": [
2752
]
}
|
{
"text": "After Kelis left Jive, the label released a fourteen-track greatest hits album entitled The Hits in March 2008.",
"answer_start": 2752
}
|
C_03ce076d137a497d9314ca5882803ada_1
|
Kelis
|
Kelis Rogers was born and raised in the Harlem neighborhood of Manhattan in the Frederick Douglass Houses. Her first name is a portmanteau of her father's name, Kenneth (1944-2000), and her mother's name, Eveliss. Her father Kenneth was an African American jazz musician and Pentecostal minister, and was formerly a professor at Wesleyan University. Her mother Eveliss is a Chinese-Puerto Rican fashion designer who inspired Kelis to pursue her singing career.
|
1998-2002: Kaleidoscope and Wanderland
|
Kelis began recording her debut album, Kaleidoscope, in mid-1998 and was finished within a year. Produced by The Neptunes and released by Virgin Records in 1999, the album peaked at number 144 on the U.S. Billboard 200 chart and reached the top five on the Top Heatseekers chart. As of 2006, the album had sold 249,000 copies, according to Nielsen SoundScan. Its lead and most notable single, "Caught Out There", became a top ten Hot R&B/Hip-Hop Songs hit and peaked at number 54 on the Billboard Hot 100. During this time, Kelis featured on Ol' Dirty Bastard's U.S. top 40 single "Got Your Money". The album performed better in Europe, where "Caught out There" was a moderate hit and reached the top five on the UK Singles Chart. A second single, "Good Stuff" (featuring Terrar of Clipse), reached number 19; the third, "Get Along with You", was less successful, reaching number 51. The British Phonographic Industry certified Kaleidoscope gold for sales of 100,000 copies in the United Kingdom, where it reached number 43 on the UK Albums Chart. In 2001, Kelis won the BRIT Award for International Breakthrough Act and the NME Award for Best R&B/Soul Act, before joining Moby and U2 on their Area:One and Elevation tours, respectively. Kelis and the Neptunes' output at this time was heralded as foreshadowing an innovation in contemporary R&B, but she later said, "I was never an R&B artist. People coined me one but that's because, especially if you're in the States, if you're black and you sing, then you're R&B". Her colorful style in both clothing and hair received considerable attention. Kelis's second album, Wanderland, was released in 2001 in Europe, Asia, and Latin America, but did not receive a North American release. According to Kelis, her U.S. record company at the time, Virgin, had laid off those that worked on Kaleidoscope; their replacements did not understand or believe in Wanderland, which led her to leave the label around the time of the album's European release. A commercial failure, Wanderland peaked at number 78 in the UK, although its sole single release, "Young, Fresh n' New", was a top forty entry on the UK Singles Chart. The album, which was produced in its entirety by the Neptunes and features collaborations with members of Clipse and No Doubt, was well received by publications such as The Guardian and NME. In 2002, Kelis recorded "So Be It" for the Red Hot Organization's Fela Kuti tribute CD, Red Hot and Riot, from which all proceeds were donated to AIDS awareness charities. The same year, she had a top 20 US club hit with a remix of "Young, Fresh 'n' New" remix produced by Timo Maas, who subsequently featured Kelis on his single "Help Me".
|
C_03ce076d137a497d9314ca5882803ada_1_q#0
|
What happened while making these albums?
| 0y
| 2x
|
{
"texts": [
"Kelis began recording her debut album, Kaleidoscope, in mid-1998 and was finished within a year."
],
"answer_starts": [
0
]
}
|
{
"text": "Kelis began recording her debut album, Kaleidoscope, in mid-1998 and was finished within a year.",
"answer_start": 0
}
|
C_03ce076d137a497d9314ca5882803ada_1
|
Kelis
|
Kelis Rogers was born and raised in the Harlem neighborhood of Manhattan in the Frederick Douglass Houses. Her first name is a portmanteau of her father's name, Kenneth (1944-2000), and her mother's name, Eveliss. Her father Kenneth was an African American jazz musician and Pentecostal minister, and was formerly a professor at Wesleyan University. Her mother Eveliss is a Chinese-Puerto Rican fashion designer who inspired Kelis to pursue her singing career.
|
1998-2002: Kaleidoscope and Wanderland
|
Kelis began recording her debut album, Kaleidoscope, in mid-1998 and was finished within a year. Produced by The Neptunes and released by Virgin Records in 1999, the album peaked at number 144 on the U.S. Billboard 200 chart and reached the top five on the Top Heatseekers chart. As of 2006, the album had sold 249,000 copies, according to Nielsen SoundScan. Its lead and most notable single, "Caught Out There", became a top ten Hot R&B/Hip-Hop Songs hit and peaked at number 54 on the Billboard Hot 100. During this time, Kelis featured on Ol' Dirty Bastard's U.S. top 40 single "Got Your Money". The album performed better in Europe, where "Caught out There" was a moderate hit and reached the top five on the UK Singles Chart. A second single, "Good Stuff" (featuring Terrar of Clipse), reached number 19; the third, "Get Along with You", was less successful, reaching number 51. The British Phonographic Industry certified Kaleidoscope gold for sales of 100,000 copies in the United Kingdom, where it reached number 43 on the UK Albums Chart. In 2001, Kelis won the BRIT Award for International Breakthrough Act and the NME Award for Best R&B/Soul Act, before joining Moby and U2 on their Area:One and Elevation tours, respectively. Kelis and the Neptunes' output at this time was heralded as foreshadowing an innovation in contemporary R&B, but she later said, "I was never an R&B artist. People coined me one but that's because, especially if you're in the States, if you're black and you sing, then you're R&B". Her colorful style in both clothing and hair received considerable attention. Kelis's second album, Wanderland, was released in 2001 in Europe, Asia, and Latin America, but did not receive a North American release. According to Kelis, her U.S. record company at the time, Virgin, had laid off those that worked on Kaleidoscope; their replacements did not understand or believe in Wanderland, which led her to leave the label around the time of the album's European release. A commercial failure, Wanderland peaked at number 78 in the UK, although its sole single release, "Young, Fresh n' New", was a top forty entry on the UK Singles Chart. The album, which was produced in its entirety by the Neptunes and features collaborations with members of Clipse and No Doubt, was well received by publications such as The Guardian and NME. In 2002, Kelis recorded "So Be It" for the Red Hot Organization's Fela Kuti tribute CD, Red Hot and Riot, from which all proceeds were donated to AIDS awareness charities. The same year, she had a top 20 US club hit with a remix of "Young, Fresh 'n' New" remix produced by Timo Maas, who subsequently featured Kelis on his single "Help Me".
Q: What happened while making these albums?
A: Kelis began recording her debut album, Kaleidoscope, in mid-1998 and was finished within a year.
|
C_03ce076d137a497d9314ca5882803ada_1_q#1
|
Are there any other interesting aspects about this article?
| 0y
| 2x
|
{
"texts": [
"the album peaked at number 144 on the U.S. Billboard 200 chart and reached the top five on the Top Heatseekers chart."
],
"answer_starts": [
162
]
}
|
{
"text": "the album peaked at number 144 on the U.S. Billboard 200 chart and reached the top five on the Top Heatseekers chart.",
"answer_start": 162
}
|
C_03ce076d137a497d9314ca5882803ada_1
|
Kelis
|
Kelis Rogers was born and raised in the Harlem neighborhood of Manhattan in the Frederick Douglass Houses. Her first name is a portmanteau of her father's name, Kenneth (1944-2000), and her mother's name, Eveliss. Her father Kenneth was an African American jazz musician and Pentecostal minister, and was formerly a professor at Wesleyan University. Her mother Eveliss is a Chinese-Puerto Rican fashion designer who inspired Kelis to pursue her singing career.
|
1998-2002: Kaleidoscope and Wanderland
|
Kelis began recording her debut album, Kaleidoscope, in mid-1998 and was finished within a year. Produced by The Neptunes and released by Virgin Records in 1999, the album peaked at number 144 on the U.S. Billboard 200 chart and reached the top five on the Top Heatseekers chart. As of 2006, the album had sold 249,000 copies, according to Nielsen SoundScan. Its lead and most notable single, "Caught Out There", became a top ten Hot R&B/Hip-Hop Songs hit and peaked at number 54 on the Billboard Hot 100. During this time, Kelis featured on Ol' Dirty Bastard's U.S. top 40 single "Got Your Money". The album performed better in Europe, where "Caught out There" was a moderate hit and reached the top five on the UK Singles Chart. A second single, "Good Stuff" (featuring Terrar of Clipse), reached number 19; the third, "Get Along with You", was less successful, reaching number 51. The British Phonographic Industry certified Kaleidoscope gold for sales of 100,000 copies in the United Kingdom, where it reached number 43 on the UK Albums Chart. In 2001, Kelis won the BRIT Award for International Breakthrough Act and the NME Award for Best R&B/Soul Act, before joining Moby and U2 on their Area:One and Elevation tours, respectively. Kelis and the Neptunes' output at this time was heralded as foreshadowing an innovation in contemporary R&B, but she later said, "I was never an R&B artist. People coined me one but that's because, especially if you're in the States, if you're black and you sing, then you're R&B". Her colorful style in both clothing and hair received considerable attention. Kelis's second album, Wanderland, was released in 2001 in Europe, Asia, and Latin America, but did not receive a North American release. According to Kelis, her U.S. record company at the time, Virgin, had laid off those that worked on Kaleidoscope; their replacements did not understand or believe in Wanderland, which led her to leave the label around the time of the album's European release. A commercial failure, Wanderland peaked at number 78 in the UK, although its sole single release, "Young, Fresh n' New", was a top forty entry on the UK Singles Chart. The album, which was produced in its entirety by the Neptunes and features collaborations with members of Clipse and No Doubt, was well received by publications such as The Guardian and NME. In 2002, Kelis recorded "So Be It" for the Red Hot Organization's Fela Kuti tribute CD, Red Hot and Riot, from which all proceeds were donated to AIDS awareness charities. The same year, she had a top 20 US club hit with a remix of "Young, Fresh 'n' New" remix produced by Timo Maas, who subsequently featured Kelis on his single "Help Me".
Q: What happened while making these albums?
A: Kelis began recording her debut album, Kaleidoscope, in mid-1998 and was finished within a year.
Q: Are there any other interesting aspects about this article?
A: the album peaked at number 144 on the U.S. Billboard 200 chart and reached the top five on the Top Heatseekers chart.
|
C_03ce076d137a497d9314ca5882803ada_1_q#2
|
Did she have any other albums reach the charts?
| 0y
| 2x
|
{
"texts": [
"Kelis's second album, Wanderland, was released in 2001"
],
"answer_starts": [
1601
]
}
|
{
"text": "Kelis's second album, Wanderland, was released in 2001",
"answer_start": 1601
}
|
C_03ce076d137a497d9314ca5882803ada_1
|
Kelis
|
Kelis Rogers was born and raised in the Harlem neighborhood of Manhattan in the Frederick Douglass Houses. Her first name is a portmanteau of her father's name, Kenneth (1944-2000), and her mother's name, Eveliss. Her father Kenneth was an African American jazz musician and Pentecostal minister, and was formerly a professor at Wesleyan University. Her mother Eveliss is a Chinese-Puerto Rican fashion designer who inspired Kelis to pursue her singing career.
|
1998-2002: Kaleidoscope and Wanderland
|
Kelis began recording her debut album, Kaleidoscope, in mid-1998 and was finished within a year. Produced by The Neptunes and released by Virgin Records in 1999, the album peaked at number 144 on the U.S. Billboard 200 chart and reached the top five on the Top Heatseekers chart. As of 2006, the album had sold 249,000 copies, according to Nielsen SoundScan. Its lead and most notable single, "Caught Out There", became a top ten Hot R&B/Hip-Hop Songs hit and peaked at number 54 on the Billboard Hot 100. During this time, Kelis featured on Ol' Dirty Bastard's U.S. top 40 single "Got Your Money". The album performed better in Europe, where "Caught out There" was a moderate hit and reached the top five on the UK Singles Chart. A second single, "Good Stuff" (featuring Terrar of Clipse), reached number 19; the third, "Get Along with You", was less successful, reaching number 51. The British Phonographic Industry certified Kaleidoscope gold for sales of 100,000 copies in the United Kingdom, where it reached number 43 on the UK Albums Chart. In 2001, Kelis won the BRIT Award for International Breakthrough Act and the NME Award for Best R&B/Soul Act, before joining Moby and U2 on their Area:One and Elevation tours, respectively. Kelis and the Neptunes' output at this time was heralded as foreshadowing an innovation in contemporary R&B, but she later said, "I was never an R&B artist. People coined me one but that's because, especially if you're in the States, if you're black and you sing, then you're R&B". Her colorful style in both clothing and hair received considerable attention. Kelis's second album, Wanderland, was released in 2001 in Europe, Asia, and Latin America, but did not receive a North American release. According to Kelis, her U.S. record company at the time, Virgin, had laid off those that worked on Kaleidoscope; their replacements did not understand or believe in Wanderland, which led her to leave the label around the time of the album's European release. A commercial failure, Wanderland peaked at number 78 in the UK, although its sole single release, "Young, Fresh n' New", was a top forty entry on the UK Singles Chart. The album, which was produced in its entirety by the Neptunes and features collaborations with members of Clipse and No Doubt, was well received by publications such as The Guardian and NME. In 2002, Kelis recorded "So Be It" for the Red Hot Organization's Fela Kuti tribute CD, Red Hot and Riot, from which all proceeds were donated to AIDS awareness charities. The same year, she had a top 20 US club hit with a remix of "Young, Fresh 'n' New" remix produced by Timo Maas, who subsequently featured Kelis on his single "Help Me".
Q: What happened while making these albums?
A: Kelis began recording her debut album, Kaleidoscope, in mid-1998 and was finished within a year.
Q: Are there any other interesting aspects about this article?
A: the album peaked at number 144 on the U.S. Billboard 200 chart and reached the top five on the Top Heatseekers chart.
Q: Did she have any other albums reach the charts?
A: Kelis's second album, Wanderland, was released in 2001
|
C_03ce076d137a497d9314ca5882803ada_1_q#3
|
How did that do in sales?
| 0y
| 2x
|
{
"texts": [
"well received by publications such as The Guardian and NME."
],
"answer_starts": [
2296
]
}
|
{
"text": "well received by publications such as The Guardian and NME.",
"answer_start": 2296
}
|
C_03ce076d137a497d9314ca5882803ada_1
|
Kelis
|
Kelis Rogers was born and raised in the Harlem neighborhood of Manhattan in the Frederick Douglass Houses. Her first name is a portmanteau of her father's name, Kenneth (1944-2000), and her mother's name, Eveliss. Her father Kenneth was an African American jazz musician and Pentecostal minister, and was formerly a professor at Wesleyan University. Her mother Eveliss is a Chinese-Puerto Rican fashion designer who inspired Kelis to pursue her singing career.
|
1998-2002: Kaleidoscope and Wanderland
|
Kelis began recording her debut album, Kaleidoscope, in mid-1998 and was finished within a year. Produced by The Neptunes and released by Virgin Records in 1999, the album peaked at number 144 on the U.S. Billboard 200 chart and reached the top five on the Top Heatseekers chart. As of 2006, the album had sold 249,000 copies, according to Nielsen SoundScan. Its lead and most notable single, "Caught Out There", became a top ten Hot R&B/Hip-Hop Songs hit and peaked at number 54 on the Billboard Hot 100. During this time, Kelis featured on Ol' Dirty Bastard's U.S. top 40 single "Got Your Money". The album performed better in Europe, where "Caught out There" was a moderate hit and reached the top five on the UK Singles Chart. A second single, "Good Stuff" (featuring Terrar of Clipse), reached number 19; the third, "Get Along with You", was less successful, reaching number 51. The British Phonographic Industry certified Kaleidoscope gold for sales of 100,000 copies in the United Kingdom, where it reached number 43 on the UK Albums Chart. In 2001, Kelis won the BRIT Award for International Breakthrough Act and the NME Award for Best R&B/Soul Act, before joining Moby and U2 on their Area:One and Elevation tours, respectively. Kelis and the Neptunes' output at this time was heralded as foreshadowing an innovation in contemporary R&B, but she later said, "I was never an R&B artist. People coined me one but that's because, especially if you're in the States, if you're black and you sing, then you're R&B". Her colorful style in both clothing and hair received considerable attention. Kelis's second album, Wanderland, was released in 2001 in Europe, Asia, and Latin America, but did not receive a North American release. According to Kelis, her U.S. record company at the time, Virgin, had laid off those that worked on Kaleidoscope; their replacements did not understand or believe in Wanderland, which led her to leave the label around the time of the album's European release. A commercial failure, Wanderland peaked at number 78 in the UK, although its sole single release, "Young, Fresh n' New", was a top forty entry on the UK Singles Chart. The album, which was produced in its entirety by the Neptunes and features collaborations with members of Clipse and No Doubt, was well received by publications such as The Guardian and NME. In 2002, Kelis recorded "So Be It" for the Red Hot Organization's Fela Kuti tribute CD, Red Hot and Riot, from which all proceeds were donated to AIDS awareness charities. The same year, she had a top 20 US club hit with a remix of "Young, Fresh 'n' New" remix produced by Timo Maas, who subsequently featured Kelis on his single "Help Me".
Q: What happened while making these albums?
A: Kelis began recording her debut album, Kaleidoscope, in mid-1998 and was finished within a year.
Q: Are there any other interesting aspects about this article?
A: the album peaked at number 144 on the U.S. Billboard 200 chart and reached the top five on the Top Heatseekers chart.
Q: Did she have any other albums reach the charts?
A: Kelis's second album, Wanderland, was released in 2001
Q: How did that do in sales?
A: well received by publications such as The Guardian and NME.
|
C_03ce076d137a497d9314ca5882803ada_1_q#4
|
Did she tour with these albums?
| 1n
| 2x
|
{
"texts": [
"joining Moby and U2 on their Area:One and Elevation tours,"
],
"answer_starts": [
1167
]
}
|
{
"text": "joining Moby and U2 on their Area:One and Elevation tours,",
"answer_start": 1167
}
|
C_03ce076d137a497d9314ca5882803ada_1
|
Kelis
|
Kelis Rogers was born and raised in the Harlem neighborhood of Manhattan in the Frederick Douglass Houses. Her first name is a portmanteau of her father's name, Kenneth (1944-2000), and her mother's name, Eveliss. Her father Kenneth was an African American jazz musician and Pentecostal minister, and was formerly a professor at Wesleyan University. Her mother Eveliss is a Chinese-Puerto Rican fashion designer who inspired Kelis to pursue her singing career.
|
1998-2002: Kaleidoscope and Wanderland
|
Kelis began recording her debut album, Kaleidoscope, in mid-1998 and was finished within a year. Produced by The Neptunes and released by Virgin Records in 1999, the album peaked at number 144 on the U.S. Billboard 200 chart and reached the top five on the Top Heatseekers chart. As of 2006, the album had sold 249,000 copies, according to Nielsen SoundScan. Its lead and most notable single, "Caught Out There", became a top ten Hot R&B/Hip-Hop Songs hit and peaked at number 54 on the Billboard Hot 100. During this time, Kelis featured on Ol' Dirty Bastard's U.S. top 40 single "Got Your Money". The album performed better in Europe, where "Caught out There" was a moderate hit and reached the top five on the UK Singles Chart. A second single, "Good Stuff" (featuring Terrar of Clipse), reached number 19; the third, "Get Along with You", was less successful, reaching number 51. The British Phonographic Industry certified Kaleidoscope gold for sales of 100,000 copies in the United Kingdom, where it reached number 43 on the UK Albums Chart. In 2001, Kelis won the BRIT Award for International Breakthrough Act and the NME Award for Best R&B/Soul Act, before joining Moby and U2 on their Area:One and Elevation tours, respectively. Kelis and the Neptunes' output at this time was heralded as foreshadowing an innovation in contemporary R&B, but she later said, "I was never an R&B artist. People coined me one but that's because, especially if you're in the States, if you're black and you sing, then you're R&B". Her colorful style in both clothing and hair received considerable attention. Kelis's second album, Wanderland, was released in 2001 in Europe, Asia, and Latin America, but did not receive a North American release. According to Kelis, her U.S. record company at the time, Virgin, had laid off those that worked on Kaleidoscope; their replacements did not understand or believe in Wanderland, which led her to leave the label around the time of the album's European release. A commercial failure, Wanderland peaked at number 78 in the UK, although its sole single release, "Young, Fresh n' New", was a top forty entry on the UK Singles Chart. The album, which was produced in its entirety by the Neptunes and features collaborations with members of Clipse and No Doubt, was well received by publications such as The Guardian and NME. In 2002, Kelis recorded "So Be It" for the Red Hot Organization's Fela Kuti tribute CD, Red Hot and Riot, from which all proceeds were donated to AIDS awareness charities. The same year, she had a top 20 US club hit with a remix of "Young, Fresh 'n' New" remix produced by Timo Maas, who subsequently featured Kelis on his single "Help Me".
Q: What happened while making these albums?
A: Kelis began recording her debut album, Kaleidoscope, in mid-1998 and was finished within a year.
Q: Are there any other interesting aspects about this article?
A: the album peaked at number 144 on the U.S. Billboard 200 chart and reached the top five on the Top Heatseekers chart.
Q: Did she have any other albums reach the charts?
A: Kelis's second album, Wanderland, was released in 2001
Q: How did that do in sales?
A: well received by publications such as The Guardian and NME.
Q: Did she tour with these albums?
A: joining Moby and U2 on their Area:One and Elevation tours,
|
C_03ce076d137a497d9314ca5882803ada_1_q#5
|
Where did she go on tour?
| 1n
| 2x
|
{
"texts": [
"unknown"
],
"answer_starts": [
2698
]
}
|
{
"text": "unknown",
"answer_start": 2698
}
|
C_03ce076d137a497d9314ca5882803ada_1
|
Kelis
|
Kelis Rogers was born and raised in the Harlem neighborhood of Manhattan in the Frederick Douglass Houses. Her first name is a portmanteau of her father's name, Kenneth (1944-2000), and her mother's name, Eveliss. Her father Kenneth was an African American jazz musician and Pentecostal minister, and was formerly a professor at Wesleyan University. Her mother Eveliss is a Chinese-Puerto Rican fashion designer who inspired Kelis to pursue her singing career.
|
1998-2002: Kaleidoscope and Wanderland
|
Kelis began recording her debut album, Kaleidoscope, in mid-1998 and was finished within a year. Produced by The Neptunes and released by Virgin Records in 1999, the album peaked at number 144 on the U.S. Billboard 200 chart and reached the top five on the Top Heatseekers chart. As of 2006, the album had sold 249,000 copies, according to Nielsen SoundScan. Its lead and most notable single, "Caught Out There", became a top ten Hot R&B/Hip-Hop Songs hit and peaked at number 54 on the Billboard Hot 100. During this time, Kelis featured on Ol' Dirty Bastard's U.S. top 40 single "Got Your Money". The album performed better in Europe, where "Caught out There" was a moderate hit and reached the top five on the UK Singles Chart. A second single, "Good Stuff" (featuring Terrar of Clipse), reached number 19; the third, "Get Along with You", was less successful, reaching number 51. The British Phonographic Industry certified Kaleidoscope gold for sales of 100,000 copies in the United Kingdom, where it reached number 43 on the UK Albums Chart. In 2001, Kelis won the BRIT Award for International Breakthrough Act and the NME Award for Best R&B/Soul Act, before joining Moby and U2 on their Area:One and Elevation tours, respectively. Kelis and the Neptunes' output at this time was heralded as foreshadowing an innovation in contemporary R&B, but she later said, "I was never an R&B artist. People coined me one but that's because, especially if you're in the States, if you're black and you sing, then you're R&B". Her colorful style in both clothing and hair received considerable attention. Kelis's second album, Wanderland, was released in 2001 in Europe, Asia, and Latin America, but did not receive a North American release. According to Kelis, her U.S. record company at the time, Virgin, had laid off those that worked on Kaleidoscope; their replacements did not understand or believe in Wanderland, which led her to leave the label around the time of the album's European release. A commercial failure, Wanderland peaked at number 78 in the UK, although its sole single release, "Young, Fresh n' New", was a top forty entry on the UK Singles Chart. The album, which was produced in its entirety by the Neptunes and features collaborations with members of Clipse and No Doubt, was well received by publications such as The Guardian and NME. In 2002, Kelis recorded "So Be It" for the Red Hot Organization's Fela Kuti tribute CD, Red Hot and Riot, from which all proceeds were donated to AIDS awareness charities. The same year, she had a top 20 US club hit with a remix of "Young, Fresh 'n' New" remix produced by Timo Maas, who subsequently featured Kelis on his single "Help Me".
Q: What happened while making these albums?
A: Kelis began recording her debut album, Kaleidoscope, in mid-1998 and was finished within a year.
Q: Are there any other interesting aspects about this article?
A: the album peaked at number 144 on the U.S. Billboard 200 chart and reached the top five on the Top Heatseekers chart.
Q: Did she have any other albums reach the charts?
A: Kelis's second album, Wanderland, was released in 2001
Q: How did that do in sales?
A: well received by publications such as The Guardian and NME.
Q: Did she tour with these albums?
A: joining Moby and U2 on their Area:One and Elevation tours,
Q: Where did she go on tour?
