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dict |
|---|---|---|---|---|---|---|---|---|---|---|
C_d12c63824d724f908e4c7e8e66b6c146_1
|
Ron \Pigpen\" McKernan"
|
Ronald Charles McKernan (September 8, 1945 - March 8, 1973), known as Pigpen, was an American singer and musician. He was a founding member of the San Francisco band the Grateful Dead and played in the group from 1965 to 1972. McKernan grew up heavily influenced by African-American music, particularly the blues, and enjoyed listening to his father's collection of records and taught himself how to play harmonica and piano. He began socializing around the San Francisco Bay Area, becoming friends with Jerry Garcia.
|
Grateful Dead
|
Along with Garcia and second guitarist Bob Weir, McKernan was a participant in the predecessor groups leading to the formation of the Grateful Dead, beginning with the Zodiacs and Mother McCree's Uptown Jug Champions. Drummer Bill Kreutzmann was added and the band evolved into the Warlocks. Around 1965, McKernan urged the rest of the Warlocks to switch to electric instruments. Bassist Phil Lesh joined soon after, and they became the Grateful Dead. The group were keen to involve McKernan in the band, as he was the group's original leader and was considered the best singer and frontman. The Dead's early sets centered around blues and R&B covers chosen by McKernan. By the end of 1966, Garcia had improved his musical skills and wanted to assert himself more as a leader and musical director, changing the band's direction and reducing McKernan's contributions. In 1967, drummer Mickey Hart joined the Grateful Dead, followed by classically trained keyboardist Tom Constanten in 1968, further changing the group's style. Constanten often replaced McKernan on keyboards in the studio, as McKernan found it difficult to adapt to the new material that Garcia and Lesh composed for the band. In October 1968, McKernan and Weir were nearly fired from the band after Garcia and Lesh believed their playing was holding the band back from lengthy and experimental jamming. Garcia delegated the task of firing them to Rock Scully, who said that McKernan "took it hard." Weir promised to improve, but McKernan was more stubborn. According to Garcia biographer Blair Jackson, McKernan missed three Dead shows before vowing not to "be lazy" any more and rejoining, while Kreutzmann objected to replacing McKernan and said the event never happened. Following his discharge from the United States Air Force in November 1968, Constanten officially joined the band, having only worked in the studio while on leave up to that point. Road manager Jon McIntire commented that "Pigpen was relegated to the congas at that point and it was really humiliating and he was really hurt, but he couldn't show it, couldn't talk about it." He began to take Hammond organ lessons and learned how to use the various drawbars and controls. After Constanten's departure in January 1970 over musical and lifestyle differences, McKernan nominally resumed keyboard duties. He contributed instrumentation to only two tracks (Hammond organ on "Black Peter" and harmonica on "Easy Wind", the latter as lead vocalist) on Workingman's Dead (1970), the band's breakthrough studio release. On the follow-up album American Beauty, keyboard parts were handled by Garcia and Lesh, along with session musicians Howard Wales and Ned Lagin. The 1971 live album Grateful Dead featured three overdubbed organ parts from Merl Saunders in addition to McKernan's contributions on "Big Railroad Blues", "The Other One", and "Me & Bobby McGee". While Garcia expressed frustration at McKernan's missed rehearsals and his inability to keep up with new material, Lesh was more forgiving, opining that "it was okay for Pigpen to lay out... we kept wanting Pigpen to be there because he was 'one of us.'"
|
C_d12c63824d724f908e4c7e8e66b6c146_1_q#0
|
What was special about the grateful dead?
| 0y
| 2x
|
{
"texts": [
"The Dead's early sets centered around blues and R&B covers chosen by McKernan. By the end of 1966,"
],
"answer_starts": [
593
]
}
|
{
"text": "The Dead's early sets centered around blues and R&B covers chosen by McKernan. By the end of 1966,",
"answer_start": 593
}
|
C_d12c63824d724f908e4c7e8e66b6c146_1
|
Ron \Pigpen\" McKernan"
|
Ronald Charles McKernan (September 8, 1945 - March 8, 1973), known as Pigpen, was an American singer and musician. He was a founding member of the San Francisco band the Grateful Dead and played in the group from 1965 to 1972. McKernan grew up heavily influenced by African-American music, particularly the blues, and enjoyed listening to his father's collection of records and taught himself how to play harmonica and piano. He began socializing around the San Francisco Bay Area, becoming friends with Jerry Garcia.
|
Grateful Dead
|
Along with Garcia and second guitarist Bob Weir, McKernan was a participant in the predecessor groups leading to the formation of the Grateful Dead, beginning with the Zodiacs and Mother McCree's Uptown Jug Champions. Drummer Bill Kreutzmann was added and the band evolved into the Warlocks. Around 1965, McKernan urged the rest of the Warlocks to switch to electric instruments. Bassist Phil Lesh joined soon after, and they became the Grateful Dead. The group were keen to involve McKernan in the band, as he was the group's original leader and was considered the best singer and frontman. The Dead's early sets centered around blues and R&B covers chosen by McKernan. By the end of 1966, Garcia had improved his musical skills and wanted to assert himself more as a leader and musical director, changing the band's direction and reducing McKernan's contributions. In 1967, drummer Mickey Hart joined the Grateful Dead, followed by classically trained keyboardist Tom Constanten in 1968, further changing the group's style. Constanten often replaced McKernan on keyboards in the studio, as McKernan found it difficult to adapt to the new material that Garcia and Lesh composed for the band. In October 1968, McKernan and Weir were nearly fired from the band after Garcia and Lesh believed their playing was holding the band back from lengthy and experimental jamming. Garcia delegated the task of firing them to Rock Scully, who said that McKernan "took it hard." Weir promised to improve, but McKernan was more stubborn. According to Garcia biographer Blair Jackson, McKernan missed three Dead shows before vowing not to "be lazy" any more and rejoining, while Kreutzmann objected to replacing McKernan and said the event never happened. Following his discharge from the United States Air Force in November 1968, Constanten officially joined the band, having only worked in the studio while on leave up to that point. Road manager Jon McIntire commented that "Pigpen was relegated to the congas at that point and it was really humiliating and he was really hurt, but he couldn't show it, couldn't talk about it." He began to take Hammond organ lessons and learned how to use the various drawbars and controls. After Constanten's departure in January 1970 over musical and lifestyle differences, McKernan nominally resumed keyboard duties. He contributed instrumentation to only two tracks (Hammond organ on "Black Peter" and harmonica on "Easy Wind", the latter as lead vocalist) on Workingman's Dead (1970), the band's breakthrough studio release. On the follow-up album American Beauty, keyboard parts were handled by Garcia and Lesh, along with session musicians Howard Wales and Ned Lagin. The 1971 live album Grateful Dead featured three overdubbed organ parts from Merl Saunders in addition to McKernan's contributions on "Big Railroad Blues", "The Other One", and "Me & Bobby McGee". While Garcia expressed frustration at McKernan's missed rehearsals and his inability to keep up with new material, Lesh was more forgiving, opining that "it was okay for Pigpen to lay out... we kept wanting Pigpen to be there because he was 'one of us.'"
Q: What was special about the grateful dead?
A: The Dead's early sets centered around blues and R&B covers chosen by McKernan. By the end of 1966,
|
C_d12c63824d724f908e4c7e8e66b6c146_1_q#1
|
what happened in 1966?
| 0y
| 2x
|
{
"texts": [
"the end of 1966, Garcia had improved his musical skills and wanted to assert himself more as a leader and musical director,"
],
"answer_starts": [
675
]
}
|
{
"text": "the end of 1966, Garcia had improved his musical skills and wanted to assert himself more as a leader and musical director,",
"answer_start": 675
}
|
C_d12c63824d724f908e4c7e8e66b6c146_1
|
Ron \Pigpen\" McKernan"
|
Ronald Charles McKernan (September 8, 1945 - March 8, 1973), known as Pigpen, was an American singer and musician. He was a founding member of the San Francisco band the Grateful Dead and played in the group from 1965 to 1972. McKernan grew up heavily influenced by African-American music, particularly the blues, and enjoyed listening to his father's collection of records and taught himself how to play harmonica and piano. He began socializing around the San Francisco Bay Area, becoming friends with Jerry Garcia.
|
Grateful Dead
|
Along with Garcia and second guitarist Bob Weir, McKernan was a participant in the predecessor groups leading to the formation of the Grateful Dead, beginning with the Zodiacs and Mother McCree's Uptown Jug Champions. Drummer Bill Kreutzmann was added and the band evolved into the Warlocks. Around 1965, McKernan urged the rest of the Warlocks to switch to electric instruments. Bassist Phil Lesh joined soon after, and they became the Grateful Dead. The group were keen to involve McKernan in the band, as he was the group's original leader and was considered the best singer and frontman. The Dead's early sets centered around blues and R&B covers chosen by McKernan. By the end of 1966, Garcia had improved his musical skills and wanted to assert himself more as a leader and musical director, changing the band's direction and reducing McKernan's contributions. In 1967, drummer Mickey Hart joined the Grateful Dead, followed by classically trained keyboardist Tom Constanten in 1968, further changing the group's style. Constanten often replaced McKernan on keyboards in the studio, as McKernan found it difficult to adapt to the new material that Garcia and Lesh composed for the band. In October 1968, McKernan and Weir were nearly fired from the band after Garcia and Lesh believed their playing was holding the band back from lengthy and experimental jamming. Garcia delegated the task of firing them to Rock Scully, who said that McKernan "took it hard." Weir promised to improve, but McKernan was more stubborn. According to Garcia biographer Blair Jackson, McKernan missed three Dead shows before vowing not to "be lazy" any more and rejoining, while Kreutzmann objected to replacing McKernan and said the event never happened. Following his discharge from the United States Air Force in November 1968, Constanten officially joined the band, having only worked in the studio while on leave up to that point. Road manager Jon McIntire commented that "Pigpen was relegated to the congas at that point and it was really humiliating and he was really hurt, but he couldn't show it, couldn't talk about it." He began to take Hammond organ lessons and learned how to use the various drawbars and controls. After Constanten's departure in January 1970 over musical and lifestyle differences, McKernan nominally resumed keyboard duties. He contributed instrumentation to only two tracks (Hammond organ on "Black Peter" and harmonica on "Easy Wind", the latter as lead vocalist) on Workingman's Dead (1970), the band's breakthrough studio release. On the follow-up album American Beauty, keyboard parts were handled by Garcia and Lesh, along with session musicians Howard Wales and Ned Lagin. The 1971 live album Grateful Dead featured three overdubbed organ parts from Merl Saunders in addition to McKernan's contributions on "Big Railroad Blues", "The Other One", and "Me & Bobby McGee". While Garcia expressed frustration at McKernan's missed rehearsals and his inability to keep up with new material, Lesh was more forgiving, opining that "it was okay for Pigpen to lay out... we kept wanting Pigpen to be there because he was 'one of us.'"
Q: What was special about the grateful dead?
A: The Dead's early sets centered around blues and R&B covers chosen by McKernan. By the end of 1966,
Q: what happened in 1966?
A: the end of 1966, Garcia had improved his musical skills and wanted to assert himself more as a leader and musical director,
|
C_d12c63824d724f908e4c7e8e66b6c146_1_q#2
|
leader of what?
| 0y
| 2x
|
{
"texts": [
"and musical director, changing the band's direction and reducing McKernan's contributions."
],
"answer_starts": [
777
]
}
|
{
"text": "and musical director, changing the band's direction and reducing McKernan's contributions.",
"answer_start": 777
}
|
C_d12c63824d724f908e4c7e8e66b6c146_1
|
Ron \Pigpen\" McKernan"
|
Ronald Charles McKernan (September 8, 1945 - March 8, 1973), known as Pigpen, was an American singer and musician. He was a founding member of the San Francisco band the Grateful Dead and played in the group from 1965 to 1972. McKernan grew up heavily influenced by African-American music, particularly the blues, and enjoyed listening to his father's collection of records and taught himself how to play harmonica and piano. He began socializing around the San Francisco Bay Area, becoming friends with Jerry Garcia.
|
Grateful Dead
|
Along with Garcia and second guitarist Bob Weir, McKernan was a participant in the predecessor groups leading to the formation of the Grateful Dead, beginning with the Zodiacs and Mother McCree's Uptown Jug Champions. Drummer Bill Kreutzmann was added and the band evolved into the Warlocks. Around 1965, McKernan urged the rest of the Warlocks to switch to electric instruments. Bassist Phil Lesh joined soon after, and they became the Grateful Dead. The group were keen to involve McKernan in the band, as he was the group's original leader and was considered the best singer and frontman. The Dead's early sets centered around blues and R&B covers chosen by McKernan. By the end of 1966, Garcia had improved his musical skills and wanted to assert himself more as a leader and musical director, changing the band's direction and reducing McKernan's contributions. In 1967, drummer Mickey Hart joined the Grateful Dead, followed by classically trained keyboardist Tom Constanten in 1968, further changing the group's style. Constanten often replaced McKernan on keyboards in the studio, as McKernan found it difficult to adapt to the new material that Garcia and Lesh composed for the band. In October 1968, McKernan and Weir were nearly fired from the band after Garcia and Lesh believed their playing was holding the band back from lengthy and experimental jamming. Garcia delegated the task of firing them to Rock Scully, who said that McKernan "took it hard." Weir promised to improve, but McKernan was more stubborn. According to Garcia biographer Blair Jackson, McKernan missed three Dead shows before vowing not to "be lazy" any more and rejoining, while Kreutzmann objected to replacing McKernan and said the event never happened. Following his discharge from the United States Air Force in November 1968, Constanten officially joined the band, having only worked in the studio while on leave up to that point. Road manager Jon McIntire commented that "Pigpen was relegated to the congas at that point and it was really humiliating and he was really hurt, but he couldn't show it, couldn't talk about it." He began to take Hammond organ lessons and learned how to use the various drawbars and controls. After Constanten's departure in January 1970 over musical and lifestyle differences, McKernan nominally resumed keyboard duties. He contributed instrumentation to only two tracks (Hammond organ on "Black Peter" and harmonica on "Easy Wind", the latter as lead vocalist) on Workingman's Dead (1970), the band's breakthrough studio release. On the follow-up album American Beauty, keyboard parts were handled by Garcia and Lesh, along with session musicians Howard Wales and Ned Lagin. The 1971 live album Grateful Dead featured three overdubbed organ parts from Merl Saunders in addition to McKernan's contributions on "Big Railroad Blues", "The Other One", and "Me & Bobby McGee". While Garcia expressed frustration at McKernan's missed rehearsals and his inability to keep up with new material, Lesh was more forgiving, opining that "it was okay for Pigpen to lay out... we kept wanting Pigpen to be there because he was 'one of us.'"
Q: What was special about the grateful dead?
A: The Dead's early sets centered around blues and R&B covers chosen by McKernan. By the end of 1966,
Q: what happened in 1966?
A: the end of 1966, Garcia had improved his musical skills and wanted to assert himself more as a leader and musical director,
Q: leader of what?
A: and musical director, changing the band's direction and reducing McKernan's contributions.
|
C_d12c63824d724f908e4c7e8e66b6c146_1_q#3
|
how did he change the direction
| 0y
| 2x
|
{
"texts": [
"contributions. In 1967, drummer Mickey Hart joined the Grateful Dead, followed by classically trained keyboardist Tom Constanten in 1968,"
],
"answer_starts": [
853
]
}
|
{
"text": "contributions. In 1967, drummer Mickey Hart joined the Grateful Dead, followed by classically trained keyboardist Tom Constanten in 1968,",
"answer_start": 853
}
|
C_d12c63824d724f908e4c7e8e66b6c146_1
|
Ron \Pigpen\" McKernan"
|
Ronald Charles McKernan (September 8, 1945 - March 8, 1973), known as Pigpen, was an American singer and musician. He was a founding member of the San Francisco band the Grateful Dead and played in the group from 1965 to 1972. McKernan grew up heavily influenced by African-American music, particularly the blues, and enjoyed listening to his father's collection of records and taught himself how to play harmonica and piano. He began socializing around the San Francisco Bay Area, becoming friends with Jerry Garcia.
|
Grateful Dead
|
Along with Garcia and second guitarist Bob Weir, McKernan was a participant in the predecessor groups leading to the formation of the Grateful Dead, beginning with the Zodiacs and Mother McCree's Uptown Jug Champions. Drummer Bill Kreutzmann was added and the band evolved into the Warlocks. Around 1965, McKernan urged the rest of the Warlocks to switch to electric instruments. Bassist Phil Lesh joined soon after, and they became the Grateful Dead. The group were keen to involve McKernan in the band, as he was the group's original leader and was considered the best singer and frontman. The Dead's early sets centered around blues and R&B covers chosen by McKernan. By the end of 1966, Garcia had improved his musical skills and wanted to assert himself more as a leader and musical director, changing the band's direction and reducing McKernan's contributions. In 1967, drummer Mickey Hart joined the Grateful Dead, followed by classically trained keyboardist Tom Constanten in 1968, further changing the group's style. Constanten often replaced McKernan on keyboards in the studio, as McKernan found it difficult to adapt to the new material that Garcia and Lesh composed for the band. In October 1968, McKernan and Weir were nearly fired from the band after Garcia and Lesh believed their playing was holding the band back from lengthy and experimental jamming. Garcia delegated the task of firing them to Rock Scully, who said that McKernan "took it hard." Weir promised to improve, but McKernan was more stubborn. According to Garcia biographer Blair Jackson, McKernan missed three Dead shows before vowing not to "be lazy" any more and rejoining, while Kreutzmann objected to replacing McKernan and said the event never happened. Following his discharge from the United States Air Force in November 1968, Constanten officially joined the band, having only worked in the studio while on leave up to that point. Road manager Jon McIntire commented that "Pigpen was relegated to the congas at that point and it was really humiliating and he was really hurt, but he couldn't show it, couldn't talk about it." He began to take Hammond organ lessons and learned how to use the various drawbars and controls. After Constanten's departure in January 1970 over musical and lifestyle differences, McKernan nominally resumed keyboard duties. He contributed instrumentation to only two tracks (Hammond organ on "Black Peter" and harmonica on "Easy Wind", the latter as lead vocalist) on Workingman's Dead (1970), the band's breakthrough studio release. On the follow-up album American Beauty, keyboard parts were handled by Garcia and Lesh, along with session musicians Howard Wales and Ned Lagin. The 1971 live album Grateful Dead featured three overdubbed organ parts from Merl Saunders in addition to McKernan's contributions on "Big Railroad Blues", "The Other One", and "Me & Bobby McGee". While Garcia expressed frustration at McKernan's missed rehearsals and his inability to keep up with new material, Lesh was more forgiving, opining that "it was okay for Pigpen to lay out... we kept wanting Pigpen to be there because he was 'one of us.'"
Q: What was special about the grateful dead?
A: The Dead's early sets centered around blues and R&B covers chosen by McKernan. By the end of 1966,
Q: what happened in 1966?
A: the end of 1966, Garcia had improved his musical skills and wanted to assert himself more as a leader and musical director,
Q: leader of what?
A: and musical director, changing the band's direction and reducing McKernan's contributions.