A: unknown
|
C_03ce076d137a497d9314ca5882803ada_1_q#6
|
Did she do anything else after that?
| 0y
| 2x
|
{
"texts": [
"In 2002, Kelis recorded \"So Be It\""
],
"answer_starts": [
2357
]
}
|
{
"text": "In 2002, Kelis recorded \"So Be It\"",
"answer_start": 2357
}
|
C_03ce076d137a497d9314ca5882803ada_1
|
Kelis
|
Kelis Rogers was born and raised in the Harlem neighborhood of Manhattan in the Frederick Douglass Houses. Her first name is a portmanteau of her father's name, Kenneth (1944-2000), and her mother's name, Eveliss. Her father Kenneth was an African American jazz musician and Pentecostal minister, and was formerly a professor at Wesleyan University. Her mother Eveliss is a Chinese-Puerto Rican fashion designer who inspired Kelis to pursue her singing career.
|
1998-2002: Kaleidoscope and Wanderland
|
Kelis began recording her debut album, Kaleidoscope, in mid-1998 and was finished within a year. Produced by The Neptunes and released by Virgin Records in 1999, the album peaked at number 144 on the U.S. Billboard 200 chart and reached the top five on the Top Heatseekers chart. As of 2006, the album had sold 249,000 copies, according to Nielsen SoundScan. Its lead and most notable single, "Caught Out There", became a top ten Hot R&B/Hip-Hop Songs hit and peaked at number 54 on the Billboard Hot 100. During this time, Kelis featured on Ol' Dirty Bastard's U.S. top 40 single "Got Your Money". The album performed better in Europe, where "Caught out There" was a moderate hit and reached the top five on the UK Singles Chart. A second single, "Good Stuff" (featuring Terrar of Clipse), reached number 19; the third, "Get Along with You", was less successful, reaching number 51. The British Phonographic Industry certified Kaleidoscope gold for sales of 100,000 copies in the United Kingdom, where it reached number 43 on the UK Albums Chart. In 2001, Kelis won the BRIT Award for International Breakthrough Act and the NME Award for Best R&B/Soul Act, before joining Moby and U2 on their Area:One and Elevation tours, respectively. Kelis and the Neptunes' output at this time was heralded as foreshadowing an innovation in contemporary R&B, but she later said, "I was never an R&B artist. People coined me one but that's because, especially if you're in the States, if you're black and you sing, then you're R&B". Her colorful style in both clothing and hair received considerable attention. Kelis's second album, Wanderland, was released in 2001 in Europe, Asia, and Latin America, but did not receive a North American release. According to Kelis, her U.S. record company at the time, Virgin, had laid off those that worked on Kaleidoscope; their replacements did not understand or believe in Wanderland, which led her to leave the label around the time of the album's European release. A commercial failure, Wanderland peaked at number 78 in the UK, although its sole single release, "Young, Fresh n' New", was a top forty entry on the UK Singles Chart. The album, which was produced in its entirety by the Neptunes and features collaborations with members of Clipse and No Doubt, was well received by publications such as The Guardian and NME. In 2002, Kelis recorded "So Be It" for the Red Hot Organization's Fela Kuti tribute CD, Red Hot and Riot, from which all proceeds were donated to AIDS awareness charities. The same year, she had a top 20 US club hit with a remix of "Young, Fresh 'n' New" remix produced by Timo Maas, who subsequently featured Kelis on his single "Help Me".
Q: What happened while making these albums?
A: Kelis began recording her debut album, Kaleidoscope, in mid-1998 and was finished within a year.
Q: Are there any other interesting aspects about this article?
A: the album peaked at number 144 on the U.S. Billboard 200 chart and reached the top five on the Top Heatseekers chart.
Q: Did she have any other albums reach the charts?
A: Kelis's second album, Wanderland, was released in 2001
Q: How did that do in sales?
A: well received by publications such as The Guardian and NME.
Q: Did she tour with these albums?
A: joining Moby and U2 on their Area:One and Elevation tours,
Q: Where did she go on tour?
A: unknown
Q: Did she do anything else after that?
A: In 2002, Kelis recorded "So Be It"
|
C_03ce076d137a497d9314ca5882803ada_1_q#7
|
How did that do?
| 2m
| 2x
|
{
"texts": [
"all proceeds were donated to AIDS awareness charities."
],
"answer_starts": [
2474
]
}
|
{
"text": "all proceeds were donated to AIDS awareness charities.",
"answer_start": 2474
}
|
C_03ce076d137a497d9314ca5882803ada_1
|
Kelis
|
Kelis Rogers was born and raised in the Harlem neighborhood of Manhattan in the Frederick Douglass Houses. Her first name is a portmanteau of her father's name, Kenneth (1944-2000), and her mother's name, Eveliss. Her father Kenneth was an African American jazz musician and Pentecostal minister, and was formerly a professor at Wesleyan University. Her mother Eveliss is a Chinese-Puerto Rican fashion designer who inspired Kelis to pursue her singing career.
|
1998-2002: Kaleidoscope and Wanderland
|
Kelis began recording her debut album, Kaleidoscope, in mid-1998 and was finished within a year. Produced by The Neptunes and released by Virgin Records in 1999, the album peaked at number 144 on the U.S. Billboard 200 chart and reached the top five on the Top Heatseekers chart. As of 2006, the album had sold 249,000 copies, according to Nielsen SoundScan. Its lead and most notable single, "Caught Out There", became a top ten Hot R&B/Hip-Hop Songs hit and peaked at number 54 on the Billboard Hot 100. During this time, Kelis featured on Ol' Dirty Bastard's U.S. top 40 single "Got Your Money". The album performed better in Europe, where "Caught out There" was a moderate hit and reached the top five on the UK Singles Chart. A second single, "Good Stuff" (featuring Terrar of Clipse), reached number 19; the third, "Get Along with You", was less successful, reaching number 51. The British Phonographic Industry certified Kaleidoscope gold for sales of 100,000 copies in the United Kingdom, where it reached number 43 on the UK Albums Chart. In 2001, Kelis won the BRIT Award for International Breakthrough Act and the NME Award for Best R&B/Soul Act, before joining Moby and U2 on their Area:One and Elevation tours, respectively. Kelis and the Neptunes' output at this time was heralded as foreshadowing an innovation in contemporary R&B, but she later said, "I was never an R&B artist. People coined me one but that's because, especially if you're in the States, if you're black and you sing, then you're R&B". Her colorful style in both clothing and hair received considerable attention. Kelis's second album, Wanderland, was released in 2001 in Europe, Asia, and Latin America, but did not receive a North American release. According to Kelis, her U.S. record company at the time, Virgin, had laid off those that worked on Kaleidoscope; their replacements did not understand or believe in Wanderland, which led her to leave the label around the time of the album's European release. A commercial failure, Wanderland peaked at number 78 in the UK, although its sole single release, "Young, Fresh n' New", was a top forty entry on the UK Singles Chart. The album, which was produced in its entirety by the Neptunes and features collaborations with members of Clipse and No Doubt, was well received by publications such as The Guardian and NME. In 2002, Kelis recorded "So Be It" for the Red Hot Organization's Fela Kuti tribute CD, Red Hot and Riot, from which all proceeds were donated to AIDS awareness charities. The same year, she had a top 20 US club hit with a remix of "Young, Fresh 'n' New" remix produced by Timo Maas, who subsequently featured Kelis on his single "Help Me".
Q: What happened while making these albums?
A: Kelis began recording her debut album, Kaleidoscope, in mid-1998 and was finished within a year.
Q: Are there any other interesting aspects about this article?
A: the album peaked at number 144 on the U.S. Billboard 200 chart and reached the top five on the Top Heatseekers chart.
Q: Did she have any other albums reach the charts?
A: Kelis's second album, Wanderland, was released in 2001
Q: How did that do in sales?
A: well received by publications such as The Guardian and NME.
Q: Did she tour with these albums?
A: joining Moby and U2 on their Area:One and Elevation tours,
Q: Where did she go on tour?
A: unknown
Q: Did she do anything else after that?
A: In 2002, Kelis recorded "So Be It"
Q: How did that do?
A: all proceeds were donated to AIDS awareness charities.
|
C_03ce076d137a497d9314ca5882803ada_1_q#8
|
Proceeds from what?
| 2m
| 2x
|
{
"texts": [
"the Red Hot Organization's Fela Kuti tribute CD,"
],
"answer_starts": [
2396
]
}
|
{
"text": "the Red Hot Organization's Fela Kuti tribute CD,",
"answer_start": 2396
}
|
C_45962efa77134657a178e5e8064220ed_0
|
Spice Girls
|
The Spice Girls are an English pop girl group formed in 1994. The group originally consisted of Melanie Brown ("Scary Spice"), Melanie Chisholm ("Sporty Spice"), Emma Bunton ("Baby Spice"), Geri Halliwell ("Ginger Spice"), and Victoria Beckham, nee Adams ("Posh Spice"). They were signed to Virgin Records and released their debut single "Wannabe" in 1996, which hit number one in 37 countries and established them as a global phenomenon. Their debut album Spice sold more than 31 million copies worldwide, becoming the best-selling album by a female group in history.
|
1990s icons
|
The Spice Girls have been revered as the biggest pop phenomenon of the 1990s due to their international record sales, iconic symbolism and "omnipresence" in the late 1990s. At the 2000 Brit Awards, the group received the Outstanding Contribution to Music award to mark their dominance of the global music scene in the 1990s. The iconic symbolism of the Spice Girls in the 1990s is partly attributed to their era-defining outfits, the most notable being the Union Jack dress that Geri Halliwell wore at the 1997 Brit Awards. The dress has achieved iconic status, becoming one of the most prominent symbols of 1990s pop culture. The status of the Spice Girls as 1990s pop icons is also attributed to their vast merchandising and willingness to be a part of a media-driven world. Their unprecedented appearances in adverts and the media solidified the group as a phenomenon--an icon of the decade and for British music. Some sources, especially those in the United Kingdom, revere the Spice Girls as gay icons. In a UK survey of more than 5,000 gay men and women, Victoria Beckham placed 12th and Halliwell placed 43rd in a ranking of the Top 50 gay icons of all time. Halliwell was also the recipient of the Honorary Gay Award at the 2016 Attitude Awards. In a 2005 interview, Emma Bunton attributed their large gay fan base to the group's fun-loving nature, open-mindedness, and their love of fashion and dressing up, concluding that: "I'm so flattered that we've got such a huge gay following, it's amazing." In 1999, a study conducted by the British Council found that the Spice Girls were the second-best-known Britons internationally--only behind then-Prime Minister Tony Blair--and the best-known Britons in Asia. In 2006, ten years after the release of their debut single, the Spice Girls were voted the biggest cultural icons of the 1990s with 80 percent of the votes in a UK poll of 1,000 people carried out for the board game Trivial Pursuit, stating that "Girl Power" defined the decade. The Spice Girls also ranked number ten in the E! TV special, The 101 Reasons the '90s Ruled.
|
C_45962efa77134657a178e5e8064220ed_0_q#0
|
Was was one of the 1990s icons?
| 0y
| 2x
|
{
"texts": [
"The Spice Girls have been revered as the biggest pop phenomenon of the 1990s due to their international record sales, iconic symbolism and \"omnipresence\" in the late 1990s."
],
"answer_starts": [
0
]
}
|
{
"text": "The Spice Girls have been revered as the biggest pop phenomenon of the 1990s due to their international record sales, iconic symbolism and \"omnipresence\" in the late 1990s.",
"answer_start": 0
}
|
C_45962efa77134657a178e5e8064220ed_0
|
Spice Girls
|
The Spice Girls are an English pop girl group formed in 1994. The group originally consisted of Melanie Brown ("Scary Spice"), Melanie Chisholm ("Sporty Spice"), Emma Bunton ("Baby Spice"), Geri Halliwell ("Ginger Spice"), and Victoria Beckham, nee Adams ("Posh Spice"). They were signed to Virgin Records and released their debut single "Wannabe" in 1996, which hit number one in 37 countries and established them as a global phenomenon. Their debut album Spice sold more than 31 million copies worldwide, becoming the best-selling album by a female group in history.
|
1990s icons
|
The Spice Girls have been revered as the biggest pop phenomenon of the 1990s due to their international record sales, iconic symbolism and "omnipresence" in the late 1990s. At the 2000 Brit Awards, the group received the Outstanding Contribution to Music award to mark their dominance of the global music scene in the 1990s. The iconic symbolism of the Spice Girls in the 1990s is partly attributed to their era-defining outfits, the most notable being the Union Jack dress that Geri Halliwell wore at the 1997 Brit Awards. The dress has achieved iconic status, becoming one of the most prominent symbols of 1990s pop culture. The status of the Spice Girls as 1990s pop icons is also attributed to their vast merchandising and willingness to be a part of a media-driven world. Their unprecedented appearances in adverts and the media solidified the group as a phenomenon--an icon of the decade and for British music. Some sources, especially those in the United Kingdom, revere the Spice Girls as gay icons. In a UK survey of more than 5,000 gay men and women, Victoria Beckham placed 12th and Halliwell placed 43rd in a ranking of the Top 50 gay icons of all time. Halliwell was also the recipient of the Honorary Gay Award at the 2016 Attitude Awards. In a 2005 interview, Emma Bunton attributed their large gay fan base to the group's fun-loving nature, open-mindedness, and their love of fashion and dressing up, concluding that: "I'm so flattered that we've got such a huge gay following, it's amazing." In 1999, a study conducted by the British Council found that the Spice Girls were the second-best-known Britons internationally--only behind then-Prime Minister Tony Blair--and the best-known Britons in Asia. In 2006, ten years after the release of their debut single, the Spice Girls were voted the biggest cultural icons of the 1990s with 80 percent of the votes in a UK poll of 1,000 people carried out for the board game Trivial Pursuit, stating that "Girl Power" defined the decade. The Spice Girls also ranked number ten in the E! TV special, The 101 Reasons the '90s Ruled.
Q: Was was one of the 1990s icons?
A: The Spice Girls have been revered as the biggest pop phenomenon of the 1990s due to their international record sales, iconic symbolism and "omnipresence" in the late 1990s.
|
C_45962efa77134657a178e5e8064220ed_0_q#1
|
What other icons were there?
| 0y
| 0y
|
{
"texts": [
"In 1999, a study conducted by the British Council found that the Spice Girls were the second-best-known Britons internationally--only behind then-Prime Minister Tony Blair--"
],
"answer_starts": [
1512
]
}
|
{
"text": "In 1999, a study conducted by the British Council found that the Spice Girls were the second-best-known Britons internationally--only behind then-Prime Minister Tony Blair--",
"answer_start": 1512
}
|
C_45962efa77134657a178e5e8064220ed_0
|
Spice Girls
|
The Spice Girls are an English pop girl group formed in 1994. The group originally consisted of Melanie Brown ("Scary Spice"), Melanie Chisholm ("Sporty Spice"), Emma Bunton ("Baby Spice"), Geri Halliwell ("Ginger Spice"), and Victoria Beckham, nee Adams ("Posh Spice"). They were signed to Virgin Records and released their debut single "Wannabe" in 1996, which hit number one in 37 countries and established them as a global phenomenon. Their debut album Spice sold more than 31 million copies worldwide, becoming the best-selling album by a female group in history.
|
1990s icons
|
The Spice Girls have been revered as the biggest pop phenomenon of the 1990s due to their international record sales, iconic symbolism and "omnipresence" in the late 1990s. At the 2000 Brit Awards, the group received the Outstanding Contribution to Music award to mark their dominance of the global music scene in the 1990s. The iconic symbolism of the Spice Girls in the 1990s is partly attributed to their era-defining outfits, the most notable being the Union Jack dress that Geri Halliwell wore at the 1997 Brit Awards. The dress has achieved iconic status, becoming one of the most prominent symbols of 1990s pop culture. The status of the Spice Girls as 1990s pop icons is also attributed to their vast merchandising and willingness to be a part of a media-driven world. Their unprecedented appearances in adverts and the media solidified the group as a phenomenon--an icon of the decade and for British music. Some sources, especially those in the United Kingdom, revere the Spice Girls as gay icons. In a UK survey of more than 5,000 gay men and women, Victoria Beckham placed 12th and Halliwell placed 43rd in a ranking of the Top 50 gay icons of all time. Halliwell was also the recipient of the Honorary Gay Award at the 2016 Attitude Awards. In a 2005 interview, Emma Bunton attributed their large gay fan base to the group's fun-loving nature, open-mindedness, and their love of fashion and dressing up, concluding that: "I'm so flattered that we've got such a huge gay following, it's amazing." In 1999, a study conducted by the British Council found that the Spice Girls were the second-best-known Britons internationally--only behind then-Prime Minister Tony Blair--and the best-known Britons in Asia. In 2006, ten years after the release of their debut single, the Spice Girls were voted the biggest cultural icons of the 1990s with 80 percent of the votes in a UK poll of 1,000 people carried out for the board game Trivial Pursuit, stating that "Girl Power" defined the decade. The Spice Girls also ranked number ten in the E! TV special, The 101 Reasons the '90s Ruled.
Q: Was was one of the 1990s icons?
A: The Spice Girls have been revered as the biggest pop phenomenon of the 1990s due to their international record sales, iconic symbolism and "omnipresence" in the late 1990s.
Q: What other icons were there?
A: In 1999, a study conducted by the British Council found that the Spice Girls were the second-best-known Britons internationally--only behind then-Prime Minister Tony Blair--
|
C_45962efa77134657a178e5e8064220ed_0_q#2
|
Did they receive any other labels?
| 2m
| 2x
|
{
"texts": [
"unknown"
],
"answer_starts": [
2093
]
}
|
{
"text": "unknown",
"answer_start": 2093
}
|
C_45962efa77134657a178e5e8064220ed_0
|
Spice Girls
|
The Spice Girls are an English pop girl group formed in 1994. The group originally consisted of Melanie Brown ("Scary Spice"), Melanie Chisholm ("Sporty Spice"), Emma Bunton ("Baby Spice"), Geri Halliwell ("Ginger Spice"), and Victoria Beckham, nee Adams ("Posh Spice"). They were signed to Virgin Records and released their debut single "Wannabe" in 1996, which hit number one in 37 countries and established them as a global phenomenon. Their debut album Spice sold more than 31 million copies worldwide, becoming the best-selling album by a female group in history.
|
1990s icons
|
The Spice Girls have been revered as the biggest pop phenomenon of the 1990s due to their international record sales, iconic symbolism and "omnipresence" in the late 1990s. At the 2000 Brit Awards, the group received the Outstanding Contribution to Music award to mark their dominance of the global music scene in the 1990s. The iconic symbolism of the Spice Girls in the 1990s is partly attributed to their era-defining outfits, the most notable being the Union Jack dress that Geri Halliwell wore at the 1997 Brit Awards. The dress has achieved iconic status, becoming one of the most prominent symbols of 1990s pop culture. The status of the Spice Girls as 1990s pop icons is also attributed to their vast merchandising and willingness to be a part of a media-driven world. Their unprecedented appearances in adverts and the media solidified the group as a phenomenon--an icon of the decade and for British music. Some sources, especially those in the United Kingdom, revere the Spice Girls as gay icons. In a UK survey of more than 5,000 gay men and women, Victoria Beckham placed 12th and Halliwell placed 43rd in a ranking of the Top 50 gay icons of all time. Halliwell was also the recipient of the Honorary Gay Award at the 2016 Attitude Awards. In a 2005 interview, Emma Bunton attributed their large gay fan base to the group's fun-loving nature, open-mindedness, and their love of fashion and dressing up, concluding that: "I'm so flattered that we've got such a huge gay following, it's amazing." In 1999, a study conducted by the British Council found that the Spice Girls were the second-best-known Britons internationally--only behind then-Prime Minister Tony Blair--and the best-known Britons in Asia. In 2006, ten years after the release of their debut single, the Spice Girls were voted the biggest cultural icons of the 1990s with 80 percent of the votes in a UK poll of 1,000 people carried out for the board game Trivial Pursuit, stating that "Girl Power" defined the decade. The Spice Girls also ranked number ten in the E! TV special, The 101 Reasons the '90s Ruled.
Q: Was was one of the 1990s icons?
A: The Spice Girls have been revered as the biggest pop phenomenon of the 1990s due to their international record sales, iconic symbolism and "omnipresence" in the late 1990s.
Q: What other icons were there?
A: In 1999, a study conducted by the British Council found that the Spice Girls were the second-best-known Britons internationally--only behind then-Prime Minister Tony Blair--
Q: Did they receive any other labels?
A: unknown
|
C_45962efa77134657a178e5e8064220ed_0_q#3
|
Are there any other interesting aspects about this article?
| 0y
| 2x
|
{
"texts": [
"In 2006, ten years after the release of their debut single, the Spice Girls were voted the biggest cultural icons of the 1990s"
],
"answer_starts": [
1721
]
}
|
{
"text": "In 2006, ten years after the release of their debut single, the Spice Girls were voted the biggest cultural icons of the 1990s",
"answer_start": 1721
}
|
C_45962efa77134657a178e5e8064220ed_0
|
Spice Girls
|
The Spice Girls are an English pop girl group formed in 1994. The group originally consisted of Melanie Brown ("Scary Spice"), Melanie Chisholm ("Sporty Spice"), Emma Bunton ("Baby Spice"), Geri Halliwell ("Ginger Spice"), and Victoria Beckham, nee Adams ("Posh Spice"). They were signed to Virgin Records and released their debut single "Wannabe" in 1996, which hit number one in 37 countries and established them as a global phenomenon. Their debut album Spice sold more than 31 million copies worldwide, becoming the best-selling album by a female group in history.
|
1990s icons
|
The Spice Girls have been revered as the biggest pop phenomenon of the 1990s due to their international record sales, iconic symbolism and "omnipresence" in the late 1990s. At the 2000 Brit Awards, the group received the Outstanding Contribution to Music award to mark their dominance of the global music scene in the 1990s. The iconic symbolism of the Spice Girls in the 1990s is partly attributed to their era-defining outfits, the most notable being the Union Jack dress that Geri Halliwell wore at the 1997 Brit Awards. The dress has achieved iconic status, becoming one of the most prominent symbols of 1990s pop culture. The status of the Spice Girls as 1990s pop icons is also attributed to their vast merchandising and willingness to be a part of a media-driven world. Their unprecedented appearances in adverts and the media solidified the group as a phenomenon--an icon of the decade and for British music. Some sources, especially those in the United Kingdom, revere the Spice Girls as gay icons. In a UK survey of more than 5,000 gay men and women, Victoria Beckham placed 12th and Halliwell placed 43rd in a ranking of the Top 50 gay icons of all time. Halliwell was also the recipient of the Honorary Gay Award at the 2016 Attitude Awards. In a 2005 interview, Emma Bunton attributed their large gay fan base to the group's fun-loving nature, open-mindedness, and their love of fashion and dressing up, concluding that: "I'm so flattered that we've got such a huge gay following, it's amazing." In 1999, a study conducted by the British Council found that the Spice Girls were the second-best-known Britons internationally--only behind then-Prime Minister Tony Blair--and the best-known Britons in Asia. In 2006, ten years after the release of their debut single, the Spice Girls were voted the biggest cultural icons of the 1990s with 80 percent of the votes in a UK poll of 1,000 people carried out for the board game Trivial Pursuit, stating that "Girl Power" defined the decade. The Spice Girls also ranked number ten in the E! TV special, The 101 Reasons the '90s Ruled.
Q: Was was one of the 1990s icons?
A: The Spice Girls have been revered as the biggest pop phenomenon of the 1990s due to their international record sales, iconic symbolism and "omnipresence" in the late 1990s.
Q: What other icons were there?
A: In 1999, a study conducted by the British Council found that the Spice Girls were the second-best-known Britons internationally--only behind then-Prime Minister Tony Blair--
Q: Did they receive any other labels?
A: unknown
Q: Are there any other interesting aspects about this article?
A: In 2006, ten years after the release of their debut single, the Spice Girls were voted the biggest cultural icons of the 1990s
|
C_45962efa77134657a178e5e8064220ed_0_q#4
|
Who conducted the study?
| 0y
| 2x
|
{
"texts": [
"votes in a UK poll of 1,000 people carried out for the board game Trivial Pursuit, stating that \"Girl Power\" defined the decade."
],
"answer_starts": [
1871
]
}
|
{
"text": "votes in a UK poll of 1,000 people carried out for the board game Trivial Pursuit, stating that \"Girl Power\" defined the decade.",
"answer_start": 1871
}
|
C_45962efa77134657a178e5e8064220ed_0
|
Spice Girls
|
The Spice Girls are an English pop girl group formed in 1994. The group originally consisted of Melanie Brown ("Scary Spice"), Melanie Chisholm ("Sporty Spice"), Emma Bunton ("Baby Spice"), Geri Halliwell ("Ginger Spice"), and Victoria Beckham, nee Adams ("Posh Spice"). They were signed to Virgin Records and released their debut single "Wannabe" in 1996, which hit number one in 37 countries and established them as a global phenomenon. Their debut album Spice sold more than 31 million copies worldwide, becoming the best-selling album by a female group in history.
|
1990s icons
|
The Spice Girls have been revered as the biggest pop phenomenon of the 1990s due to their international record sales, iconic symbolism and "omnipresence" in the late 1990s. At the 2000 Brit Awards, the group received the Outstanding Contribution to Music award to mark their dominance of the global music scene in the 1990s. The iconic symbolism of the Spice Girls in the 1990s is partly attributed to their era-defining outfits, the most notable being the Union Jack dress that Geri Halliwell wore at the 1997 Brit Awards. The dress has achieved iconic status, becoming one of the most prominent symbols of 1990s pop culture. The status of the Spice Girls as 1990s pop icons is also attributed to their vast merchandising and willingness to be a part of a media-driven world. Their unprecedented appearances in adverts and the media solidified the group as a phenomenon--an icon of the decade and for British music. Some sources, especially those in the United Kingdom, revere the Spice Girls as gay icons. In a UK survey of more than 5,000 gay men and women, Victoria Beckham placed 12th and Halliwell placed 43rd in a ranking of the Top 50 gay icons of all time. Halliwell was also the recipient of the Honorary Gay Award at the 2016 Attitude Awards. In a 2005 interview, Emma Bunton attributed their large gay fan base to the group's fun-loving nature, open-mindedness, and their love of fashion and dressing up, concluding that: "I'm so flattered that we've got such a huge gay following, it's amazing." In 1999, a study conducted by the British Council found that the Spice Girls were the second-best-known Britons internationally--only behind then-Prime Minister Tony Blair--and the best-known Britons in Asia. In 2006, ten years after the release of their debut single, the Spice Girls were voted the biggest cultural icons of the 1990s with 80 percent of the votes in a UK poll of 1,000 people carried out for the board game Trivial Pursuit, stating that "Girl Power" defined the decade. The Spice Girls also ranked number ten in the E! TV special, The 101 Reasons the '90s Ruled.