Q: how did he change the direction
A: contributions. In 1967, drummer Mickey Hart joined the Grateful Dead, followed by classically trained keyboardist Tom Constanten in 1968,
|
C_d12c63824d724f908e4c7e8e66b6c146_1_q#4
|
Are there any other interesting aspects about this article?
| 0y
| 0y
|
{
"texts": [
"In October 1968, McKernan and Weir were nearly fired from the band"
],
"answer_starts": [
1193
]
}
|
{
"text": " In October 1968, McKernan and Weir were nearly fired from the band",
"answer_start": 1193
}
|
C_d12c63824d724f908e4c7e8e66b6c146_1
|
Ron \Pigpen\" McKernan"
|
Ronald Charles McKernan (September 8, 1945 - March 8, 1973), known as Pigpen, was an American singer and musician. He was a founding member of the San Francisco band the Grateful Dead and played in the group from 1965 to 1972. McKernan grew up heavily influenced by African-American music, particularly the blues, and enjoyed listening to his father's collection of records and taught himself how to play harmonica and piano. He began socializing around the San Francisco Bay Area, becoming friends with Jerry Garcia.
|
Grateful Dead
|
Along with Garcia and second guitarist Bob Weir, McKernan was a participant in the predecessor groups leading to the formation of the Grateful Dead, beginning with the Zodiacs and Mother McCree's Uptown Jug Champions. Drummer Bill Kreutzmann was added and the band evolved into the Warlocks. Around 1965, McKernan urged the rest of the Warlocks to switch to electric instruments. Bassist Phil Lesh joined soon after, and they became the Grateful Dead. The group were keen to involve McKernan in the band, as he was the group's original leader and was considered the best singer and frontman. The Dead's early sets centered around blues and R&B covers chosen by McKernan. By the end of 1966, Garcia had improved his musical skills and wanted to assert himself more as a leader and musical director, changing the band's direction and reducing McKernan's contributions. In 1967, drummer Mickey Hart joined the Grateful Dead, followed by classically trained keyboardist Tom Constanten in 1968, further changing the group's style. Constanten often replaced McKernan on keyboards in the studio, as McKernan found it difficult to adapt to the new material that Garcia and Lesh composed for the band. In October 1968, McKernan and Weir were nearly fired from the band after Garcia and Lesh believed their playing was holding the band back from lengthy and experimental jamming. Garcia delegated the task of firing them to Rock Scully, who said that McKernan "took it hard." Weir promised to improve, but McKernan was more stubborn. According to Garcia biographer Blair Jackson, McKernan missed three Dead shows before vowing not to "be lazy" any more and rejoining, while Kreutzmann objected to replacing McKernan and said the event never happened. Following his discharge from the United States Air Force in November 1968, Constanten officially joined the band, having only worked in the studio while on leave up to that point. Road manager Jon McIntire commented that "Pigpen was relegated to the congas at that point and it was really humiliating and he was really hurt, but he couldn't show it, couldn't talk about it." He began to take Hammond organ lessons and learned how to use the various drawbars and controls. After Constanten's departure in January 1970 over musical and lifestyle differences, McKernan nominally resumed keyboard duties. He contributed instrumentation to only two tracks (Hammond organ on "Black Peter" and harmonica on "Easy Wind", the latter as lead vocalist) on Workingman's Dead (1970), the band's breakthrough studio release. On the follow-up album American Beauty, keyboard parts were handled by Garcia and Lesh, along with session musicians Howard Wales and Ned Lagin. The 1971 live album Grateful Dead featured three overdubbed organ parts from Merl Saunders in addition to McKernan's contributions on "Big Railroad Blues", "The Other One", and "Me & Bobby McGee". While Garcia expressed frustration at McKernan's missed rehearsals and his inability to keep up with new material, Lesh was more forgiving, opining that "it was okay for Pigpen to lay out... we kept wanting Pigpen to be there because he was 'one of us.'"
Q: What was special about the grateful dead?
A: The Dead's early sets centered around blues and R&B covers chosen by McKernan. By the end of 1966,
Q: what happened in 1966?
A: the end of 1966, Garcia had improved his musical skills and wanted to assert himself more as a leader and musical director,
Q: leader of what?
A: and musical director, changing the band's direction and reducing McKernan's contributions.
Q: how did he change the direction
A: contributions. In 1967, drummer Mickey Hart joined the Grateful Dead, followed by classically trained keyboardist Tom Constanten in 1968,
Q: Are there any other interesting aspects about this article?
A: In October 1968, McKernan and Weir were nearly fired from the band
|
C_d12c63824d724f908e4c7e8e66b6c146_1_q#5
|
why were they nearly fired?
| 0y
| 2x
|
{
"texts": [
"Garcia and Lesh believed their playing was holding the band back from lengthy and experimental jamming."
],
"answer_starts": [
1268
]
}
|
{
"text": "Garcia and Lesh believed their playing was holding the band back from lengthy and experimental jamming.",
"answer_start": 1268
}
|
C_d12c63824d724f908e4c7e8e66b6c146_0
|
Ron \Pigpen\" McKernan"
|
Ronald Charles McKernan (September 8, 1945 - March 8, 1973), known as Pigpen, was an American singer and musician. He was a founding member of the San Francisco band the Grateful Dead and played in the group from 1965 to 1972. McKernan grew up heavily influenced by African-American music, particularly the blues, and enjoyed listening to his father's collection of records and taught himself how to play harmonica and piano. He began socializing around the San Francisco Bay Area, becoming friends with Jerry Garcia.
|
Personal life
|
McKernan was close friends with American singer-songwriter Janis Joplin due to common musical influences and lifestyles, particularly a shared love of alcohol over other drugs; a poster from the early 1970s showed them together at 710 Ashbury. Joplin joined McKernan on stage at the Fillmore West on June 7, 1969, with the Grateful Dead to sing his signature "Turn On Your Love Light," reprising this duet on July 16, 1970, at the Euphoria Ballroom in San Rafael, California. He developed a close friendship with fellow keyboardist Tom Constanten based on their mutual aversion to psychedelics and eventually served as best man at Constanten's first wedding. While his bandmates and friends were using cannabis, LSD, and other hallucinogenic drugs, McKernan preferred alcoholic beverages such as Thunderbird and Southern Comfort. Ironically, McKernan was arrested and fined after the cannabis bust on November 9, 1967, at 710 Ashbury Street, the Dead's communal home, even though he did not use the drug. The event was covered in the first issue of Rolling Stone, where the reporter noted McKernan had a substantial rifle collection and McKernan's picture appeared on a contemporary report in the San Francisco Chronicle. Because neither took illegal drugs, McKernan and Constanten were the only members of the band not arrested on the January 31, 1970, bust that inspired the lyrics of the band's song "Truckin'". In the early years of the Grateful Dead, McKernan was easily recognisable by his biker image, making him a minor celebrity. In 1969, the band's record company, Warner Bros., ran a "Pigpen Look-Alike Contest".
|
C_d12c63824d724f908e4c7e8e66b6c146_0_q#0
|
what year was he born
| 1n
| 2x
|
{
"texts": [
"unknown"
],
"answer_starts": [
1626
]
}
|
{
"text": "unknown",
"answer_start": 1626
}
|
C_d12c63824d724f908e4c7e8e66b6c146_0
|
Ron \Pigpen\" McKernan"
|
Ronald Charles McKernan (September 8, 1945 - March 8, 1973), known as Pigpen, was an American singer and musician. He was a founding member of the San Francisco band the Grateful Dead and played in the group from 1965 to 1972. McKernan grew up heavily influenced by African-American music, particularly the blues, and enjoyed listening to his father's collection of records and taught himself how to play harmonica and piano. He began socializing around the San Francisco Bay Area, becoming friends with Jerry Garcia.
|
Personal life
|
McKernan was close friends with American singer-songwriter Janis Joplin due to common musical influences and lifestyles, particularly a shared love of alcohol over other drugs; a poster from the early 1970s showed them together at 710 Ashbury. Joplin joined McKernan on stage at the Fillmore West on June 7, 1969, with the Grateful Dead to sing his signature "Turn On Your Love Light," reprising this duet on July 16, 1970, at the Euphoria Ballroom in San Rafael, California. He developed a close friendship with fellow keyboardist Tom Constanten based on their mutual aversion to psychedelics and eventually served as best man at Constanten's first wedding. While his bandmates and friends were using cannabis, LSD, and other hallucinogenic drugs, McKernan preferred alcoholic beverages such as Thunderbird and Southern Comfort. Ironically, McKernan was arrested and fined after the cannabis bust on November 9, 1967, at 710 Ashbury Street, the Dead's communal home, even though he did not use the drug. The event was covered in the first issue of Rolling Stone, where the reporter noted McKernan had a substantial rifle collection and McKernan's picture appeared on a contemporary report in the San Francisco Chronicle. Because neither took illegal drugs, McKernan and Constanten were the only members of the band not arrested on the January 31, 1970, bust that inspired the lyrics of the band's song "Truckin'". In the early years of the Grateful Dead, McKernan was easily recognisable by his biker image, making him a minor celebrity. In 1969, the band's record company, Warner Bros., ran a "Pigpen Look-Alike Contest".
Q: what year was he born
A: unknown
|
C_d12c63824d724f908e4c7e8e66b6c146_0_q#1
|
Are there any other interesting aspects about this article?
| 0y
| 0y
|
{
"texts": [
"He developed a close friendship with fellow keyboardist Tom Constanten based on their mutual aversion to psychedelics and"
],
"answer_starts": [
477
]
}
|
{
"text": "He developed a close friendship with fellow keyboardist Tom Constanten based on their mutual aversion to psychedelics and",
"answer_start": 477
}
|
C_d12c63824d724f908e4c7e8e66b6c146_0
|
Ron \Pigpen\" McKernan"
|
Ronald Charles McKernan (September 8, 1945 - March 8, 1973), known as Pigpen, was an American singer and musician. He was a founding member of the San Francisco band the Grateful Dead and played in the group from 1965 to 1972. McKernan grew up heavily influenced by African-American music, particularly the blues, and enjoyed listening to his father's collection of records and taught himself how to play harmonica and piano. He began socializing around the San Francisco Bay Area, becoming friends with Jerry Garcia.
|
Personal life
|
McKernan was close friends with American singer-songwriter Janis Joplin due to common musical influences and lifestyles, particularly a shared love of alcohol over other drugs; a poster from the early 1970s showed them together at 710 Ashbury. Joplin joined McKernan on stage at the Fillmore West on June 7, 1969, with the Grateful Dead to sing his signature "Turn On Your Love Light," reprising this duet on July 16, 1970, at the Euphoria Ballroom in San Rafael, California. He developed a close friendship with fellow keyboardist Tom Constanten based on their mutual aversion to psychedelics and eventually served as best man at Constanten's first wedding. While his bandmates and friends were using cannabis, LSD, and other hallucinogenic drugs, McKernan preferred alcoholic beverages such as Thunderbird and Southern Comfort. Ironically, McKernan was arrested and fined after the cannabis bust on November 9, 1967, at 710 Ashbury Street, the Dead's communal home, even though he did not use the drug. The event was covered in the first issue of Rolling Stone, where the reporter noted McKernan had a substantial rifle collection and McKernan's picture appeared on a contemporary report in the San Francisco Chronicle. Because neither took illegal drugs, McKernan and Constanten were the only members of the band not arrested on the January 31, 1970, bust that inspired the lyrics of the band's song "Truckin'". In the early years of the Grateful Dead, McKernan was easily recognisable by his biker image, making him a minor celebrity. In 1969, the band's record company, Warner Bros., ran a "Pigpen Look-Alike Contest".
Q: what year was he born
A: unknown
Q: Are there any other interesting aspects about this article?
A: He developed a close friendship with fellow keyboardist Tom Constanten based on their mutual aversion to psychedelics and
|
C_d12c63824d724f908e4c7e8e66b6c146_0_q#2
|
What happen with the keyboardist
| 0y
| 2x
|
{
"texts": [
"eventually served as best man at Constanten's first wedding."
],
"answer_starts": [
599
]
}
|
{
"text": "eventually served as best man at Constanten's first wedding.",
"answer_start": 599
}
|
C_d12c63824d724f908e4c7e8e66b6c146_0
|
Ron \Pigpen\" McKernan"
|
Ronald Charles McKernan (September 8, 1945 - March 8, 1973), known as Pigpen, was an American singer and musician. He was a founding member of the San Francisco band the Grateful Dead and played in the group from 1965 to 1972. McKernan grew up heavily influenced by African-American music, particularly the blues, and enjoyed listening to his father's collection of records and taught himself how to play harmonica and piano. He began socializing around the San Francisco Bay Area, becoming friends with Jerry Garcia.
|
Personal life
|
McKernan was close friends with American singer-songwriter Janis Joplin due to common musical influences and lifestyles, particularly a shared love of alcohol over other drugs; a poster from the early 1970s showed them together at 710 Ashbury. Joplin joined McKernan on stage at the Fillmore West on June 7, 1969, with the Grateful Dead to sing his signature "Turn On Your Love Light," reprising this duet on July 16, 1970, at the Euphoria Ballroom in San Rafael, California. He developed a close friendship with fellow keyboardist Tom Constanten based on their mutual aversion to psychedelics and eventually served as best man at Constanten's first wedding. While his bandmates and friends were using cannabis, LSD, and other hallucinogenic drugs, McKernan preferred alcoholic beverages such as Thunderbird and Southern Comfort. Ironically, McKernan was arrested and fined after the cannabis bust on November 9, 1967, at 710 Ashbury Street, the Dead's communal home, even though he did not use the drug. The event was covered in the first issue of Rolling Stone, where the reporter noted McKernan had a substantial rifle collection and McKernan's picture appeared on a contemporary report in the San Francisco Chronicle. Because neither took illegal drugs, McKernan and Constanten were the only members of the band not arrested on the January 31, 1970, bust that inspired the lyrics of the band's song "Truckin'". In the early years of the Grateful Dead, McKernan was easily recognisable by his biker image, making him a minor celebrity. In 1969, the band's record company, Warner Bros., ran a "Pigpen Look-Alike Contest".
Q: what year was he born
A: unknown
Q: Are there any other interesting aspects about this article?
A: He developed a close friendship with fellow keyboardist Tom Constanten based on their mutual aversion to psychedelics and
Q: What happen with the keyboardist
A: eventually served as best man at Constanten's first wedding.
|
C_d12c63824d724f908e4c7e8e66b6c146_0_q#3
|
When did he get married
| 1n
| 2x
|
{
"texts": [
"unknown"
],
"answer_starts": [
1626
]
}
|
{
"text": "unknown",
"answer_start": 1626
}
|
C_d12c63824d724f908e4c7e8e66b6c146_0
|
Ron \Pigpen\" McKernan"
|
Ronald Charles McKernan (September 8, 1945 - March 8, 1973), known as Pigpen, was an American singer and musician. He was a founding member of the San Francisco band the Grateful Dead and played in the group from 1965 to 1972. McKernan grew up heavily influenced by African-American music, particularly the blues, and enjoyed listening to his father's collection of records and taught himself how to play harmonica and piano. He began socializing around the San Francisco Bay Area, becoming friends with Jerry Garcia.
|
Personal life
|
McKernan was close friends with American singer-songwriter Janis Joplin due to common musical influences and lifestyles, particularly a shared love of alcohol over other drugs; a poster from the early 1970s showed them together at 710 Ashbury. Joplin joined McKernan on stage at the Fillmore West on June 7, 1969, with the Grateful Dead to sing his signature "Turn On Your Love Light," reprising this duet on July 16, 1970, at the Euphoria Ballroom in San Rafael, California. He developed a close friendship with fellow keyboardist Tom Constanten based on their mutual aversion to psychedelics and eventually served as best man at Constanten's first wedding. While his bandmates and friends were using cannabis, LSD, and other hallucinogenic drugs, McKernan preferred alcoholic beverages such as Thunderbird and Southern Comfort. Ironically, McKernan was arrested and fined after the cannabis bust on November 9, 1967, at 710 Ashbury Street, the Dead's communal home, even though he did not use the drug. The event was covered in the first issue of Rolling Stone, where the reporter noted McKernan had a substantial rifle collection and McKernan's picture appeared on a contemporary report in the San Francisco Chronicle. Because neither took illegal drugs, McKernan and Constanten were the only members of the band not arrested on the January 31, 1970, bust that inspired the lyrics of the band's song "Truckin'". In the early years of the Grateful Dead, McKernan was easily recognisable by his biker image, making him a minor celebrity. In 1969, the band's record company, Warner Bros., ran a "Pigpen Look-Alike Contest".
Q: what year was he born
A: unknown
Q: Are there any other interesting aspects about this article?
A: He developed a close friendship with fellow keyboardist Tom Constanten based on their mutual aversion to psychedelics and
Q: What happen with the keyboardist
A: eventually served as best man at Constanten's first wedding.
Q: When did he get married
A: unknown
|
C_d12c63824d724f908e4c7e8e66b6c146_0_q#4
|
What happen in his personal life
| 0y
| 2x
|
{
"texts": [
"In the early years of the Grateful Dead, McKernan was easily recognisable by his biker image, making him a minor celebrity."
],
"answer_starts": [
1417
]
}
|
{
"text": "In the early years of the Grateful Dead, McKernan was easily recognisable by his biker image, making him a minor celebrity.",
"answer_start": 1417
}
|
C_d12c63824d724f908e4c7e8e66b6c146_0
|
Ron \Pigpen\" McKernan"
|
Ronald Charles McKernan (September 8, 1945 - March 8, 1973), known as Pigpen, was an American singer and musician. He was a founding member of the San Francisco band the Grateful Dead and played in the group from 1965 to 1972. McKernan grew up heavily influenced by African-American music, particularly the blues, and enjoyed listening to his father's collection of records and taught himself how to play harmonica and piano. He began socializing around the San Francisco Bay Area, becoming friends with Jerry Garcia.
|
Personal life
|
McKernan was close friends with American singer-songwriter Janis Joplin due to common musical influences and lifestyles, particularly a shared love of alcohol over other drugs; a poster from the early 1970s showed them together at 710 Ashbury. Joplin joined McKernan on stage at the Fillmore West on June 7, 1969, with the Grateful Dead to sing his signature "Turn On Your Love Light," reprising this duet on July 16, 1970, at the Euphoria Ballroom in San Rafael, California. He developed a close friendship with fellow keyboardist Tom Constanten based on their mutual aversion to psychedelics and eventually served as best man at Constanten's first wedding. While his bandmates and friends were using cannabis, LSD, and other hallucinogenic drugs, McKernan preferred alcoholic beverages such as Thunderbird and Southern Comfort. Ironically, McKernan was arrested and fined after the cannabis bust on November 9, 1967, at 710 Ashbury Street, the Dead's communal home, even though he did not use the drug. The event was covered in the first issue of Rolling Stone, where the reporter noted McKernan had a substantial rifle collection and McKernan's picture appeared on a contemporary report in the San Francisco Chronicle. Because neither took illegal drugs, McKernan and Constanten were the only members of the band not arrested on the January 31, 1970, bust that inspired the lyrics of the band's song "Truckin'". In the early years of the Grateful Dead, McKernan was easily recognisable by his biker image, making him a minor celebrity. In 1969, the band's record company, Warner Bros., ran a "Pigpen Look-Alike Contest".
Q: what year was he born
A: unknown
Q: Are there any other interesting aspects about this article?
A: He developed a close friendship with fellow keyboardist Tom Constanten based on their mutual aversion to psychedelics and
Q: What happen with the keyboardist
A: eventually served as best man at Constanten's first wedding.
Q: When did he get married
A: unknown
Q: What happen in his personal life
A: In the early years of the Grateful Dead, McKernan was easily recognisable by his biker image, making him a minor celebrity.
|
C_d12c63824d724f908e4c7e8e66b6c146_0_q#5
|
What was his biker image
| 0y
| 2x
|
{
"texts": [
"In 1969, the band's record company, Warner Bros., ran a \"Pigpen Look-Alike Contest\"."
],
"answer_starts": [
1541
]
}
|
{
"text": "In 1969, the band's record company, Warner Bros., ran a \"Pigpen Look-Alike Contest\".",
"answer_start": 1541
}
|
C_d12c63824d724f908e4c7e8e66b6c146_0
|
Ron \Pigpen\" McKernan"
|
Ronald Charles McKernan (September 8, 1945 - March 8, 1973), known as Pigpen, was an American singer and musician. He was a founding member of the San Francisco band the Grateful Dead and played in the group from 1965 to 1972. McKernan grew up heavily influenced by African-American music, particularly the blues, and enjoyed listening to his father's collection of records and taught himself how to play harmonica and piano. He began socializing around the San Francisco Bay Area, becoming friends with Jerry Garcia.
|
Personal life
|
McKernan was close friends with American singer-songwriter Janis Joplin due to common musical influences and lifestyles, particularly a shared love of alcohol over other drugs; a poster from the early 1970s showed them together at 710 Ashbury. Joplin joined McKernan on stage at the Fillmore West on June 7, 1969, with the Grateful Dead to sing his signature "Turn On Your Love Light," reprising this duet on July 16, 1970, at the Euphoria Ballroom in San Rafael, California. He developed a close friendship with fellow keyboardist Tom Constanten based on their mutual aversion to psychedelics and eventually served as best man at Constanten's first wedding. While his bandmates and friends were using cannabis, LSD, and other hallucinogenic drugs, McKernan preferred alcoholic beverages such as Thunderbird and Southern Comfort. Ironically, McKernan was arrested and fined after the cannabis bust on November 9, 1967, at 710 Ashbury Street, the Dead's communal home, even though he did not use the drug. The event was covered in the first issue of Rolling Stone, where the reporter noted McKernan had a substantial rifle collection and McKernan's picture appeared on a contemporary report in the San Francisco Chronicle. Because neither took illegal drugs, McKernan and Constanten were the only members of the band not arrested on the January 31, 1970, bust that inspired the lyrics of the band's song "Truckin'". In the early years of the Grateful Dead, McKernan was easily recognisable by his biker image, making him a minor celebrity. In 1969, the band's record company, Warner Bros., ran a "Pigpen Look-Alike Contest".
Q: what year was he born
A: unknown
Q: Are there any other interesting aspects about this article?
A: He developed a close friendship with fellow keyboardist Tom Constanten based on their mutual aversion to psychedelics and
Q: What happen with the keyboardist
A: eventually served as best man at Constanten's first wedding.
Q: When did he get married
A: unknown
Q: What happen in his personal life
A: In the early years of the Grateful Dead, McKernan was easily recognisable by his biker image, making him a minor celebrity.
Q: What was his biker image
A: In 1969, the band's record company, Warner Bros., ran a "Pigpen Look-Alike Contest".
|
C_d12c63824d724f908e4c7e8e66b6c146_0_q#6
|
Who won
| 1n
| 2x
|
{
"texts": [
"unknown"
],
"answer_starts": [
1626
]
}
|
{
"text": "unknown",
"answer_start": 1626
}
|
C_a5fc3bc92b8649a1a58167e416382127_1
|
Joy Division
|
Joy Division were an English post-punk band formed in 1976 in Salford, Greater Manchester. Originally named Warsaw, the band consisted of singer-songwriter Ian Curtis, guitarist and keyboardist Bernard Sumner, bass player Peter Hook and drummer Stephen Morris. The band was formed by Sumner and Hook after attending a 4 June 1976 Sex Pistols concert at the Lesser Free Trade Hall in Manchester. While Joy Division's early recordings were heavily influenced by early punk, they evolved a unique sound, aided by producer Martin Hannett, which earned their reputation as pioneers of the post-punk movement.
|
Formation
|
On 20 July 1976, childhood friends Sumner and Hook separately attended a Sex Pistols show at the Manchester Lesser Free Trade Hall. Both were was inspired by the Pistol's performance. The following day Hook borrowed PS35 from his mother to buy a bass guitar. Sumner said that he felt that they "destroyed the myth of being a pop star, of a musician being some kind of god that you had to worship". They formed a band with Terry Mason, who had also attended the gig. Sumner bought a guitar, and Mason a drum kit. They invited schoolfriend Martin Gresty to join as vocalist, but he turned them down after getting a job at a local factory. An advertisement was placed in the Virgin Records shop in Manchester for a vocalist. Ian Curtis, who knew them from earlier gigs, responded and was hired without audition. Sumner said that he "knew he was all right to get on with and that's what we based the whole group on. If we liked someone, they were in". Buzzcocks manager Richard Boon and frontman Pete Shelley have both been credited with suggesting the band name "Stiff Kittens", but settled on "Warsaw" shortly before their first gig, referencing David Bowie's song "Warszawa". Warsaw debuted on 29 May 1977 at the Electric Circus, supporting the Buzzcocks, Penetration and John Cooper Clarke. They received immediate national exposure due to reviews of the gig in the NME by Paul Morley and in Sounds by Ian Wood. Tony Tabac played drums that night after joining the band two days earlier. Mason was soon made the band's manager and Tabac was replaced on drums in June 1977 by Steve Brotherdale, who also played in the punk band Panik. During his tenure with Warsaw, Brotherdale tried to get Curtis to leave the band and join Panik and even got Curtis to audition for the band. In July 1977, Warsaw recorded a set of five demo tracks at Pennine Sound Studios, Oldham. Uneasy with Brotherdale's aggressive personality, the band fired him soon after the demo sessions. Driving home from the studio, they pulled over and asked Brotherdale to check on a flat tyre; when he got out of the car, they sped off. In August 1977, the band placed an advertisement in a music shop window seeking a replacement drummer. Stephen Morris, who had attended the same school as Curtis, was the sole respondent. Deborah Curtis, Ian's wife, stated that Morris "fitted perfectly" with the other men, and that with his addition Warsaw became a "complete 'family'". To avoid confusion with the London punk band Warsaw Pakt, the band renamed themselves Joy Division in early 1978, borrowing their new name from the sexual slavery wing of a Nazi concentration camp mentioned in the 1955 novel House of Dolls. In December, the group recorded what became their debut EP, An Ideal for Living, at Pennine Sound Studio and played their final gig as Warsaw on New Year's Eve at The Swinging Apple in Liverpool. Billed as Warsaw to ensure an audience, the band played their first gig as Joy Division on 25 January 1978 at Pip's Disco in Manchester.
|
C_a5fc3bc92b8649a1a58167e416382127_1_q#0
|
when did the formation happen?
| 0y
| 2x
|
{
"texts": [
"On 20 July 1976,"
],
"answer_starts": [
0
]
}
|
{
"text": "On 20 July 1976,",
"answer_start": 0
}
|
C_a5fc3bc92b8649a1a58167e416382127_1
|
Joy Division
|
Joy Division were an English post-punk band formed in 1976 in Salford, Greater Manchester. Originally named Warsaw, the band consisted of singer-songwriter Ian Curtis, guitarist and keyboardist Bernard Sumner, bass player Peter Hook and drummer Stephen Morris. The band was formed by Sumner and Hook after attending a 4 June 1976 Sex Pistols concert at the Lesser Free Trade Hall in Manchester. While Joy Division's early recordings were heavily influenced by early punk, they evolved a unique sound, aided by producer Martin Hannett, which earned their reputation as pioneers of the post-punk movement.
|
Formation
|
On 20 July 1976, childhood friends Sumner and Hook separately attended a Sex Pistols show at the Manchester Lesser Free Trade Hall. Both were was inspired by the Pistol's performance. The following day Hook borrowed PS35 from his mother to buy a bass guitar. Sumner said that he felt that they "destroyed the myth of being a pop star, of a musician being some kind of god that you had to worship". They formed a band with Terry Mason, who had also attended the gig. Sumner bought a guitar, and Mason a drum kit. They invited schoolfriend Martin Gresty to join as vocalist, but he turned them down after getting a job at a local factory. An advertisement was placed in the Virgin Records shop in Manchester for a vocalist. Ian Curtis, who knew them from earlier gigs, responded and was hired without audition. Sumner said that he "knew he was all right to get on with and that's what we based the whole group on. If we liked someone, they were in". Buzzcocks manager Richard Boon and frontman Pete Shelley have both been credited with suggesting the band name "Stiff Kittens", but settled on "Warsaw" shortly before their first gig, referencing David Bowie's song "Warszawa". Warsaw debuted on 29 May 1977 at the Electric Circus, supporting the Buzzcocks, Penetration and John Cooper Clarke. They received immediate national exposure due to reviews of the gig in the NME by Paul Morley and in Sounds by Ian Wood. Tony Tabac played drums that night after joining the band two days earlier. Mason was soon made the band's manager and Tabac was replaced on drums in June 1977 by Steve Brotherdale, who also played in the punk band Panik. During his tenure with Warsaw, Brotherdale tried to get Curtis to leave the band and join Panik and even got Curtis to audition for the band. In July 1977, Warsaw recorded a set of five demo tracks at Pennine Sound Studios, Oldham. Uneasy with Brotherdale's aggressive personality, the band fired him soon after the demo sessions. Driving home from the studio, they pulled over and asked Brotherdale to check on a flat tyre; when he got out of the car, they sped off. In August 1977, the band placed an advertisement in a music shop window seeking a replacement drummer. Stephen Morris, who had attended the same school as Curtis, was the sole respondent. Deborah Curtis, Ian's wife, stated that Morris "fitted perfectly" with the other men, and that with his addition Warsaw became a "complete 'family'". To avoid confusion with the London punk band Warsaw Pakt, the band renamed themselves Joy Division in early 1978, borrowing their new name from the sexual slavery wing of a Nazi concentration camp mentioned in the 1955 novel House of Dolls. In December, the group recorded what became their debut EP, An Ideal for Living, at Pennine Sound Studio and played their final gig as Warsaw on New Year's Eve at The Swinging Apple in Liverpool. Billed as Warsaw to ensure an audience, the band played their first gig as Joy Division on 25 January 1978 at Pip's Disco in Manchester.
Q: when did the formation happen?
A: On 20 July 1976,
|
C_a5fc3bc92b8649a1a58167e416382127_1_q#1
|
Where did it happen?
| 0y
| 2x
|
{
"texts": [
"show at the Manchester Lesser Free Trade Hall. Both were was inspired by the Pistol's performance."
],
"answer_starts": [
85
]
}
|
{
"text": "show at the Manchester Lesser Free Trade Hall. Both were was inspired by the Pistol's performance.",
"answer_start": 85
}
|
C_a5fc3bc92b8649a1a58167e416382127_1
|
Joy Division
|
Joy Division were an English post-punk band formed in 1976 in Salford, Greater Manchester. Originally named Warsaw, the band consisted of singer-songwriter Ian Curtis, guitarist and keyboardist Bernard Sumner, bass player Peter Hook and drummer Stephen Morris. The band was formed by Sumner and Hook after attending a 4 June 1976 Sex Pistols concert at the Lesser Free Trade Hall in Manchester. While Joy Division's early recordings were heavily influenced by early punk, they evolved a unique sound, aided by producer Martin Hannett, which earned their reputation as pioneers of the post-punk movement.
|
Formation
|
On 20 July 1976, childhood friends Sumner and Hook separately attended a Sex Pistols show at the Manchester Lesser Free Trade Hall. Both were was inspired by the Pistol's performance. The following day Hook borrowed PS35 from his mother to buy a bass guitar. Sumner said that he felt that they "destroyed the myth of being a pop star, of a musician being some kind of god that you had to worship". They formed a band with Terry Mason, who had also attended the gig. Sumner bought a guitar, and Mason a drum kit. They invited schoolfriend Martin Gresty to join as vocalist, but he turned them down after getting a job at a local factory. An advertisement was placed in the Virgin Records shop in Manchester for a vocalist. Ian Curtis, who knew them from earlier gigs, responded and was hired without audition. Sumner said that he "knew he was all right to get on with and that's what we based the whole group on. If we liked someone, they were in". Buzzcocks manager Richard Boon and frontman Pete Shelley have both been credited with suggesting the band name "Stiff Kittens", but settled on "Warsaw" shortly before their first gig, referencing David Bowie's song "Warszawa". Warsaw debuted on 29 May 1977 at the Electric Circus, supporting the Buzzcocks, Penetration and John Cooper Clarke. They received immediate national exposure due to reviews of the gig in the NME by Paul Morley and in Sounds by Ian Wood. Tony Tabac played drums that night after joining the band two days earlier. Mason was soon made the band's manager and Tabac was replaced on drums in June 1977 by Steve Brotherdale, who also played in the punk band Panik. During his tenure with Warsaw, Brotherdale tried to get Curtis to leave the band and join Panik and even got Curtis to audition for the band. In July 1977, Warsaw recorded a set of five demo tracks at Pennine Sound Studios, Oldham. Uneasy with Brotherdale's aggressive personality, the band fired him soon after the demo sessions. Driving home from the studio, they pulled over and asked Brotherdale to check on a flat tyre; when he got out of the car, they sped off. In August 1977, the band placed an advertisement in a music shop window seeking a replacement drummer. Stephen Morris, who had attended the same school as Curtis, was the sole respondent. Deborah Curtis, Ian's wife, stated that Morris "fitted perfectly" with the other men, and that with his addition Warsaw became a "complete 'family'". To avoid confusion with the London punk band Warsaw Pakt, the band renamed themselves Joy Division in early 1978, borrowing their new name from the sexual slavery wing of a Nazi concentration camp mentioned in the 1955 novel House of Dolls. In December, the group recorded what became their debut EP, An Ideal for Living, at Pennine Sound Studio and played their final gig as Warsaw on New Year's Eve at The Swinging Apple in Liverpool. Billed as Warsaw to ensure an audience, the band played their first gig as Joy Division on 25 January 1978 at Pip's Disco in Manchester.
Q: when did the formation happen?
A: On 20 July 1976,
Q: Where did it happen?
A: show at the Manchester Lesser Free Trade Hall. Both were was inspired by the Pistol's performance.
|
C_a5fc3bc92b8649a1a58167e416382127_1_q#2
|
What awards did they win?
| 0y
| 2x
|
{
"texts": [
"concentration camp mentioned in the 1955 novel House of Dolls. In December, the group recorded what became their"
],
"answer_starts": [
2620
]
}
|
{
"text": "concentration camp mentioned in the 1955 novel House of Dolls. In December, the group recorded what became their",
"answer_start": 2620
}
|
C_a5fc3bc92b8649a1a58167e416382127_1
|
Joy Division
|
Joy Division were an English post-punk band formed in 1976 in Salford, Greater Manchester. Originally named Warsaw, the band consisted of singer-songwriter Ian Curtis, guitarist and keyboardist Bernard Sumner, bass player Peter Hook and drummer Stephen Morris. The band was formed by Sumner and Hook after attending a 4 June 1976 Sex Pistols concert at the Lesser Free Trade Hall in Manchester. While Joy Division's early recordings were heavily influenced by early punk, they evolved a unique sound, aided by producer Martin Hannett, which earned their reputation as pioneers of the post-punk movement.
|
Formation
|
On 20 July 1976, childhood friends Sumner and Hook separately attended a Sex Pistols show at the Manchester Lesser Free Trade Hall. Both were was inspired by the Pistol's performance. The following day Hook borrowed PS35 from his mother to buy a bass guitar. Sumner said that he felt that they "destroyed the myth of being a pop star, of a musician being some kind of god that you had to worship". They formed a band with Terry Mason, who had also attended the gig. Sumner bought a guitar, and Mason a drum kit. They invited schoolfriend Martin Gresty to join as vocalist, but he turned them down after getting a job at a local factory. An advertisement was placed in the Virgin Records shop in Manchester for a vocalist. Ian Curtis, who knew them from earlier gigs, responded and was hired without audition. Sumner said that he "knew he was all right to get on with and that's what we based the whole group on. If we liked someone, they were in". Buzzcocks manager Richard Boon and frontman Pete Shelley have both been credited with suggesting the band name "Stiff Kittens", but settled on "Warsaw" shortly before their first gig, referencing David Bowie's song "Warszawa". Warsaw debuted on 29 May 1977 at the Electric Circus, supporting the Buzzcocks, Penetration and John Cooper Clarke. They received immediate national exposure due to reviews of the gig in the NME by Paul Morley and in Sounds by Ian Wood. Tony Tabac played drums that night after joining the band two days earlier. Mason was soon made the band's manager and Tabac was replaced on drums in June 1977 by Steve Brotherdale, who also played in the punk band Panik. During his tenure with Warsaw, Brotherdale tried to get Curtis to leave the band and join Panik and even got Curtis to audition for the band. In July 1977, Warsaw recorded a set of five demo tracks at Pennine Sound Studios, Oldham. Uneasy with Brotherdale's aggressive personality, the band fired him soon after the demo sessions. Driving home from the studio, they pulled over and asked Brotherdale to check on a flat tyre; when he got out of the car, they sped off. In August 1977, the band placed an advertisement in a music shop window seeking a replacement drummer. Stephen Morris, who had attended the same school as Curtis, was the sole respondent. Deborah Curtis, Ian's wife, stated that Morris "fitted perfectly" with the other men, and that with his addition Warsaw became a "complete 'family'". To avoid confusion with the London punk band Warsaw Pakt, the band renamed themselves Joy Division in early 1978, borrowing their new name from the sexual slavery wing of a Nazi concentration camp mentioned in the 1955 novel House of Dolls. In December, the group recorded what became their debut EP, An Ideal for Living, at Pennine Sound Studio and played their final gig as Warsaw on New Year's Eve at The Swinging Apple in Liverpool. Billed as Warsaw to ensure an audience, the band played their first gig as Joy Division on 25 January 1978 at Pip's Disco in Manchester.
Q: when did the formation happen?
A: On 20 July 1976,
Q: Where did it happen?
A: show at the Manchester Lesser Free Trade Hall. Both were was inspired by the Pistol's performance.
Q: What awards did they win?
A: concentration camp mentioned in the 1955 novel House of Dolls. In December, the group recorded what became their
|
C_a5fc3bc92b8649a1a58167e416382127_1_q#3
|
Any interesting information?
| 0y
| 0y
|
{
"texts": [
"Billed as Warsaw to ensure an audience, the band played their first gig as Joy Division"
],
"answer_starts": [
2879
]
}
|
{
"text": "Billed as Warsaw to ensure an audience, the band played their first gig as Joy Division",
"answer_start": 2879
}
|
C_a5fc3bc92b8649a1a58167e416382127_1
|
Joy Division
|
Joy Division were an English post-punk band formed in 1976 in Salford, Greater Manchester. Originally named Warsaw, the band consisted of singer-songwriter Ian Curtis, guitarist and keyboardist Bernard Sumner, bass player Peter Hook and drummer Stephen Morris. The band was formed by Sumner and Hook after attending a 4 June 1976 Sex Pistols concert at the Lesser Free Trade Hall in Manchester. While Joy Division's early recordings were heavily influenced by early punk, they evolved a unique sound, aided by producer Martin Hannett, which earned their reputation as pioneers of the post-punk movement.
|
Formation
|
On 20 July 1976, childhood friends Sumner and Hook separately attended a Sex Pistols show at the Manchester Lesser Free Trade Hall. Both were was inspired by the Pistol's performance. The following day Hook borrowed PS35 from his mother to buy a bass guitar. Sumner said that he felt that they "destroyed the myth of being a pop star, of a musician being some kind of god that you had to worship". They formed a band with Terry Mason, who had also attended the gig. Sumner bought a guitar, and Mason a drum kit. They invited schoolfriend Martin Gresty to join as vocalist, but he turned them down after getting a job at a local factory. An advertisement was placed in the Virgin Records shop in Manchester for a vocalist. Ian Curtis, who knew them from earlier gigs, responded and was hired without audition. Sumner said that he "knew he was all right to get on with and that's what we based the whole group on. If we liked someone, they were in". Buzzcocks manager Richard Boon and frontman Pete Shelley have both been credited with suggesting the band name "Stiff Kittens", but settled on "Warsaw" shortly before their first gig, referencing David Bowie's song "Warszawa". Warsaw debuted on 29 May 1977 at the Electric Circus, supporting the Buzzcocks, Penetration and John Cooper Clarke. They received immediate national exposure due to reviews of the gig in the NME by Paul Morley and in Sounds by Ian Wood. Tony Tabac played drums that night after joining the band two days earlier. Mason was soon made the band's manager and Tabac was replaced on drums in June 1977 by Steve Brotherdale, who also played in the punk band Panik. During his tenure with Warsaw, Brotherdale tried to get Curtis to leave the band and join Panik and even got Curtis to audition for the band. In July 1977, Warsaw recorded a set of five demo tracks at Pennine Sound Studios, Oldham. Uneasy with Brotherdale's aggressive personality, the band fired him soon after the demo sessions. Driving home from the studio, they pulled over and asked Brotherdale to check on a flat tyre; when he got out of the car, they sped off. In August 1977, the band placed an advertisement in a music shop window seeking a replacement drummer. Stephen Morris, who had attended the same school as Curtis, was the sole respondent. Deborah Curtis, Ian's wife, stated that Morris "fitted perfectly" with the other men, and that with his addition Warsaw became a "complete 'family'". To avoid confusion with the London punk band Warsaw Pakt, the band renamed themselves Joy Division in early 1978, borrowing their new name from the sexual slavery wing of a Nazi concentration camp mentioned in the 1955 novel House of Dolls. In December, the group recorded what became their debut EP, An Ideal for Living, at Pennine Sound Studio and played their final gig as Warsaw on New Year's Eve at The Swinging Apple in Liverpool. Billed as Warsaw to ensure an audience, the band played their first gig as Joy Division on 25 January 1978 at Pip's Disco in Manchester.
Q: when did the formation happen?
A: On 20 July 1976,
Q: Where did it happen?
A: show at the Manchester Lesser Free Trade Hall. Both were was inspired by the Pistol's performance.
Q: What awards did they win?
A: concentration camp mentioned in the 1955 novel House of Dolls. In December, the group recorded what became their
Q: Any interesting information?