Q: Was was one of the 1990s icons?
A: The Spice Girls have been revered as the biggest pop phenomenon of the 1990s due to their international record sales, iconic symbolism and "omnipresence" in the late 1990s.
Q: What other icons were there?
A: In 1999, a study conducted by the British Council found that the Spice Girls were the second-best-known Britons internationally--only behind then-Prime Minister Tony Blair--
Q: Did they receive any other labels?
A: unknown
Q: Are there any other interesting aspects about this article?
A: In 2006, ten years after the release of their debut single, the Spice Girls were voted the biggest cultural icons of the 1990s
Q: Who conducted the study?
A: votes in a UK poll of 1,000 people carried out for the board game Trivial Pursuit, stating that "Girl Power" defined the decade.
|
C_45962efa77134657a178e5e8064220ed_0_q#5
|
anything else interesting?
| 0y
| 2x
|
{
"texts": [
"The Spice Girls also ranked number ten in the E! TV special, The 101 Reasons the '90s Ruled."
],
"answer_starts": [
2000
]
}
|
{
"text": "The Spice Girls also ranked number ten in the E! TV special, The 101 Reasons the '90s Ruled.",
"answer_start": 2000
}
|
C_45962efa77134657a178e5e8064220ed_0
|
Spice Girls
|
The Spice Girls are an English pop girl group formed in 1994. The group originally consisted of Melanie Brown ("Scary Spice"), Melanie Chisholm ("Sporty Spice"), Emma Bunton ("Baby Spice"), Geri Halliwell ("Ginger Spice"), and Victoria Beckham, nee Adams ("Posh Spice"). They were signed to Virgin Records and released their debut single "Wannabe" in 1996, which hit number one in 37 countries and established them as a global phenomenon. Their debut album Spice sold more than 31 million copies worldwide, becoming the best-selling album by a female group in history.
|
1990s icons
|
The Spice Girls have been revered as the biggest pop phenomenon of the 1990s due to their international record sales, iconic symbolism and "omnipresence" in the late 1990s. At the 2000 Brit Awards, the group received the Outstanding Contribution to Music award to mark their dominance of the global music scene in the 1990s. The iconic symbolism of the Spice Girls in the 1990s is partly attributed to their era-defining outfits, the most notable being the Union Jack dress that Geri Halliwell wore at the 1997 Brit Awards. The dress has achieved iconic status, becoming one of the most prominent symbols of 1990s pop culture. The status of the Spice Girls as 1990s pop icons is also attributed to their vast merchandising and willingness to be a part of a media-driven world. Their unprecedented appearances in adverts and the media solidified the group as a phenomenon--an icon of the decade and for British music. Some sources, especially those in the United Kingdom, revere the Spice Girls as gay icons. In a UK survey of more than 5,000 gay men and women, Victoria Beckham placed 12th and Halliwell placed 43rd in a ranking of the Top 50 gay icons of all time. Halliwell was also the recipient of the Honorary Gay Award at the 2016 Attitude Awards. In a 2005 interview, Emma Bunton attributed their large gay fan base to the group's fun-loving nature, open-mindedness, and their love of fashion and dressing up, concluding that: "I'm so flattered that we've got such a huge gay following, it's amazing." In 1999, a study conducted by the British Council found that the Spice Girls were the second-best-known Britons internationally--only behind then-Prime Minister Tony Blair--and the best-known Britons in Asia. In 2006, ten years after the release of their debut single, the Spice Girls were voted the biggest cultural icons of the 1990s with 80 percent of the votes in a UK poll of 1,000 people carried out for the board game Trivial Pursuit, stating that "Girl Power" defined the decade. The Spice Girls also ranked number ten in the E! TV special, The 101 Reasons the '90s Ruled.
Q: Was was one of the 1990s icons?
A: The Spice Girls have been revered as the biggest pop phenomenon of the 1990s due to their international record sales, iconic symbolism and "omnipresence" in the late 1990s.
Q: What other icons were there?
A: In 1999, a study conducted by the British Council found that the Spice Girls were the second-best-known Britons internationally--only behind then-Prime Minister Tony Blair--
Q: Did they receive any other labels?
A: unknown
Q: Are there any other interesting aspects about this article?
A: In 2006, ten years after the release of their debut single, the Spice Girls were voted the biggest cultural icons of the 1990s
Q: Who conducted the study?
A: votes in a UK poll of 1,000 people carried out for the board game Trivial Pursuit, stating that "Girl Power" defined the decade.
Q: anything else interesting?
A: The Spice Girls also ranked number ten in the E! TV special, The 101 Reasons the '90s Ruled.
|
C_45962efa77134657a178e5e8064220ed_0_q#6
|
Were they given any other rankings?
| 0y
| 2x
|
{
"texts": [
"In a UK survey of more than 5,000 gay men and women, Victoria Beckham placed 12th and Halliwell placed"
],
"answer_starts": [
1010
]
}
|
{
"text": "In a UK survey of more than 5,000 gay men and women, Victoria Beckham placed 12th and Halliwell placed",
"answer_start": 1010
}
|
C_45962efa77134657a178e5e8064220ed_0
|
Spice Girls
|
The Spice Girls are an English pop girl group formed in 1994. The group originally consisted of Melanie Brown ("Scary Spice"), Melanie Chisholm ("Sporty Spice"), Emma Bunton ("Baby Spice"), Geri Halliwell ("Ginger Spice"), and Victoria Beckham, nee Adams ("Posh Spice"). They were signed to Virgin Records and released their debut single "Wannabe" in 1996, which hit number one in 37 countries and established them as a global phenomenon. Their debut album Spice sold more than 31 million copies worldwide, becoming the best-selling album by a female group in history.
|
1990s icons
|
The Spice Girls have been revered as the biggest pop phenomenon of the 1990s due to their international record sales, iconic symbolism and "omnipresence" in the late 1990s. At the 2000 Brit Awards, the group received the Outstanding Contribution to Music award to mark their dominance of the global music scene in the 1990s. The iconic symbolism of the Spice Girls in the 1990s is partly attributed to their era-defining outfits, the most notable being the Union Jack dress that Geri Halliwell wore at the 1997 Brit Awards. The dress has achieved iconic status, becoming one of the most prominent symbols of 1990s pop culture. The status of the Spice Girls as 1990s pop icons is also attributed to their vast merchandising and willingness to be a part of a media-driven world. Their unprecedented appearances in adverts and the media solidified the group as a phenomenon--an icon of the decade and for British music. Some sources, especially those in the United Kingdom, revere the Spice Girls as gay icons. In a UK survey of more than 5,000 gay men and women, Victoria Beckham placed 12th and Halliwell placed 43rd in a ranking of the Top 50 gay icons of all time. Halliwell was also the recipient of the Honorary Gay Award at the 2016 Attitude Awards. In a 2005 interview, Emma Bunton attributed their large gay fan base to the group's fun-loving nature, open-mindedness, and their love of fashion and dressing up, concluding that: "I'm so flattered that we've got such a huge gay following, it's amazing." In 1999, a study conducted by the British Council found that the Spice Girls were the second-best-known Britons internationally--only behind then-Prime Minister Tony Blair--and the best-known Britons in Asia. In 2006, ten years after the release of their debut single, the Spice Girls were voted the biggest cultural icons of the 1990s with 80 percent of the votes in a UK poll of 1,000 people carried out for the board game Trivial Pursuit, stating that "Girl Power" defined the decade. The Spice Girls also ranked number ten in the E! TV special, The 101 Reasons the '90s Ruled.
Q: Was was one of the 1990s icons?
A: The Spice Girls have been revered as the biggest pop phenomenon of the 1990s due to their international record sales, iconic symbolism and "omnipresence" in the late 1990s.
Q: What other icons were there?
A: In 1999, a study conducted by the British Council found that the Spice Girls were the second-best-known Britons internationally--only behind then-Prime Minister Tony Blair--
Q: Did they receive any other labels?
A: unknown
Q: Are there any other interesting aspects about this article?
A: In 2006, ten years after the release of their debut single, the Spice Girls were voted the biggest cultural icons of the 1990s
Q: Who conducted the study?
A: votes in a UK poll of 1,000 people carried out for the board game Trivial Pursuit, stating that "Girl Power" defined the decade.
Q: anything else interesting?
A: The Spice Girls also ranked number ten in the E! TV special, The 101 Reasons the '90s Ruled.
Q: Were they given any other rankings?
A: In a UK survey of more than 5,000 gay men and women, Victoria Beckham placed 12th and Halliwell placed
|
C_45962efa77134657a178e5e8064220ed_0_q#7
|
Any more?
| 0y
| 2x
|
{
"texts": [
"43rd in a ranking of the Top 50 gay icons of all time. Halliwell was also the recipient of the Honorary Gay Award"
],
"answer_starts": [
1113
]
}
|
{
"text": "43rd in a ranking of the Top 50 gay icons of all time. Halliwell was also the recipient of the Honorary Gay Award",
"answer_start": 1113
}
|
C_45962efa77134657a178e5e8064220ed_0
|
Spice Girls
|
The Spice Girls are an English pop girl group formed in 1994. The group originally consisted of Melanie Brown ("Scary Spice"), Melanie Chisholm ("Sporty Spice"), Emma Bunton ("Baby Spice"), Geri Halliwell ("Ginger Spice"), and Victoria Beckham, nee Adams ("Posh Spice"). They were signed to Virgin Records and released their debut single "Wannabe" in 1996, which hit number one in 37 countries and established them as a global phenomenon. Their debut album Spice sold more than 31 million copies worldwide, becoming the best-selling album by a female group in history.
|
1990s icons
|
The Spice Girls have been revered as the biggest pop phenomenon of the 1990s due to their international record sales, iconic symbolism and "omnipresence" in the late 1990s. At the 2000 Brit Awards, the group received the Outstanding Contribution to Music award to mark their dominance of the global music scene in the 1990s. The iconic symbolism of the Spice Girls in the 1990s is partly attributed to their era-defining outfits, the most notable being the Union Jack dress that Geri Halliwell wore at the 1997 Brit Awards. The dress has achieved iconic status, becoming one of the most prominent symbols of 1990s pop culture. The status of the Spice Girls as 1990s pop icons is also attributed to their vast merchandising and willingness to be a part of a media-driven world. Their unprecedented appearances in adverts and the media solidified the group as a phenomenon--an icon of the decade and for British music. Some sources, especially those in the United Kingdom, revere the Spice Girls as gay icons. In a UK survey of more than 5,000 gay men and women, Victoria Beckham placed 12th and Halliwell placed 43rd in a ranking of the Top 50 gay icons of all time. Halliwell was also the recipient of the Honorary Gay Award at the 2016 Attitude Awards. In a 2005 interview, Emma Bunton attributed their large gay fan base to the group's fun-loving nature, open-mindedness, and their love of fashion and dressing up, concluding that: "I'm so flattered that we've got such a huge gay following, it's amazing." In 1999, a study conducted by the British Council found that the Spice Girls were the second-best-known Britons internationally--only behind then-Prime Minister Tony Blair--and the best-known Britons in Asia. In 2006, ten years after the release of their debut single, the Spice Girls were voted the biggest cultural icons of the 1990s with 80 percent of the votes in a UK poll of 1,000 people carried out for the board game Trivial Pursuit, stating that "Girl Power" defined the decade. The Spice Girls also ranked number ten in the E! TV special, The 101 Reasons the '90s Ruled.
Q: Was was one of the 1990s icons?
A: The Spice Girls have been revered as the biggest pop phenomenon of the 1990s due to their international record sales, iconic symbolism and "omnipresence" in the late 1990s.
Q: What other icons were there?
A: In 1999, a study conducted by the British Council found that the Spice Girls were the second-best-known Britons internationally--only behind then-Prime Minister Tony Blair--
Q: Did they receive any other labels?
A: unknown
Q: Are there any other interesting aspects about this article?
A: In 2006, ten years after the release of their debut single, the Spice Girls were voted the biggest cultural icons of the 1990s
Q: Who conducted the study?
A: votes in a UK poll of 1,000 people carried out for the board game Trivial Pursuit, stating that "Girl Power" defined the decade.
Q: anything else interesting?
A: The Spice Girls also ranked number ten in the E! TV special, The 101 Reasons the '90s Ruled.
Q: Were they given any other rankings?
A: In a UK survey of more than 5,000 gay men and women, Victoria Beckham placed 12th and Halliwell placed
Q: Any more?
A: 43rd in a ranking of the Top 50 gay icons of all time. Halliwell was also the recipient of the Honorary Gay Award
|
C_45962efa77134657a178e5e8064220ed_0_q#8
|
Who else were they ranked by?
| 0y
| 2x
|
{
"texts": [
"In a 2005 interview, Emma Bunton attributed their large gay fan base to the group's fun-loving nature, open-mindedness,"
],
"answer_starts": [
1256
]
}
|
{
"text": "In a 2005 interview, Emma Bunton attributed their large gay fan base to the group's fun-loving nature, open-mindedness,",
"answer_start": 1256
}
|
C_45962efa77134657a178e5e8064220ed_1
|
Spice Girls
|
The Spice Girls are an English pop girl group formed in 1994. The group originally consisted of Melanie Brown ("Scary Spice"), Melanie Chisholm ("Sporty Spice"), Emma Bunton ("Baby Spice"), Geri Halliwell ("Ginger Spice"), and Victoria Beckham, nee Adams ("Posh Spice"). They were signed to Virgin Records and released their debut single "Wannabe" in 1996, which hit number one in 37 countries and established them as a global phenomenon. Their debut album Spice sold more than 31 million copies worldwide, becoming the best-selling album by a female group in history.
|
Commercialisation and celebrity culture
|
While on tour in the United-States, the group continued to record new material and released a new song, "Goodbye", before Christmas in 1998. The song was seen as a tribute to Geri Halliwell, and when it topped the UK Singles Chart it became their third consecutive Christmas number-one - equalling the record previously set by the Beatles. Later in 1998, Bunton and Chisholm appeared at the 1998 MTV Europe Music Awards without their other band members, and the group won two awards: "Best Pop Act" and "Best Group" for a second time. In late 1998, Brown and Adams announced they were both pregnant; Brown was married to dancer Jimmy Gulzer and became known as Mel G for a brief period. She gave birth to daughter Phoenix Chi in February 1999. One month later, Adams gave birth to son Brooklyn, whose father was then Manchester United footballer David Beckham. Later that year, she married Beckham in a highly publicised wedding in Ireland. The Spice Girls returned to the studio in August 1999, after an eight-month recording break to start work on their third and last studio album. The album's sound was initially more pop-influenced, similar to their first two albums, and included production from Eliot Kennedy. The album's sound took a mature direction when American producers like Rodney Jerkins, Jimmy Jam and Terry Lewis came on to collaborate with the group. In December 1999 they performed live for a UK-only tour, Christmas in Spiceworld, in London and Manchester, also showcasing new songs from the third album. During 1999, the group recorded the character Amneris' song "My Strongest Suit" in Elton John and Tim Rice's Aida, a concept album which would later go on to fuel the musical version of Verdi's Aida. The band performed again at the 2000 Brit Awards, where they received a Lifetime Achievement Award. Despite being at the event, Halliwell did not join her former bandmates on stage. In November 2000, the group released Forever. Sporting a new edgier R&B sound, the album received a lukewarm response from critics. In the US, the album peaked at number thirty-nine on the Billboard 200 albums chart. In the UK, the album was released the same week as Westlife's Coast to Coast album and the chart battle was widely reported by the media, where Westlife won the battle reaching number one in the UK, leaving the Spice Girls at number two. The lead single from Forever, the double A-side "Holler"/"Let Love Lead the Way", became the group's ninth number one single in the UK. However the song failed to break onto the Billboard Hot 100 singles chart stateside, instead peaking at number seven on the Bubbling Under Hot 100 Singles. "Holler" did peak at number thirty-one on the Hot Dance Music/Club Play chart in 2000. The only major performance of the lead single came at the MTV Europe Music Awards on 16 November 2000. In total, Forever achieved only a fraction of the success of its two best-selling predecessors, selling five million copies. In December 2000, the group unofficially announced that they were beginning an indefinite hiatus and would be concentrating on their solo careers in regards to their foreseeable future, although they pointed out that the group was not splitting. The phrase "girl power" put a name to a social phenomenon, but the slogan was met with mixed reactions. The phrase was a label for the particular facet of post classical neo-feminist empowerment embraced by the band: that a sensual, feminine appearance and equality between the sexes need not be mutually exclusive. This concept was by no means original in the pop world: both Madonna and Bananarama had employed similar outlooks. The phrase itself had also appeared in a few songs by British girl groups and bands since at least 1987; most notably, it was the name of British pop duo Shampoo's 1996 single and album, later credited by Halliwell as the inspiration for the Spice Girls' mantra. However, it was not until the emergence of the Spice Girls in 1996 with "Wannabe", that the concept of "girl power" exploded onto the common consciousness. The phrase was regularly uttered by all five members--although most closely associated with Halliwell--and was often delivered with a peace sign. The slogan also featured on official Spice Girls merchandise and on some of the outfits the group members wore. The Spice Girls' version was distinctive. Its message of empowerment appealed to young girls, adolescents and adult women, and it emphasised the importance of strong and loyal friendship among females. In all, the focused, consistent presentation of "girl power" formed the centrepiece of their appeal as a band. Some commentators credit the Spice Girls with reinvigorating mainstream feminism--popularized as "girl power"--in the 1990s, with their mantra serving as a gateway to feminism for their young fans. On the other hand, some critics dismissed it as no more than a shallow marketing tactic, while others took issue with the emphasis on physical appearance, concerned about the potential impact on self-conscious and/or impressionable youngsters. Regardless, the phrase became a cultural phenomenon, adopted as the mantra for millions of girls and even making it into the Oxford English Dictionary. In summation of the concept, author Ryan Dawson said, "The Spice Girls changed British culture enough for Girl Power to now seem completely unremarkable." The Spice Girls' debut single "Wannabe" has been hailed as an "iconic girl power anthem". In 2016, the United Nations' Global Goals "#WhatIReallyReallyWant" campaign filmed a global remake of the original music video for "Wannabe" to highlight gender inequality issues faced by women across the world. The video, which was launched on YouTube and ran in movie theatres internationally, featured British girl group M.O, Canadian "viral sensation" Taylor Hatala, Nigerian-British singer Seyi Shay and Bollywood actress Jacqueline Fernandez lip-syncing to the song in various locations around the world. In response to the remake, Beckham said, "How fabulous is it that after 20 years the legacy of the Spice Girls' girl power is being used to encourage and empower a whole new generation?" At the 43rd People's Choice Awards in January 2017, American actress Blake Lively dedicated her "Favorite Dramatic Movie Actress" award to "girl power" in her acceptance speech, and credited the Spice Girls, saying: "What was so neat about them was that they're all so distinctly different, and they were women, and they owned who they were, and that was my first introduction into girl power." At the height of "Spice mania", the group were involved in a prolific marketing phenomenon. They advertised for an unprecedented number of brands, becoming the most merchandised group in music history, and were a frequent feature of the global press. According to Rolling Stone's David Sinclair, "So great was the daily bombardment of Spice images and Spice product that it quickly became oppressive even to people who were well disposed towards the group." This was even parodied in the video for their song "Spice Up Your Life", which depicts the group going around a futuristic dystopian city in a space ship surrounded by billboards and adverts featuring them. Throughout the American leg of their 1998 Spiceworld world tour, commercials were played on large concert screens before the shows and during intermissions. It was the first time advertising had been used in pop concerts and was met with mixed reactions in the music industry. Nevertheless, it opened up a whole new concert revenue stream, with music industry pundits predicting more acts would follow the Spice Girls' lead. In his analysis of the group's influence on 21st century popular culture two decades after their debut, John Mckie of the BBC noted that while other stars had used brand endorsements in the past, "the Spice brand was the first to propel the success of the band". The Guardian's Sylvia Patterson also wrote of what she called the Spice Girls' true legacy: "[T]hey were the original pioneers of the band as brand, of pop as a ruthless marketing ruse, of the merchandising and sponsorship deals that have dominated commercial pop ever since." The mainstream media embraced the Spice Girls at the peak of their success. The group received regular international press coverage and were constantly followed by paparazzi. Paul Gorman of Music Week said of the media interest in the Spice Girls in the late 1990s: "They inaugurated the era of cheesy celebrity obsession which pertains today. There is lineage from them to the Kardashianisation not only of the music industry, but the wider culture." The Irish Independent's Tanya Sweeney agreed that "[t]he vapidity of paparazzi culture could probably be traced back to the Spice Girls' naked ambitions", while Mckie predicted that, "[f]or all that modern stars from Katy Perry to Lionel Messi exploit brand endorsements and attract tabloid coverage, the scale of the Spice Girls' breakthrough in 1996 is unlikely to be repeated--at least not by a music act."
|
C_45962efa77134657a178e5e8064220ed_1_q#0
|
How did they contribute to commercialization?
| 0y
| 2x
|
{
"texts": [
"At the height of \"Spice mania\", the group were involved in a prolific marketing phenomenon."