A: Billed as Warsaw to ensure an audience, the band played their first gig as Joy Division
|
C_a5fc3bc92b8649a1a58167e416382127_1_q#4
|
When did they play as Joy Division?
| 0y
| 2x
|
{
"texts": [
"25 January 1978"
],
"answer_starts": [
2970
]
}
|
{
"text": "25 January 1978",
"answer_start": 2970
}
|
C_a5fc3bc92b8649a1a58167e416382127_0
|
Joy Division
|
Joy Division were an English post-punk band formed in 1976 in Salford, Greater Manchester. Originally named Warsaw, the band consisted of singer-songwriter Ian Curtis, guitarist and keyboardist Bernard Sumner, bass player Peter Hook and drummer Stephen Morris. The band was formed by Sumner and Hook after attending a 4 June 1976 Sex Pistols concert at the Lesser Free Trade Hall in Manchester. While Joy Division's early recordings were heavily influenced by early punk, they evolved a unique sound, aided by producer Martin Hannett, which earned their reputation as pioneers of the post-punk movement.
|
Closer
|
Joy Division toured Continental Europe in January 1980. Although the schedule was difficult and demanding, Curtis experienced only two grand mal seizures, both in the final two months of the tour. That March, the band recorded their second album, Closer with Hannett again producing at London's Britannia Row Studios. That month they released the "Licht und Blindheit" single, with "Atmosphere" as the A side and "Dead Souls" as the B side, on the French independent label Sordide Sentimental. A lack of sleep and long hours committed to the bands' activities destabilised Curtis's epilepsy, and resultingly, his seizures became almost uncontrollable. Curtis would often experience seizures during live performances, which would leave him feeling both ashamed and depressed. As the band worried about their singer, some audience members thought his seizures and behaviour were simply part of the show. On 7 April, Curtis attempted suicide by overdosing on his anti-seizure medication; phenobarbitone. The following evening, Joy Division were scheduled to play a gig at the Derby Hall in Bury. Curtis was too ill to perform, so at Rob Gretton's insistence, the band played a combined set with Alan Hempsall of Crispy Ambulance and Simon Topping of A Certain Ratio singing on the first few songs, with Curtis singing for part of the set. When Topping came back towards the end of the srt, some audience members threw bottles at the stage. Curtis's ill health lead to the cancellation of several other gigs that April. Joy Division's final live performance was held at the University of Birmingham's High Hall on 2 May, and included their only performance of "Ceremony", one of the last songs written by Curtis and later recorded by New Order as their first single. Hannett's production has been widely praised. However, as with Unknown Pleasures, both Hook and Sumner were unhappy with the production. Hook said that when he heard the final mix of "Atrocity Exhibition" he was disappointed that the abrasiveness had been toned down. He wrote; "I was like, head in hands, 'Oh fucking hell, it's happening again. Unknown Pleasures number two...Martin [Hannett] had fucking melted the guitar with his Marshall Time Waster. Made it sound like someone strangling a cat and, to my mind, absolutely killed the song. I was so annoyed with him and went in and gave him a piece of my mind but he just turned round and told me to fuck off".
|
C_a5fc3bc92b8649a1a58167e416382127_0_q#0
|
What is closer
| 1n
| 2x
|
{
"texts": [
"the final two months of the tour. That March, the band recorded their second album, Closer"
],
"answer_starts": [
163
]
}
|
{
"text": "the final two months of the tour. That March, the band recorded their second album, Closer",
"answer_start": 163
}
|
C_a5fc3bc92b8649a1a58167e416382127_0
|
Joy Division
|
Joy Division were an English post-punk band formed in 1976 in Salford, Greater Manchester. Originally named Warsaw, the band consisted of singer-songwriter Ian Curtis, guitarist and keyboardist Bernard Sumner, bass player Peter Hook and drummer Stephen Morris. The band was formed by Sumner and Hook after attending a 4 June 1976 Sex Pistols concert at the Lesser Free Trade Hall in Manchester. While Joy Division's early recordings were heavily influenced by early punk, they evolved a unique sound, aided by producer Martin Hannett, which earned their reputation as pioneers of the post-punk movement.
|
Closer
|
Joy Division toured Continental Europe in January 1980. Although the schedule was difficult and demanding, Curtis experienced only two grand mal seizures, both in the final two months of the tour. That March, the band recorded their second album, Closer with Hannett again producing at London's Britannia Row Studios. That month they released the "Licht und Blindheit" single, with "Atmosphere" as the A side and "Dead Souls" as the B side, on the French independent label Sordide Sentimental. A lack of sleep and long hours committed to the bands' activities destabilised Curtis's epilepsy, and resultingly, his seizures became almost uncontrollable. Curtis would often experience seizures during live performances, which would leave him feeling both ashamed and depressed. As the band worried about their singer, some audience members thought his seizures and behaviour were simply part of the show. On 7 April, Curtis attempted suicide by overdosing on his anti-seizure medication; phenobarbitone. The following evening, Joy Division were scheduled to play a gig at the Derby Hall in Bury. Curtis was too ill to perform, so at Rob Gretton's insistence, the band played a combined set with Alan Hempsall of Crispy Ambulance and Simon Topping of A Certain Ratio singing on the first few songs, with Curtis singing for part of the set. When Topping came back towards the end of the srt, some audience members threw bottles at the stage. Curtis's ill health lead to the cancellation of several other gigs that April. Joy Division's final live performance was held at the University of Birmingham's High Hall on 2 May, and included their only performance of "Ceremony", one of the last songs written by Curtis and later recorded by New Order as their first single. Hannett's production has been widely praised. However, as with Unknown Pleasures, both Hook and Sumner were unhappy with the production. Hook said that when he heard the final mix of "Atrocity Exhibition" he was disappointed that the abrasiveness had been toned down. He wrote; "I was like, head in hands, 'Oh fucking hell, it's happening again. Unknown Pleasures number two...Martin [Hannett] had fucking melted the guitar with his Marshall Time Waster. Made it sound like someone strangling a cat and, to my mind, absolutely killed the song. I was so annoyed with him and went in and gave him a piece of my mind but he just turned round and told me to fuck off".
Q: What is closer
A: the final two months of the tour. That March, the band recorded their second album, Closer
|
C_a5fc3bc92b8649a1a58167e416382127_0_q#1
|
Are there any other interesting aspects about this article?
| 0y
| 2x
|
{
"texts": [
"A lack of sleep and long hours committed to the bands' activities destabilised Curtis's epilepsy, and resultingly, his seizures became almost uncontrollable."
],
"answer_starts": [
495
]
}
|
{
"text": "A lack of sleep and long hours committed to the bands' activities destabilised Curtis's epilepsy, and resultingly, his seizures became almost uncontrollable.",
"answer_start": 495
}
|
C_a5fc3bc92b8649a1a58167e416382127_0
|
Joy Division
|
Joy Division were an English post-punk band formed in 1976 in Salford, Greater Manchester. Originally named Warsaw, the band consisted of singer-songwriter Ian Curtis, guitarist and keyboardist Bernard Sumner, bass player Peter Hook and drummer Stephen Morris. The band was formed by Sumner and Hook after attending a 4 June 1976 Sex Pistols concert at the Lesser Free Trade Hall in Manchester. While Joy Division's early recordings were heavily influenced by early punk, they evolved a unique sound, aided by producer Martin Hannett, which earned their reputation as pioneers of the post-punk movement.
|
Closer
|
Joy Division toured Continental Europe in January 1980. Although the schedule was difficult and demanding, Curtis experienced only two grand mal seizures, both in the final two months of the tour. That March, the band recorded their second album, Closer with Hannett again producing at London's Britannia Row Studios. That month they released the "Licht und Blindheit" single, with "Atmosphere" as the A side and "Dead Souls" as the B side, on the French independent label Sordide Sentimental. A lack of sleep and long hours committed to the bands' activities destabilised Curtis's epilepsy, and resultingly, his seizures became almost uncontrollable. Curtis would often experience seizures during live performances, which would leave him feeling both ashamed and depressed. As the band worried about their singer, some audience members thought his seizures and behaviour were simply part of the show. On 7 April, Curtis attempted suicide by overdosing on his anti-seizure medication; phenobarbitone. The following evening, Joy Division were scheduled to play a gig at the Derby Hall in Bury. Curtis was too ill to perform, so at Rob Gretton's insistence, the band played a combined set with Alan Hempsall of Crispy Ambulance and Simon Topping of A Certain Ratio singing on the first few songs, with Curtis singing for part of the set. When Topping came back towards the end of the srt, some audience members threw bottles at the stage. Curtis's ill health lead to the cancellation of several other gigs that April. Joy Division's final live performance was held at the University of Birmingham's High Hall on 2 May, and included their only performance of "Ceremony", one of the last songs written by Curtis and later recorded by New Order as their first single. Hannett's production has been widely praised. However, as with Unknown Pleasures, both Hook and Sumner were unhappy with the production. Hook said that when he heard the final mix of "Atrocity Exhibition" he was disappointed that the abrasiveness had been toned down. He wrote; "I was like, head in hands, 'Oh fucking hell, it's happening again. Unknown Pleasures number two...Martin [Hannett] had fucking melted the guitar with his Marshall Time Waster. Made it sound like someone strangling a cat and, to my mind, absolutely killed the song. I was so annoyed with him and went in and gave him a piece of my mind but he just turned round and told me to fuck off".
Q: What is closer
A: the final two months of the tour. That March, the band recorded their second album, Closer
Q: Are there any other interesting aspects about this article?
A: A lack of sleep and long hours committed to the bands' activities destabilised Curtis's epilepsy, and resultingly, his seizures became almost uncontrollable.
|
C_a5fc3bc92b8649a1a58167e416382127_0_q#2
|
What else happen with his sickness
| 0y
| 2x
|
{
"texts": [
"Curtis would often experience seizures during live performances, which would leave him feeling both ashamed and depressed."
],
"answer_starts": [
653
]
}
|
{
"text": "Curtis would often experience seizures during live performances, which would leave him feeling both ashamed and depressed.",
"answer_start": 653
}
|
C_a5fc3bc92b8649a1a58167e416382127_0
|
Joy Division
|
Joy Division were an English post-punk band formed in 1976 in Salford, Greater Manchester. Originally named Warsaw, the band consisted of singer-songwriter Ian Curtis, guitarist and keyboardist Bernard Sumner, bass player Peter Hook and drummer Stephen Morris. The band was formed by Sumner and Hook after attending a 4 June 1976 Sex Pistols concert at the Lesser Free Trade Hall in Manchester. While Joy Division's early recordings were heavily influenced by early punk, they evolved a unique sound, aided by producer Martin Hannett, which earned their reputation as pioneers of the post-punk movement.
|
Closer
|
Joy Division toured Continental Europe in January 1980. Although the schedule was difficult and demanding, Curtis experienced only two grand mal seizures, both in the final two months of the tour. That March, the band recorded their second album, Closer with Hannett again producing at London's Britannia Row Studios. That month they released the "Licht und Blindheit" single, with "Atmosphere" as the A side and "Dead Souls" as the B side, on the French independent label Sordide Sentimental. A lack of sleep and long hours committed to the bands' activities destabilised Curtis's epilepsy, and resultingly, his seizures became almost uncontrollable. Curtis would often experience seizures during live performances, which would leave him feeling both ashamed and depressed. As the band worried about their singer, some audience members thought his seizures and behaviour were simply part of the show. On 7 April, Curtis attempted suicide by overdosing on his anti-seizure medication; phenobarbitone. The following evening, Joy Division were scheduled to play a gig at the Derby Hall in Bury. Curtis was too ill to perform, so at Rob Gretton's insistence, the band played a combined set with Alan Hempsall of Crispy Ambulance and Simon Topping of A Certain Ratio singing on the first few songs, with Curtis singing for part of the set. When Topping came back towards the end of the srt, some audience members threw bottles at the stage. Curtis's ill health lead to the cancellation of several other gigs that April. Joy Division's final live performance was held at the University of Birmingham's High Hall on 2 May, and included their only performance of "Ceremony", one of the last songs written by Curtis and later recorded by New Order as their first single. Hannett's production has been widely praised. However, as with Unknown Pleasures, both Hook and Sumner were unhappy with the production. Hook said that when he heard the final mix of "Atrocity Exhibition" he was disappointed that the abrasiveness had been toned down. He wrote; "I was like, head in hands, 'Oh fucking hell, it's happening again. Unknown Pleasures number two...Martin [Hannett] had fucking melted the guitar with his Marshall Time Waster. Made it sound like someone strangling a cat and, to my mind, absolutely killed the song. I was so annoyed with him and went in and gave him a piece of my mind but he just turned round and told me to fuck off".
Q: What is closer
A: the final two months of the tour. That March, the band recorded their second album, Closer
Q: Are there any other interesting aspects about this article?
A: A lack of sleep and long hours committed to the bands' activities destabilised Curtis's epilepsy, and resultingly, his seizures became almost uncontrollable.
Q: What else happen with his sickness
A: Curtis would often experience seizures during live performances, which would leave him feeling both ashamed and depressed.
|
C_a5fc3bc92b8649a1a58167e416382127_0_q#3
|
How did the other members feel
| 2m
| 2x
|
{
"texts": [
"the band worried about their singer,"
],
"answer_starts": [
779
]
}
|
{
"text": "the band worried about their singer,",
"answer_start": 779
}
|
C_a5fc3bc92b8649a1a58167e416382127_0
|
Joy Division
|
Joy Division were an English post-punk band formed in 1976 in Salford, Greater Manchester. Originally named Warsaw, the band consisted of singer-songwriter Ian Curtis, guitarist and keyboardist Bernard Sumner, bass player Peter Hook and drummer Stephen Morris. The band was formed by Sumner and Hook after attending a 4 June 1976 Sex Pistols concert at the Lesser Free Trade Hall in Manchester. While Joy Division's early recordings were heavily influenced by early punk, they evolved a unique sound, aided by producer Martin Hannett, which earned their reputation as pioneers of the post-punk movement.
|
Closer
|
Joy Division toured Continental Europe in January 1980. Although the schedule was difficult and demanding, Curtis experienced only two grand mal seizures, both in the final two months of the tour. That March, the band recorded their second album, Closer with Hannett again producing at London's Britannia Row Studios. That month they released the "Licht und Blindheit" single, with "Atmosphere" as the A side and "Dead Souls" as the B side, on the French independent label Sordide Sentimental. A lack of sleep and long hours committed to the bands' activities destabilised Curtis's epilepsy, and resultingly, his seizures became almost uncontrollable. Curtis would often experience seizures during live performances, which would leave him feeling both ashamed and depressed. As the band worried about their singer, some audience members thought his seizures and behaviour were simply part of the show. On 7 April, Curtis attempted suicide by overdosing on his anti-seizure medication; phenobarbitone. The following evening, Joy Division were scheduled to play a gig at the Derby Hall in Bury. Curtis was too ill to perform, so at Rob Gretton's insistence, the band played a combined set with Alan Hempsall of Crispy Ambulance and Simon Topping of A Certain Ratio singing on the first few songs, with Curtis singing for part of the set. When Topping came back towards the end of the srt, some audience members threw bottles at the stage. Curtis's ill health lead to the cancellation of several other gigs that April. Joy Division's final live performance was held at the University of Birmingham's High Hall on 2 May, and included their only performance of "Ceremony", one of the last songs written by Curtis and later recorded by New Order as their first single. Hannett's production has been widely praised. However, as with Unknown Pleasures, both Hook and Sumner were unhappy with the production. Hook said that when he heard the final mix of "Atrocity Exhibition" he was disappointed that the abrasiveness had been toned down. He wrote; "I was like, head in hands, 'Oh fucking hell, it's happening again. Unknown Pleasures number two...Martin [Hannett] had fucking melted the guitar with his Marshall Time Waster. Made it sound like someone strangling a cat and, to my mind, absolutely killed the song. I was so annoyed with him and went in and gave him a piece of my mind but he just turned round and told me to fuck off".
Q: What is closer
A: the final two months of the tour. That March, the band recorded their second album, Closer
Q: Are there any other interesting aspects about this article?
A: A lack of sleep and long hours committed to the bands' activities destabilised Curtis's epilepsy, and resultingly, his seizures became almost uncontrollable.
Q: What else happen with his sickness
A: Curtis would often experience seizures during live performances, which would leave him feeling both ashamed and depressed.
Q: How did the other members feel
A: the band worried about their singer,
|
C_a5fc3bc92b8649a1a58167e416382127_0_q#4
|
Did they go on tour
| 2m
| 2x
|
{
"texts": [
"Joy Division toured Continental Europe in January 1980."
],
"answer_starts": [
0
]
}
|
{
"text": "Joy Division toured Continental Europe in January 1980.",
"answer_start": 0
}
|
C_31b6aef20b5e4ec5841e183fa3edbb37_1
|
Frenzal Rhomb
|
Frenzal Rhomb is an Australian punk rock band that formed in 1992, with Jason Whalley on lead vocals and rhythm guitar during this entire period. In 1996, Lindsay McDougall joined the line-up on lead guitar and backing vocals. Three of the group's albums have entered the top 20 on the ARIA Albums Chart: A Man's Not a Camel (1999),
|
2004: Political protest, Jackie O
|
During 2003, Frenzal Rhomb's McDougall organised Rock Against Howard, a compilation album, by various Australian musicians as a protest against incumbent Prime Minister John Howard's government. It was released in August 2004, before the October federal election, when Howard's coalition was re-elected. In July 2004, radio station 2Day FM presenter Jackie O was to MC at the Bassinthegrass festival in Darwin. Jackie allegedly arrived late, causing Frenzal Rhomb to cut their setlist short by several songs. She attempted to speak with the audience. In protest, McDougall began playing AC/DC's "Thunderstruck" over her voice. Jackie was upset that she was unable to finish her announcement to the audience. Whalley later accused her and other music industry personalities of pushing original Australian bands aside to make way for short-term marketable acts such as Australian Idol and Popstars contestants. Jackie and her co-presenter, Kyle Sandilands, called Whalley on air during their next breakfast show. Whalley apologised for offending Jackie, but stood by his claims regarding the music industry. The conversation became heated as Sandilands told Whalley "Your songs being played on this network or the Triple M network... it's just not going to happen now"; to which Whalley argued that Frenzal Rhomb were almost never played on the Austereo network anyway. During the conversation, Sandilands told Whalley that he was bitter and sad. When Whalley pointed out that Sandilands is in a position to promote new Australian music but doesn't, Sandilands countered that Frenzal Rhomb is not played on the network "because it's pretty much shit". While Sandilands agreed that shows like Popstars and Australian Idol are interested in making "a quick buck", he also asserted that he doesn't "care about Australian Idol or Popstars". Sandilands argued that Whalley should not "pick fights with people that are female in the Northern Territory". Sandilands asserted that if he himself were present, "it would have been on for young and old". Whalley argued that gender was irrelevant to the issue, and in response to Sandilands' threat of violence asked Jackie if she was aware that her security guard had threatened a band technician with violence. Sandilands said he endorsed the threat of violence. Sandilands argued to Whalley that he has to "get over it" when Whalley recommended that radio DJs should promote original Australian music. In reply, Sandilands insinuated that Frenzal Rhomb, and bands in general, suffer from a lack of support because they are not "putting [their] stuff in front of the right people". ABC Television's Media Watch covered the exchange and presenter David Marr raised concerns about the interview: "Kyle and Jackie O are also part of a new generation of radio thugs". Patrick Joyce, general manager of Austereo in Sydney, responded to Sandilands' threats of black listing and violence, "Music content is decided by the programming directors based on research of the market... Austereo does not approve of threats being made to anyone... We have fully canvassed these issues with Kyle".
|
C_31b6aef20b5e4ec5841e183fa3edbb37_1_q#0
|
what political protest did they participate in?
| 0y
| 2x
|
{
"texts": [
"protest against incumbent Prime Minister John Howard's government."
],
"answer_starts": [
128
]
}
|
{
"text": "protest against incumbent Prime Minister John Howard's government.",
"answer_start": 128
}
|
C_31b6aef20b5e4ec5841e183fa3edbb37_1
|
Frenzal Rhomb
|
Frenzal Rhomb is an Australian punk rock band that formed in 1992, with Jason Whalley on lead vocals and rhythm guitar during this entire period. In 1996, Lindsay McDougall joined the line-up on lead guitar and backing vocals. Three of the group's albums have entered the top 20 on the ARIA Albums Chart: A Man's Not a Camel (1999),
|
2004: Political protest, Jackie O
|
During 2003, Frenzal Rhomb's McDougall organised Rock Against Howard, a compilation album, by various Australian musicians as a protest against incumbent Prime Minister John Howard's government. It was released in August 2004, before the October federal election, when Howard's coalition was re-elected. In July 2004, radio station 2Day FM presenter Jackie O was to MC at the Bassinthegrass festival in Darwin. Jackie allegedly arrived late, causing Frenzal Rhomb to cut their setlist short by several songs. She attempted to speak with the audience. In protest, McDougall began playing AC/DC's "Thunderstruck" over her voice. Jackie was upset that she was unable to finish her announcement to the audience. Whalley later accused her and other music industry personalities of pushing original Australian bands aside to make way for short-term marketable acts such as Australian Idol and Popstars contestants. Jackie and her co-presenter, Kyle Sandilands, called Whalley on air during their next breakfast show. Whalley apologised for offending Jackie, but stood by his claims regarding the music industry. The conversation became heated as Sandilands told Whalley "Your songs being played on this network or the Triple M network... it's just not going to happen now"; to which Whalley argued that Frenzal Rhomb were almost never played on the Austereo network anyway. During the conversation, Sandilands told Whalley that he was bitter and sad. When Whalley pointed out that Sandilands is in a position to promote new Australian music but doesn't, Sandilands countered that Frenzal Rhomb is not played on the network "because it's pretty much shit". While Sandilands agreed that shows like Popstars and Australian Idol are interested in making "a quick buck", he also asserted that he doesn't "care about Australian Idol or Popstars". Sandilands argued that Whalley should not "pick fights with people that are female in the Northern Territory". Sandilands asserted that if he himself were present, "it would have been on for young and old". Whalley argued that gender was irrelevant to the issue, and in response to Sandilands' threat of violence asked Jackie if she was aware that her security guard had threatened a band technician with violence. Sandilands said he endorsed the threat of violence. Sandilands argued to Whalley that he has to "get over it" when Whalley recommended that radio DJs should promote original Australian music. In reply, Sandilands insinuated that Frenzal Rhomb, and bands in general, suffer from a lack of support because they are not "putting [their] stuff in front of the right people". ABC Television's Media Watch covered the exchange and presenter David Marr raised concerns about the interview: "Kyle and Jackie O are also part of a new generation of radio thugs". Patrick Joyce, general manager of Austereo in Sydney, responded to Sandilands' threats of black listing and violence, "Music content is decided by the programming directors based on research of the market... Austereo does not approve of threats being made to anyone... We have fully canvassed these issues with Kyle".
Q: what political protest did they participate in?
A: protest against incumbent Prime Minister John Howard's government.
|
C_31b6aef20b5e4ec5841e183fa3edbb37_1_q#1
|
why did they protest?
| 0y
| 2x
|
{
"texts": [
"compilation album, by various Australian musicians as a protest against incumbent Prime Minister John Howard's government."
],
"answer_starts": [
72
]
}
|
{
"text": "compilation album, by various Australian musicians as a protest against incumbent Prime Minister John Howard's government.",
"answer_start": 72
}
|
C_31b6aef20b5e4ec5841e183fa3edbb37_1
|
Frenzal Rhomb
|
Frenzal Rhomb is an Australian punk rock band that formed in 1992, with Jason Whalley on lead vocals and rhythm guitar during this entire period. In 1996, Lindsay McDougall joined the line-up on lead guitar and backing vocals. Three of the group's albums have entered the top 20 on the ARIA Albums Chart: A Man's Not a Camel (1999),
|
2004: Political protest, Jackie O
|
During 2003, Frenzal Rhomb's McDougall organised Rock Against Howard, a compilation album, by various Australian musicians as a protest against incumbent Prime Minister John Howard's government. It was released in August 2004, before the October federal election, when Howard's coalition was re-elected. In July 2004, radio station 2Day FM presenter Jackie O was to MC at the Bassinthegrass festival in Darwin. Jackie allegedly arrived late, causing Frenzal Rhomb to cut their setlist short by several songs. She attempted to speak with the audience. In protest, McDougall began playing AC/DC's "Thunderstruck" over her voice. Jackie was upset that she was unable to finish her announcement to the audience. Whalley later accused her and other music industry personalities of pushing original Australian bands aside to make way for short-term marketable acts such as Australian Idol and Popstars contestants. Jackie and her co-presenter, Kyle Sandilands, called Whalley on air during their next breakfast show. Whalley apologised for offending Jackie, but stood by his claims regarding the music industry. The conversation became heated as Sandilands told Whalley "Your songs being played on this network or the Triple M network... it's just not going to happen now"; to which Whalley argued that Frenzal Rhomb were almost never played on the Austereo network anyway. During the conversation, Sandilands told Whalley that he was bitter and sad. When Whalley pointed out that Sandilands is in a position to promote new Australian music but doesn't, Sandilands countered that Frenzal Rhomb is not played on the network "because it's pretty much shit". While Sandilands agreed that shows like Popstars and Australian Idol are interested in making "a quick buck", he also asserted that he doesn't "care about Australian Idol or Popstars". Sandilands argued that Whalley should not "pick fights with people that are female in the Northern Territory". Sandilands asserted that if he himself were present, "it would have been on for young and old". Whalley argued that gender was irrelevant to the issue, and in response to Sandilands' threat of violence asked Jackie if she was aware that her security guard had threatened a band technician with violence. Sandilands said he endorsed the threat of violence. Sandilands argued to Whalley that he has to "get over it" when Whalley recommended that radio DJs should promote original Australian music. In reply, Sandilands insinuated that Frenzal Rhomb, and bands in general, suffer from a lack of support because they are not "putting [their] stuff in front of the right people". ABC Television's Media Watch covered the exchange and presenter David Marr raised concerns about the interview: "Kyle and Jackie O are also part of a new generation of radio thugs". Patrick Joyce, general manager of Austereo in Sydney, responded to Sandilands' threats of black listing and violence, "Music content is decided by the programming directors based on research of the market... Austereo does not approve of threats being made to anyone... We have fully canvassed these issues with Kyle".
Q: what political protest did they participate in?
A: protest against incumbent Prime Minister John Howard's government.
Q: why did they protest?
A: compilation album, by various Australian musicians as a protest against incumbent Prime Minister John Howard's government.
|
C_31b6aef20b5e4ec5841e183fa3edbb37_1_q#2
|
what is the name of the album?
| 1n
| 2x
|
{
"texts": [
"unknown"
],
"answer_starts": [
3125
]
}
|
{
"text": "unknown",
"answer_start": 3125
}
|
C_31b6aef20b5e4ec5841e183fa3edbb37_1
|
Frenzal Rhomb
|
Frenzal Rhomb is an Australian punk rock band that formed in 1992, with Jason Whalley on lead vocals and rhythm guitar during this entire period. In 1996, Lindsay McDougall joined the line-up on lead guitar and backing vocals. Three of the group's albums have entered the top 20 on the ARIA Albums Chart: A Man's Not a Camel (1999),
|
2004: Political protest, Jackie O
|
During 2003, Frenzal Rhomb's McDougall organised Rock Against Howard, a compilation album, by various Australian musicians as a protest against incumbent Prime Minister John Howard's government. It was released in August 2004, before the October federal election, when Howard's coalition was re-elected. In July 2004, radio station 2Day FM presenter Jackie O was to MC at the Bassinthegrass festival in Darwin. Jackie allegedly arrived late, causing Frenzal Rhomb to cut their setlist short by several songs. She attempted to speak with the audience. In protest, McDougall began playing AC/DC's "Thunderstruck" over her voice. Jackie was upset that she was unable to finish her announcement to the audience. Whalley later accused her and other music industry personalities of pushing original Australian bands aside to make way for short-term marketable acts such as Australian Idol and Popstars contestants. Jackie and her co-presenter, Kyle Sandilands, called Whalley on air during their next breakfast show. Whalley apologised for offending Jackie, but stood by his claims regarding the music industry. The conversation became heated as Sandilands told Whalley "Your songs being played on this network or the Triple M network... it's just not going to happen now"; to which Whalley argued that Frenzal Rhomb were almost never played on the Austereo network anyway. During the conversation, Sandilands told Whalley that he was bitter and sad. When Whalley pointed out that Sandilands is in a position to promote new Australian music but doesn't, Sandilands countered that Frenzal Rhomb is not played on the network "because it's pretty much shit". While Sandilands agreed that shows like Popstars and Australian Idol are interested in making "a quick buck", he also asserted that he doesn't "care about Australian Idol or Popstars". Sandilands argued that Whalley should not "pick fights with people that are female in the Northern Territory". Sandilands asserted that if he himself were present, "it would have been on for young and old". Whalley argued that gender was irrelevant to the issue, and in response to Sandilands' threat of violence asked Jackie if she was aware that her security guard had threatened a band technician with violence. Sandilands said he endorsed the threat of violence. Sandilands argued to Whalley that he has to "get over it" when Whalley recommended that radio DJs should promote original Australian music. In reply, Sandilands insinuated that Frenzal Rhomb, and bands in general, suffer from a lack of support because they are not "putting [their] stuff in front of the right people". ABC Television's Media Watch covered the exchange and presenter David Marr raised concerns about the interview: "Kyle and Jackie O are also part of a new generation of radio thugs". Patrick Joyce, general manager of Austereo in Sydney, responded to Sandilands' threats of black listing and violence, "Music content is decided by the programming directors based on research of the market... Austereo does not approve of threats being made to anyone... We have fully canvassed these issues with Kyle".
Q: what political protest did they participate in?
A: protest against incumbent Prime Minister John Howard's government.
Q: why did they protest?
A: compilation album, by various Australian musicians as a protest against incumbent Prime Minister John Howard's government.
Q: what is the name of the album?
A: unknown
|
C_31b6aef20b5e4ec5841e183fa3edbb37_1_q#3
|
what occurred in 2004?
| 0y
| 2x
|
{
"texts": [
"July 2004, radio station 2Day FM presenter Jackie O was to MC at the Bassinthegrass festival in Darwin."
],
"answer_starts": [
308
]
}
|
{
"text": "July 2004, radio station 2Day FM presenter Jackie O was to MC at the Bassinthegrass festival in Darwin.",
"answer_start": 308
}
|
C_31b6aef20b5e4ec5841e183fa3edbb37_1
|
Frenzal Rhomb
|
Frenzal Rhomb is an Australian punk rock band that formed in 1992, with Jason Whalley on lead vocals and rhythm guitar during this entire period. In 1996, Lindsay McDougall joined the line-up on lead guitar and backing vocals. Three of the group's albums have entered the top 20 on the ARIA Albums Chart: A Man's Not a Camel (1999),
|
2004: Political protest, Jackie O
|
During 2003, Frenzal Rhomb's McDougall organised Rock Against Howard, a compilation album, by various Australian musicians as a protest against incumbent Prime Minister John Howard's government. It was released in August 2004, before the October federal election, when Howard's coalition was re-elected. In July 2004, radio station 2Day FM presenter Jackie O was to MC at the Bassinthegrass festival in Darwin. Jackie allegedly arrived late, causing Frenzal Rhomb to cut their setlist short by several songs. She attempted to speak with the audience. In protest, McDougall began playing AC/DC's "Thunderstruck" over her voice. Jackie was upset that she was unable to finish her announcement to the audience. Whalley later accused her and other music industry personalities of pushing original Australian bands aside to make way for short-term marketable acts such as Australian Idol and Popstars contestants. Jackie and her co-presenter, Kyle Sandilands, called Whalley on air during their next breakfast show. Whalley apologised for offending Jackie, but stood by his claims regarding the music industry. The conversation became heated as Sandilands told Whalley "Your songs being played on this network or the Triple M network... it's just not going to happen now"; to which Whalley argued that Frenzal Rhomb were almost never played on the Austereo network anyway. During the conversation, Sandilands told Whalley that he was bitter and sad. When Whalley pointed out that Sandilands is in a position to promote new Australian music but doesn't, Sandilands countered that Frenzal Rhomb is not played on the network "because it's pretty much shit". While Sandilands agreed that shows like Popstars and Australian Idol are interested in making "a quick buck", he also asserted that he doesn't "care about Australian Idol or Popstars". Sandilands argued that Whalley should not "pick fights with people that are female in the Northern Territory". Sandilands asserted that if he himself were present, "it would have been on for young and old". Whalley argued that gender was irrelevant to the issue, and in response to Sandilands' threat of violence asked Jackie if she was aware that her security guard had threatened a band technician with violence. Sandilands said he endorsed the threat of violence. Sandilands argued to Whalley that he has to "get over it" when Whalley recommended that radio DJs should promote original Australian music. In reply, Sandilands insinuated that Frenzal Rhomb, and bands in general, suffer from a lack of support because they are not "putting [their] stuff in front of the right people". ABC Television's Media Watch covered the exchange and presenter David Marr raised concerns about the interview: "Kyle and Jackie O are also part of a new generation of radio thugs". Patrick Joyce, general manager of Austereo in Sydney, responded to Sandilands' threats of black listing and violence, "Music content is decided by the programming directors based on research of the market... Austereo does not approve of threats being made to anyone... We have fully canvassed these issues with Kyle".
Q: what political protest did they participate in?
A: protest against incumbent Prime Minister John Howard's government.
Q: why did they protest?
A: compilation album, by various Australian musicians as a protest against incumbent Prime Minister John Howard's government.
Q: what is the name of the album?
A: unknown
Q: what occurred in 2004?
A: July 2004, radio station 2Day FM presenter Jackie O was to MC at the Bassinthegrass festival in Darwin.
|
C_31b6aef20b5e4ec5841e183fa3edbb37_1_q#4
|
what songs did they play?
| 0y
| 2x
|
{
"texts": [
"\"Thunderstruck\""
],
"answer_starts": [
596
]
}
|
{
"text": "\"Thunderstruck\"",
"answer_start": 596
}
|
C_31b6aef20b5e4ec5841e183fa3edbb37_1
|
Frenzal Rhomb
|
Frenzal Rhomb is an Australian punk rock band that formed in 1992, with Jason Whalley on lead vocals and rhythm guitar during this entire period. In 1996, Lindsay McDougall joined the line-up on lead guitar and backing vocals. Three of the group's albums have entered the top 20 on the ARIA Albums Chart: A Man's Not a Camel (1999),
|
2004: Political protest, Jackie O
|
During 2003, Frenzal Rhomb's McDougall organised Rock Against Howard, a compilation album, by various Australian musicians as a protest against incumbent Prime Minister John Howard's government. It was released in August 2004, before the October federal election, when Howard's coalition was re-elected. In July 2004, radio station 2Day FM presenter Jackie O was to MC at the Bassinthegrass festival in Darwin. Jackie allegedly arrived late, causing Frenzal Rhomb to cut their setlist short by several songs. She attempted to speak with the audience. In protest, McDougall began playing AC/DC's "Thunderstruck" over her voice. Jackie was upset that she was unable to finish her announcement to the audience. Whalley later accused her and other music industry personalities of pushing original Australian bands aside to make way for short-term marketable acts such as Australian Idol and Popstars contestants. Jackie and her co-presenter, Kyle Sandilands, called Whalley on air during their next breakfast show. Whalley apologised for offending Jackie, but stood by his claims regarding the music industry. The conversation became heated as Sandilands told Whalley "Your songs being played on this network or the Triple M network... it's just not going to happen now"; to which Whalley argued that Frenzal Rhomb were almost never played on the Austereo network anyway. During the conversation, Sandilands told Whalley that he was bitter and sad. When Whalley pointed out that Sandilands is in a position to promote new Australian music but doesn't, Sandilands countered that Frenzal Rhomb is not played on the network "because it's pretty much shit". While Sandilands agreed that shows like Popstars and Australian Idol are interested in making "a quick buck", he also asserted that he doesn't "care about Australian Idol or Popstars". Sandilands argued that Whalley should not "pick fights with people that are female in the Northern Territory". Sandilands asserted that if he himself were present, "it would have been on for young and old". Whalley argued that gender was irrelevant to the issue, and in response to Sandilands' threat of violence asked Jackie if she was aware that her security guard had threatened a band technician with violence. Sandilands said he endorsed the threat of violence. Sandilands argued to Whalley that he has to "get over it" when Whalley recommended that radio DJs should promote original Australian music. In reply, Sandilands insinuated that Frenzal Rhomb, and bands in general, suffer from a lack of support because they are not "putting [their] stuff in front of the right people". ABC Television's Media Watch covered the exchange and presenter David Marr raised concerns about the interview: "Kyle and Jackie O are also part of a new generation of radio thugs". Patrick Joyce, general manager of Austereo in Sydney, responded to Sandilands' threats of black listing and violence, "Music content is decided by the programming directors based on research of the market... Austereo does not approve of threats being made to anyone... We have fully canvassed these issues with Kyle".
Q: what political protest did they participate in?
A: protest against incumbent Prime Minister John Howard's government.
Q: why did they protest?
A: compilation album, by various Australian musicians as a protest against incumbent Prime Minister John Howard's government.
Q: what is the name of the album?
A: unknown
Q: what occurred in 2004?
A: July 2004, radio station 2Day FM presenter Jackie O was to MC at the Bassinthegrass festival in Darwin.
Q: what songs did they play?
A: "Thunderstruck"
|
C_31b6aef20b5e4ec5841e183fa3edbb37_1_q#5
|
was the festival successful?
| 1n
| 2x
|
{
"texts": [
"unknown"
],
"answer_starts": [
3125
]
}
|
{
"text": "unknown",
"answer_start": 3125
}
|
C_31b6aef20b5e4ec5841e183fa3edbb37_1
|
Frenzal Rhomb
|
Frenzal Rhomb is an Australian punk rock band that formed in 1992, with Jason Whalley on lead vocals and rhythm guitar during this entire period. In 1996, Lindsay McDougall joined the line-up on lead guitar and backing vocals. Three of the group's albums have entered the top 20 on the ARIA Albums Chart: A Man's Not a Camel (1999),
|
2004: Political protest, Jackie O
|
During 2003, Frenzal Rhomb's McDougall organised Rock Against Howard, a compilation album, by various Australian musicians as a protest against incumbent Prime Minister John Howard's government. It was released in August 2004, before the October federal election, when Howard's coalition was re-elected. In July 2004, radio station 2Day FM presenter Jackie O was to MC at the Bassinthegrass festival in Darwin. Jackie allegedly arrived late, causing Frenzal Rhomb to cut their setlist short by several songs. She attempted to speak with the audience. In protest, McDougall began playing AC/DC's "Thunderstruck" over her voice. Jackie was upset that she was unable to finish her announcement to the audience. Whalley later accused her and other music industry personalities of pushing original Australian bands aside to make way for short-term marketable acts such as Australian Idol and Popstars contestants. Jackie and her co-presenter, Kyle Sandilands, called Whalley on air during their next breakfast show. Whalley apologised for offending Jackie, but stood by his claims regarding the music industry. The conversation became heated as Sandilands told Whalley "Your songs being played on this network or the Triple M network... it's just not going to happen now"; to which Whalley argued that Frenzal Rhomb were almost never played on the Austereo network anyway. During the conversation, Sandilands told Whalley that he was bitter and sad. When Whalley pointed out that Sandilands is in a position to promote new Australian music but doesn't, Sandilands countered that Frenzal Rhomb is not played on the network "because it's pretty much shit". While Sandilands agreed that shows like Popstars and Australian Idol are interested in making "a quick buck", he also asserted that he doesn't "care about Australian Idol or Popstars". Sandilands argued that Whalley should not "pick fights with people that are female in the Northern Territory". Sandilands asserted that if he himself were present, "it would have been on for young and old". Whalley argued that gender was irrelevant to the issue, and in response to Sandilands' threat of violence asked Jackie if she was aware that her security guard had threatened a band technician with violence. Sandilands said he endorsed the threat of violence. Sandilands argued to Whalley that he has to "get over it" when Whalley recommended that radio DJs should promote original Australian music. In reply, Sandilands insinuated that Frenzal Rhomb, and bands in general, suffer from a lack of support because they are not "putting [their] stuff in front of the right people". ABC Television's Media Watch covered the exchange and presenter David Marr raised concerns about the interview: "Kyle and Jackie O are also part of a new generation of radio thugs". Patrick Joyce, general manager of Austereo in Sydney, responded to Sandilands' threats of black listing and violence, "Music content is decided by the programming directors based on research of the market... Austereo does not approve of threats being made to anyone... We have fully canvassed these issues with Kyle".
Q: what political protest did they participate in?
A: protest against incumbent Prime Minister John Howard's government.
Q: why did they protest?
A: compilation album, by various Australian musicians as a protest against incumbent Prime Minister John Howard's government.
Q: what is the name of the album?
A: unknown
Q: what occurred in 2004?
A: July 2004, radio station 2Day FM presenter Jackie O was to MC at the Bassinthegrass festival in Darwin.
Q: what songs did they play?
A: "Thunderstruck"
Q: was the festival successful?
A: unknown
|
C_31b6aef20b5e4ec5841e183fa3edbb37_1_q#6
|
who is Jackie O?
| 0y
| 2x
|
{
"texts": [
"and Jackie O are also part of a new generation of radio thugs\"."
],
"answer_starts": [
2743
]
}
|
{
"text": "and Jackie O are also part of a new generation of radio thugs\".",
"answer_start": 2743
}
|
C_31b6aef20b5e4ec5841e183fa3edbb37_1
|
Frenzal Rhomb
|
Frenzal Rhomb is an Australian punk rock band that formed in 1992, with Jason Whalley on lead vocals and rhythm guitar during this entire period. In 1996, Lindsay McDougall joined the line-up on lead guitar and backing vocals. Three of the group's albums have entered the top 20 on the ARIA Albums Chart: A Man's Not a Camel (1999),
|
2004: Political protest, Jackie O
|
During 2003, Frenzal Rhomb's McDougall organised Rock Against Howard, a compilation album, by various Australian musicians as a protest against incumbent Prime Minister John Howard's government. It was released in August 2004, before the October federal election, when Howard's coalition was re-elected. In July 2004, radio station 2Day FM presenter Jackie O was to MC at the Bassinthegrass festival in Darwin. Jackie allegedly arrived late, causing Frenzal Rhomb to cut their setlist short by several songs. She attempted to speak with the audience. In protest, McDougall began playing AC/DC's "Thunderstruck" over her voice. Jackie was upset that she was unable to finish her announcement to the audience. Whalley later accused her and other music industry personalities of pushing original Australian bands aside to make way for short-term marketable acts such as Australian Idol and Popstars contestants. Jackie and her co-presenter, Kyle Sandilands, called Whalley on air during their next breakfast show. Whalley apologised for offending Jackie, but stood by his claims regarding the music industry. The conversation became heated as Sandilands told Whalley "Your songs being played on this network or the Triple M network... it's just not going to happen now"; to which Whalley argued that Frenzal Rhomb were almost never played on the Austereo network anyway. During the conversation, Sandilands told Whalley that he was bitter and sad. When Whalley pointed out that Sandilands is in a position to promote new Australian music but doesn't, Sandilands countered that Frenzal Rhomb is not played on the network "because it's pretty much shit". While Sandilands agreed that shows like Popstars and Australian Idol are interested in making "a quick buck", he also asserted that he doesn't "care about Australian Idol or Popstars". Sandilands argued that Whalley should not "pick fights with people that are female in the Northern Territory". Sandilands asserted that if he himself were present, "it would have been on for young and old". Whalley argued that gender was irrelevant to the issue, and in response to Sandilands' threat of violence asked Jackie if she was aware that her security guard had threatened a band technician with violence. Sandilands said he endorsed the threat of violence. Sandilands argued to Whalley that he has to "get over it" when Whalley recommended that radio DJs should promote original Australian music. In reply, Sandilands insinuated that Frenzal Rhomb, and bands in general, suffer from a lack of support because they are not "putting [their] stuff in front of the right people". ABC Television's Media Watch covered the exchange and presenter David Marr raised concerns about the interview: "Kyle and Jackie O are also part of a new generation of radio thugs". Patrick Joyce, general manager of Austereo in Sydney, responded to Sandilands' threats of black listing and violence, "Music content is decided by the programming directors based on research of the market... Austereo does not approve of threats being made to anyone... We have fully canvassed these issues with Kyle".