],
"answer_starts": [
6576
]
}
|
{
"text": "At the height of \"Spice mania\", the group were involved in a prolific marketing phenomenon.",
"answer_start": 6576
}
|
C_45962efa77134657a178e5e8064220ed_1
|
Spice Girls
|
The Spice Girls are an English pop girl group formed in 1994. The group originally consisted of Melanie Brown ("Scary Spice"), Melanie Chisholm ("Sporty Spice"), Emma Bunton ("Baby Spice"), Geri Halliwell ("Ginger Spice"), and Victoria Beckham, nee Adams ("Posh Spice"). They were signed to Virgin Records and released their debut single "Wannabe" in 1996, which hit number one in 37 countries and established them as a global phenomenon. Their debut album Spice sold more than 31 million copies worldwide, becoming the best-selling album by a female group in history.
|
Commercialisation and celebrity culture
|
While on tour in the United-States, the group continued to record new material and released a new song, "Goodbye", before Christmas in 1998. The song was seen as a tribute to Geri Halliwell, and when it topped the UK Singles Chart it became their third consecutive Christmas number-one - equalling the record previously set by the Beatles. Later in 1998, Bunton and Chisholm appeared at the 1998 MTV Europe Music Awards without their other band members, and the group won two awards: "Best Pop Act" and "Best Group" for a second time. In late 1998, Brown and Adams announced they were both pregnant; Brown was married to dancer Jimmy Gulzer and became known as Mel G for a brief period. She gave birth to daughter Phoenix Chi in February 1999. One month later, Adams gave birth to son Brooklyn, whose father was then Manchester United footballer David Beckham. Later that year, she married Beckham in a highly publicised wedding in Ireland. The Spice Girls returned to the studio in August 1999, after an eight-month recording break to start work on their third and last studio album. The album's sound was initially more pop-influenced, similar to their first two albums, and included production from Eliot Kennedy. The album's sound took a mature direction when American producers like Rodney Jerkins, Jimmy Jam and Terry Lewis came on to collaborate with the group. In December 1999 they performed live for a UK-only tour, Christmas in Spiceworld, in London and Manchester, also showcasing new songs from the third album. During 1999, the group recorded the character Amneris' song "My Strongest Suit" in Elton John and Tim Rice's Aida, a concept album which would later go on to fuel the musical version of Verdi's Aida. The band performed again at the 2000 Brit Awards, where they received a Lifetime Achievement Award. Despite being at the event, Halliwell did not join her former bandmates on stage. In November 2000, the group released Forever. Sporting a new edgier R&B sound, the album received a lukewarm response from critics. In the US, the album peaked at number thirty-nine on the Billboard 200 albums chart. In the UK, the album was released the same week as Westlife's Coast to Coast album and the chart battle was widely reported by the media, where Westlife won the battle reaching number one in the UK, leaving the Spice Girls at number two. The lead single from Forever, the double A-side "Holler"/"Let Love Lead the Way", became the group's ninth number one single in the UK. However the song failed to break onto the Billboard Hot 100 singles chart stateside, instead peaking at number seven on the Bubbling Under Hot 100 Singles. "Holler" did peak at number thirty-one on the Hot Dance Music/Club Play chart in 2000. The only major performance of the lead single came at the MTV Europe Music Awards on 16 November 2000. In total, Forever achieved only a fraction of the success of its two best-selling predecessors, selling five million copies. In December 2000, the group unofficially announced that they were beginning an indefinite hiatus and would be concentrating on their solo careers in regards to their foreseeable future, although they pointed out that the group was not splitting. The phrase "girl power" put a name to a social phenomenon, but the slogan was met with mixed reactions. The phrase was a label for the particular facet of post classical neo-feminist empowerment embraced by the band: that a sensual, feminine appearance and equality between the sexes need not be mutually exclusive. This concept was by no means original in the pop world: both Madonna and Bananarama had employed similar outlooks. The phrase itself had also appeared in a few songs by British girl groups and bands since at least 1987; most notably, it was the name of British pop duo Shampoo's 1996 single and album, later credited by Halliwell as the inspiration for the Spice Girls' mantra. However, it was not until the emergence of the Spice Girls in 1996 with "Wannabe", that the concept of "girl power" exploded onto the common consciousness. The phrase was regularly uttered by all five members--although most closely associated with Halliwell--and was often delivered with a peace sign. The slogan also featured on official Spice Girls merchandise and on some of the outfits the group members wore. The Spice Girls' version was distinctive. Its message of empowerment appealed to young girls, adolescents and adult women, and it emphasised the importance of strong and loyal friendship among females. In all, the focused, consistent presentation of "girl power" formed the centrepiece of their appeal as a band. Some commentators credit the Spice Girls with reinvigorating mainstream feminism--popularized as "girl power"--in the 1990s, with their mantra serving as a gateway to feminism for their young fans. On the other hand, some critics dismissed it as no more than a shallow marketing tactic, while others took issue with the emphasis on physical appearance, concerned about the potential impact on self-conscious and/or impressionable youngsters. Regardless, the phrase became a cultural phenomenon, adopted as the mantra for millions of girls and even making it into the Oxford English Dictionary. In summation of the concept, author Ryan Dawson said, "The Spice Girls changed British culture enough for Girl Power to now seem completely unremarkable." The Spice Girls' debut single "Wannabe" has been hailed as an "iconic girl power anthem". In 2016, the United Nations' Global Goals "#WhatIReallyReallyWant" campaign filmed a global remake of the original music video for "Wannabe" to highlight gender inequality issues faced by women across the world. The video, which was launched on YouTube and ran in movie theatres internationally, featured British girl group M.O, Canadian "viral sensation" Taylor Hatala, Nigerian-British singer Seyi Shay and Bollywood actress Jacqueline Fernandez lip-syncing to the song in various locations around the world. In response to the remake, Beckham said, "How fabulous is it that after 20 years the legacy of the Spice Girls' girl power is being used to encourage and empower a whole new generation?" At the 43rd People's Choice Awards in January 2017, American actress Blake Lively dedicated her "Favorite Dramatic Movie Actress" award to "girl power" in her acceptance speech, and credited the Spice Girls, saying: "What was so neat about them was that they're all so distinctly different, and they were women, and they owned who they were, and that was my first introduction into girl power." At the height of "Spice mania", the group were involved in a prolific marketing phenomenon. They advertised for an unprecedented number of brands, becoming the most merchandised group in music history, and were a frequent feature of the global press. According to Rolling Stone's David Sinclair, "So great was the daily bombardment of Spice images and Spice product that it quickly became oppressive even to people who were well disposed towards the group." This was even parodied in the video for their song "Spice Up Your Life", which depicts the group going around a futuristic dystopian city in a space ship surrounded by billboards and adverts featuring them. Throughout the American leg of their 1998 Spiceworld world tour, commercials were played on large concert screens before the shows and during intermissions. It was the first time advertising had been used in pop concerts and was met with mixed reactions in the music industry. Nevertheless, it opened up a whole new concert revenue stream, with music industry pundits predicting more acts would follow the Spice Girls' lead. In his analysis of the group's influence on 21st century popular culture two decades after their debut, John Mckie of the BBC noted that while other stars had used brand endorsements in the past, "the Spice brand was the first to propel the success of the band". The Guardian's Sylvia Patterson also wrote of what she called the Spice Girls' true legacy: "[T]hey were the original pioneers of the band as brand, of pop as a ruthless marketing ruse, of the merchandising and sponsorship deals that have dominated commercial pop ever since." The mainstream media embraced the Spice Girls at the peak of their success. The group received regular international press coverage and were constantly followed by paparazzi. Paul Gorman of Music Week said of the media interest in the Spice Girls in the late 1990s: "They inaugurated the era of cheesy celebrity obsession which pertains today. There is lineage from them to the Kardashianisation not only of the music industry, but the wider culture." The Irish Independent's Tanya Sweeney agreed that "[t]he vapidity of paparazzi culture could probably be traced back to the Spice Girls' naked ambitions", while Mckie predicted that, "[f]or all that modern stars from Katy Perry to Lionel Messi exploit brand endorsements and attract tabloid coverage, the scale of the Spice Girls' breakthrough in 1996 is unlikely to be repeated--at least not by a music act."
Q: How did they contribute to commercialization?
A: At the height of "Spice mania", the group were involved in a prolific marketing phenomenon.
|
C_45962efa77134657a178e5e8064220ed_1_q#1
|
Did they make a lot of money?
| 2m
| 2x
|
{
"texts": [
"unknown"
],
"answer_starts": [
9071
]
}
|
{
"text": "unknown",
"answer_start": 9071
}
|
C_45962efa77134657a178e5e8064220ed_1
|
Spice Girls
|
The Spice Girls are an English pop girl group formed in 1994. The group originally consisted of Melanie Brown ("Scary Spice"), Melanie Chisholm ("Sporty Spice"), Emma Bunton ("Baby Spice"), Geri Halliwell ("Ginger Spice"), and Victoria Beckham, nee Adams ("Posh Spice"). They were signed to Virgin Records and released their debut single "Wannabe" in 1996, which hit number one in 37 countries and established them as a global phenomenon. Their debut album Spice sold more than 31 million copies worldwide, becoming the best-selling album by a female group in history.
|
Commercialisation and celebrity culture
|
While on tour in the United-States, the group continued to record new material and released a new song, "Goodbye", before Christmas in 1998. The song was seen as a tribute to Geri Halliwell, and when it topped the UK Singles Chart it became their third consecutive Christmas number-one - equalling the record previously set by the Beatles. Later in 1998, Bunton and Chisholm appeared at the 1998 MTV Europe Music Awards without their other band members, and the group won two awards: "Best Pop Act" and "Best Group" for a second time. In late 1998, Brown and Adams announced they were both pregnant; Brown was married to dancer Jimmy Gulzer and became known as Mel G for a brief period. She gave birth to daughter Phoenix Chi in February 1999. One month later, Adams gave birth to son Brooklyn, whose father was then Manchester United footballer David Beckham. Later that year, she married Beckham in a highly publicised wedding in Ireland. The Spice Girls returned to the studio in August 1999, after an eight-month recording break to start work on their third and last studio album. The album's sound was initially more pop-influenced, similar to their first two albums, and included production from Eliot Kennedy. The album's sound took a mature direction when American producers like Rodney Jerkins, Jimmy Jam and Terry Lewis came on to collaborate with the group. In December 1999 they performed live for a UK-only tour, Christmas in Spiceworld, in London and Manchester, also showcasing new songs from the third album. During 1999, the group recorded the character Amneris' song "My Strongest Suit" in Elton John and Tim Rice's Aida, a concept album which would later go on to fuel the musical version of Verdi's Aida. The band performed again at the 2000 Brit Awards, where they received a Lifetime Achievement Award. Despite being at the event, Halliwell did not join her former bandmates on stage. In November 2000, the group released Forever. Sporting a new edgier R&B sound, the album received a lukewarm response from critics. In the US, the album peaked at number thirty-nine on the Billboard 200 albums chart. In the UK, the album was released the same week as Westlife's Coast to Coast album and the chart battle was widely reported by the media, where Westlife won the battle reaching number one in the UK, leaving the Spice Girls at number two. The lead single from Forever, the double A-side "Holler"/"Let Love Lead the Way", became the group's ninth number one single in the UK. However the song failed to break onto the Billboard Hot 100 singles chart stateside, instead peaking at number seven on the Bubbling Under Hot 100 Singles. "Holler" did peak at number thirty-one on the Hot Dance Music/Club Play chart in 2000. The only major performance of the lead single came at the MTV Europe Music Awards on 16 November 2000. In total, Forever achieved only a fraction of the success of its two best-selling predecessors, selling five million copies. In December 2000, the group unofficially announced that they were beginning an indefinite hiatus and would be concentrating on their solo careers in regards to their foreseeable future, although they pointed out that the group was not splitting. The phrase "girl power" put a name to a social phenomenon, but the slogan was met with mixed reactions. The phrase was a label for the particular facet of post classical neo-feminist empowerment embraced by the band: that a sensual, feminine appearance and equality between the sexes need not be mutually exclusive. This concept was by no means original in the pop world: both Madonna and Bananarama had employed similar outlooks. The phrase itself had also appeared in a few songs by British girl groups and bands since at least 1987; most notably, it was the name of British pop duo Shampoo's 1996 single and album, later credited by Halliwell as the inspiration for the Spice Girls' mantra. However, it was not until the emergence of the Spice Girls in 1996 with "Wannabe", that the concept of "girl power" exploded onto the common consciousness. The phrase was regularly uttered by all five members--although most closely associated with Halliwell--and was often delivered with a peace sign. The slogan also featured on official Spice Girls merchandise and on some of the outfits the group members wore. The Spice Girls' version was distinctive. Its message of empowerment appealed to young girls, adolescents and adult women, and it emphasised the importance of strong and loyal friendship among females. In all, the focused, consistent presentation of "girl power" formed the centrepiece of their appeal as a band. Some commentators credit the Spice Girls with reinvigorating mainstream feminism--popularized as "girl power"--in the 1990s, with their mantra serving as a gateway to feminism for their young fans. On the other hand, some critics dismissed it as no more than a shallow marketing tactic, while others took issue with the emphasis on physical appearance, concerned about the potential impact on self-conscious and/or impressionable youngsters. Regardless, the phrase became a cultural phenomenon, adopted as the mantra for millions of girls and even making it into the Oxford English Dictionary. In summation of the concept, author Ryan Dawson said, "The Spice Girls changed British culture enough for Girl Power to now seem completely unremarkable." The Spice Girls' debut single "Wannabe" has been hailed as an "iconic girl power anthem". In 2016, the United Nations' Global Goals "#WhatIReallyReallyWant" campaign filmed a global remake of the original music video for "Wannabe" to highlight gender inequality issues faced by women across the world. The video, which was launched on YouTube and ran in movie theatres internationally, featured British girl group M.O, Canadian "viral sensation" Taylor Hatala, Nigerian-British singer Seyi Shay and Bollywood actress Jacqueline Fernandez lip-syncing to the song in various locations around the world. In response to the remake, Beckham said, "How fabulous is it that after 20 years the legacy of the Spice Girls' girl power is being used to encourage and empower a whole new generation?" At the 43rd People's Choice Awards in January 2017, American actress Blake Lively dedicated her "Favorite Dramatic Movie Actress" award to "girl power" in her acceptance speech, and credited the Spice Girls, saying: "What was so neat about them was that they're all so distinctly different, and they were women, and they owned who they were, and that was my first introduction into girl power." At the height of "Spice mania", the group were involved in a prolific marketing phenomenon. They advertised for an unprecedented number of brands, becoming the most merchandised group in music history, and were a frequent feature of the global press. According to Rolling Stone's David Sinclair, "So great was the daily bombardment of Spice images and Spice product that it quickly became oppressive even to people who were well disposed towards the group." This was even parodied in the video for their song "Spice Up Your Life", which depicts the group going around a futuristic dystopian city in a space ship surrounded by billboards and adverts featuring them. Throughout the American leg of their 1998 Spiceworld world tour, commercials were played on large concert screens before the shows and during intermissions. It was the first time advertising had been used in pop concerts and was met with mixed reactions in the music industry. Nevertheless, it opened up a whole new concert revenue stream, with music industry pundits predicting more acts would follow the Spice Girls' lead. In his analysis of the group's influence on 21st century popular culture two decades after their debut, John Mckie of the BBC noted that while other stars had used brand endorsements in the past, "the Spice brand was the first to propel the success of the band". The Guardian's Sylvia Patterson also wrote of what she called the Spice Girls' true legacy: "[T]hey were the original pioneers of the band as brand, of pop as a ruthless marketing ruse, of the merchandising and sponsorship deals that have dominated commercial pop ever since." The mainstream media embraced the Spice Girls at the peak of their success. The group received regular international press coverage and were constantly followed by paparazzi. Paul Gorman of Music Week said of the media interest in the Spice Girls in the late 1990s: "They inaugurated the era of cheesy celebrity obsession which pertains today. There is lineage from them to the Kardashianisation not only of the music industry, but the wider culture." The Irish Independent's Tanya Sweeney agreed that "[t]he vapidity of paparazzi culture could probably be traced back to the Spice Girls' naked ambitions", while Mckie predicted that, "[f]or all that modern stars from Katy Perry to Lionel Messi exploit brand endorsements and attract tabloid coverage, the scale of the Spice Girls' breakthrough in 1996 is unlikely to be repeated--at least not by a music act."
Q: How did they contribute to commercialization?
A: At the height of "Spice mania", the group were involved in a prolific marketing phenomenon.
Q: Did they make a lot of money?
A: unknown
|
C_45962efa77134657a178e5e8064220ed_1_q#2
|
What was the celebrity culture like?
| 0y
| 2x
|
{
"texts": [
"The mainstream media embraced the Spice Girls at the peak of their success."
],
"answer_starts": [
8209
]
}
|
{
"text": "The mainstream media embraced the Spice Girls at the peak of their success.",
"answer_start": 8209
}
|
C_45962efa77134657a178e5e8064220ed_1
|
Spice Girls
|
The Spice Girls are an English pop girl group formed in 1994. The group originally consisted of Melanie Brown ("Scary Spice"), Melanie Chisholm ("Sporty Spice"), Emma Bunton ("Baby Spice"), Geri Halliwell ("Ginger Spice"), and Victoria Beckham, nee Adams ("Posh Spice"). They were signed to Virgin Records and released their debut single "Wannabe" in 1996, which hit number one in 37 countries and established them as a global phenomenon. Their debut album Spice sold more than 31 million copies worldwide, becoming the best-selling album by a female group in history.
|
Commercialisation and celebrity culture
|
While on tour in the United-States, the group continued to record new material and released a new song, "Goodbye", before Christmas in 1998. The song was seen as a tribute to Geri Halliwell, and when it topped the UK Singles Chart it became their third consecutive Christmas number-one - equalling the record previously set by the Beatles. Later in 1998, Bunton and Chisholm appeared at the 1998 MTV Europe Music Awards without their other band members, and the group won two awards: "Best Pop Act" and "Best Group" for a second time. In late 1998, Brown and Adams announced they were both pregnant; Brown was married to dancer Jimmy Gulzer and became known as Mel G for a brief period. She gave birth to daughter Phoenix Chi in February 1999. One month later, Adams gave birth to son Brooklyn, whose father was then Manchester United footballer David Beckham. Later that year, she married Beckham in a highly publicised wedding in Ireland. The Spice Girls returned to the studio in August 1999, after an eight-month recording break to start work on their third and last studio album. The album's sound was initially more pop-influenced, similar to their first two albums, and included production from Eliot Kennedy. The album's sound took a mature direction when American producers like Rodney Jerkins, Jimmy Jam and Terry Lewis came on to collaborate with the group. In December 1999 they performed live for a UK-only tour, Christmas in Spiceworld, in London and Manchester, also showcasing new songs from the third album. During 1999, the group recorded the character Amneris' song "My Strongest Suit" in Elton John and Tim Rice's Aida, a concept album which would later go on to fuel the musical version of Verdi's Aida. The band performed again at the 2000 Brit Awards, where they received a Lifetime Achievement Award. Despite being at the event, Halliwell did not join her former bandmates on stage. In November 2000, the group released Forever. Sporting a new edgier R&B sound, the album received a lukewarm response from critics. In the US, the album peaked at number thirty-nine on the Billboard 200 albums chart. In the UK, the album was released the same week as Westlife's Coast to Coast album and the chart battle was widely reported by the media, where Westlife won the battle reaching number one in the UK, leaving the Spice Girls at number two. The lead single from Forever, the double A-side "Holler"/"Let Love Lead the Way", became the group's ninth number one single in the UK. However the song failed to break onto the Billboard Hot 100 singles chart stateside, instead peaking at number seven on the Bubbling Under Hot 100 Singles. "Holler" did peak at number thirty-one on the Hot Dance Music/Club Play chart in 2000. The only major performance of the lead single came at the MTV Europe Music Awards on 16 November 2000. In total, Forever achieved only a fraction of the success of its two best-selling predecessors, selling five million copies. In December 2000, the group unofficially announced that they were beginning an indefinite hiatus and would be concentrating on their solo careers in regards to their foreseeable future, although they pointed out that the group was not splitting. The phrase "girl power" put a name to a social phenomenon, but the slogan was met with mixed reactions. The phrase was a label for the particular facet of post classical neo-feminist empowerment embraced by the band: that a sensual, feminine appearance and equality between the sexes need not be mutually exclusive. This concept was by no means original in the pop world: both Madonna and Bananarama had employed similar outlooks. The phrase itself had also appeared in a few songs by British girl groups and bands since at least 1987; most notably, it was the name of British pop duo Shampoo's 1996 single and album, later credited by Halliwell as the inspiration for the Spice Girls' mantra. However, it was not until the emergence of the Spice Girls in 1996 with "Wannabe", that the concept of "girl power" exploded onto the common consciousness. The phrase was regularly uttered by all five members--although most closely associated with Halliwell--and was often delivered with a peace sign. The slogan also featured on official Spice Girls merchandise and on some of the outfits the group members wore. The Spice Girls' version was distinctive. Its message of empowerment appealed to young girls, adolescents and adult women, and it emphasised the importance of strong and loyal friendship among females. In all, the focused, consistent presentation of "girl power" formed the centrepiece of their appeal as a band. Some commentators credit the Spice Girls with reinvigorating mainstream feminism--popularized as "girl power"--in the 1990s, with their mantra serving as a gateway to feminism for their young fans. On the other hand, some critics dismissed it as no more than a shallow marketing tactic, while others took issue with the emphasis on physical appearance, concerned about the potential impact on self-conscious and/or impressionable youngsters. Regardless, the phrase became a cultural phenomenon, adopted as the mantra for millions of girls and even making it into the Oxford English Dictionary. In summation of the concept, author Ryan Dawson said, "The Spice Girls changed British culture enough for Girl Power to now seem completely unremarkable." The Spice Girls' debut single "Wannabe" has been hailed as an "iconic girl power anthem". In 2016, the United Nations' Global Goals "#WhatIReallyReallyWant" campaign filmed a global remake of the original music video for "Wannabe" to highlight gender inequality issues faced by women across the world. The video, which was launched on YouTube and ran in movie theatres internationally, featured British girl group M.O, Canadian "viral sensation" Taylor Hatala, Nigerian-British singer Seyi Shay and Bollywood actress Jacqueline Fernandez lip-syncing to the song in various locations around the world. In response to the remake, Beckham said, "How fabulous is it that after 20 years the legacy of the Spice Girls' girl power is being used to encourage and empower a whole new generation?" At the 43rd People's Choice Awards in January 2017, American actress Blake Lively dedicated her "Favorite Dramatic Movie Actress" award to "girl power" in her acceptance speech, and credited the Spice Girls, saying: "What was so neat about them was that they're all so distinctly different, and they were women, and they owned who they were, and that was my first introduction into girl power." At the height of "Spice mania", the group were involved in a prolific marketing phenomenon. They advertised for an unprecedented number of brands, becoming the most merchandised group in music history, and were a frequent feature of the global press. According to Rolling Stone's David Sinclair, "So great was the daily bombardment of Spice images and Spice product that it quickly became oppressive even to people who were well disposed towards the group." This was even parodied in the video for their song "Spice Up Your Life", which depicts the group going around a futuristic dystopian city in a space ship surrounded by billboards and adverts featuring them. Throughout the American leg of their 1998 Spiceworld world tour, commercials were played on large concert screens before the shows and during intermissions. It was the first time advertising had been used in pop concerts and was met with mixed reactions in the music industry. Nevertheless, it opened up a whole new concert revenue stream, with music industry pundits predicting more acts would follow the Spice Girls' lead. In his analysis of the group's influence on 21st century popular culture two decades after their debut, John Mckie of the BBC noted that while other stars had used brand endorsements in the past, "the Spice brand was the first to propel the success of the band". The Guardian's Sylvia Patterson also wrote of what she called the Spice Girls' true legacy: "[T]hey were the original pioneers of the band as brand, of pop as a ruthless marketing ruse, of the merchandising and sponsorship deals that have dominated commercial pop ever since." The mainstream media embraced the Spice Girls at the peak of their success. The group received regular international press coverage and were constantly followed by paparazzi. Paul Gorman of Music Week said of the media interest in the Spice Girls in the late 1990s: "They inaugurated the era of cheesy celebrity obsession which pertains today. There is lineage from them to the Kardashianisation not only of the music industry, but the wider culture." The Irish Independent's Tanya Sweeney agreed that "[t]he vapidity of paparazzi culture could probably be traced back to the Spice Girls' naked ambitions", while Mckie predicted that, "[f]or all that modern stars from Katy Perry to Lionel Messi exploit brand endorsements and attract tabloid coverage, the scale of the Spice Girls' breakthrough in 1996 is unlikely to be repeated--at least not by a music act."
Q: How did they contribute to commercialization?
A: At the height of "Spice mania", the group were involved in a prolific marketing phenomenon.
Q: Did they make a lot of money?
A: unknown
Q: What was the celebrity culture like?
A: The mainstream media embraced the Spice Girls at the peak of their success.
|
C_45962efa77134657a178e5e8064220ed_1_q#3
|
Did they win any awards?
| 0y
| 0y
|
{
"texts": [
"\"Best Pop Act\" and \"Best Group\""
],
"answer_starts": [
484
]
}
|
{
"text": "\"Best Pop Act\" and \"Best Group\"",
"answer_start": 484
}
|
C_45962efa77134657a178e5e8064220ed_1
|
Spice Girls
|
The Spice Girls are an English pop girl group formed in 1994. The group originally consisted of Melanie Brown ("Scary Spice"), Melanie Chisholm ("Sporty Spice"), Emma Bunton ("Baby Spice"), Geri Halliwell ("Ginger Spice"), and Victoria Beckham, nee Adams ("Posh Spice"). They were signed to Virgin Records and released their debut single "Wannabe" in 1996, which hit number one in 37 countries and established them as a global phenomenon. Their debut album Spice sold more than 31 million copies worldwide, becoming the best-selling album by a female group in history.