Q: what political protest did they participate in?
A: protest against incumbent Prime Minister John Howard's government.
Q: why did they protest?
A: compilation album, by various Australian musicians as a protest against incumbent Prime Minister John Howard's government.
Q: what is the name of the album?
A: unknown
Q: what occurred in 2004?
A: July 2004, radio station 2Day FM presenter Jackie O was to MC at the Bassinthegrass festival in Darwin.
Q: what songs did they play?
A: "Thunderstruck"
Q: was the festival successful?
A: unknown
Q: who is Jackie O?
A: and Jackie O are also part of a new generation of radio thugs".
|
C_31b6aef20b5e4ec5841e183fa3edbb37_1_q#7
|
Is Jackie a woman or man?
| 0y
| 2x
|
{
"texts": [
"Jackie and her co-presenter,"
],
"answer_starts": [
911
]
}
|
{
"text": "Jackie and her co-presenter,",
"answer_start": 911
}
|
C_31b6aef20b5e4ec5841e183fa3edbb37_1
|
Frenzal Rhomb
|
Frenzal Rhomb is an Australian punk rock band that formed in 1992, with Jason Whalley on lead vocals and rhythm guitar during this entire period. In 1996, Lindsay McDougall joined the line-up on lead guitar and backing vocals. Three of the group's albums have entered the top 20 on the ARIA Albums Chart: A Man's Not a Camel (1999),
|
2004: Political protest, Jackie O
|
During 2003, Frenzal Rhomb's McDougall organised Rock Against Howard, a compilation album, by various Australian musicians as a protest against incumbent Prime Minister John Howard's government. It was released in August 2004, before the October federal election, when Howard's coalition was re-elected. In July 2004, radio station 2Day FM presenter Jackie O was to MC at the Bassinthegrass festival in Darwin. Jackie allegedly arrived late, causing Frenzal Rhomb to cut their setlist short by several songs. She attempted to speak with the audience. In protest, McDougall began playing AC/DC's "Thunderstruck" over her voice. Jackie was upset that she was unable to finish her announcement to the audience. Whalley later accused her and other music industry personalities of pushing original Australian bands aside to make way for short-term marketable acts such as Australian Idol and Popstars contestants. Jackie and her co-presenter, Kyle Sandilands, called Whalley on air during their next breakfast show. Whalley apologised for offending Jackie, but stood by his claims regarding the music industry. The conversation became heated as Sandilands told Whalley "Your songs being played on this network or the Triple M network... it's just not going to happen now"; to which Whalley argued that Frenzal Rhomb were almost never played on the Austereo network anyway. During the conversation, Sandilands told Whalley that he was bitter and sad. When Whalley pointed out that Sandilands is in a position to promote new Australian music but doesn't, Sandilands countered that Frenzal Rhomb is not played on the network "because it's pretty much shit". While Sandilands agreed that shows like Popstars and Australian Idol are interested in making "a quick buck", he also asserted that he doesn't "care about Australian Idol or Popstars". Sandilands argued that Whalley should not "pick fights with people that are female in the Northern Territory". Sandilands asserted that if he himself were present, "it would have been on for young and old". Whalley argued that gender was irrelevant to the issue, and in response to Sandilands' threat of violence asked Jackie if she was aware that her security guard had threatened a band technician with violence. Sandilands said he endorsed the threat of violence. Sandilands argued to Whalley that he has to "get over it" when Whalley recommended that radio DJs should promote original Australian music. In reply, Sandilands insinuated that Frenzal Rhomb, and bands in general, suffer from a lack of support because they are not "putting [their] stuff in front of the right people". ABC Television's Media Watch covered the exchange and presenter David Marr raised concerns about the interview: "Kyle and Jackie O are also part of a new generation of radio thugs". Patrick Joyce, general manager of Austereo in Sydney, responded to Sandilands' threats of black listing and violence, "Music content is decided by the programming directors based on research of the market... Austereo does not approve of threats being made to anyone... We have fully canvassed these issues with Kyle".
Q: what political protest did they participate in?
A: protest against incumbent Prime Minister John Howard's government.
Q: why did they protest?
A: compilation album, by various Australian musicians as a protest against incumbent Prime Minister John Howard's government.
Q: what is the name of the album?
A: unknown
Q: what occurred in 2004?
A: July 2004, radio station 2Day FM presenter Jackie O was to MC at the Bassinthegrass festival in Darwin.
Q: what songs did they play?
A: "Thunderstruck"
Q: was the festival successful?
A: unknown
Q: who is Jackie O?
A: and Jackie O are also part of a new generation of radio thugs".
Q: Is Jackie a woman or man?
A: Jackie and her co-presenter,
|
C_31b6aef20b5e4ec5841e183fa3edbb37_1_q#8
|
what type of host is she?
| 0y
| 2x
|
{
"texts": [
"Jackie and her co-presenter, Kyle Sandilands, called Whalley on air during their next breakfast show."
],
"answer_starts": [
911
]
}
|
{
"text": "Jackie and her co-presenter, Kyle Sandilands, called Whalley on air during their next breakfast show.",
"answer_start": 911
}
|
C_31b6aef20b5e4ec5841e183fa3edbb37_1
|
Frenzal Rhomb
|
Frenzal Rhomb is an Australian punk rock band that formed in 1992, with Jason Whalley on lead vocals and rhythm guitar during this entire period. In 1996, Lindsay McDougall joined the line-up on lead guitar and backing vocals. Three of the group's albums have entered the top 20 on the ARIA Albums Chart: A Man's Not a Camel (1999),
|
2004: Political protest, Jackie O
|
During 2003, Frenzal Rhomb's McDougall organised Rock Against Howard, a compilation album, by various Australian musicians as a protest against incumbent Prime Minister John Howard's government. It was released in August 2004, before the October federal election, when Howard's coalition was re-elected. In July 2004, radio station 2Day FM presenter Jackie O was to MC at the Bassinthegrass festival in Darwin. Jackie allegedly arrived late, causing Frenzal Rhomb to cut their setlist short by several songs. She attempted to speak with the audience. In protest, McDougall began playing AC/DC's "Thunderstruck" over her voice. Jackie was upset that she was unable to finish her announcement to the audience. Whalley later accused her and other music industry personalities of pushing original Australian bands aside to make way for short-term marketable acts such as Australian Idol and Popstars contestants. Jackie and her co-presenter, Kyle Sandilands, called Whalley on air during their next breakfast show. Whalley apologised for offending Jackie, but stood by his claims regarding the music industry. The conversation became heated as Sandilands told Whalley "Your songs being played on this network or the Triple M network... it's just not going to happen now"; to which Whalley argued that Frenzal Rhomb were almost never played on the Austereo network anyway. During the conversation, Sandilands told Whalley that he was bitter and sad. When Whalley pointed out that Sandilands is in a position to promote new Australian music but doesn't, Sandilands countered that Frenzal Rhomb is not played on the network "because it's pretty much shit". While Sandilands agreed that shows like Popstars and Australian Idol are interested in making "a quick buck", he also asserted that he doesn't "care about Australian Idol or Popstars". Sandilands argued that Whalley should not "pick fights with people that are female in the Northern Territory". Sandilands asserted that if he himself were present, "it would have been on for young and old". Whalley argued that gender was irrelevant to the issue, and in response to Sandilands' threat of violence asked Jackie if she was aware that her security guard had threatened a band technician with violence. Sandilands said he endorsed the threat of violence. Sandilands argued to Whalley that he has to "get over it" when Whalley recommended that radio DJs should promote original Australian music. In reply, Sandilands insinuated that Frenzal Rhomb, and bands in general, suffer from a lack of support because they are not "putting [their] stuff in front of the right people". ABC Television's Media Watch covered the exchange and presenter David Marr raised concerns about the interview: "Kyle and Jackie O are also part of a new generation of radio thugs". Patrick Joyce, general manager of Austereo in Sydney, responded to Sandilands' threats of black listing and violence, "Music content is decided by the programming directors based on research of the market... Austereo does not approve of threats being made to anyone... We have fully canvassed these issues with Kyle".
Q: what political protest did they participate in?
A: protest against incumbent Prime Minister John Howard's government.
Q: why did they protest?
A: compilation album, by various Australian musicians as a protest against incumbent Prime Minister John Howard's government.
Q: what is the name of the album?
A: unknown
Q: what occurred in 2004?
A: July 2004, radio station 2Day FM presenter Jackie O was to MC at the Bassinthegrass festival in Darwin.
Q: what songs did they play?
A: "Thunderstruck"
Q: was the festival successful?
A: unknown
Q: who is Jackie O?
A: and Jackie O are also part of a new generation of radio thugs".
Q: Is Jackie a woman or man?
A: Jackie and her co-presenter,
Q: what type of host is she?
A: Jackie and her co-presenter, Kyle Sandilands, called Whalley on air during their next breakfast show.
|
C_31b6aef20b5e4ec5841e183fa3edbb37_1_q#9
|
doe sshe have other hosts?
| 0y
| 0y
|
{
"texts": [
"presenter David Marr"
],
"answer_starts": [
2679
]
}
|
{
"text": "presenter David Marr",
"answer_start": 2679
}
|
C_31b6aef20b5e4ec5841e183fa3edbb37_1
|
Frenzal Rhomb
|
Frenzal Rhomb is an Australian punk rock band that formed in 1992, with Jason Whalley on lead vocals and rhythm guitar during this entire period. In 1996, Lindsay McDougall joined the line-up on lead guitar and backing vocals. Three of the group's albums have entered the top 20 on the ARIA Albums Chart: A Man's Not a Camel (1999),
|
2004: Political protest, Jackie O
|
During 2003, Frenzal Rhomb's McDougall organised Rock Against Howard, a compilation album, by various Australian musicians as a protest against incumbent Prime Minister John Howard's government. It was released in August 2004, before the October federal election, when Howard's coalition was re-elected. In July 2004, radio station 2Day FM presenter Jackie O was to MC at the Bassinthegrass festival in Darwin. Jackie allegedly arrived late, causing Frenzal Rhomb to cut their setlist short by several songs. She attempted to speak with the audience. In protest, McDougall began playing AC/DC's "Thunderstruck" over her voice. Jackie was upset that she was unable to finish her announcement to the audience. Whalley later accused her and other music industry personalities of pushing original Australian bands aside to make way for short-term marketable acts such as Australian Idol and Popstars contestants. Jackie and her co-presenter, Kyle Sandilands, called Whalley on air during their next breakfast show. Whalley apologised for offending Jackie, but stood by his claims regarding the music industry. The conversation became heated as Sandilands told Whalley "Your songs being played on this network or the Triple M network... it's just not going to happen now"; to which Whalley argued that Frenzal Rhomb were almost never played on the Austereo network anyway. During the conversation, Sandilands told Whalley that he was bitter and sad. When Whalley pointed out that Sandilands is in a position to promote new Australian music but doesn't, Sandilands countered that Frenzal Rhomb is not played on the network "because it's pretty much shit". While Sandilands agreed that shows like Popstars and Australian Idol are interested in making "a quick buck", he also asserted that he doesn't "care about Australian Idol or Popstars". Sandilands argued that Whalley should not "pick fights with people that are female in the Northern Territory". Sandilands asserted that if he himself were present, "it would have been on for young and old". Whalley argued that gender was irrelevant to the issue, and in response to Sandilands' threat of violence asked Jackie if she was aware that her security guard had threatened a band technician with violence. Sandilands said he endorsed the threat of violence. Sandilands argued to Whalley that he has to "get over it" when Whalley recommended that radio DJs should promote original Australian music. In reply, Sandilands insinuated that Frenzal Rhomb, and bands in general, suffer from a lack of support because they are not "putting [their] stuff in front of the right people". ABC Television's Media Watch covered the exchange and presenter David Marr raised concerns about the interview: "Kyle and Jackie O are also part of a new generation of radio thugs". Patrick Joyce, general manager of Austereo in Sydney, responded to Sandilands' threats of black listing and violence, "Music content is decided by the programming directors based on research of the market... Austereo does not approve of threats being made to anyone... We have fully canvassed these issues with Kyle".
Q: what political protest did they participate in?
A: protest against incumbent Prime Minister John Howard's government.
Q: why did they protest?
A: compilation album, by various Australian musicians as a protest against incumbent Prime Minister John Howard's government.
Q: what is the name of the album?
A: unknown
Q: what occurred in 2004?
A: July 2004, radio station 2Day FM presenter Jackie O was to MC at the Bassinthegrass festival in Darwin.
Q: what songs did they play?
A: "Thunderstruck"
Q: was the festival successful?
A: unknown
Q: who is Jackie O?
A: and Jackie O are also part of a new generation of radio thugs".
Q: Is Jackie a woman or man?
A: Jackie and her co-presenter,
Q: what type of host is she?
A: Jackie and her co-presenter, Kyle Sandilands, called Whalley on air during their next breakfast show.
Q: doe sshe have other hosts?
A: presenter David Marr
|
C_31b6aef20b5e4ec5841e183fa3edbb37_1_q#10
|
what show was that?
| 0y
| 2x
|
{
"texts": [
"that Frenzal Rhomb, and bands in general, suffer from a lack of support because they are not \"putting [their]"
],
"answer_starts": [
2477
]
}
|
{
"text": "that Frenzal Rhomb, and bands in general, suffer from a lack of support because they are not \"putting [their]",
"answer_start": 2477
}
|
C_31b6aef20b5e4ec5841e183fa3edbb37_1
|
Frenzal Rhomb
|
Frenzal Rhomb is an Australian punk rock band that formed in 1992, with Jason Whalley on lead vocals and rhythm guitar during this entire period. In 1996, Lindsay McDougall joined the line-up on lead guitar and backing vocals. Three of the group's albums have entered the top 20 on the ARIA Albums Chart: A Man's Not a Camel (1999),
|
2004: Political protest, Jackie O
|
During 2003, Frenzal Rhomb's McDougall organised Rock Against Howard, a compilation album, by various Australian musicians as a protest against incumbent Prime Minister John Howard's government. It was released in August 2004, before the October federal election, when Howard's coalition was re-elected. In July 2004, radio station 2Day FM presenter Jackie O was to MC at the Bassinthegrass festival in Darwin. Jackie allegedly arrived late, causing Frenzal Rhomb to cut their setlist short by several songs. She attempted to speak with the audience. In protest, McDougall began playing AC/DC's "Thunderstruck" over her voice. Jackie was upset that she was unable to finish her announcement to the audience. Whalley later accused her and other music industry personalities of pushing original Australian bands aside to make way for short-term marketable acts such as Australian Idol and Popstars contestants. Jackie and her co-presenter, Kyle Sandilands, called Whalley on air during their next breakfast show. Whalley apologised for offending Jackie, but stood by his claims regarding the music industry. The conversation became heated as Sandilands told Whalley "Your songs being played on this network or the Triple M network... it's just not going to happen now"; to which Whalley argued that Frenzal Rhomb were almost never played on the Austereo network anyway. During the conversation, Sandilands told Whalley that he was bitter and sad. When Whalley pointed out that Sandilands is in a position to promote new Australian music but doesn't, Sandilands countered that Frenzal Rhomb is not played on the network "because it's pretty much shit". While Sandilands agreed that shows like Popstars and Australian Idol are interested in making "a quick buck", he also asserted that he doesn't "care about Australian Idol or Popstars". Sandilands argued that Whalley should not "pick fights with people that are female in the Northern Territory". Sandilands asserted that if he himself were present, "it would have been on for young and old". Whalley argued that gender was irrelevant to the issue, and in response to Sandilands' threat of violence asked Jackie if she was aware that her security guard had threatened a band technician with violence. Sandilands said he endorsed the threat of violence. Sandilands argued to Whalley that he has to "get over it" when Whalley recommended that radio DJs should promote original Australian music. In reply, Sandilands insinuated that Frenzal Rhomb, and bands in general, suffer from a lack of support because they are not "putting [their] stuff in front of the right people". ABC Television's Media Watch covered the exchange and presenter David Marr raised concerns about the interview: "Kyle and Jackie O are also part of a new generation of radio thugs". Patrick Joyce, general manager of Austereo in Sydney, responded to Sandilands' threats of black listing and violence, "Music content is decided by the programming directors based on research of the market... Austereo does not approve of threats being made to anyone... We have fully canvassed these issues with Kyle".
Q: what political protest did they participate in?
A: protest against incumbent Prime Minister John Howard's government.
Q: why did they protest?
A: compilation album, by various Australian musicians as a protest against incumbent Prime Minister John Howard's government.
Q: what is the name of the album?
A: unknown
Q: what occurred in 2004?
A: July 2004, radio station 2Day FM presenter Jackie O was to MC at the Bassinthegrass festival in Darwin.
Q: what songs did they play?
A: "Thunderstruck"
Q: was the festival successful?
A: unknown
Q: who is Jackie O?
A: and Jackie O are also part of a new generation of radio thugs".
Q: Is Jackie a woman or man?
A: Jackie and her co-presenter,
Q: what type of host is she?
A: Jackie and her co-presenter, Kyle Sandilands, called Whalley on air during their next breakfast show.
Q: doe sshe have other hosts?
A: presenter David Marr
Q: what show was that?
A: that Frenzal Rhomb, and bands in general, suffer from a lack of support because they are not "putting [their]
|
C_31b6aef20b5e4ec5841e183fa3edbb37_1_q#11
|
was there any controversary?
| 1n
| 2x
|
{
"texts": [
"unknown"
],
"answer_starts": [
3125
]
}
|
{
"text": "unknown",
"answer_start": 3125
}
|
C_2952226d329a48e8a36db18ff5230291_1
|
Rem Koolhaas
|
Remment Lucas "Rem" Koolhaas (Dutch pronunciation: [rem ko:lha:s]; born 17 November 1944) is a Dutch architect, architectural theorist, urbanist and Professor in Practice of Architecture and Urban Design at the Graduate School of Design at Harvard University. Koolhaas studied at the Architectural Association School of Architecture in London and at Cornell University in Ithaca, New York. Koolhaas is the founding partner of OMA, and of its research-oriented counterpart AMO based in Rotterdam, the Netherlands. In 2005, he co-founded Volume Magazine together with Mark Wigley and Ole Bouman.
|
Project on the city
|
Koolhaas's next landmark publications were a product of his position as professor at Harvard University, in the Design school's "Project on the City"; firstly the 720-page Mutations, followed by The Harvard Design School Guide to Shopping (2002) and The Great Leap Forward (2002). All three books involved Koolhaas's students analysing what others would regard as "non-cities", sprawling conglomerates such as Lagos in Nigeria, west Africa, which the authors argue are highly functional despite a lack of infrastructure. The authors also examine the influence of shopping habits and the recent rapid growth of cities in China. Critics of the books have criticised Koolhaas for being cynical - as if Western capitalism and globalization demolish all cultural identity - highlighted in the notion expounded in the books that "In the end, there will be little else for us to do but shop". However, such cynicism can alternatively be read as a "realism" about the transformation of cultural life, where airports and even museums (due to finance problems) rely just as much on operating gift shops. When it comes to transforming these observations into practice, Koolhaas mobilizes what he regards as the omnipotent forces of urbanism into unique design forms and connections organised along the lines of present-day society. Koolhaas continuously incorporates his observations of the contemporary city within his design activities: calling such a condition the 'culture of congestion'. Again, shopping is examined for "intellectual comfort", whilst the unregulated taste and densification of Chinese cities is analysed according to "performance", a criterion involving variables with debatable credibility: density, newness, shape, size, money etc. For example, in his design for the new CCTV headquarters in Beijing (2009), Koolhaas did not opt for the stereotypical skyscraper, often used to symbolise and landmark such government enterprises, but instead designed a series of volumes which not only tie together the numerous departments onto the nebulous site, but also introduced routes (again, the concept of cross-programming) for the general public through the site, allowing them some degree of access to the production procedure. Through his ruthlessly raw approach, Koolhaas hopes to extract the architect from the anxiety of a dead profession and resurrect a contemporary interpretation of the sublime, however fleeting it may be. In 2003, Content, a 544-page magazine-style book designed by &&& Creative and published by Koolhaas, gives an overview of the last decade of OMA projects including his designs for the Prada shops, the Seattle Public Library, a plan to save Cambridge from Harvard by rechanneling the Charles River, Lagos' future as Earth's third-biggest city, as well as interviews with Martha Stewart and Robert Venturi and Denise Scott Brown.
|
C_2952226d329a48e8a36db18ff5230291_1_q#0
|
What good did the EU do for their country?
| 1n
| 2x
|
{
"texts": [
"unknown"
],
"answer_starts": [
2868
]
}
|
{
"text": "unknown",
"answer_start": 2868
}
|
C_2952226d329a48e8a36db18ff5230291_1
|
Rem Koolhaas
|
Remment Lucas "Rem" Koolhaas (Dutch pronunciation: [rem ko:lha:s]; born 17 November 1944) is a Dutch architect, architectural theorist, urbanist and Professor in Practice of Architecture and Urban Design at the Graduate School of Design at Harvard University. Koolhaas studied at the Architectural Association School of Architecture in London and at Cornell University in Ithaca, New York. Koolhaas is the founding partner of OMA, and of its research-oriented counterpart AMO based in Rotterdam, the Netherlands. In 2005, he co-founded Volume Magazine together with Mark Wigley and Ole Bouman.
|
Project on the city
|
Koolhaas's next landmark publications were a product of his position as professor at Harvard University, in the Design school's "Project on the City"; firstly the 720-page Mutations, followed by The Harvard Design School Guide to Shopping (2002) and The Great Leap Forward (2002). All three books involved Koolhaas's students analysing what others would regard as "non-cities", sprawling conglomerates such as Lagos in Nigeria, west Africa, which the authors argue are highly functional despite a lack of infrastructure. The authors also examine the influence of shopping habits and the recent rapid growth of cities in China. Critics of the books have criticised Koolhaas for being cynical - as if Western capitalism and globalization demolish all cultural identity - highlighted in the notion expounded in the books that "In the end, there will be little else for us to do but shop". However, such cynicism can alternatively be read as a "realism" about the transformation of cultural life, where airports and even museums (due to finance problems) rely just as much on operating gift shops. When it comes to transforming these observations into practice, Koolhaas mobilizes what he regards as the omnipotent forces of urbanism into unique design forms and connections organised along the lines of present-day society. Koolhaas continuously incorporates his observations of the contemporary city within his design activities: calling such a condition the 'culture of congestion'. Again, shopping is examined for "intellectual comfort", whilst the unregulated taste and densification of Chinese cities is analysed according to "performance", a criterion involving variables with debatable credibility: density, newness, shape, size, money etc. For example, in his design for the new CCTV headquarters in Beijing (2009), Koolhaas did not opt for the stereotypical skyscraper, often used to symbolise and landmark such government enterprises, but instead designed a series of volumes which not only tie together the numerous departments onto the nebulous site, but also introduced routes (again, the concept of cross-programming) for the general public through the site, allowing them some degree of access to the production procedure. Through his ruthlessly raw approach, Koolhaas hopes to extract the architect from the anxiety of a dead profession and resurrect a contemporary interpretation of the sublime, however fleeting it may be. In 2003, Content, a 544-page magazine-style book designed by &&& Creative and published by Koolhaas, gives an overview of the last decade of OMA projects including his designs for the Prada shops, the Seattle Public Library, a plan to save Cambridge from Harvard by rechanneling the Charles River, Lagos' future as Earth's third-biggest city, as well as interviews with Martha Stewart and Robert Venturi and Denise Scott Brown.
Q: What good did the EU do for their country?
A: unknown
|
C_2952226d329a48e8a36db18ff5230291_1_q#1
|
What kind of projects was proposed in the city?
| 0y
| 2x
|
{
"texts": [
"firstly the 720-page Mutations,"
],
"answer_starts": [
151
]
}
|
{
"text": "firstly the 720-page Mutations,",
"answer_start": 151
}
|
C_2952226d329a48e8a36db18ff5230291_1
|
Rem Koolhaas
|
Remment Lucas "Rem" Koolhaas (Dutch pronunciation: [rem ko:lha:s]; born 17 November 1944) is a Dutch architect, architectural theorist, urbanist and Professor in Practice of Architecture and Urban Design at the Graduate School of Design at Harvard University. Koolhaas studied at the Architectural Association School of Architecture in London and at Cornell University in Ithaca, New York. Koolhaas is the founding partner of OMA, and of its research-oriented counterpart AMO based in Rotterdam, the Netherlands. In 2005, he co-founded Volume Magazine together with Mark Wigley and Ole Bouman.
|
Project on the city
|
Koolhaas's next landmark publications were a product of his position as professor at Harvard University, in the Design school's "Project on the City"; firstly the 720-page Mutations, followed by The Harvard Design School Guide to Shopping (2002) and The Great Leap Forward (2002). All three books involved Koolhaas's students analysing what others would regard as "non-cities", sprawling conglomerates such as Lagos in Nigeria, west Africa, which the authors argue are highly functional despite a lack of infrastructure. The authors also examine the influence of shopping habits and the recent rapid growth of cities in China. Critics of the books have criticised Koolhaas for being cynical - as if Western capitalism and globalization demolish all cultural identity - highlighted in the notion expounded in the books that "In the end, there will be little else for us to do but shop". However, such cynicism can alternatively be read as a "realism" about the transformation of cultural life, where airports and even museums (due to finance problems) rely just as much on operating gift shops. When it comes to transforming these observations into practice, Koolhaas mobilizes what he regards as the omnipotent forces of urbanism into unique design forms and connections organised along the lines of present-day society. Koolhaas continuously incorporates his observations of the contemporary city within his design activities: calling such a condition the 'culture of congestion'. Again, shopping is examined for "intellectual comfort", whilst the unregulated taste and densification of Chinese cities is analysed according to "performance", a criterion involving variables with debatable credibility: density, newness, shape, size, money etc. For example, in his design for the new CCTV headquarters in Beijing (2009), Koolhaas did not opt for the stereotypical skyscraper, often used to symbolise and landmark such government enterprises, but instead designed a series of volumes which not only tie together the numerous departments onto the nebulous site, but also introduced routes (again, the concept of cross-programming) for the general public through the site, allowing them some degree of access to the production procedure. Through his ruthlessly raw approach, Koolhaas hopes to extract the architect from the anxiety of a dead profession and resurrect a contemporary interpretation of the sublime, however fleeting it may be. In 2003, Content, a 544-page magazine-style book designed by &&& Creative and published by Koolhaas, gives an overview of the last decade of OMA projects including his designs for the Prada shops, the Seattle Public Library, a plan to save Cambridge from Harvard by rechanneling the Charles River, Lagos' future as Earth's third-biggest city, as well as interviews with Martha Stewart and Robert Venturi and Denise Scott Brown.
Q: What good did the EU do for their country?
A: unknown
Q: What kind of projects was proposed in the city?
A: firstly the 720-page Mutations,
|
C_2952226d329a48e8a36db18ff5230291_1_q#2
|
How successful was the 720-page and what greatness came after?
| 2m
| 2x
|
{
"texts": [
"firstly the 720-page Mutations, followed by The Harvard Design School Guide to Shopping (2002) and The Great Leap Forward (2002)."
],
"answer_starts": [
151
]
}
|
{
"text": "firstly the 720-page Mutations, followed by The Harvard Design School Guide to Shopping (2002) and The Great Leap Forward (2002).",
"answer_start": 151
}
|
C_2952226d329a48e8a36db18ff5230291_1
|
Rem Koolhaas
|
Remment Lucas "Rem" Koolhaas (Dutch pronunciation: [rem ko:lha:s]; born 17 November 1944) is a Dutch architect, architectural theorist, urbanist and Professor in Practice of Architecture and Urban Design at the Graduate School of Design at Harvard University. Koolhaas studied at the Architectural Association School of Architecture in London and at Cornell University in Ithaca, New York. Koolhaas is the founding partner of OMA, and of its research-oriented counterpart AMO based in Rotterdam, the Netherlands. In 2005, he co-founded Volume Magazine together with Mark Wigley and Ole Bouman.
|
Project on the city
|
Koolhaas's next landmark publications were a product of his position as professor at Harvard University, in the Design school's "Project on the City"; firstly the 720-page Mutations, followed by The Harvard Design School Guide to Shopping (2002) and The Great Leap Forward (2002). All three books involved Koolhaas's students analysing what others would regard as "non-cities", sprawling conglomerates such as Lagos in Nigeria, west Africa, which the authors argue are highly functional despite a lack of infrastructure. The authors also examine the influence of shopping habits and the recent rapid growth of cities in China. Critics of the books have criticised Koolhaas for being cynical - as if Western capitalism and globalization demolish all cultural identity - highlighted in the notion expounded in the books that "In the end, there will be little else for us to do but shop". However, such cynicism can alternatively be read as a "realism" about the transformation of cultural life, where airports and even museums (due to finance problems) rely just as much on operating gift shops. When it comes to transforming these observations into practice, Koolhaas mobilizes what he regards as the omnipotent forces of urbanism into unique design forms and connections organised along the lines of present-day society. Koolhaas continuously incorporates his observations of the contemporary city within his design activities: calling such a condition the 'culture of congestion'. Again, shopping is examined for "intellectual comfort", whilst the unregulated taste and densification of Chinese cities is analysed according to "performance", a criterion involving variables with debatable credibility: density, newness, shape, size, money etc. For example, in his design for the new CCTV headquarters in Beijing (2009), Koolhaas did not opt for the stereotypical skyscraper, often used to symbolise and landmark such government enterprises, but instead designed a series of volumes which not only tie together the numerous departments onto the nebulous site, but also introduced routes (again, the concept of cross-programming) for the general public through the site, allowing them some degree of access to the production procedure. Through his ruthlessly raw approach, Koolhaas hopes to extract the architect from the anxiety of a dead profession and resurrect a contemporary interpretation of the sublime, however fleeting it may be. In 2003, Content, a 544-page magazine-style book designed by &&& Creative and published by Koolhaas, gives an overview of the last decade of OMA projects including his designs for the Prada shops, the Seattle Public Library, a plan to save Cambridge from Harvard by rechanneling the Charles River, Lagos' future as Earth's third-biggest city, as well as interviews with Martha Stewart and Robert Venturi and Denise Scott Brown.
Q: What good did the EU do for their country?
A: unknown
Q: What kind of projects was proposed in the city?
A: firstly the 720-page Mutations,
Q: How successful was the 720-page and what greatness came after?
A: firstly the 720-page Mutations, followed by The Harvard Design School Guide to Shopping (2002) and The Great Leap Forward (2002).
|
C_2952226d329a48e8a36db18ff5230291_1_q#3
|
What was the 720 about?
| 1n
| 2x
|
{
"texts": [
"720-page"
],
"answer_starts": [
163
]
}
|
{
"text": "720-page",
"answer_start": 163
}
|
C_2952226d329a48e8a36db18ff5230291_1
|
Rem Koolhaas
|
Remment Lucas "Rem" Koolhaas (Dutch pronunciation: [rem ko:lha:s]; born 17 November 1944) is a Dutch architect, architectural theorist, urbanist and Professor in Practice of Architecture and Urban Design at the Graduate School of Design at Harvard University. Koolhaas studied at the Architectural Association School of Architecture in London and at Cornell University in Ithaca, New York. Koolhaas is the founding partner of OMA, and of its research-oriented counterpart AMO based in Rotterdam, the Netherlands. In 2005, he co-founded Volume Magazine together with Mark Wigley and Ole Bouman.
|
Project on the city
|
Koolhaas's next landmark publications were a product of his position as professor at Harvard University, in the Design school's "Project on the City"; firstly the 720-page Mutations, followed by The Harvard Design School Guide to Shopping (2002) and The Great Leap Forward (2002). All three books involved Koolhaas's students analysing what others would regard as "non-cities", sprawling conglomerates such as Lagos in Nigeria, west Africa, which the authors argue are highly functional despite a lack of infrastructure. The authors also examine the influence of shopping habits and the recent rapid growth of cities in China. Critics of the books have criticised Koolhaas for being cynical - as if Western capitalism and globalization demolish all cultural identity - highlighted in the notion expounded in the books that "In the end, there will be little else for us to do but shop". However, such cynicism can alternatively be read as a "realism" about the transformation of cultural life, where airports and even museums (due to finance problems) rely just as much on operating gift shops. When it comes to transforming these observations into practice, Koolhaas mobilizes what he regards as the omnipotent forces of urbanism into unique design forms and connections organised along the lines of present-day society. Koolhaas continuously incorporates his observations of the contemporary city within his design activities: calling such a condition the 'culture of congestion'. Again, shopping is examined for "intellectual comfort", whilst the unregulated taste and densification of Chinese cities is analysed according to "performance", a criterion involving variables with debatable credibility: density, newness, shape, size, money etc. For example, in his design for the new CCTV headquarters in Beijing (2009), Koolhaas did not opt for the stereotypical skyscraper, often used to symbolise and landmark such government enterprises, but instead designed a series of volumes which not only tie together the numerous departments onto the nebulous site, but also introduced routes (again, the concept of cross-programming) for the general public through the site, allowing them some degree of access to the production procedure. Through his ruthlessly raw approach, Koolhaas hopes to extract the architect from the anxiety of a dead profession and resurrect a contemporary interpretation of the sublime, however fleeting it may be. In 2003, Content, a 544-page magazine-style book designed by &&& Creative and published by Koolhaas, gives an overview of the last decade of OMA projects including his designs for the Prada shops, the Seattle Public Library, a plan to save Cambridge from Harvard by rechanneling the Charles River, Lagos' future as Earth's third-biggest city, as well as interviews with Martha Stewart and Robert Venturi and Denise Scott Brown.
Q: What good did the EU do for their country?
A: unknown
Q: What kind of projects was proposed in the city?
A: firstly the 720-page Mutations,
Q: How successful was the 720-page and what greatness came after?
A: firstly the 720-page Mutations, followed by The Harvard Design School Guide to Shopping (2002) and The Great Leap Forward (2002).
Q: What was the 720 about?
A: 720-page
|
C_2952226d329a48e8a36db18ff5230291_1_q#4
|
What did the great leap forward consist of?
| 0y
| 2x
|
{
"texts": [
"All three books involved Koolhaas's students analysing what others would regard as \"non-cities\","
],
"answer_starts": [
281
]
}
|
{
"text": "All three books involved Koolhaas's students analysing what others would regard as \"non-cities\",",
"answer_start": 281
}
|
C_32b23f3625404e66b20028d99d30d0e4_0
|
Sarah Geronimo
|
Sarah Geronimo (born July 25, 1988), is a Filipino singer, actress, and television personality. Her contributions to music along with her film and television work has made her a local figure in popular culture of the 2000s to 2010s in the Philippines. Born and raised in Santa Cruz, Manila, Geronimo started a career in music at the age of 14 after winning the television singing contest Star for a Night. She then signed with music label Viva Records and rose to fame with the release of her debut album Popstar
|
2011-2012: Catch Me, I'm in Love, Sarah G. Live! and concerts
|
In February 2011, she had a Valentine concert with Martin Nievera titled "What Love Is" at the Araneta Coliseum. Geronimo worked with Gerald Anderson in the film collaboration of Star Cinema and Viva Films entitled Catch Me, I'm in Love which was shown on March 23, 2011 in theaters nationwide and shown as a summer release in the Philippines. Raymond Lo, U.S. correspondent for The Philippine Star said: In November 2011, Geronimo made a movie again with Gerald Anderson in Won't Last A Day Without You which earned P20 Million on its opening day. Geronimo signed an exclusive one-year contract with ABS-CBN, it states her future projects and commitments such as having a weekly solo show, an extension as a performer in ASAP Rocks, and a movie with John Lloyd Cruz for the third time. Also this year, Geronimo is declared as the Princess of Philippine Movies by the Guillermo Mendoza Box Office Awards for her movie, Catch Me, I'm In Love together with Gerald Anderson. Geronimo had her solo weekly musical-variety show every Sunday night titled Sarah G. Live! and her movie with John Lloyd Cruz is in production. In July 2012, Geronimo staged her fifth major solo concert in the "Big Dome" entitled 24/SG. In November 2012, Geronimo was chosen as the "Bayanihan Ambassadress" of the Armed Forces of the Philippines. In December 2012, Geronimo won a string of awards one of which is the Best Asian Artist Award (Philippines) at the recently concluded Mnet Asian Music Awards. Geronimo also bagged major awards in Awit Awards, Aliw Awards and PMPC Star Awards for Music.
|
C_32b23f3625404e66b20028d99d30d0e4_0_q#0
|
What was Catch Me, I'm In Love?
| 0y
| 2x
|
{
"texts": [
"film collaboration of Star Cinema and Viva Films entitled Catch Me,"
],
"answer_starts": [
157
]
}
|
{
"text": "film collaboration of Star Cinema and Viva Films entitled Catch Me,",
"answer_start": 157
}
|
C_32b23f3625404e66b20028d99d30d0e4_0
|
Sarah Geronimo
|
Sarah Geronimo (born July 25, 1988), is a Filipino singer, actress, and television personality. Her contributions to music along with her film and television work has made her a local figure in popular culture of the 2000s to 2010s in the Philippines. Born and raised in Santa Cruz, Manila, Geronimo started a career in music at the age of 14 after winning the television singing contest Star for a Night. She then signed with music label Viva Records and rose to fame with the release of her debut album Popstar
|
2011-2012: Catch Me, I'm in Love, Sarah G. Live! and concerts
|
In February 2011, she had a Valentine concert with Martin Nievera titled "What Love Is" at the Araneta Coliseum. Geronimo worked with Gerald Anderson in the film collaboration of Star Cinema and Viva Films entitled Catch Me, I'm in Love which was shown on March 23, 2011 in theaters nationwide and shown as a summer release in the Philippines. Raymond Lo, U.S. correspondent for The Philippine Star said: In November 2011, Geronimo made a movie again with Gerald Anderson in Won't Last A Day Without You which earned P20 Million on its opening day. Geronimo signed an exclusive one-year contract with ABS-CBN, it states her future projects and commitments such as having a weekly solo show, an extension as a performer in ASAP Rocks, and a movie with John Lloyd Cruz for the third time. Also this year, Geronimo is declared as the Princess of Philippine Movies by the Guillermo Mendoza Box Office Awards for her movie, Catch Me, I'm In Love together with Gerald Anderson. Geronimo had her solo weekly musical-variety show every Sunday night titled Sarah G. Live! and her movie with John Lloyd Cruz is in production. In July 2012, Geronimo staged her fifth major solo concert in the "Big Dome" entitled 24/SG. In November 2012, Geronimo was chosen as the "Bayanihan Ambassadress" of the Armed Forces of the Philippines. In December 2012, Geronimo won a string of awards one of which is the Best Asian Artist Award (Philippines) at the recently concluded Mnet Asian Music Awards. Geronimo also bagged major awards in Awit Awards, Aliw Awards and PMPC Star Awards for Music.
Q: What was Catch Me, I'm In Love?
A: film collaboration of Star Cinema and Viva Films entitled Catch Me,
|
C_32b23f3625404e66b20028d99d30d0e4_0_q#1
|
Did the film do well?
| 1n
| 2x
|
{
"texts": [
"unknown"
],
"answer_starts": [
1576
]
}
|
{
"text": "unknown",
"answer_start": 1576
}
|
C_32b23f3625404e66b20028d99d30d0e4_0
|
Sarah Geronimo
|
Sarah Geronimo (born July 25, 1988), is a Filipino singer, actress, and television personality. Her contributions to music along with her film and television work has made her a local figure in popular culture of the 2000s to 2010s in the Philippines. Born and raised in Santa Cruz, Manila, Geronimo started a career in music at the age of 14 after winning the television singing contest Star for a Night. She then signed with music label Viva Records and rose to fame with the release of her debut album Popstar
|
2011-2012: Catch Me, I'm in Love, Sarah G. Live! and concerts
|
In February 2011, she had a Valentine concert with Martin Nievera titled "What Love Is" at the Araneta Coliseum. Geronimo worked with Gerald Anderson in the film collaboration of Star Cinema and Viva Films entitled Catch Me, I'm in Love which was shown on March 23, 2011 in theaters nationwide and shown as a summer release in the Philippines. Raymond Lo, U.S. correspondent for The Philippine Star said: In November 2011, Geronimo made a movie again with Gerald Anderson in Won't Last A Day Without You which earned P20 Million on its opening day. Geronimo signed an exclusive one-year contract with ABS-CBN, it states her future projects and commitments such as having a weekly solo show, an extension as a performer in ASAP Rocks, and a movie with John Lloyd Cruz for the third time. Also this year, Geronimo is declared as the Princess of Philippine Movies by the Guillermo Mendoza Box Office Awards for her movie, Catch Me, I'm In Love together with Gerald Anderson. Geronimo had her solo weekly musical-variety show every Sunday night titled Sarah G. Live! and her movie with John Lloyd Cruz is in production. In July 2012, Geronimo staged her fifth major solo concert in the "Big Dome" entitled 24/SG. In November 2012, Geronimo was chosen as the "Bayanihan Ambassadress" of the Armed Forces of the Philippines. In December 2012, Geronimo won a string of awards one of which is the Best Asian Artist Award (Philippines) at the recently concluded Mnet Asian Music Awards. Geronimo also bagged major awards in Awit Awards, Aliw Awards and PMPC Star Awards for Music.