|
Commercialisation and celebrity culture
|
While on tour in the United-States, the group continued to record new material and released a new song, "Goodbye", before Christmas in 1998. The song was seen as a tribute to Geri Halliwell, and when it topped the UK Singles Chart it became their third consecutive Christmas number-one - equalling the record previously set by the Beatles. Later in 1998, Bunton and Chisholm appeared at the 1998 MTV Europe Music Awards without their other band members, and the group won two awards: "Best Pop Act" and "Best Group" for a second time. In late 1998, Brown and Adams announced they were both pregnant; Brown was married to dancer Jimmy Gulzer and became known as Mel G for a brief period. She gave birth to daughter Phoenix Chi in February 1999. One month later, Adams gave birth to son Brooklyn, whose father was then Manchester United footballer David Beckham. Later that year, she married Beckham in a highly publicised wedding in Ireland. The Spice Girls returned to the studio in August 1999, after an eight-month recording break to start work on their third and last studio album. The album's sound was initially more pop-influenced, similar to their first two albums, and included production from Eliot Kennedy. The album's sound took a mature direction when American producers like Rodney Jerkins, Jimmy Jam and Terry Lewis came on to collaborate with the group. In December 1999 they performed live for a UK-only tour, Christmas in Spiceworld, in London and Manchester, also showcasing new songs from the third album. During 1999, the group recorded the character Amneris' song "My Strongest Suit" in Elton John and Tim Rice's Aida, a concept album which would later go on to fuel the musical version of Verdi's Aida. The band performed again at the 2000 Brit Awards, where they received a Lifetime Achievement Award. Despite being at the event, Halliwell did not join her former bandmates on stage. In November 2000, the group released Forever. Sporting a new edgier R&B sound, the album received a lukewarm response from critics. In the US, the album peaked at number thirty-nine on the Billboard 200 albums chart. In the UK, the album was released the same week as Westlife's Coast to Coast album and the chart battle was widely reported by the media, where Westlife won the battle reaching number one in the UK, leaving the Spice Girls at number two. The lead single from Forever, the double A-side "Holler"/"Let Love Lead the Way", became the group's ninth number one single in the UK. However the song failed to break onto the Billboard Hot 100 singles chart stateside, instead peaking at number seven on the Bubbling Under Hot 100 Singles. "Holler" did peak at number thirty-one on the Hot Dance Music/Club Play chart in 2000. The only major performance of the lead single came at the MTV Europe Music Awards on 16 November 2000. In total, Forever achieved only a fraction of the success of its two best-selling predecessors, selling five million copies. In December 2000, the group unofficially announced that they were beginning an indefinite hiatus and would be concentrating on their solo careers in regards to their foreseeable future, although they pointed out that the group was not splitting. The phrase "girl power" put a name to a social phenomenon, but the slogan was met with mixed reactions. The phrase was a label for the particular facet of post classical neo-feminist empowerment embraced by the band: that a sensual, feminine appearance and equality between the sexes need not be mutually exclusive. This concept was by no means original in the pop world: both Madonna and Bananarama had employed similar outlooks. The phrase itself had also appeared in a few songs by British girl groups and bands since at least 1987; most notably, it was the name of British pop duo Shampoo's 1996 single and album, later credited by Halliwell as the inspiration for the Spice Girls' mantra. However, it was not until the emergence of the Spice Girls in 1996 with "Wannabe", that the concept of "girl power" exploded onto the common consciousness. The phrase was regularly uttered by all five members--although most closely associated with Halliwell--and was often delivered with a peace sign. The slogan also featured on official Spice Girls merchandise and on some of the outfits the group members wore. The Spice Girls' version was distinctive. Its message of empowerment appealed to young girls, adolescents and adult women, and it emphasised the importance of strong and loyal friendship among females. In all, the focused, consistent presentation of "girl power" formed the centrepiece of their appeal as a band. Some commentators credit the Spice Girls with reinvigorating mainstream feminism--popularized as "girl power"--in the 1990s, with their mantra serving as a gateway to feminism for their young fans. On the other hand, some critics dismissed it as no more than a shallow marketing tactic, while others took issue with the emphasis on physical appearance, concerned about the potential impact on self-conscious and/or impressionable youngsters. Regardless, the phrase became a cultural phenomenon, adopted as the mantra for millions of girls and even making it into the Oxford English Dictionary. In summation of the concept, author Ryan Dawson said, "The Spice Girls changed British culture enough for Girl Power to now seem completely unremarkable." The Spice Girls' debut single "Wannabe" has been hailed as an "iconic girl power anthem". In 2016, the United Nations' Global Goals "#WhatIReallyReallyWant" campaign filmed a global remake of the original music video for "Wannabe" to highlight gender inequality issues faced by women across the world. The video, which was launched on YouTube and ran in movie theatres internationally, featured British girl group M.O, Canadian "viral sensation" Taylor Hatala, Nigerian-British singer Seyi Shay and Bollywood actress Jacqueline Fernandez lip-syncing to the song in various locations around the world. In response to the remake, Beckham said, "How fabulous is it that after 20 years the legacy of the Spice Girls' girl power is being used to encourage and empower a whole new generation?" At the 43rd People's Choice Awards in January 2017, American actress Blake Lively dedicated her "Favorite Dramatic Movie Actress" award to "girl power" in her acceptance speech, and credited the Spice Girls, saying: "What was so neat about them was that they're all so distinctly different, and they were women, and they owned who they were, and that was my first introduction into girl power." At the height of "Spice mania", the group were involved in a prolific marketing phenomenon. They advertised for an unprecedented number of brands, becoming the most merchandised group in music history, and were a frequent feature of the global press. According to Rolling Stone's David Sinclair, "So great was the daily bombardment of Spice images and Spice product that it quickly became oppressive even to people who were well disposed towards the group." This was even parodied in the video for their song "Spice Up Your Life", which depicts the group going around a futuristic dystopian city in a space ship surrounded by billboards and adverts featuring them. Throughout the American leg of their 1998 Spiceworld world tour, commercials were played on large concert screens before the shows and during intermissions. It was the first time advertising had been used in pop concerts and was met with mixed reactions in the music industry. Nevertheless, it opened up a whole new concert revenue stream, with music industry pundits predicting more acts would follow the Spice Girls' lead. In his analysis of the group's influence on 21st century popular culture two decades after their debut, John Mckie of the BBC noted that while other stars had used brand endorsements in the past, "the Spice brand was the first to propel the success of the band". The Guardian's Sylvia Patterson also wrote of what she called the Spice Girls' true legacy: "[T]hey were the original pioneers of the band as brand, of pop as a ruthless marketing ruse, of the merchandising and sponsorship deals that have dominated commercial pop ever since." The mainstream media embraced the Spice Girls at the peak of their success. The group received regular international press coverage and were constantly followed by paparazzi. Paul Gorman of Music Week said of the media interest in the Spice Girls in the late 1990s: "They inaugurated the era of cheesy celebrity obsession which pertains today. There is lineage from them to the Kardashianisation not only of the music industry, but the wider culture." The Irish Independent's Tanya Sweeney agreed that "[t]he vapidity of paparazzi culture could probably be traced back to the Spice Girls' naked ambitions", while Mckie predicted that, "[f]or all that modern stars from Katy Perry to Lionel Messi exploit brand endorsements and attract tabloid coverage, the scale of the Spice Girls' breakthrough in 1996 is unlikely to be repeated--at least not by a music act."
Q: How did they contribute to commercialization?
A: At the height of "Spice mania", the group were involved in a prolific marketing phenomenon.
Q: Did they make a lot of money?
A: unknown
Q: What was the celebrity culture like?
A: The mainstream media embraced the Spice Girls at the peak of their success.
Q: Did they win any awards?
A: "Best Pop Act" and "Best Group"
|
C_45962efa77134657a178e5e8064220ed_1_q#4
|
What else was interesting about them during this time?
| 0y
| 2x
|
{
"texts": [
"In late 1998, Brown and Adams announced they were both pregnant;"
],
"answer_starts": [
535
]
}
|
{
"text": "In late 1998, Brown and Adams announced they were both pregnant;",
"answer_start": 535
}
|
C_45962efa77134657a178e5e8064220ed_1
|
Spice Girls
|
The Spice Girls are an English pop girl group formed in 1994. The group originally consisted of Melanie Brown ("Scary Spice"), Melanie Chisholm ("Sporty Spice"), Emma Bunton ("Baby Spice"), Geri Halliwell ("Ginger Spice"), and Victoria Beckham, nee Adams ("Posh Spice"). They were signed to Virgin Records and released their debut single "Wannabe" in 1996, which hit number one in 37 countries and established them as a global phenomenon. Their debut album Spice sold more than 31 million copies worldwide, becoming the best-selling album by a female group in history.
|
Commercialisation and celebrity culture
|
While on tour in the United-States, the group continued to record new material and released a new song, "Goodbye", before Christmas in 1998. The song was seen as a tribute to Geri Halliwell, and when it topped the UK Singles Chart it became their third consecutive Christmas number-one - equalling the record previously set by the Beatles. Later in 1998, Bunton and Chisholm appeared at the 1998 MTV Europe Music Awards without their other band members, and the group won two awards: "Best Pop Act" and "Best Group" for a second time. In late 1998, Brown and Adams announced they were both pregnant; Brown was married to dancer Jimmy Gulzer and became known as Mel G for a brief period. She gave birth to daughter Phoenix Chi in February 1999. One month later, Adams gave birth to son Brooklyn, whose father was then Manchester United footballer David Beckham. Later that year, she married Beckham in a highly publicised wedding in Ireland. The Spice Girls returned to the studio in August 1999, after an eight-month recording break to start work on their third and last studio album. The album's sound was initially more pop-influenced, similar to their first two albums, and included production from Eliot Kennedy. The album's sound took a mature direction when American producers like Rodney Jerkins, Jimmy Jam and Terry Lewis came on to collaborate with the group. In December 1999 they performed live for a UK-only tour, Christmas in Spiceworld, in London and Manchester, also showcasing new songs from the third album. During 1999, the group recorded the character Amneris' song "My Strongest Suit" in Elton John and Tim Rice's Aida, a concept album which would later go on to fuel the musical version of Verdi's Aida. The band performed again at the 2000 Brit Awards, where they received a Lifetime Achievement Award. Despite being at the event, Halliwell did not join her former bandmates on stage. In November 2000, the group released Forever. Sporting a new edgier R&B sound, the album received a lukewarm response from critics. In the US, the album peaked at number thirty-nine on the Billboard 200 albums chart. In the UK, the album was released the same week as Westlife's Coast to Coast album and the chart battle was widely reported by the media, where Westlife won the battle reaching number one in the UK, leaving the Spice Girls at number two. The lead single from Forever, the double A-side "Holler"/"Let Love Lead the Way", became the group's ninth number one single in the UK. However the song failed to break onto the Billboard Hot 100 singles chart stateside, instead peaking at number seven on the Bubbling Under Hot 100 Singles. "Holler" did peak at number thirty-one on the Hot Dance Music/Club Play chart in 2000. The only major performance of the lead single came at the MTV Europe Music Awards on 16 November 2000. In total, Forever achieved only a fraction of the success of its two best-selling predecessors, selling five million copies. In December 2000, the group unofficially announced that they were beginning an indefinite hiatus and would be concentrating on their solo careers in regards to their foreseeable future, although they pointed out that the group was not splitting. The phrase "girl power" put a name to a social phenomenon, but the slogan was met with mixed reactions. The phrase was a label for the particular facet of post classical neo-feminist empowerment embraced by the band: that a sensual, feminine appearance and equality between the sexes need not be mutually exclusive. This concept was by no means original in the pop world: both Madonna and Bananarama had employed similar outlooks. The phrase itself had also appeared in a few songs by British girl groups and bands since at least 1987; most notably, it was the name of British pop duo Shampoo's 1996 single and album, later credited by Halliwell as the inspiration for the Spice Girls' mantra. However, it was not until the emergence of the Spice Girls in 1996 with "Wannabe", that the concept of "girl power" exploded onto the common consciousness. The phrase was regularly uttered by all five members--although most closely associated with Halliwell--and was often delivered with a peace sign. The slogan also featured on official Spice Girls merchandise and on some of the outfits the group members wore. The Spice Girls' version was distinctive. Its message of empowerment appealed to young girls, adolescents and adult women, and it emphasised the importance of strong and loyal friendship among females. In all, the focused, consistent presentation of "girl power" formed the centrepiece of their appeal as a band. Some commentators credit the Spice Girls with reinvigorating mainstream feminism--popularized as "girl power"--in the 1990s, with their mantra serving as a gateway to feminism for their young fans. On the other hand, some critics dismissed it as no more than a shallow marketing tactic, while others took issue with the emphasis on physical appearance, concerned about the potential impact on self-conscious and/or impressionable youngsters. Regardless, the phrase became a cultural phenomenon, adopted as the mantra for millions of girls and even making it into the Oxford English Dictionary. In summation of the concept, author Ryan Dawson said, "The Spice Girls changed British culture enough for Girl Power to now seem completely unremarkable." The Spice Girls' debut single "Wannabe" has been hailed as an "iconic girl power anthem". In 2016, the United Nations' Global Goals "#WhatIReallyReallyWant" campaign filmed a global remake of the original music video for "Wannabe" to highlight gender inequality issues faced by women across the world. The video, which was launched on YouTube and ran in movie theatres internationally, featured British girl group M.O, Canadian "viral sensation" Taylor Hatala, Nigerian-British singer Seyi Shay and Bollywood actress Jacqueline Fernandez lip-syncing to the song in various locations around the world. In response to the remake, Beckham said, "How fabulous is it that after 20 years the legacy of the Spice Girls' girl power is being used to encourage and empower a whole new generation?" At the 43rd People's Choice Awards in January 2017, American actress Blake Lively dedicated her "Favorite Dramatic Movie Actress" award to "girl power" in her acceptance speech, and credited the Spice Girls, saying: "What was so neat about them was that they're all so distinctly different, and they were women, and they owned who they were, and that was my first introduction into girl power." At the height of "Spice mania", the group were involved in a prolific marketing phenomenon. They advertised for an unprecedented number of brands, becoming the most merchandised group in music history, and were a frequent feature of the global press. According to Rolling Stone's David Sinclair, "So great was the daily bombardment of Spice images and Spice product that it quickly became oppressive even to people who were well disposed towards the group." This was even parodied in the video for their song "Spice Up Your Life", which depicts the group going around a futuristic dystopian city in a space ship surrounded by billboards and adverts featuring them. Throughout the American leg of their 1998 Spiceworld world tour, commercials were played on large concert screens before the shows and during intermissions. It was the first time advertising had been used in pop concerts and was met with mixed reactions in the music industry. Nevertheless, it opened up a whole new concert revenue stream, with music industry pundits predicting more acts would follow the Spice Girls' lead. In his analysis of the group's influence on 21st century popular culture two decades after their debut, John Mckie of the BBC noted that while other stars had used brand endorsements in the past, "the Spice brand was the first to propel the success of the band". The Guardian's Sylvia Patterson also wrote of what she called the Spice Girls' true legacy: "[T]hey were the original pioneers of the band as brand, of pop as a ruthless marketing ruse, of the merchandising and sponsorship deals that have dominated commercial pop ever since." The mainstream media embraced the Spice Girls at the peak of their success. The group received regular international press coverage and were constantly followed by paparazzi. Paul Gorman of Music Week said of the media interest in the Spice Girls in the late 1990s: "They inaugurated the era of cheesy celebrity obsession which pertains today. There is lineage from them to the Kardashianisation not only of the music industry, but the wider culture." The Irish Independent's Tanya Sweeney agreed that "[t]he vapidity of paparazzi culture could probably be traced back to the Spice Girls' naked ambitions", while Mckie predicted that, "[f]or all that modern stars from Katy Perry to Lionel Messi exploit brand endorsements and attract tabloid coverage, the scale of the Spice Girls' breakthrough in 1996 is unlikely to be repeated--at least not by a music act."
Q: How did they contribute to commercialization?
A: At the height of "Spice mania", the group were involved in a prolific marketing phenomenon.
Q: Did they make a lot of money?
A: unknown
Q: What was the celebrity culture like?
A: The mainstream media embraced the Spice Girls at the peak of their success.
Q: Did they win any awards?
A: "Best Pop Act" and "Best Group"
Q: What else was interesting about them during this time?
A: In late 1998, Brown and Adams announced they were both pregnant;
|
C_45962efa77134657a178e5e8064220ed_1_q#5
|
When did they have their children?
| 0y
| 2x
|
{
"texts": [
"She gave birth to daughter Phoenix Chi in February 1999."
],
"answer_starts": [
687
]
}
|
{
"text": "She gave birth to daughter Phoenix Chi in February 1999.",
"answer_start": 687
}
|
C_45962efa77134657a178e5e8064220ed_1
|
Spice Girls
|
The Spice Girls are an English pop girl group formed in 1994. The group originally consisted of Melanie Brown ("Scary Spice"), Melanie Chisholm ("Sporty Spice"), Emma Bunton ("Baby Spice"), Geri Halliwell ("Ginger Spice"), and Victoria Beckham, nee Adams ("Posh Spice"). They were signed to Virgin Records and released their debut single "Wannabe" in 1996, which hit number one in 37 countries and established them as a global phenomenon. Their debut album Spice sold more than 31 million copies worldwide, becoming the best-selling album by a female group in history.
|
Commercialisation and celebrity culture
|
While on tour in the United-States, the group continued to record new material and released a new song, "Goodbye", before Christmas in 1998. The song was seen as a tribute to Geri Halliwell, and when it topped the UK Singles Chart it became their third consecutive Christmas number-one - equalling the record previously set by the Beatles. Later in 1998, Bunton and Chisholm appeared at the 1998 MTV Europe Music Awards without their other band members, and the group won two awards: "Best Pop Act" and "Best Group" for a second time. In late 1998, Brown and Adams announced they were both pregnant; Brown was married to dancer Jimmy Gulzer and became known as Mel G for a brief period. She gave birth to daughter Phoenix Chi in February 1999. One month later, Adams gave birth to son Brooklyn, whose father was then Manchester United footballer David Beckham. Later that year, she married Beckham in a highly publicised wedding in Ireland. The Spice Girls returned to the studio in August 1999, after an eight-month recording break to start work on their third and last studio album. The album's sound was initially more pop-influenced, similar to their first two albums, and included production from Eliot Kennedy. The album's sound took a mature direction when American producers like Rodney Jerkins, Jimmy Jam and Terry Lewis came on to collaborate with the group. In December 1999 they performed live for a UK-only tour, Christmas in Spiceworld, in London and Manchester, also showcasing new songs from the third album. During 1999, the group recorded the character Amneris' song "My Strongest Suit" in Elton John and Tim Rice's Aida, a concept album which would later go on to fuel the musical version of Verdi's Aida. The band performed again at the 2000 Brit Awards, where they received a Lifetime Achievement Award. Despite being at the event, Halliwell did not join her former bandmates on stage. In November 2000, the group released Forever. Sporting a new edgier R&B sound, the album received a lukewarm response from critics. In the US, the album peaked at number thirty-nine on the Billboard 200 albums chart. In the UK, the album was released the same week as Westlife's Coast to Coast album and the chart battle was widely reported by the media, where Westlife won the battle reaching number one in the UK, leaving the Spice Girls at number two. The lead single from Forever, the double A-side "Holler"/"Let Love Lead the Way", became the group's ninth number one single in the UK. However the song failed to break onto the Billboard Hot 100 singles chart stateside, instead peaking at number seven on the Bubbling Under Hot 100 Singles. "Holler" did peak at number thirty-one on the Hot Dance Music/Club Play chart in 2000. The only major performance of the lead single came at the MTV Europe Music Awards on 16 November 2000. In total, Forever achieved only a fraction of the success of its two best-selling predecessors, selling five million copies. In December 2000, the group unofficially announced that they were beginning an indefinite hiatus and would be concentrating on their solo careers in regards to their foreseeable future, although they pointed out that the group was not splitting. The phrase "girl power" put a name to a social phenomenon, but the slogan was met with mixed reactions. The phrase was a label for the particular facet of post classical neo-feminist empowerment embraced by the band: that a sensual, feminine appearance and equality between the sexes need not be mutually exclusive. This concept was by no means original in the pop world: both Madonna and Bananarama had employed similar outlooks. The phrase itself had also appeared in a few songs by British girl groups and bands since at least 1987; most notably, it was the name of British pop duo Shampoo's 1996 single and album, later credited by Halliwell as the inspiration for the Spice Girls' mantra. However, it was not until the emergence of the Spice Girls in 1996 with "Wannabe", that the concept of "girl power" exploded onto the common consciousness. The phrase was regularly uttered by all five members--although most closely associated with Halliwell--and was often delivered with a peace sign. The slogan also featured on official Spice Girls merchandise and on some of the outfits the group members wore. The Spice Girls' version was distinctive. Its message of empowerment appealed to young girls, adolescents and adult women, and it emphasised the importance of strong and loyal friendship among females. In all, the focused, consistent presentation of "girl power" formed the centrepiece of their appeal as a band. Some commentators credit the Spice Girls with reinvigorating mainstream feminism--popularized as "girl power"--in the 1990s, with their mantra serving as a gateway to feminism for their young fans. On the other hand, some critics dismissed it as no more than a shallow marketing tactic, while others took issue with the emphasis on physical appearance, concerned about the potential impact on self-conscious and/or impressionable youngsters. Regardless, the phrase became a cultural phenomenon, adopted as the mantra for millions of girls and even making it into the Oxford English Dictionary. In summation of the concept, author Ryan Dawson said, "The Spice Girls changed British culture enough for Girl Power to now seem completely unremarkable." The Spice Girls' debut single "Wannabe" has been hailed as an "iconic girl power anthem". In 2016, the United Nations' Global Goals "#WhatIReallyReallyWant" campaign filmed a global remake of the original music video for "Wannabe" to highlight gender inequality issues faced by women across the world. The video, which was launched on YouTube and ran in movie theatres internationally, featured British girl group M.O, Canadian "viral sensation" Taylor Hatala, Nigerian-British singer Seyi Shay and Bollywood actress Jacqueline Fernandez lip-syncing to the song in various locations around the world. In response to the remake, Beckham said, "How fabulous is it that after 20 years the legacy of the Spice Girls' girl power is being used to encourage and empower a whole new generation?" At the 43rd People's Choice Awards in January 2017, American actress Blake Lively dedicated her "Favorite Dramatic Movie Actress" award to "girl power" in her acceptance speech, and credited the Spice Girls, saying: "What was so neat about them was that they're all so distinctly different, and they were women, and they owned who they were, and that was my first introduction into girl power." At the height of "Spice mania", the group were involved in a prolific marketing phenomenon. They advertised for an unprecedented number of brands, becoming the most merchandised group in music history, and were a frequent feature of the global press. According to Rolling Stone's David Sinclair, "So great was the daily bombardment of Spice images and Spice product that it quickly became oppressive even to people who were well disposed towards the group." This was even parodied in the video for their song "Spice Up Your Life", which depicts the group going around a futuristic dystopian city in a space ship surrounded by billboards and adverts featuring them. Throughout the American leg of their 1998 Spiceworld world tour, commercials were played on large concert screens before the shows and during intermissions. It was the first time advertising had been used in pop concerts and was met with mixed reactions in the music industry. Nevertheless, it opened up a whole new concert revenue stream, with music industry pundits predicting more acts would follow the Spice Girls' lead. In his analysis of the group's influence on 21st century popular culture two decades after their debut, John Mckie of the BBC noted that while other stars had used brand endorsements in the past, "the Spice brand was the first to propel the success of the band". The Guardian's Sylvia Patterson also wrote of what she called the Spice Girls' true legacy: "[T]hey were the original pioneers of the band as brand, of pop as a ruthless marketing ruse, of the merchandising and sponsorship deals that have dominated commercial pop ever since." The mainstream media embraced the Spice Girls at the peak of their success. The group received regular international press coverage and were constantly followed by paparazzi. Paul Gorman of Music Week said of the media interest in the Spice Girls in the late 1990s: "They inaugurated the era of cheesy celebrity obsession which pertains today. There is lineage from them to the Kardashianisation not only of the music industry, but the wider culture." The Irish Independent's Tanya Sweeney agreed that "[t]he vapidity of paparazzi culture could probably be traced back to the Spice Girls' naked ambitions", while Mckie predicted that, "[f]or all that modern stars from Katy Perry to Lionel Messi exploit brand endorsements and attract tabloid coverage, the scale of the Spice Girls' breakthrough in 1996 is unlikely to be repeated--at least not by a music act."
Q: How did they contribute to commercialization?
A: At the height of "Spice mania", the group were involved in a prolific marketing phenomenon.
Q: Did they make a lot of money?
A: unknown
Q: What was the celebrity culture like?
A: The mainstream media embraced the Spice Girls at the peak of their success.
Q: Did they win any awards?
A: "Best Pop Act" and "Best Group"
Q: What else was interesting about them during this time?
A: In late 1998, Brown and Adams announced they were both pregnant;
Q: When did they have their children?
A: She gave birth to daughter Phoenix Chi in February 1999.
|
C_45962efa77134657a178e5e8064220ed_1_q#6
|
What about the other baby?
| 0y
| 2x
|
{
"texts": [
"One month later, Adams gave birth to son"
],
"answer_starts": [
744
]
}
|
{
"text": "One month later, Adams gave birth to son",
"answer_start": 744
}
|
C_45962efa77134657a178e5e8064220ed_1
|
Spice Girls
|
The Spice Girls are an English pop girl group formed in 1994. The group originally consisted of Melanie Brown ("Scary Spice"), Melanie Chisholm ("Sporty Spice"), Emma Bunton ("Baby Spice"), Geri Halliwell ("Ginger Spice"), and Victoria Beckham, nee Adams ("Posh Spice"). They were signed to Virgin Records and released their debut single "Wannabe" in 1996, which hit number one in 37 countries and established them as a global phenomenon. Their debut album Spice sold more than 31 million copies worldwide, becoming the best-selling album by a female group in history.
|
Commercialisation and celebrity culture
|
While on tour in the United-States, the group continued to record new material and released a new song, "Goodbye", before Christmas in 1998. The song was seen as a tribute to Geri Halliwell, and when it topped the UK Singles Chart it became their third consecutive Christmas number-one - equalling the record previously set by the Beatles. Later in 1998, Bunton and Chisholm appeared at the 1998 MTV Europe Music Awards without their other band members, and the group won two awards: "Best Pop Act" and "Best Group" for a second time. In late 1998, Brown and Adams announced they were both pregnant; Brown was married to dancer Jimmy Gulzer and became known as Mel G for a brief period. She gave birth to daughter Phoenix Chi in February 1999. One month later, Adams gave birth to son Brooklyn, whose father was then Manchester United footballer David Beckham. Later that year, she married Beckham in a highly publicised wedding in Ireland. The Spice Girls returned to the studio in August 1999, after an eight-month recording break to start work on their third and last studio album. The album's sound was initially more pop-influenced, similar to their first two albums, and included production from Eliot Kennedy. The album's sound took a mature direction when American producers like Rodney Jerkins, Jimmy Jam and Terry Lewis came on to collaborate with the group. In December 1999 they performed live for a UK-only tour, Christmas in Spiceworld, in London and Manchester, also showcasing new songs from the third album. During 1999, the group recorded the character Amneris' song "My Strongest Suit" in Elton John and Tim Rice's Aida, a concept album which would later go on to fuel the musical version of Verdi's Aida. The band performed again at the 2000 Brit Awards, where they received a Lifetime Achievement Award. Despite being at the event, Halliwell did not join her former bandmates on stage. In November 2000, the group released Forever. Sporting a new edgier R&B sound, the album received a lukewarm response from critics. In the US, the album peaked at number thirty-nine on the Billboard 200 albums chart. In the UK, the album was released the same week as Westlife's Coast to Coast album and the chart battle was widely reported by the media, where Westlife won the battle reaching number one in the UK, leaving the Spice Girls at number two. The lead single from Forever, the double A-side "Holler"/"Let Love Lead the Way", became the group's ninth number one single in the UK. However the song failed to break onto the Billboard Hot 100 singles chart stateside, instead peaking at number seven on the Bubbling Under Hot 100 Singles. "Holler" did peak at number thirty-one on the Hot Dance Music/Club Play chart in 2000. The only major performance of the lead single came at the MTV Europe Music Awards on 16 November 2000. In total, Forever achieved only a fraction of the success of its two best-selling predecessors, selling five million copies. In December 2000, the group unofficially announced that they were beginning an indefinite hiatus and would be concentrating on their solo careers in regards to their foreseeable future, although they pointed out that the group was not splitting. The phrase "girl power" put a name to a social phenomenon, but the slogan was met with mixed reactions. The phrase was a label for the particular facet of post classical neo-feminist empowerment embraced by the band: that a sensual, feminine appearance and equality between the sexes need not be mutually exclusive. This concept was by no means original in the pop world: both Madonna and Bananarama had employed similar outlooks. The phrase itself had also appeared in a few songs by British girl groups and bands since at least 1987; most notably, it was the name of British pop duo Shampoo's 1996 single and album, later credited by Halliwell as the inspiration for the Spice Girls' mantra. However, it was not until the emergence of the Spice Girls in 1996 with "Wannabe", that the concept of "girl power" exploded onto the common consciousness. The phrase was regularly uttered by all five members--although most closely associated with Halliwell--and was often delivered with a peace sign. The slogan also featured on official Spice Girls merchandise and on some of the outfits the group members wore. The Spice Girls' version was distinctive. Its message of empowerment appealed to young girls, adolescents and adult women, and it emphasised the importance of strong and loyal friendship among females. In all, the focused, consistent presentation of "girl power" formed the centrepiece of their appeal as a band. Some commentators credit the Spice Girls with reinvigorating mainstream feminism--popularized as "girl power"--in the 1990s, with their mantra serving as a gateway to feminism for their young fans. On the other hand, some critics dismissed it as no more than a shallow marketing tactic, while others took issue with the emphasis on physical appearance, concerned about the potential impact on self-conscious and/or impressionable youngsters. Regardless, the phrase became a cultural phenomenon, adopted as the mantra for millions of girls and even making it into the Oxford English Dictionary. In summation of the concept, author Ryan Dawson said, "The Spice Girls changed British culture enough for Girl Power to now seem completely unremarkable." The Spice Girls' debut single "Wannabe" has been hailed as an "iconic girl power anthem". In 2016, the United Nations' Global Goals "#WhatIReallyReallyWant" campaign filmed a global remake of the original music video for "Wannabe" to highlight gender inequality issues faced by women across the world. The video, which was launched on YouTube and ran in movie theatres internationally, featured British girl group M.O, Canadian "viral sensation" Taylor Hatala, Nigerian-British singer Seyi Shay and Bollywood actress Jacqueline Fernandez lip-syncing to the song in various locations around the world. In response to the remake, Beckham said, "How fabulous is it that after 20 years the legacy of the Spice Girls' girl power is being used to encourage and empower a whole new generation?" At the 43rd People's Choice Awards in January 2017, American actress Blake Lively dedicated her "Favorite Dramatic Movie Actress" award to "girl power" in her acceptance speech, and credited the Spice Girls, saying: "What was so neat about them was that they're all so distinctly different, and they were women, and they owned who they were, and that was my first introduction into girl power." At the height of "Spice mania", the group were involved in a prolific marketing phenomenon. They advertised for an unprecedented number of brands, becoming the most merchandised group in music history, and were a frequent feature of the global press. According to Rolling Stone's David Sinclair, "So great was the daily bombardment of Spice images and Spice product that it quickly became oppressive even to people who were well disposed towards the group." This was even parodied in the video for their song "Spice Up Your Life", which depicts the group going around a futuristic dystopian city in a space ship surrounded by billboards and adverts featuring them. Throughout the American leg of their 1998 Spiceworld world tour, commercials were played on large concert screens before the shows and during intermissions. It was the first time advertising had been used in pop concerts and was met with mixed reactions in the music industry. Nevertheless, it opened up a whole new concert revenue stream, with music industry pundits predicting more acts would follow the Spice Girls' lead. In his analysis of the group's influence on 21st century popular culture two decades after their debut, John Mckie of the BBC noted that while other stars had used brand endorsements in the past, "the Spice brand was the first to propel the success of the band". The Guardian's Sylvia Patterson also wrote of what she called the Spice Girls' true legacy: "[T]hey were the original pioneers of the band as brand, of pop as a ruthless marketing ruse, of the merchandising and sponsorship deals that have dominated commercial pop ever since." The mainstream media embraced the Spice Girls at the peak of their success. The group received regular international press coverage and were constantly followed by paparazzi. Paul Gorman of Music Week said of the media interest in the Spice Girls in the late 1990s: "They inaugurated the era of cheesy celebrity obsession which pertains today. There is lineage from them to the Kardashianisation not only of the music industry, but the wider culture." The Irish Independent's Tanya Sweeney agreed that "[t]he vapidity of paparazzi culture could probably be traced back to the Spice Girls' naked ambitions", while Mckie predicted that, "[f]or all that modern stars from Katy Perry to Lionel Messi exploit brand endorsements and attract tabloid coverage, the scale of the Spice Girls' breakthrough in 1996 is unlikely to be repeated--at least not by a music act."
Q: How did they contribute to commercialization?
A: At the height of "Spice mania", the group were involved in a prolific marketing phenomenon.
Q: Did they make a lot of money?
A: unknown
Q: What was the celebrity culture like?
A: The mainstream media embraced the Spice Girls at the peak of their success.
Q: Did they win any awards?
A: "Best Pop Act" and "Best Group"
Q: What else was interesting about them during this time?
A: In late 1998, Brown and Adams announced they were both pregnant;
Q: When did they have their children?
A: She gave birth to daughter Phoenix Chi in February 1999.
Q: What about the other baby?
A: One month later, Adams gave birth to son
|
C_45962efa77134657a178e5e8064220ed_1_q#7
|
Did they continue to be involved in the band?
| 0y
| 0y
|
{
"texts": [
"The Spice Girls returned to the studio in August 1999, after an eight-month recording break"
],
"answer_starts": [
942
]
}
|
{
"text": "The Spice Girls returned to the studio in August 1999, after an eight-month recording break",
"answer_start": 942
}
|
C_45962efa77134657a178e5e8064220ed_1
|
Spice Girls
|
The Spice Girls are an English pop girl group formed in 1994. The group originally consisted of Melanie Brown ("Scary Spice"), Melanie Chisholm ("Sporty Spice"), Emma Bunton ("Baby Spice"), Geri Halliwell ("Ginger Spice"), and Victoria Beckham, nee Adams ("Posh Spice"). They were signed to Virgin Records and released their debut single "Wannabe" in 1996, which hit number one in 37 countries and established them as a global phenomenon. Their debut album Spice sold more than 31 million copies worldwide, becoming the best-selling album by a female group in history.
|
Commercialisation and celebrity culture
|
While on tour in the United-States, the group continued to record new material and released a new song, "Goodbye", before Christmas in 1998. The song was seen as a tribute to Geri Halliwell, and when it topped the UK Singles Chart it became their third consecutive Christmas number-one - equalling the record previously set by the Beatles. Later in 1998, Bunton and Chisholm appeared at the 1998 MTV Europe Music Awards without their other band members, and the group won two awards: "Best Pop Act" and "Best Group" for a second time. In late 1998, Brown and Adams announced they were both pregnant; Brown was married to dancer Jimmy Gulzer and became known as Mel G for a brief period. She gave birth to daughter Phoenix Chi in February 1999. One month later, Adams gave birth to son Brooklyn, whose father was then Manchester United footballer David Beckham. Later that year, she married Beckham in a highly publicised wedding in Ireland. The Spice Girls returned to the studio in August 1999, after an eight-month recording break to start work on their third and last studio album. The album's sound was initially more pop-influenced, similar to their first two albums, and included production from Eliot Kennedy. The album's sound took a mature direction when American producers like Rodney Jerkins, Jimmy Jam and Terry Lewis came on to collaborate with the group. In December 1999 they performed live for a UK-only tour, Christmas in Spiceworld, in London and Manchester, also showcasing new songs from the third album. During 1999, the group recorded the character Amneris' song "My Strongest Suit" in Elton John and Tim Rice's Aida, a concept album which would later go on to fuel the musical version of Verdi's Aida. The band performed again at the 2000 Brit Awards, where they received a Lifetime Achievement Award. Despite being at the event, Halliwell did not join her former bandmates on stage. In November 2000, the group released Forever. Sporting a new edgier R&B sound, the album received a lukewarm response from critics. In the US, the album peaked at number thirty-nine on the Billboard 200 albums chart. In the UK, the album was released the same week as Westlife's Coast to Coast album and the chart battle was widely reported by the media, where Westlife won the battle reaching number one in the UK, leaving the Spice Girls at number two. The lead single from Forever, the double A-side "Holler"/"Let Love Lead the Way", became the group's ninth number one single in the UK. However the song failed to break onto the Billboard Hot 100 singles chart stateside, instead peaking at number seven on the Bubbling Under Hot 100 Singles. "Holler" did peak at number thirty-one on the Hot Dance Music/Club Play chart in 2000. The only major performance of the lead single came at the MTV Europe Music Awards on 16 November 2000. In total, Forever achieved only a fraction of the success of its two best-selling predecessors, selling five million copies. In December 2000, the group unofficially announced that they were beginning an indefinite hiatus and would be concentrating on their solo careers in regards to their foreseeable future, although they pointed out that the group was not splitting. The phrase "girl power" put a name to a social phenomenon, but the slogan was met with mixed reactions. The phrase was a label for the particular facet of post classical neo-feminist empowerment embraced by the band: that a sensual, feminine appearance and equality between the sexes need not be mutually exclusive. This concept was by no means original in the pop world: both Madonna and Bananarama had employed similar outlooks. The phrase itself had also appeared in a few songs by British girl groups and bands since at least 1987; most notably, it was the name of British pop duo Shampoo's 1996 single and album, later credited by Halliwell as the inspiration for the Spice Girls' mantra. However, it was not until the emergence of the Spice Girls in 1996 with "Wannabe", that the concept of "girl power" exploded onto the common consciousness. The phrase was regularly uttered by all five members--although most closely associated with Halliwell--and was often delivered with a peace sign. The slogan also featured on official Spice Girls merchandise and on some of the outfits the group members wore. The Spice Girls' version was distinctive. Its message of empowerment appealed to young girls, adolescents and adult women, and it emphasised the importance of strong and loyal friendship among females. In all, the focused, consistent presentation of "girl power" formed the centrepiece of their appeal as a band. Some commentators credit the Spice Girls with reinvigorating mainstream feminism--popularized as "girl power"--in the 1990s, with their mantra serving as a gateway to feminism for their young fans. On the other hand, some critics dismissed it as no more than a shallow marketing tactic, while others took issue with the emphasis on physical appearance, concerned about the potential impact on self-conscious and/or impressionable youngsters. Regardless, the phrase became a cultural phenomenon, adopted as the mantra for millions of girls and even making it into the Oxford English Dictionary. In summation of the concept, author Ryan Dawson said, "The Spice Girls changed British culture enough for Girl Power to now seem completely unremarkable." The Spice Girls' debut single "Wannabe" has been hailed as an "iconic girl power anthem". In 2016, the United Nations' Global Goals "#WhatIReallyReallyWant" campaign filmed a global remake of the original music video for "Wannabe" to highlight gender inequality issues faced by women across the world. The video, which was launched on YouTube and ran in movie theatres internationally, featured British girl group M.O, Canadian "viral sensation" Taylor Hatala, Nigerian-British singer Seyi Shay and Bollywood actress Jacqueline Fernandez lip-syncing to the song in various locations around the world. In response to the remake, Beckham said, "How fabulous is it that after 20 years the legacy of the Spice Girls' girl power is being used to encourage and empower a whole new generation?" At the 43rd People's Choice Awards in January 2017, American actress Blake Lively dedicated her "Favorite Dramatic Movie Actress" award to "girl power" in her acceptance speech, and credited the Spice Girls, saying: "What was so neat about them was that they're all so distinctly different, and they were women, and they owned who they were, and that was my first introduction into girl power." At the height of "Spice mania", the group were involved in a prolific marketing phenomenon. They advertised for an unprecedented number of brands, becoming the most merchandised group in music history, and were a frequent feature of the global press. According to Rolling Stone's David Sinclair, "So great was the daily bombardment of Spice images and Spice product that it quickly became oppressive even to people who were well disposed towards the group." This was even parodied in the video for their song "Spice Up Your Life", which depicts the group going around a futuristic dystopian city in a space ship surrounded by billboards and adverts featuring them. Throughout the American leg of their 1998 Spiceworld world tour, commercials were played on large concert screens before the shows and during intermissions. It was the first time advertising had been used in pop concerts and was met with mixed reactions in the music industry. Nevertheless, it opened up a whole new concert revenue stream, with music industry pundits predicting more acts would follow the Spice Girls' lead. In his analysis of the group's influence on 21st century popular culture two decades after their debut, John Mckie of the BBC noted that while other stars had used brand endorsements in the past, "the Spice brand was the first to propel the success of the band". The Guardian's Sylvia Patterson also wrote of what she called the Spice Girls' true legacy: "[T]hey were the original pioneers of the band as brand, of pop as a ruthless marketing ruse, of the merchandising and sponsorship deals that have dominated commercial pop ever since." The mainstream media embraced the Spice Girls at the peak of their success. The group received regular international press coverage and were constantly followed by paparazzi. Paul Gorman of Music Week said of the media interest in the Spice Girls in the late 1990s: "They inaugurated the era of cheesy celebrity obsession which pertains today. There is lineage from them to the Kardashianisation not only of the music industry, but the wider culture." The Irish Independent's Tanya Sweeney agreed that "[t]he vapidity of paparazzi culture could probably be traced back to the Spice Girls' naked ambitions", while Mckie predicted that, "[f]or all that modern stars from Katy Perry to Lionel Messi exploit brand endorsements and attract tabloid coverage, the scale of the Spice Girls' breakthrough in 1996 is unlikely to be repeated--at least not by a music act."
Q: How did they contribute to commercialization?
A: At the height of "Spice mania", the group were involved in a prolific marketing phenomenon.
Q: Did they make a lot of money?
A: unknown
Q: What was the celebrity culture like?
A: The mainstream media embraced the Spice Girls at the peak of their success.
Q: Did they win any awards?
A: "Best Pop Act" and "Best Group"
Q: What else was interesting about them during this time?
A: In late 1998, Brown and Adams announced they were both pregnant;
Q: When did they have their children?
A: She gave birth to daughter Phoenix Chi in February 1999.
Q: What about the other baby?
A: One month later, Adams gave birth to son
Q: Did they continue to be involved in the band?
A: The Spice Girls returned to the studio in August 1999, after an eight-month recording break
|
C_45962efa77134657a178e5e8064220ed_1_q#8
|
What else happened?
| 0y
| 2x
|
{
"texts": [
"In December 1999 they performed live for a UK-only tour,"
],
"answer_starts": [
1370
]
}
|
{
"text": "In December 1999 they performed live for a UK-only tour,",
"answer_start": 1370
}
|
C_cc756ddaff8546f5bbc7a32799f2cbc2_1
|
Harry Dexter White
|
Harry Dexter White was born in Boston, Massachusetts, the seventh and youngest child of Jewish Lithuanian immigrants, Joseph Weit and Sarah Magilewski, who had settled in America in 1885. In 1917 he enlisted in the U.S. Army, and was commissioned as lieutenant and served in France in a non-combat capacity in World War I. He did not begin his university studies until age 30, first at Columbia University, then at Stanford University, where he earned a first degree in economics. After completing a Ph.D. in economics at Harvard University at 38 years of age, White taught four years at Lawrence University in Wisconsin.
|
Japan policy
|
In November 1941, White sent a memorandum to Morgenthau that was widely circulated and influenced State Department planning. White called for a comprehensive peaceful solution of rapidly escalating tensions between the United States and Japan, calling for major concessions on both sides. Langer and Gleason report that White's proposals were totally rewritten by the State Department and that the American key demand had been formulated long before White. It was an insistence on Japanese withdrawal from China, which Japan totally refused to consider. The complex negotiations at the top ranks of the US government, and its key allies of Britain and China, took place in late November 1941 with no further input from White or Morgenthau. White's proposals were never presented to Japan. Revisionist historians have argued, however, that White manipulated Morgenthau and Roosevelt to provoke war with Japan in order to protect Stalin's Far Eastern front. Historian Eric Rauchway rejects that argument, claiming it is supported by fake documents. After the U.S. entered the war in December 1941, Secretary Morgenthau appointed White to act as liaison between the Treasury and the State Department on all matters bearing on foreign relations. He was also made responsible for the Exchange Stabilization Fund. White eventually came to be in charge of wartime international matters for the Treasury, with access to extensive confidential information about the economic situation of the USA and its wartime allies. He passed numerous secret documents to men he knew were Soviet spies. White was a dedicated internationalist, and his energies were directed at continuing the Grand Alliance with the USSR and maintaining peace through trade. He believed that powerful, multilateral institutions could avoid the mistakes of the Treaty of Versailles and prevent another worldwide depression. As head of the independently-funded Office of Monetary Research, White was able to hire staff without the normal civil service regulations or background enquiries. He probably was unaware that several of his hires were spies for the USSR.
|
C_cc756ddaff8546f5bbc7a32799f2cbc2_1_q#0
|
What is involved in the japan policy?
| 0y
| 2x
|
{
"texts": [
"White called for a comprehensive peaceful solution of rapidly escalating tensions between the United States and Japan,"
],
"answer_starts": [
125
]
}
|
{
"text": "White called for a comprehensive peaceful solution of rapidly escalating tensions between the United States and Japan,",
"answer_start": 125
}
|
C_cc756ddaff8546f5bbc7a32799f2cbc2_1
|
Harry Dexter White
|
Harry Dexter White was born in Boston, Massachusetts, the seventh and youngest child of Jewish Lithuanian immigrants, Joseph Weit and Sarah Magilewski, who had settled in America in 1885. In 1917 he enlisted in the U.S. Army, and was commissioned as lieutenant and served in France in a non-combat capacity in World War I. He did not begin his university studies until age 30, first at Columbia University, then at Stanford University, where he earned a first degree in economics. After completing a Ph.D. in economics at Harvard University at 38 years of age, White taught four years at Lawrence University in Wisconsin.
|
Japan policy
|
In November 1941, White sent a memorandum to Morgenthau that was widely circulated and influenced State Department planning. White called for a comprehensive peaceful solution of rapidly escalating tensions between the United States and Japan, calling for major concessions on both sides. Langer and Gleason report that White's proposals were totally rewritten by the State Department and that the American key demand had been formulated long before White. It was an insistence on Japanese withdrawal from China, which Japan totally refused to consider. The complex negotiations at the top ranks of the US government, and its key allies of Britain and China, took place in late November 1941 with no further input from White or Morgenthau. White's proposals were never presented to Japan. Revisionist historians have argued, however, that White manipulated Morgenthau and Roosevelt to provoke war with Japan in order to protect Stalin's Far Eastern front. Historian Eric Rauchway rejects that argument, claiming it is supported by fake documents. After the U.S. entered the war in December 1941, Secretary Morgenthau appointed White to act as liaison between the Treasury and the State Department on all matters bearing on foreign relations. He was also made responsible for the Exchange Stabilization Fund. White eventually came to be in charge of wartime international matters for the Treasury, with access to extensive confidential information about the economic situation of the USA and its wartime allies. He passed numerous secret documents to men he knew were Soviet spies. White was a dedicated internationalist, and his energies were directed at continuing the Grand Alliance with the USSR and maintaining peace through trade. He believed that powerful, multilateral institutions could avoid the mistakes of the Treaty of Versailles and prevent another worldwide depression. As head of the independently-funded Office of Monetary Research, White was able to hire staff without the normal civil service regulations or background enquiries. He probably was unaware that several of his hires were spies for the USSR.
Q: What is involved in the japan policy?
A: White called for a comprehensive peaceful solution of rapidly escalating tensions between the United States and Japan,
|
C_cc756ddaff8546f5bbc7a32799f2cbc2_1_q#1
|
Was he successful?
| 2m
| 2x
|
{
"texts": [
"White's proposals were never presented to Japan."
],
"answer_starts": [
740
]
}
|
{
"text": "White's proposals were never presented to Japan.",
"answer_start": 740
}
|
C_cc756ddaff8546f5bbc7a32799f2cbc2_1
|
Harry Dexter White
|
Harry Dexter White was born in Boston, Massachusetts, the seventh and youngest child of Jewish Lithuanian immigrants, Joseph Weit and Sarah Magilewski, who had settled in America in 1885. In 1917 he enlisted in the U.S. Army, and was commissioned as lieutenant and served in France in a non-combat capacity in World War I. He did not begin his university studies until age 30, first at Columbia University, then at Stanford University, where he earned a first degree in economics. After completing a Ph.D. in economics at Harvard University at 38 years of age, White taught four years at Lawrence University in Wisconsin.
|
Japan policy
|
In November 1941, White sent a memorandum to Morgenthau that was widely circulated and influenced State Department planning. White called for a comprehensive peaceful solution of rapidly escalating tensions between the United States and Japan, calling for major concessions on both sides. Langer and Gleason report that White's proposals were totally rewritten by the State Department and that the American key demand had been formulated long before White. It was an insistence on Japanese withdrawal from China, which Japan totally refused to consider. The complex negotiations at the top ranks of the US government, and its key allies of Britain and China, took place in late November 1941 with no further input from White or Morgenthau. White's proposals were never presented to Japan. Revisionist historians have argued, however, that White manipulated Morgenthau and Roosevelt to provoke war with Japan in order to protect Stalin's Far Eastern front. Historian Eric Rauchway rejects that argument, claiming it is supported by fake documents. After the U.S. entered the war in December 1941, Secretary Morgenthau appointed White to act as liaison between the Treasury and the State Department on all matters bearing on foreign relations. He was also made responsible for the Exchange Stabilization Fund. White eventually came to be in charge of wartime international matters for the Treasury, with access to extensive confidential information about the economic situation of the USA and its wartime allies. He passed numerous secret documents to men he knew were Soviet spies. White was a dedicated internationalist, and his energies were directed at continuing the Grand Alliance with the USSR and maintaining peace through trade. He believed that powerful, multilateral institutions could avoid the mistakes of the Treaty of Versailles and prevent another worldwide depression. As head of the independently-funded Office of Monetary Research, White was able to hire staff without the normal civil service regulations or background enquiries. He probably was unaware that several of his hires were spies for the USSR.
Q: What is involved in the japan policy?
A: White called for a comprehensive peaceful solution of rapidly escalating tensions between the United States and Japan,
Q: Was he successful?
A: White's proposals were never presented to Japan.
|
C_cc756ddaff8546f5bbc7a32799f2cbc2_1_q#2
|
Did he have any other proposals?
| 2m
| 0y
|
{
"texts": [
"insistence on Japanese withdrawal from China,"
],
"answer_starts": [
467
]
}
|
{
"text": "insistence on Japanese withdrawal from China,",
"answer_start": 467
}
|
C_cc756ddaff8546f5bbc7a32799f2cbc2_1
|
Harry Dexter White
|
Harry Dexter White was born in Boston, Massachusetts, the seventh and youngest child of Jewish Lithuanian immigrants, Joseph Weit and Sarah Magilewski, who had settled in America in 1885. In 1917 he enlisted in the U.S. Army, and was commissioned as lieutenant and served in France in a non-combat capacity in World War I. He did not begin his university studies until age 30, first at Columbia University, then at Stanford University, where he earned a first degree in economics. After completing a Ph.D. in economics at Harvard University at 38 years of age, White taught four years at Lawrence University in Wisconsin.
|
Japan policy
|
In November 1941, White sent a memorandum to Morgenthau that was widely circulated and influenced State Department planning. White called for a comprehensive peaceful solution of rapidly escalating tensions between the United States and Japan, calling for major concessions on both sides. Langer and Gleason report that White's proposals were totally rewritten by the State Department and that the American key demand had been formulated long before White. It was an insistence on Japanese withdrawal from China, which Japan totally refused to consider. The complex negotiations at the top ranks of the US government, and its key allies of Britain and China, took place in late November 1941 with no further input from White or Morgenthau. White's proposals were never presented to Japan. Revisionist historians have argued, however, that White manipulated Morgenthau and Roosevelt to provoke war with Japan in order to protect Stalin's Far Eastern front. Historian Eric Rauchway rejects that argument, claiming it is supported by fake documents. After the U.S. entered the war in December 1941, Secretary Morgenthau appointed White to act as liaison between the Treasury and the State Department on all matters bearing on foreign relations. He was also made responsible for the Exchange Stabilization Fund. White eventually came to be in charge of wartime international matters for the Treasury, with access to extensive confidential information about the economic situation of the USA and its wartime allies. He passed numerous secret documents to men he knew were Soviet spies. White was a dedicated internationalist, and his energies were directed at continuing the Grand Alliance with the USSR and maintaining peace through trade. He believed that powerful, multilateral institutions could avoid the mistakes of the Treaty of Versailles and prevent another worldwide depression. As head of the independently-funded Office of Monetary Research, White was able to hire staff without the normal civil service regulations or background enquiries. He probably was unaware that several of his hires were spies for the USSR.
Q: What is involved in the japan policy?
A: White called for a comprehensive peaceful solution of rapidly escalating tensions between the United States and Japan,
Q: Was he successful?
A: White's proposals were never presented to Japan.
Q: Did he have any other proposals?
A: insistence on Japanese withdrawal from China,
|
C_cc756ddaff8546f5bbc7a32799f2cbc2_1_q#3
|
Are there any other interesting aspects about this article?
| 2m
| 0y
|
{
"texts": [
"Secretary Morgenthau appointed White to act as liaison between the Treasury and the State Department"
],
"answer_starts": [
1097
]
}
|
{
"text": "Secretary Morgenthau appointed White to act as liaison between the Treasury and the State Department",
"answer_start": 1097
}
|
C_cc756ddaff8546f5bbc7a32799f2cbc2_1
|
Harry Dexter White
|
Harry Dexter White was born in Boston, Massachusetts, the seventh and youngest child of Jewish Lithuanian immigrants, Joseph Weit and Sarah Magilewski, who had settled in America in 1885. In 1917 he enlisted in the U.S. Army, and was commissioned as lieutenant and served in France in a non-combat capacity in World War I. He did not begin his university studies until age 30, first at Columbia University, then at Stanford University, where he earned a first degree in economics. After completing a Ph.D. in economics at Harvard University at 38 years of age, White taught four years at Lawrence University in Wisconsin.
|
Japan policy
|
In November 1941, White sent a memorandum to Morgenthau that was widely circulated and influenced State Department planning. White called for a comprehensive peaceful solution of rapidly escalating tensions between the United States and Japan, calling for major concessions on both sides. Langer and Gleason report that White's proposals were totally rewritten by the State Department and that the American key demand had been formulated long before White. It was an insistence on Japanese withdrawal from China, which Japan totally refused to consider. The complex negotiations at the top ranks of the US government, and its key allies of Britain and China, took place in late November 1941 with no further input from White or Morgenthau. White's proposals were never presented to Japan. Revisionist historians have argued, however, that White manipulated Morgenthau and Roosevelt to provoke war with Japan in order to protect Stalin's Far Eastern front. Historian Eric Rauchway rejects that argument, claiming it is supported by fake documents. After the U.S. entered the war in December 1941, Secretary Morgenthau appointed White to act as liaison between the Treasury and the State Department on all matters bearing on foreign relations. He was also made responsible for the Exchange Stabilization Fund. White eventually came to be in charge of wartime international matters for the Treasury, with access to extensive confidential information about the economic situation of the USA and its wartime allies. He passed numerous secret documents to men he knew were Soviet spies. White was a dedicated internationalist, and his energies were directed at continuing the Grand Alliance with the USSR and maintaining peace through trade. He believed that powerful, multilateral institutions could avoid the mistakes of the Treaty of Versailles and prevent another worldwide depression. As head of the independently-funded Office of Monetary Research, White was able to hire staff without the normal civil service regulations or background enquiries. He probably was unaware that several of his hires were spies for the USSR.
Q: What is involved in the japan policy?
A: White called for a comprehensive peaceful solution of rapidly escalating tensions between the United States and Japan,
Q: Was he successful?
A: White's proposals were never presented to Japan.
Q: Did he have any other proposals?
A: insistence on Japanese withdrawal from China,
Q: Are there any other interesting aspects about this article?
A: Secretary Morgenthau appointed White to act as liaison between the Treasury and the State Department
|
C_cc756ddaff8546f5bbc7a32799f2cbc2_1_q#4
|
What did he accomplish in this role?
| 2m
| 2x
|
{
"texts": [
"He passed numerous secret documents to men he knew were Soviet spies."
],
"answer_starts": [
1512
]
}
|
{
"text": "He passed numerous secret documents to men he knew were Soviet spies.",
"answer_start": 1512
}
|
C_cc756ddaff8546f5bbc7a32799f2cbc2_1
|
Harry Dexter White
|
Harry Dexter White was born in Boston, Massachusetts, the seventh and youngest child of Jewish Lithuanian immigrants, Joseph Weit and Sarah Magilewski, who had settled in America in 1885. In 1917 he enlisted in the U.S. Army, and was commissioned as lieutenant and served in France in a non-combat capacity in World War I. He did not begin his university studies until age 30, first at Columbia University, then at Stanford University, where he earned a first degree in economics. After completing a Ph.D. in economics at Harvard University at 38 years of age, White taught four years at Lawrence University in Wisconsin.
|
Japan policy
|
In November 1941, White sent a memorandum to Morgenthau that was widely circulated and influenced State Department planning. White called for a comprehensive peaceful solution of rapidly escalating tensions between the United States and Japan, calling for major concessions on both sides. Langer and Gleason report that White's proposals were totally rewritten by the State Department and that the American key demand had been formulated long before White. It was an insistence on Japanese withdrawal from China, which Japan totally refused to consider. The complex negotiations at the top ranks of the US government, and its key allies of Britain and China, took place in late November 1941 with no further input from White or Morgenthau. White's proposals were never presented to Japan. Revisionist historians have argued, however, that White manipulated Morgenthau and Roosevelt to provoke war with Japan in order to protect Stalin's Far Eastern front. Historian Eric Rauchway rejects that argument, claiming it is supported by fake documents. After the U.S. entered the war in December 1941, Secretary Morgenthau appointed White to act as liaison between the Treasury and the State Department on all matters bearing on foreign relations. He was also made responsible for the Exchange Stabilization Fund. White eventually came to be in charge of wartime international matters for the Treasury, with access to extensive confidential information about the economic situation of the USA and its wartime allies. He passed numerous secret documents to men he knew were Soviet spies. White was a dedicated internationalist, and his energies were directed at continuing the Grand Alliance with the USSR and maintaining peace through trade. He believed that powerful, multilateral institutions could avoid the mistakes of the Treaty of Versailles and prevent another worldwide depression. As head of the independently-funded Office of Monetary Research, White was able to hire staff without the normal civil service regulations or background enquiries. He probably was unaware that several of his hires were spies for the USSR.
Q: What is involved in the japan policy?
A: White called for a comprehensive peaceful solution of rapidly escalating tensions between the United States and Japan,
Q: Was he successful?
A: White's proposals were never presented to Japan.
Q: Did he have any other proposals?
A: insistence on Japanese withdrawal from China,
Q: Are there any other interesting aspects about this article?
A: Secretary Morgenthau appointed White to act as liaison between the Treasury and the State Department
Q: What did he accomplish in this role?
A: He passed numerous secret documents to men he knew were Soviet spies.
|
C_cc756ddaff8546f5bbc7a32799f2cbc2_1_q#5
|
Was he charged with any crimes?
| 2m
| 1n
|
{
"texts": [
"He probably was unaware that several of his hires were spies for the USSR."
],
"answer_starts": [
2050
]
}
|
{
"text": "He probably was unaware that several of his hires were spies for the USSR.",
"answer_start": 2050
}
|
C_cc756ddaff8546f5bbc7a32799f2cbc2_1
|
Harry Dexter White
|
Harry Dexter White was born in Boston, Massachusetts, the seventh and youngest child of Jewish Lithuanian immigrants, Joseph Weit and Sarah Magilewski, who had settled in America in 1885. In 1917 he enlisted in the U.S. Army, and was commissioned as lieutenant and served in France in a non-combat capacity in World War I. He did not begin his university studies until age 30, first at Columbia University, then at Stanford University, where he earned a first degree in economics. After completing a Ph.D. in economics at Harvard University at 38 years of age, White taught four years at Lawrence University in Wisconsin.
|
Japan policy
|
In November 1941, White sent a memorandum to Morgenthau that was widely circulated and influenced State Department planning. White called for a comprehensive peaceful solution of rapidly escalating tensions between the United States and Japan, calling for major concessions on both sides. Langer and Gleason report that White's proposals were totally rewritten by the State Department and that the American key demand had been formulated long before White. It was an insistence on Japanese withdrawal from China, which Japan totally refused to consider. The complex negotiations at the top ranks of the US government, and its key allies of Britain and China, took place in late November 1941 with no further input from White or Morgenthau. White's proposals were never presented to Japan. Revisionist historians have argued, however, that White manipulated Morgenthau and Roosevelt to provoke war with Japan in order to protect Stalin's Far Eastern front. Historian Eric Rauchway rejects that argument, claiming it is supported by fake documents. After the U.S. entered the war in December 1941, Secretary Morgenthau appointed White to act as liaison between the Treasury and the State Department on all matters bearing on foreign relations. He was also made responsible for the Exchange Stabilization Fund. White eventually came to be in charge of wartime international matters for the Treasury, with access to extensive confidential information about the economic situation of the USA and its wartime allies. He passed numerous secret documents to men he knew were Soviet spies. White was a dedicated internationalist, and his energies were directed at continuing the Grand Alliance with the USSR and maintaining peace through trade. He believed that powerful, multilateral institutions could avoid the mistakes of the Treaty of Versailles and prevent another worldwide depression. As head of the independently-funded Office of Monetary Research, White was able to hire staff without the normal civil service regulations or background enquiries. He probably was unaware that several of his hires were spies for the USSR.
Q: What is involved in the japan policy?
A: White called for a comprehensive peaceful solution of rapidly escalating tensions between the United States and Japan,
Q: Was he successful?
A: White's proposals were never presented to Japan.
Q: Did he have any other proposals?
A: insistence on Japanese withdrawal from China,
Q: Are there any other interesting aspects about this article?
A: Secretary Morgenthau appointed White to act as liaison between the Treasury and the State Department
Q: What did he accomplish in this role?
A: He passed numerous secret documents to men he knew were Soviet spies.
Q: Was he charged with any crimes?
A: He probably was unaware that several of his hires were spies for the USSR.
|
C_cc756ddaff8546f5bbc7a32799f2cbc2_1_q#6
|
What did he do after being liason?
| 0y
| 2x
|
{
"texts": [
"White eventually came to be in charge of wartime international matters for the Treasury,"
],
"answer_starts": [
1309
]
}
|
{
"text": "White eventually came to be in charge of wartime international matters for the Treasury,",
"answer_start": 1309
}
|
C_cc756ddaff8546f5bbc7a32799f2cbc2_1
|
Harry Dexter White
|
Harry Dexter White was born in Boston, Massachusetts, the seventh and youngest child of Jewish Lithuanian immigrants, Joseph Weit and Sarah Magilewski, who had settled in America in 1885. In 1917 he enlisted in the U.S. Army, and was commissioned as lieutenant and served in France in a non-combat capacity in World War I. He did not begin his university studies until age 30, first at Columbia University, then at Stanford University, where he earned a first degree in economics. After completing a Ph.D. in economics at Harvard University at 38 years of age, White taught four years at Lawrence University in Wisconsin.
|
Japan policy
|
In November 1941, White sent a memorandum to Morgenthau that was widely circulated and influenced State Department planning. White called for a comprehensive peaceful solution of rapidly escalating tensions between the United States and Japan, calling for major concessions on both sides. Langer and Gleason report that White's proposals were totally rewritten by the State Department and that the American key demand had been formulated long before White. It was an insistence on Japanese withdrawal from China, which Japan totally refused to consider. The complex negotiations at the top ranks of the US government, and its key allies of Britain and China, took place in late November 1941 with no further input from White or Morgenthau. White's proposals were never presented to Japan. Revisionist historians have argued, however, that White manipulated Morgenthau and Roosevelt to provoke war with Japan in order to protect Stalin's Far Eastern front. Historian Eric Rauchway rejects that argument, claiming it is supported by fake documents. After the U.S. entered the war in December 1941, Secretary Morgenthau appointed White to act as liaison between the Treasury and the State Department on all matters bearing on foreign relations. He was also made responsible for the Exchange Stabilization Fund. White eventually came to be in charge of wartime international matters for the Treasury, with access to extensive confidential information about the economic situation of the USA and its wartime allies. He passed numerous secret documents to men he knew were Soviet spies. White was a dedicated internationalist, and his energies were directed at continuing the Grand Alliance with the USSR and maintaining peace through trade. He believed that powerful, multilateral institutions could avoid the mistakes of the Treaty of Versailles and prevent another worldwide depression. As head of the independently-funded Office of Monetary Research, White was able to hire staff without the normal civil service regulations or background enquiries. He probably was unaware that several of his hires were spies for the USSR.
Q: What is involved in the japan policy?
A: White called for a comprehensive peaceful solution of rapidly escalating tensions between the United States and Japan,
Q: Was he successful?
A: White's proposals were never presented to Japan.
Q: Did he have any other proposals?
A: insistence on Japanese withdrawal from China,
Q: Are there any other interesting aspects about this article?
A: Secretary Morgenthau appointed White to act as liaison between the Treasury and the State Department
Q: What did he accomplish in this role?
A: He passed numerous secret documents to men he knew were Soviet spies.
Q: Was he charged with any crimes?
A: He probably was unaware that several of his hires were spies for the USSR.
Q: What did he do after being liason?
A: White eventually came to be in charge of wartime international matters for the Treasury,
|
C_cc756ddaff8546f5bbc7a32799f2cbc2_1_q#7
|
Did he continue that career?
| 1n
| 2x
|
{
"texts": [
"unknown"
],
"answer_starts": [
2125
]
}
|
{
"text": "unknown",
"answer_start": 2125
}
|
C_cc756ddaff8546f5bbc7a32799f2cbc2_0
|
Harry Dexter White
|
Harry Dexter White was born in Boston, Massachusetts, the seventh and youngest child of Jewish Lithuanian immigrants, Joseph Weit and Sarah Magilewski, who had settled in America in 1885. In 1917 he enlisted in the U.S. Army, and was commissioned as lieutenant and served in France in a non-combat capacity in World War I. He did not begin his university studies until age 30, first at Columbia University, then at Stanford University, where he earned a first degree in economics. After completing a Ph.D. in economics at Harvard University at 38 years of age, White taught four years at Lawrence University in Wisconsin.
|
Accusations by Jenner and McCarthy 1953
|
Senator William Jenner's Interlocking Subversion in Government Departments Investigation by the Senate Internal Security Subcommittee (SISS) looked extensively into the problem of unauthorized and uncontrolled powers exercised by non-elected officials, specifically White. Part of its report looked into the implementation of Roosevelt administration policy in China and was published as the Morgenthau Diary. The report stated, The concentration of Communist sympathizers in the Treasury Department, and particularly the Division of Monetary Research, is now a matter of record. White was the first director of that division; those who succeeded him in the directorship were Frank Coe and Harold Glasser. Also attached to the Division of Monetary Research were William Ludwig Ullman, Irving Kaplan, and Victor Perlo. White, Coe, Glasser, Kaplan, and Perlo were all identified as participants in the Communist conspiracy ... The committee also heard testimony by Henry Morgenthau's speechwriter, Jonathan Mitchell, that White had tried to persuade him that the Soviets had developed a system that would supplant capitalism and Christianity. In 1953, Senator Joseph McCarthy and Eisenhower administration Attorney General Herbert Brownell Jr. revealed that the FBI had warned the Truman administration about White before the President appointed him to the IMF. Brownell made public the FBI's November 8, 1945 letter to the White House warning about White and others, and revealed that the White House had received the FBI report on "Soviet Espionage in the United States," including the White case, six weeks before Truman nominated White to the IMF. Although he does not dispute that the FBI sent these and other warnings to Truman, Sen. Daniel Patrick Moynihan wrote in his introduction to the 1997 Moynihan Commission report on government secrecy that Truman was never informed of Venona. In support of this, he cited a statement from the official NSA/CIA history of Venona that "no definitive evidence has emerged to show" that Truman was informed of Venona.
|
C_cc756ddaff8546f5bbc7a32799f2cbc2_0_q#0
|
What was the accusation?
| 0y
| 2x
|
{
"texts": [
"looked extensively into the problem of unauthorized and uncontrolled powers exercised by non-elected officials, specifically White."
],
"answer_starts": [
141
]
}
|
{
"text": "looked extensively into the problem of unauthorized and uncontrolled powers exercised by non-elected officials, specifically White.",
"answer_start": 141
}
|
C_cc756ddaff8546f5bbc7a32799f2cbc2_0
|
Harry Dexter White
|
Harry Dexter White was born in Boston, Massachusetts, the seventh and youngest child of Jewish Lithuanian immigrants, Joseph Weit and Sarah Magilewski, who had settled in America in 1885. In 1917 he enlisted in the U.S. Army, and was commissioned as lieutenant and served in France in a non-combat capacity in World War I. He did not begin his university studies until age 30, first at Columbia University, then at Stanford University, where he earned a first degree in economics. After completing a Ph.D. in economics at Harvard University at 38 years of age, White taught four years at Lawrence University in Wisconsin.
|
Accusations by Jenner and McCarthy 1953
|
Senator William Jenner's Interlocking Subversion in Government Departments Investigation by the Senate Internal Security Subcommittee (SISS) looked extensively into the problem of unauthorized and uncontrolled powers exercised by non-elected officials, specifically White. Part of its report looked into the implementation of Roosevelt administration policy in China and was published as the Morgenthau Diary. The report stated, The concentration of Communist sympathizers in the Treasury Department, and particularly the Division of Monetary Research, is now a matter of record. White was the first director of that division; those who succeeded him in the directorship were Frank Coe and Harold Glasser. Also attached to the Division of Monetary Research were William Ludwig Ullman, Irving Kaplan, and Victor Perlo. White, Coe, Glasser, Kaplan, and Perlo were all identified as participants in the Communist conspiracy ... The committee also heard testimony by Henry Morgenthau's speechwriter, Jonathan Mitchell, that White had tried to persuade him that the Soviets had developed a system that would supplant capitalism and Christianity. In 1953, Senator Joseph McCarthy and Eisenhower administration Attorney General Herbert Brownell Jr. revealed that the FBI had warned the Truman administration about White before the President appointed him to the IMF. Brownell made public the FBI's November 8, 1945 letter to the White House warning about White and others, and revealed that the White House had received the FBI report on "Soviet Espionage in the United States," including the White case, six weeks before Truman nominated White to the IMF. Although he does not dispute that the FBI sent these and other warnings to Truman, Sen. Daniel Patrick Moynihan wrote in his introduction to the 1997 Moynihan Commission report on government secrecy that Truman was never informed of Venona. In support of this, he cited a statement from the official NSA/CIA history of Venona that "no definitive evidence has emerged to show" that Truman was informed of Venona.
Q: What was the accusation?
A: looked extensively into the problem of unauthorized and uncontrolled powers exercised by non-elected officials, specifically White.
|
C_cc756ddaff8546f5bbc7a32799f2cbc2_0_q#1
|
Was the accusations found to be valid?
| 0y
| 2x
|
{
"texts": [
"Attorney General Herbert Brownell Jr. revealed that the FBI had warned the Truman administration about White before the President appointed him to the IMF."
],
"answer_starts": [
1207
]
}
|
{
"text": "Attorney General Herbert Brownell Jr. revealed that the FBI had warned the Truman administration about White before the President appointed him to the IMF.",
"answer_start": 1207
}
|
C_cc756ddaff8546f5bbc7a32799f2cbc2_0
|
Harry Dexter White
|
Harry Dexter White was born in Boston, Massachusetts, the seventh and youngest child of Jewish Lithuanian immigrants, Joseph Weit and Sarah Magilewski, who had settled in America in 1885. In 1917 he enlisted in the U.S. Army, and was commissioned as lieutenant and served in France in a non-combat capacity in World War I. He did not begin his university studies until age 30, first at Columbia University, then at Stanford University, where he earned a first degree in economics. After completing a Ph.D. in economics at Harvard University at 38 years of age, White taught four years at Lawrence University in Wisconsin.
|
Accusations by Jenner and McCarthy 1953
|
Senator William Jenner's Interlocking Subversion in Government Departments Investigation by the Senate Internal Security Subcommittee (SISS) looked extensively into the problem of unauthorized and uncontrolled powers exercised by non-elected officials, specifically White. Part of its report looked into the implementation of Roosevelt administration policy in China and was published as the Morgenthau Diary. The report stated, The concentration of Communist sympathizers in the Treasury Department, and particularly the Division of Monetary Research, is now a matter of record. White was the first director of that division; those who succeeded him in the directorship were Frank Coe and Harold Glasser. Also attached to the Division of Monetary Research were William Ludwig Ullman, Irving Kaplan, and Victor Perlo. White, Coe, Glasser, Kaplan, and Perlo were all identified as participants in the Communist conspiracy ... The committee also heard testimony by Henry Morgenthau's speechwriter, Jonathan Mitchell, that White had tried to persuade him that the Soviets had developed a system that would supplant capitalism and Christianity. In 1953, Senator Joseph McCarthy and Eisenhower administration Attorney General Herbert Brownell Jr. revealed that the FBI had warned the Truman administration about White before the President appointed him to the IMF. Brownell made public the FBI's November 8, 1945 letter to the White House warning about White and others, and revealed that the White House had received the FBI report on "Soviet Espionage in the United States," including the White case, six weeks before Truman nominated White to the IMF. Although he does not dispute that the FBI sent these and other warnings to Truman, Sen. Daniel Patrick Moynihan wrote in his introduction to the 1997 Moynihan Commission report on government secrecy that Truman was never informed of Venona. In support of this, he cited a statement from the official NSA/CIA history of Venona that "no definitive evidence has emerged to show" that Truman was informed of Venona.
Q: What was the accusation?
A: looked extensively into the problem of unauthorized and uncontrolled powers exercised by non-elected officials, specifically White.
Q: Was the accusations found to be valid?
A: Attorney General Herbert Brownell Jr. revealed that the FBI had warned the Truman administration about White before the President appointed him to the IMF.
|
C_cc756ddaff8546f5bbc7a32799f2cbc2_0_q#2
|
Why did they warn them?
| 0y
| 2x
|
{
"texts": [
"revealed that the White House had received the FBI report on \"Soviet Espionage in the United States,\" including the White case,"
],
"answer_starts": [
1473
]
}
|
{
"text": "revealed that the White House had received the FBI report on \"Soviet Espionage in the United States,\" including the White case,",
"answer_start": 1473
}
|
C_cc756ddaff8546f5bbc7a32799f2cbc2_0
|
Harry Dexter White
|
Harry Dexter White was born in Boston, Massachusetts, the seventh and youngest child of Jewish Lithuanian immigrants, Joseph Weit and Sarah Magilewski, who had settled in America in 1885. In 1917 he enlisted in the U.S. Army, and was commissioned as lieutenant and served in France in a non-combat capacity in World War I. He did not begin his university studies until age 30, first at Columbia University, then at Stanford University, where he earned a first degree in economics. After completing a Ph.D. in economics at Harvard University at 38 years of age, White taught four years at Lawrence University in Wisconsin.
|
Accusations by Jenner and McCarthy 1953
|
Senator William Jenner's Interlocking Subversion in Government Departments Investigation by the Senate Internal Security Subcommittee (SISS) looked extensively into the problem of unauthorized and uncontrolled powers exercised by non-elected officials, specifically White. Part of its report looked into the implementation of Roosevelt administration policy in China and was published as the Morgenthau Diary. The report stated, The concentration of Communist sympathizers in the Treasury Department, and particularly the Division of Monetary Research, is now a matter of record. White was the first director of that division; those who succeeded him in the directorship were Frank Coe and Harold Glasser. Also attached to the Division of Monetary Research were William Ludwig Ullman, Irving Kaplan, and Victor Perlo. White, Coe, Glasser, Kaplan, and Perlo were all identified as participants in the Communist conspiracy ... The committee also heard testimony by Henry Morgenthau's speechwriter, Jonathan Mitchell, that White had tried to persuade him that the Soviets had developed a system that would supplant capitalism and Christianity. In 1953, Senator Joseph McCarthy and Eisenhower administration Attorney General Herbert Brownell Jr. revealed that the FBI had warned the Truman administration about White before the President appointed him to the IMF. Brownell made public the FBI's November 8, 1945 letter to the White House warning about White and others, and revealed that the White House had received the FBI report on "Soviet Espionage in the United States," including the White case, six weeks before Truman nominated White to the IMF. Although he does not dispute that the FBI sent these and other warnings to Truman, Sen. Daniel Patrick Moynihan wrote in his introduction to the 1997 Moynihan Commission report on government secrecy that Truman was never informed of Venona. In support of this, he cited a statement from the official NSA/CIA history of Venona that "no definitive evidence has emerged to show" that Truman was informed of Venona.
Q: What was the accusation?
A: looked extensively into the problem of unauthorized and uncontrolled powers exercised by non-elected officials, specifically White.
Q: Was the accusations found to be valid?
A: Attorney General Herbert Brownell Jr. revealed that the FBI had warned the Truman administration about White before the President appointed him to the IMF.
Q: Why did they warn them?
A: revealed that the White House had received the FBI report on "Soviet Espionage in the United States," including the White case,
|
C_cc756ddaff8546f5bbc7a32799f2cbc2_0_q#3
|
Did they take the warnings seriously?
| 0y
| 1n
|
{
"texts": [
"he cited a statement from the official NSA/CIA history of Venona that \"no definitive evidence has emerged to show\" that Truman was informed of Venona."
],
"answer_starts": [
1915
]
}
|
{
"text": "he cited a statement from the official NSA/CIA history of Venona that \"no definitive evidence has emerged to show\" that Truman was informed of Venona.",
"answer_start": 1915
}
|
C_cc756ddaff8546f5bbc7a32799f2cbc2_0
|
Harry Dexter White
|
Harry Dexter White was born in Boston, Massachusetts, the seventh and youngest child of Jewish Lithuanian immigrants, Joseph Weit and Sarah Magilewski, who had settled in America in 1885. In 1917 he enlisted in the U.S. Army, and was commissioned as lieutenant and served in France in a non-combat capacity in World War I. He did not begin his university studies until age 30, first at Columbia University, then at Stanford University, where he earned a first degree in economics. After completing a Ph.D. in economics at Harvard University at 38 years of age, White taught four years at Lawrence University in Wisconsin.
|
Accusations by Jenner and McCarthy 1953
|
Senator William Jenner's Interlocking Subversion in Government Departments Investigation by the Senate Internal Security Subcommittee (SISS) looked extensively into the problem of unauthorized and uncontrolled powers exercised by non-elected officials, specifically White. Part of its report looked into the implementation of Roosevelt administration policy in China and was published as the Morgenthau Diary. The report stated, The concentration of Communist sympathizers in the Treasury Department, and particularly the Division of Monetary Research, is now a matter of record. White was the first director of that division; those who succeeded him in the directorship were Frank Coe and Harold Glasser. Also attached to the Division of Monetary Research were William Ludwig Ullman, Irving Kaplan, and Victor Perlo. White, Coe, Glasser, Kaplan, and Perlo were all identified as participants in the Communist conspiracy ... The committee also heard testimony by Henry Morgenthau's speechwriter, Jonathan Mitchell, that White had tried to persuade him that the Soviets had developed a system that would supplant capitalism and Christianity. In 1953, Senator Joseph McCarthy and Eisenhower administration Attorney General Herbert Brownell Jr. revealed that the FBI had warned the Truman administration about White before the President appointed him to the IMF. Brownell made public the FBI's November 8, 1945 letter to the White House warning about White and others, and revealed that the White House had received the FBI report on "Soviet Espionage in the United States," including the White case, six weeks before Truman nominated White to the IMF. Although he does not dispute that the FBI sent these and other warnings to Truman, Sen. Daniel Patrick Moynihan wrote in his introduction to the 1997 Moynihan Commission report on government secrecy that Truman was never informed of Venona. In support of this, he cited a statement from the official NSA/CIA history of Venona that "no definitive evidence has emerged to show" that Truman was informed of Venona.
Q: What was the accusation?
A: looked extensively into the problem of unauthorized and uncontrolled powers exercised by non-elected officials, specifically White.
Q: Was the accusations found to be valid?
A: Attorney General Herbert Brownell Jr. revealed that the FBI had warned the Truman administration about White before the President appointed him to the IMF.
Q: Why did they warn them?
A: revealed that the White House had received the FBI report on "Soviet Espionage in the United States," including the White case,
Q: Did they take the warnings seriously?
A: he cited a statement from the official NSA/CIA history of Venona that "no definitive evidence has emerged to show" that Truman was informed of Venona.
|
C_cc756ddaff8546f5bbc7a32799f2cbc2_0_q#4
|
Are there any other interesting aspects about this article?
| 0y
| 0y
|
{
"texts": [
"The concentration of Communist sympathizers in the Treasury Department, and particularly the Division of Monetary Research, is now a matter of record."
],
"answer_starts": [
430
]
}
|
{
"text": "The concentration of Communist sympathizers in the Treasury Department, and particularly the Division of Monetary Research, is now a matter of record.",
"answer_start": 430
}
|
C_cc756ddaff8546f5bbc7a32799f2cbc2_0
|
Harry Dexter White
|
Harry Dexter White was born in Boston, Massachusetts, the seventh and youngest child of Jewish Lithuanian immigrants, Joseph Weit and Sarah Magilewski, who had settled in America in 1885. In 1917 he enlisted in the U.S. Army, and was commissioned as lieutenant and served in France in a non-combat capacity in World War I. He did not begin his university studies until age 30, first at Columbia University, then at Stanford University, where he earned a first degree in economics. After completing a Ph.D. in economics at Harvard University at 38 years of age, White taught four years at Lawrence University in Wisconsin.
|
Accusations by Jenner and McCarthy 1953
|
Senator William Jenner's Interlocking Subversion in Government Departments Investigation by the Senate Internal Security Subcommittee (SISS) looked extensively into the problem of unauthorized and uncontrolled powers exercised by non-elected officials, specifically White. Part of its report looked into the implementation of Roosevelt administration policy in China and was published as the Morgenthau Diary. The report stated, The concentration of Communist sympathizers in the Treasury Department, and particularly the Division of Monetary Research, is now a matter of record. White was the first director of that division; those who succeeded him in the directorship were Frank Coe and Harold Glasser. Also attached to the Division of Monetary Research were William Ludwig Ullman, Irving Kaplan, and Victor Perlo. White, Coe, Glasser, Kaplan, and Perlo were all identified as participants in the Communist conspiracy ... The committee also heard testimony by Henry Morgenthau's speechwriter, Jonathan Mitchell, that White had tried to persuade him that the Soviets had developed a system that would supplant capitalism and Christianity. In 1953, Senator Joseph McCarthy and Eisenhower administration Attorney General Herbert Brownell Jr. revealed that the FBI had warned the Truman administration about White before the President appointed him to the IMF. Brownell made public the FBI's November 8, 1945 letter to the White House warning about White and others, and revealed that the White House had received the FBI report on "Soviet Espionage in the United States," including the White case, six weeks before Truman nominated White to the IMF. Although he does not dispute that the FBI sent these and other warnings to Truman, Sen. Daniel Patrick Moynihan wrote in his introduction to the 1997 Moynihan Commission report on government secrecy that Truman was never informed of Venona. In support of this, he cited a statement from the official NSA/CIA history of Venona that "no definitive evidence has emerged to show" that Truman was informed of Venona.
Q: What was the accusation?
A: looked extensively into the problem of unauthorized and uncontrolled powers exercised by non-elected officials, specifically White.
Q: Was the accusations found to be valid?
A: Attorney General Herbert Brownell Jr. revealed that the FBI had warned the Truman administration about White before the President appointed him to the IMF.
Q: Why did they warn them?
A: revealed that the White House had received the FBI report on "Soviet Espionage in the United States," including the White case,
Q: Did they take the warnings seriously?
A: he cited a statement from the official NSA/CIA history of Venona that "no definitive evidence has emerged to show" that Truman was informed of Venona.
Q: Are there any other interesting aspects about this article?
A: The concentration of Communist sympathizers in the Treasury Department, and particularly the Division of Monetary Research, is now a matter of record.
|
C_cc756ddaff8546f5bbc7a32799f2cbc2_0_q#5
|
Did he receieve any punishments for the accusations?
| 1n
| 2x
|
{
"texts": [
"unknown"
],
"answer_starts": [
2066
]
}
|
{
"text": "unknown",
"answer_start": 2066
}
|
C_cc756ddaff8546f5bbc7a32799f2cbc2_0
|
Harry Dexter White
|
Harry Dexter White was born in Boston, Massachusetts, the seventh and youngest child of Jewish Lithuanian immigrants, Joseph Weit and Sarah Magilewski, who had settled in America in 1885. In 1917 he enlisted in the U.S. Army, and was commissioned as lieutenant and served in France in a non-combat capacity in World War I. He did not begin his university studies until age 30, first at Columbia University, then at Stanford University, where he earned a first degree in economics. After completing a Ph.D. in economics at Harvard University at 38 years of age, White taught four years at Lawrence University in Wisconsin.
|
Accusations by Jenner and McCarthy 1953
|
Senator William Jenner's Interlocking Subversion in Government Departments Investigation by the Senate Internal Security Subcommittee (SISS) looked extensively into the problem of unauthorized and uncontrolled powers exercised by non-elected officials, specifically White. Part of its report looked into the implementation of Roosevelt administration policy in China and was published as the Morgenthau Diary. The report stated, The concentration of Communist sympathizers in the Treasury Department, and particularly the Division of Monetary Research, is now a matter of record. White was the first director of that division; those who succeeded him in the directorship were Frank Coe and Harold Glasser. Also attached to the Division of Monetary Research were William Ludwig Ullman, Irving Kaplan, and Victor Perlo. White, Coe, Glasser, Kaplan, and Perlo were all identified as participants in the Communist conspiracy ... The committee also heard testimony by Henry Morgenthau's speechwriter, Jonathan Mitchell, that White had tried to persuade him that the Soviets had developed a system that would supplant capitalism and Christianity. In 1953, Senator Joseph McCarthy and Eisenhower administration Attorney General Herbert Brownell Jr. revealed that the FBI had warned the Truman administration about White before the President appointed him to the IMF. Brownell made public the FBI's November 8, 1945 letter to the White House warning about White and others, and revealed that the White House had received the FBI report on "Soviet Espionage in the United States," including the White case, six weeks before Truman nominated White to the IMF. Although he does not dispute that the FBI sent these and other warnings to Truman, Sen. Daniel Patrick Moynihan wrote in his introduction to the 1997 Moynihan Commission report on government secrecy that Truman was never informed of Venona. In support of this, he cited a statement from the official NSA/CIA history of Venona that "no definitive evidence has emerged to show" that Truman was informed of Venona.
Q: What was the accusation?
A: looked extensively into the problem of unauthorized and uncontrolled powers exercised by non-elected officials, specifically White.
Q: Was the accusations found to be valid?
A: Attorney General Herbert Brownell Jr. revealed that the FBI had warned the Truman administration about White before the President appointed him to the IMF.
Q: Why did they warn them?
A: revealed that the White House had received the FBI report on "Soviet Espionage in the United States," including the White case,
Q: Did they take the warnings seriously?
A: he cited a statement from the official NSA/CIA history of Venona that "no definitive evidence has emerged to show" that Truman was informed of Venona.
Q: Are there any other interesting aspects about this article?
A: The concentration of Communist sympathizers in the Treasury Department, and particularly the Division of Monetary Research, is now a matter of record.
Q: Did he receieve any punishments for the accusations?
A: unknown
|
C_cc756ddaff8546f5bbc7a32799f2cbc2_0_q#6
|
Who are Jenner and Mccarthy?
| 0y
| 2x
|
{
"texts": [
"Senator William Jenner's Interlocking Subversion in Government Departments Investigation by the Senate Internal Security Subcommittee ("
],
"answer_starts": [
0
]
}
|
{
"text": "Senator William Jenner's Interlocking Subversion in Government Departments Investigation by the Senate Internal Security Subcommittee (",
"answer_start": 0
}
|
C_00ffbf24a3be472e87cfcd1e2dd6bba5_1
|
The Apples in Stereo
|
The Apples in Stereo, styled as The Apples in stereo, are an American rock band associated with Elephant Six Collective, a group of bands also including Neutral Milk Hotel and The Olivia Tremor Control. The band is largely a product of lead vocalist/guitarist/producer Robert Schneider, who writes the majority of the band's music and lyrics. Currently, The Apples in Stereo also includes longstanding members John Hill (rhythm guitar) and Eric Allen (bass), as well as more recent members John Dufilho (drums), John Ferguson (keyboards), and Ben Phelan (keyboards/guitar/trumpet). The band's sound draws comparisons to the psychedelic rock of The Beatles and The Beach Boys during the 1960s, as well as to bands such as Electric Light Orchestra and Pavement, and also draws from lo-fi, garage rock, new wave, R&B, bubblegum pop, power pop, punk, electro-pop and experimental music.
|
1991-1993: The Apples
|
In late 1991, Robert Schneider met Jim McIntyre on a commuter bus in Denver, Colorado. Schneider had recently moved to Colorado from Ruston, Louisiana, and often initiated conversations with McIntyre. When Schneider asked McIntyre what his music interests were, McIntyre named his favorite band: The Beach Boys -- a band Schneider was particularly fond of. Realizing that they shared many musical interests, McIntyre introduced Schneider to Hilarie Sidney. McIntyre already had a band called Von Hemmling in which McIntyre played bass and Sidney played drums. With Schneider, they discussed the idea of starting a band and perhaps a recording label. Schneider later met Chris Parfitt, who was also already in a band at the time that Schneider unsuccessfully auditioned for on bass. Schneider and Parfitt also became friends, however, and toyed with the idea of having a rock band similar to The Velvet Underground or Black Sabbath, with production qualities similar to that of The Beach Boys. Schneider then spent two weeks in Athens, Georgia recording music and spending time with his childhood friends Will Cullen Hart, Bill Doss and Jeff Mangum. He discussed the idea of starting a record label with them (which soon became The Elephant 6 Recording Company). It was also at this time that the name "The Apples" came about, inspired by the Pink Floyd song "Apples and Oranges". The earliest incarnation of the band began to form in 1992 upon Schneider's return to Denver, first between Schneider and Parfitt, both of whom played guitar. The two recruited McIntyre and Sidney during the autumn of that year, practicing material through the winter. Their first few live shows took place the following January, many of which were with the band Felt Pilotes. From February to April 1993, the band recorded their debut 7" EP, Tidal Wave, and released it in June as the first record ever to bear the Elephant 6 logo.
|
C_00ffbf24a3be472e87cfcd1e2dd6bba5_1_q#0
|
How did The Apples come about?
| 0y
| 2x
|
{
"texts": [
"Mangum. He discussed the idea of starting a record label with them (which soon became The Elephant 6 Recording Company)."
],
"answer_starts": [
1142
]
}
|
{
"text": "Mangum. He discussed the idea of starting a record label with them (which soon became The Elephant 6 Recording Company).",
"answer_start": 1142
}
|
C_00ffbf24a3be472e87cfcd1e2dd6bba5_1
|
The Apples in Stereo
|
The Apples in Stereo, styled as The Apples in stereo, are an American rock band associated with Elephant Six Collective, a group of bands also including Neutral Milk Hotel and The Olivia Tremor Control. The band is largely a product of lead vocalist/guitarist/producer Robert Schneider, who writes the majority of the band's music and lyrics. Currently, The Apples in Stereo also includes longstanding members John Hill (rhythm guitar) and Eric Allen (bass), as well as more recent members John Dufilho (drums), John Ferguson (keyboards), and Ben Phelan (keyboards/guitar/trumpet). The band's sound draws comparisons to the psychedelic rock of The Beatles and The Beach Boys during the 1960s, as well as to bands such as Electric Light Orchestra and Pavement, and also draws from lo-fi, garage rock, new wave, R&B, bubblegum pop, power pop, punk, electro-pop and experimental music.
|
1991-1993: The Apples
|
In late 1991, Robert Schneider met Jim McIntyre on a commuter bus in Denver, Colorado. Schneider had recently moved to Colorado from Ruston, Louisiana, and often initiated conversations with McIntyre. When Schneider asked McIntyre what his music interests were, McIntyre named his favorite band: The Beach Boys -- a band Schneider was particularly fond of. Realizing that they shared many musical interests, McIntyre introduced Schneider to Hilarie Sidney. McIntyre already had a band called Von Hemmling in which McIntyre played bass and Sidney played drums. With Schneider, they discussed the idea of starting a band and perhaps a recording label. Schneider later met Chris Parfitt, who was also already in a band at the time that Schneider unsuccessfully auditioned for on bass. Schneider and Parfitt also became friends, however, and toyed with the idea of having a rock band similar to The Velvet Underground or Black Sabbath, with production qualities similar to that of The Beach Boys. Schneider then spent two weeks in Athens, Georgia recording music and spending time with his childhood friends Will Cullen Hart, Bill Doss and Jeff Mangum. He discussed the idea of starting a record label with them (which soon became The Elephant 6 Recording Company). It was also at this time that the name "The Apples" came about, inspired by the Pink Floyd song "Apples and Oranges". The earliest incarnation of the band began to form in 1992 upon Schneider's return to Denver, first between Schneider and Parfitt, both of whom played guitar. The two recruited McIntyre and Sidney during the autumn of that year, practicing material through the winter. Their first few live shows took place the following January, many of which were with the band Felt Pilotes. From February to April 1993, the band recorded their debut 7" EP, Tidal Wave, and released it in June as the first record ever to bear the Elephant 6 logo.
Q: How did The Apples come about?
A: Mangum. He discussed the idea of starting a record label with them (which soon became The Elephant 6 Recording Company).
|
C_00ffbf24a3be472e87cfcd1e2dd6bba5_1_q#1
|
Who did he discuss the idea with?
| 2m
| 2x
|
{
"texts": [
"Schneider then spent two weeks in Athens, Georgia recording music and spending time with his childhood friends Will Cullen Hart, Bill Doss and Jeff Mangum."
],
"answer_starts": [
994
]
}
|
{
"text": "Schneider then spent two weeks in Athens, Georgia recording music and spending time with his childhood friends Will Cullen Hart, Bill Doss and Jeff Mangum.",
"answer_start": 994
}
|
C_00ffbf24a3be472e87cfcd1e2dd6bba5_1
|
The Apples in Stereo
|
The Apples in Stereo, styled as The Apples in stereo, are an American rock band associated with Elephant Six Collective, a group of bands also including Neutral Milk Hotel and The Olivia Tremor Control. The band is largely a product of lead vocalist/guitarist/producer Robert Schneider, who writes the majority of the band's music and lyrics. Currently, The Apples in Stereo also includes longstanding members John Hill (rhythm guitar) and Eric Allen (bass), as well as more recent members John Dufilho (drums), John Ferguson (keyboards), and Ben Phelan (keyboards/guitar/trumpet). The band's sound draws comparisons to the psychedelic rock of The Beatles and The Beach Boys during the 1960s, as well as to bands such as Electric Light Orchestra and Pavement, and also draws from lo-fi, garage rock, new wave, R&B, bubblegum pop, power pop, punk, electro-pop and experimental music.
|
1991-1993: The Apples
|
In late 1991, Robert Schneider met Jim McIntyre on a commuter bus in Denver, Colorado. Schneider had recently moved to Colorado from Ruston, Louisiana, and often initiated conversations with McIntyre. When Schneider asked McIntyre what his music interests were, McIntyre named his favorite band: The Beach Boys -- a band Schneider was particularly fond of. Realizing that they shared many musical interests, McIntyre introduced Schneider to Hilarie Sidney. McIntyre already had a band called Von Hemmling in which McIntyre played bass and Sidney played drums. With Schneider, they discussed the idea of starting a band and perhaps a recording label. Schneider later met Chris Parfitt, who was also already in a band at the time that Schneider unsuccessfully auditioned for on bass. Schneider and Parfitt also became friends, however, and toyed with the idea of having a rock band similar to The Velvet Underground or Black Sabbath, with production qualities similar to that of The Beach Boys. Schneider then spent two weeks in Athens, Georgia recording music and spending time with his childhood friends Will Cullen Hart, Bill Doss and Jeff Mangum. He discussed the idea of starting a record label with them (which soon became The Elephant 6 Recording Company). It was also at this time that the name "The Apples" came about, inspired by the Pink Floyd song "Apples and Oranges". The earliest incarnation of the band began to form in 1992 upon Schneider's return to Denver, first between Schneider and Parfitt, both of whom played guitar. The two recruited McIntyre and Sidney during the autumn of that year, practicing material through the winter. Their first few live shows took place the following January, many of which were with the band Felt Pilotes. From February to April 1993, the band recorded their debut 7" EP, Tidal Wave, and released it in June as the first record ever to bear the Elephant 6 logo.
Q: How did The Apples come about?
A: Mangum. He discussed the idea of starting a record label with them (which soon became The Elephant 6 Recording Company).
Q: Who did he discuss the idea with?
A: Schneider then spent two weeks in Athens, Georgia recording music and spending time with his childhood friends Will Cullen Hart, Bill Doss and Jeff Mangum.
|
C_00ffbf24a3be472e87cfcd1e2dd6bba5_1_q#2
|
Where did they get the name The Apples?
| 2m
| 2x
|
{
"texts": [
"It was also at this time that the name \"The Apples\" came about, inspired by the Pink Floyd song \"Apples and Oranges\"."
],
"answer_starts": [
1263
]
}
|
{
"text": "It was also at this time that the name \"The Apples\" came about, inspired by the Pink Floyd song \"Apples and Oranges\".",
"answer_start": 1263
}
|
C_00ffbf24a3be472e87cfcd1e2dd6bba5_1
|
The Apples in Stereo
|
The Apples in Stereo, styled as The Apples in stereo, are an American rock band associated with Elephant Six Collective, a group of bands also including Neutral Milk Hotel and The Olivia Tremor Control. The band is largely a product of lead vocalist/guitarist/producer Robert Schneider, who writes the majority of the band's music and lyrics. Currently, The Apples in Stereo also includes longstanding members John Hill (rhythm guitar) and Eric Allen (bass), as well as more recent members John Dufilho (drums), John Ferguson (keyboards), and Ben Phelan (keyboards/guitar/trumpet). The band's sound draws comparisons to the psychedelic rock of The Beatles and The Beach Boys during the 1960s, as well as to bands such as Electric Light Orchestra and Pavement, and also draws from lo-fi, garage rock, new wave, R&B, bubblegum pop, power pop, punk, electro-pop and experimental music.
|
1991-1993: The Apples
|
In late 1991, Robert Schneider met Jim McIntyre on a commuter bus in Denver, Colorado. Schneider had recently moved to Colorado from Ruston, Louisiana, and often initiated conversations with McIntyre. When Schneider asked McIntyre what his music interests were, McIntyre named his favorite band: The Beach Boys -- a band Schneider was particularly fond of. Realizing that they shared many musical interests, McIntyre introduced Schneider to Hilarie Sidney. McIntyre already had a band called Von Hemmling in which McIntyre played bass and Sidney played drums. With Schneider, they discussed the idea of starting a band and perhaps a recording label. Schneider later met Chris Parfitt, who was also already in a band at the time that Schneider unsuccessfully auditioned for on bass. Schneider and Parfitt also became friends, however, and toyed with the idea of having a rock band similar to The Velvet Underground or Black Sabbath, with production qualities similar to that of The Beach Boys. Schneider then spent two weeks in Athens, Georgia recording music and spending time with his childhood friends Will Cullen Hart, Bill Doss and Jeff Mangum. He discussed the idea of starting a record label with them (which soon became The Elephant 6 Recording Company). It was also at this time that the name "The Apples" came about, inspired by the Pink Floyd song "Apples and Oranges". The earliest incarnation of the band began to form in 1992 upon Schneider's return to Denver, first between Schneider and Parfitt, both of whom played guitar. The two recruited McIntyre and Sidney during the autumn of that year, practicing material through the winter. Their first few live shows took place the following January, many of which were with the band Felt Pilotes. From February to April 1993, the band recorded their debut 7" EP, Tidal Wave, and released it in June as the first record ever to bear the Elephant 6 logo.
Q: How did The Apples come about?
A: Mangum. He discussed the idea of starting a record label with them (which soon became The Elephant 6 Recording Company).
Q: Who did he discuss the idea with?
A: Schneider then spent two weeks in Athens, Georgia recording music and spending time with his childhood friends Will Cullen Hart, Bill Doss and Jeff Mangum.
Q: Where did they get the name The Apples?
A: It was also at this time that the name "The Apples" came about, inspired by the Pink Floyd song "Apples and Oranges".
|
C_00ffbf24a3be472e87cfcd1e2dd6bba5_1_q#3
|
When did the band start working together?
| 2m
| 0y
|
{
"texts": [
"The earliest incarnation of the band began to form in 1992"
],
"answer_starts": [
1382
]
}
|
{
"text": "The earliest incarnation of the band began to form in 1992",
"answer_start": 1382
}
|
C_00ffbf24a3be472e87cfcd1e2dd6bba5_1
|
The Apples in Stereo
|
The Apples in Stereo, styled as The Apples in stereo, are an American rock band associated with Elephant Six Collective, a group of bands also including Neutral Milk Hotel and The Olivia Tremor Control. The band is largely a product of lead vocalist/guitarist/producer Robert Schneider, who writes the majority of the band's music and lyrics. Currently, The Apples in Stereo also includes longstanding members John Hill (rhythm guitar) and Eric Allen (bass), as well as more recent members John Dufilho (drums), John Ferguson (keyboards), and Ben Phelan (keyboards/guitar/trumpet). The band's sound draws comparisons to the psychedelic rock of The Beatles and The Beach Boys during the 1960s, as well as to bands such as Electric Light Orchestra and Pavement, and also draws from lo-fi, garage rock, new wave, R&B, bubblegum pop, power pop, punk, electro-pop and experimental music.
|
1991-1993: The Apples
|
In late 1991, Robert Schneider met Jim McIntyre on a commuter bus in Denver, Colorado. Schneider had recently moved to Colorado from Ruston, Louisiana, and often initiated conversations with McIntyre. When Schneider asked McIntyre what his music interests were, McIntyre named his favorite band: The Beach Boys -- a band Schneider was particularly fond of. Realizing that they shared many musical interests, McIntyre introduced Schneider to Hilarie Sidney. McIntyre already had a band called Von Hemmling in which McIntyre played bass and Sidney played drums. With Schneider, they discussed the idea of starting a band and perhaps a recording label. Schneider later met Chris Parfitt, who was also already in a band at the time that Schneider unsuccessfully auditioned for on bass. Schneider and Parfitt also became friends, however, and toyed with the idea of having a rock band similar to The Velvet Underground or Black Sabbath, with production qualities similar to that of The Beach Boys. Schneider then spent two weeks in Athens, Georgia recording music and spending time with his childhood friends Will Cullen Hart, Bill Doss and Jeff Mangum. He discussed the idea of starting a record label with them (which soon became The Elephant 6 Recording Company). It was also at this time that the name "The Apples" came about, inspired by the Pink Floyd song "Apples and Oranges". The earliest incarnation of the band began to form in 1992 upon Schneider's return to Denver, first between Schneider and Parfitt, both of whom played guitar. The two recruited McIntyre and Sidney during the autumn of that year, practicing material through the winter. Their first few live shows took place the following January, many of which were with the band Felt Pilotes. From February to April 1993, the band recorded their debut 7" EP, Tidal Wave, and released it in June as the first record ever to bear the Elephant 6 logo.
Q: How did The Apples come about?
A: Mangum. He discussed the idea of starting a record label with them (which soon became The Elephant 6 Recording Company).
Q: Who did he discuss the idea with?
A: Schneider then spent two weeks in Athens, Georgia recording music and spending time with his childhood friends Will Cullen Hart, Bill Doss and Jeff Mangum.
Q: Where did they get the name The Apples?
A: It was also at this time that the name "The Apples" came about, inspired by the Pink Floyd song "Apples and Oranges".
Q: When did the band start working together?
A: The earliest incarnation of the band began to form in 1992
|
C_00ffbf24a3be472e87cfcd1e2dd6bba5_1_q#4
|
Who were the band members?
| 0y
| 2x
|
{
"texts": [
"first between Schneider and Parfitt,"
],
"answer_starts": [
1476
]
}
|
{
"text": "first between Schneider and Parfitt,",
"answer_start": 1476
}
|
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