Q: What was Catch Me, I'm In Love?
A: film collaboration of Star Cinema and Viva Films entitled Catch Me,
Q: Did the film do well?
A: unknown
|
C_32b23f3625404e66b20028d99d30d0e4_0_q#2
|
What did she do in the film?
| 1n
| 2x
|
{
"texts": [
"unknown"
],
"answer_starts": [
1576
]
}
|
{
"text": "unknown",
"answer_start": 1576
}
|
C_32b23f3625404e66b20028d99d30d0e4_0
|
Sarah Geronimo
|
Sarah Geronimo (born July 25, 1988), is a Filipino singer, actress, and television personality. Her contributions to music along with her film and television work has made her a local figure in popular culture of the 2000s to 2010s in the Philippines. Born and raised in Santa Cruz, Manila, Geronimo started a career in music at the age of 14 after winning the television singing contest Star for a Night. She then signed with music label Viva Records and rose to fame with the release of her debut album Popstar
|
2011-2012: Catch Me, I'm in Love, Sarah G. Live! and concerts
|
In February 2011, she had a Valentine concert with Martin Nievera titled "What Love Is" at the Araneta Coliseum. Geronimo worked with Gerald Anderson in the film collaboration of Star Cinema and Viva Films entitled Catch Me, I'm in Love which was shown on March 23, 2011 in theaters nationwide and shown as a summer release in the Philippines. Raymond Lo, U.S. correspondent for The Philippine Star said: In November 2011, Geronimo made a movie again with Gerald Anderson in Won't Last A Day Without You which earned P20 Million on its opening day. Geronimo signed an exclusive one-year contract with ABS-CBN, it states her future projects and commitments such as having a weekly solo show, an extension as a performer in ASAP Rocks, and a movie with John Lloyd Cruz for the third time. Also this year, Geronimo is declared as the Princess of Philippine Movies by the Guillermo Mendoza Box Office Awards for her movie, Catch Me, I'm In Love together with Gerald Anderson. Geronimo had her solo weekly musical-variety show every Sunday night titled Sarah G. Live! and her movie with John Lloyd Cruz is in production. In July 2012, Geronimo staged her fifth major solo concert in the "Big Dome" entitled 24/SG. In November 2012, Geronimo was chosen as the "Bayanihan Ambassadress" of the Armed Forces of the Philippines. In December 2012, Geronimo won a string of awards one of which is the Best Asian Artist Award (Philippines) at the recently concluded Mnet Asian Music Awards. Geronimo also bagged major awards in Awit Awards, Aliw Awards and PMPC Star Awards for Music.
Q: What was Catch Me, I'm In Love?
A: film collaboration of Star Cinema and Viva Films entitled Catch Me,
Q: Did the film do well?
A: unknown
Q: What did she do in the film?
A: unknown
|
C_32b23f3625404e66b20028d99d30d0e4_0_q#3
|
When did Catch Me, I'm In Love get released?
| 1n
| 2x
|
{
"texts": [
"March 23, 2011 in"
],
"answer_starts": [
256
]
}
|
{
"text": "March 23, 2011 in",
"answer_start": 256
}
|
C_32b23f3625404e66b20028d99d30d0e4_0
|
Sarah Geronimo
|
Sarah Geronimo (born July 25, 1988), is a Filipino singer, actress, and television personality. Her contributions to music along with her film and television work has made her a local figure in popular culture of the 2000s to 2010s in the Philippines. Born and raised in Santa Cruz, Manila, Geronimo started a career in music at the age of 14 after winning the television singing contest Star for a Night. She then signed with music label Viva Records and rose to fame with the release of her debut album Popstar
|
2011-2012: Catch Me, I'm in Love, Sarah G. Live! and concerts
|
In February 2011, she had a Valentine concert with Martin Nievera titled "What Love Is" at the Araneta Coliseum. Geronimo worked with Gerald Anderson in the film collaboration of Star Cinema and Viva Films entitled Catch Me, I'm in Love which was shown on March 23, 2011 in theaters nationwide and shown as a summer release in the Philippines. Raymond Lo, U.S. correspondent for The Philippine Star said: In November 2011, Geronimo made a movie again with Gerald Anderson in Won't Last A Day Without You which earned P20 Million on its opening day. Geronimo signed an exclusive one-year contract with ABS-CBN, it states her future projects and commitments such as having a weekly solo show, an extension as a performer in ASAP Rocks, and a movie with John Lloyd Cruz for the third time. Also this year, Geronimo is declared as the Princess of Philippine Movies by the Guillermo Mendoza Box Office Awards for her movie, Catch Me, I'm In Love together with Gerald Anderson. Geronimo had her solo weekly musical-variety show every Sunday night titled Sarah G. Live! and her movie with John Lloyd Cruz is in production. In July 2012, Geronimo staged her fifth major solo concert in the "Big Dome" entitled 24/SG. In November 2012, Geronimo was chosen as the "Bayanihan Ambassadress" of the Armed Forces of the Philippines. In December 2012, Geronimo won a string of awards one of which is the Best Asian Artist Award (Philippines) at the recently concluded Mnet Asian Music Awards. Geronimo also bagged major awards in Awit Awards, Aliw Awards and PMPC Star Awards for Music.
Q: What was Catch Me, I'm In Love?
A: film collaboration of Star Cinema and Viva Films entitled Catch Me,
Q: Did the film do well?
A: unknown
Q: What did she do in the film?
A: unknown
Q: When did Catch Me, I'm In Love get released?
A: March 23, 2011 in
|
C_32b23f3625404e66b20028d99d30d0e4_0_q#4
|
What was Sarah G Live?
| 1n
| 2x
|
{
"texts": [
"Geronimo had her solo weekly musical-variety show every Sunday night titled Sarah G. Live!"
],
"answer_starts": [
974
]
}
|
{
"text": "Geronimo had her solo weekly musical-variety show every Sunday night titled Sarah G. Live!",
"answer_start": 974
}
|
C_32b23f3625404e66b20028d99d30d0e4_0
|
Sarah Geronimo
|
Sarah Geronimo (born July 25, 1988), is a Filipino singer, actress, and television personality. Her contributions to music along with her film and television work has made her a local figure in popular culture of the 2000s to 2010s in the Philippines. Born and raised in Santa Cruz, Manila, Geronimo started a career in music at the age of 14 after winning the television singing contest Star for a Night. She then signed with music label Viva Records and rose to fame with the release of her debut album Popstar
|
2011-2012: Catch Me, I'm in Love, Sarah G. Live! and concerts
|
In February 2011, she had a Valentine concert with Martin Nievera titled "What Love Is" at the Araneta Coliseum. Geronimo worked with Gerald Anderson in the film collaboration of Star Cinema and Viva Films entitled Catch Me, I'm in Love which was shown on March 23, 2011 in theaters nationwide and shown as a summer release in the Philippines. Raymond Lo, U.S. correspondent for The Philippine Star said: In November 2011, Geronimo made a movie again with Gerald Anderson in Won't Last A Day Without You which earned P20 Million on its opening day. Geronimo signed an exclusive one-year contract with ABS-CBN, it states her future projects and commitments such as having a weekly solo show, an extension as a performer in ASAP Rocks, and a movie with John Lloyd Cruz for the third time. Also this year, Geronimo is declared as the Princess of Philippine Movies by the Guillermo Mendoza Box Office Awards for her movie, Catch Me, I'm In Love together with Gerald Anderson. Geronimo had her solo weekly musical-variety show every Sunday night titled Sarah G. Live! and her movie with John Lloyd Cruz is in production. In July 2012, Geronimo staged her fifth major solo concert in the "Big Dome" entitled 24/SG. In November 2012, Geronimo was chosen as the "Bayanihan Ambassadress" of the Armed Forces of the Philippines. In December 2012, Geronimo won a string of awards one of which is the Best Asian Artist Award (Philippines) at the recently concluded Mnet Asian Music Awards. Geronimo also bagged major awards in Awit Awards, Aliw Awards and PMPC Star Awards for Music.
Q: What was Catch Me, I'm In Love?
A: film collaboration of Star Cinema and Viva Films entitled Catch Me,
Q: Did the film do well?
A: unknown
Q: What did she do in the film?
A: unknown
Q: When did Catch Me, I'm In Love get released?
A: March 23, 2011 in
Q: What was Sarah G Live?
A: Geronimo had her solo weekly musical-variety show every Sunday night titled Sarah G. Live!
|
C_32b23f3625404e66b20028d99d30d0e4_0_q#5
|
What concerts did she perform in this time period?
| 0y
| 2x
|
{
"texts": [
"2011, she had a Valentine concert"
],
"answer_starts": [
12
]
}
|
{
"text": "2011, she had a Valentine concert",
"answer_start": 12
}
|
C_32b23f3625404e66b20028d99d30d0e4_0
|
Sarah Geronimo
|
Sarah Geronimo (born July 25, 1988), is a Filipino singer, actress, and television personality. Her contributions to music along with her film and television work has made her a local figure in popular culture of the 2000s to 2010s in the Philippines. Born and raised in Santa Cruz, Manila, Geronimo started a career in music at the age of 14 after winning the television singing contest Star for a Night. She then signed with music label Viva Records and rose to fame with the release of her debut album Popstar
|
2011-2012: Catch Me, I'm in Love, Sarah G. Live! and concerts
|
In February 2011, she had a Valentine concert with Martin Nievera titled "What Love Is" at the Araneta Coliseum. Geronimo worked with Gerald Anderson in the film collaboration of Star Cinema and Viva Films entitled Catch Me, I'm in Love which was shown on March 23, 2011 in theaters nationwide and shown as a summer release in the Philippines. Raymond Lo, U.S. correspondent for The Philippine Star said: In November 2011, Geronimo made a movie again with Gerald Anderson in Won't Last A Day Without You which earned P20 Million on its opening day. Geronimo signed an exclusive one-year contract with ABS-CBN, it states her future projects and commitments such as having a weekly solo show, an extension as a performer in ASAP Rocks, and a movie with John Lloyd Cruz for the third time. Also this year, Geronimo is declared as the Princess of Philippine Movies by the Guillermo Mendoza Box Office Awards for her movie, Catch Me, I'm In Love together with Gerald Anderson. Geronimo had her solo weekly musical-variety show every Sunday night titled Sarah G. Live! and her movie with John Lloyd Cruz is in production. In July 2012, Geronimo staged her fifth major solo concert in the "Big Dome" entitled 24/SG. In November 2012, Geronimo was chosen as the "Bayanihan Ambassadress" of the Armed Forces of the Philippines. In December 2012, Geronimo won a string of awards one of which is the Best Asian Artist Award (Philippines) at the recently concluded Mnet Asian Music Awards. Geronimo also bagged major awards in Awit Awards, Aliw Awards and PMPC Star Awards for Music.
Q: What was Catch Me, I'm In Love?
A: film collaboration of Star Cinema and Viva Films entitled Catch Me,
Q: Did the film do well?
A: unknown
Q: What did she do in the film?
A: unknown
Q: When did Catch Me, I'm In Love get released?
A: March 23, 2011 in
Q: What was Sarah G Live?
A: Geronimo had her solo weekly musical-variety show every Sunday night titled Sarah G. Live!
Q: What concerts did she perform in this time period?
A: 2011, she had a Valentine concert
|
C_32b23f3625404e66b20028d99d30d0e4_0_q#6
|
How did the concert do?
| 1n
| 2x
|
{
"texts": [
"unknown"
],
"answer_starts": [
1576
]
}
|
{
"text": "unknown",
"answer_start": 1576
}
|
C_32b23f3625404e66b20028d99d30d0e4_1
|
Sarah Geronimo
|
Sarah Geronimo (born July 25, 1988), is a Filipino singer, actress, and television personality. Her contributions to music along with her film and television work has made her a local figure in popular culture of the 2000s to 2010s in the Philippines. Born and raised in Santa Cruz, Manila, Geronimo started a career in music at the age of 14 after winning the television singing contest Star for a Night. She then signed with music label Viva Records and rose to fame with the release of her debut album Popstar
|
2004-2007: The Other Side and In Motion
|
Still managed by VIVA, Geronimo signed a TV contract with ABS-CBN network in 2004. She starred in her first television series, Sarah the Teen Princess (2004) and became a regular host and performer on the variety show ASAP (2004-present). Geronimo again had supporting roles in the films Masikip sa Dibdib (2004), Annie B. (2004) and Lastikman: Unang Banat (2004). Geronimo sang the Philippine National Anthem at the pre-inaugural ceremonies of President Gloria Macapagal-Arroyo on June 30, 2004. In November 2004, Geronimo released her second album, Sweet Sixteen that included the single "How Could You Say You Love Me". Geronimo performed in the Night of the Champions concert at the Araneta Coliseum with other singing competition winners Rachelle Ann Go and Erik Santos. In 2005, Geronimo joined the cast of the teen-oriented television program SCQ Reload: Kilig Ako and hosted two seasons of the singing competition show Little Big Star (2005-2007). On September 30, 2005, Geronimo staged a solo concert at Araneta Coliseum entitled The Other Side. In 2006, Geronimo starred in ABS-CBN's primetime soap opera, Bituing Walang Ningning, a remake of the 1985 movie. She played the role of an aspiring singer named Dorina Pineda, originally played by Sharon Cuneta in the movie, and released a soundtrack of the series. In July 2006, Geronimo release her third studio album, Becoming, produced by Christian De Walden. The album yielded three singles: "I Still Believe In Loving You", "Carry My Love" and "Iingatan Ko Ang Pag-ibig Mo". On November 18, 2006, Manny Pacquiao chose Geronimo to sing Lupang Hinirang, the Philippine national anthem, before his match against Mexico's Erik Morales at the Thomas and Mack Center in Las Vegas. Geronimo staged her second major solo concert "In Motion" on July 14, 2007 at the Araneta Coliseum. Unlike her first solo concert, this concert went off with no technical glitches. She spent the rest of 2007 performing concerts in the Philippines and the U.S. and recording her fourth studio album, Taking Flight, which sold more than 60,000 units and achieved double platinum status. In the latter half of 2007, Geronimo appeared in her third television series for ABS-CBN, Pangarap Na Bituin.
|
C_32b23f3625404e66b20028d99d30d0e4_1_q#0
|
Wha t occurred in 2004?
| 0y
| 2x
|
{
"texts": [
"Geronimo signed a TV contract with ABS-CBN network in 2004."
],
"answer_starts": [
23
]
}
|
{
"text": "Geronimo signed a TV contract with ABS-CBN network in 2004.",
"answer_start": 23
}
|
C_32b23f3625404e66b20028d99d30d0e4_1
|
Sarah Geronimo
|
Sarah Geronimo (born July 25, 1988), is a Filipino singer, actress, and television personality. Her contributions to music along with her film and television work has made her a local figure in popular culture of the 2000s to 2010s in the Philippines. Born and raised in Santa Cruz, Manila, Geronimo started a career in music at the age of 14 after winning the television singing contest Star for a Night. She then signed with music label Viva Records and rose to fame with the release of her debut album Popstar
|
2004-2007: The Other Side and In Motion
|
Still managed by VIVA, Geronimo signed a TV contract with ABS-CBN network in 2004. She starred in her first television series, Sarah the Teen Princess (2004) and became a regular host and performer on the variety show ASAP (2004-present). Geronimo again had supporting roles in the films Masikip sa Dibdib (2004), Annie B. (2004) and Lastikman: Unang Banat (2004). Geronimo sang the Philippine National Anthem at the pre-inaugural ceremonies of President Gloria Macapagal-Arroyo on June 30, 2004. In November 2004, Geronimo released her second album, Sweet Sixteen that included the single "How Could You Say You Love Me". Geronimo performed in the Night of the Champions concert at the Araneta Coliseum with other singing competition winners Rachelle Ann Go and Erik Santos. In 2005, Geronimo joined the cast of the teen-oriented television program SCQ Reload: Kilig Ako and hosted two seasons of the singing competition show Little Big Star (2005-2007). On September 30, 2005, Geronimo staged a solo concert at Araneta Coliseum entitled The Other Side. In 2006, Geronimo starred in ABS-CBN's primetime soap opera, Bituing Walang Ningning, a remake of the 1985 movie. She played the role of an aspiring singer named Dorina Pineda, originally played by Sharon Cuneta in the movie, and released a soundtrack of the series. In July 2006, Geronimo release her third studio album, Becoming, produced by Christian De Walden. The album yielded three singles: "I Still Believe In Loving You", "Carry My Love" and "Iingatan Ko Ang Pag-ibig Mo". On November 18, 2006, Manny Pacquiao chose Geronimo to sing Lupang Hinirang, the Philippine national anthem, before his match against Mexico's Erik Morales at the Thomas and Mack Center in Las Vegas. Geronimo staged her second major solo concert "In Motion" on July 14, 2007 at the Araneta Coliseum. Unlike her first solo concert, this concert went off with no technical glitches. She spent the rest of 2007 performing concerts in the Philippines and the U.S. and recording her fourth studio album, Taking Flight, which sold more than 60,000 units and achieved double platinum status. In the latter half of 2007, Geronimo appeared in her third television series for ABS-CBN, Pangarap Na Bituin.
Q: Wha t occurred in 2004?
A: Geronimo signed a TV contract with ABS-CBN network in 2004.
|
C_32b23f3625404e66b20028d99d30d0e4_1_q#1
|
What was it for?
| 0y
| 2x
|
{
"texts": [
"She starred in her first television series, Sarah the Teen Princess (2004) and became a regular host and performer on the variety show ASAP (2004-present)."
],
"answer_starts": [
83
]
}
|
{
"text": "She starred in her first television series, Sarah the Teen Princess (2004) and became a regular host and performer on the variety show ASAP (2004-present).",
"answer_start": 83
}
|
C_32b23f3625404e66b20028d99d30d0e4_1
|
Sarah Geronimo
|
Sarah Geronimo (born July 25, 1988), is a Filipino singer, actress, and television personality. Her contributions to music along with her film and television work has made her a local figure in popular culture of the 2000s to 2010s in the Philippines. Born and raised in Santa Cruz, Manila, Geronimo started a career in music at the age of 14 after winning the television singing contest Star for a Night. She then signed with music label Viva Records and rose to fame with the release of her debut album Popstar
|
2004-2007: The Other Side and In Motion
|
Still managed by VIVA, Geronimo signed a TV contract with ABS-CBN network in 2004. She starred in her first television series, Sarah the Teen Princess (2004) and became a regular host and performer on the variety show ASAP (2004-present). Geronimo again had supporting roles in the films Masikip sa Dibdib (2004), Annie B. (2004) and Lastikman: Unang Banat (2004). Geronimo sang the Philippine National Anthem at the pre-inaugural ceremonies of President Gloria Macapagal-Arroyo on June 30, 2004. In November 2004, Geronimo released her second album, Sweet Sixteen that included the single "How Could You Say You Love Me". Geronimo performed in the Night of the Champions concert at the Araneta Coliseum with other singing competition winners Rachelle Ann Go and Erik Santos. In 2005, Geronimo joined the cast of the teen-oriented television program SCQ Reload: Kilig Ako and hosted two seasons of the singing competition show Little Big Star (2005-2007). On September 30, 2005, Geronimo staged a solo concert at Araneta Coliseum entitled The Other Side. In 2006, Geronimo starred in ABS-CBN's primetime soap opera, Bituing Walang Ningning, a remake of the 1985 movie. She played the role of an aspiring singer named Dorina Pineda, originally played by Sharon Cuneta in the movie, and released a soundtrack of the series. In July 2006, Geronimo release her third studio album, Becoming, produced by Christian De Walden. The album yielded three singles: "I Still Believe In Loving You", "Carry My Love" and "Iingatan Ko Ang Pag-ibig Mo". On November 18, 2006, Manny Pacquiao chose Geronimo to sing Lupang Hinirang, the Philippine national anthem, before his match against Mexico's Erik Morales at the Thomas and Mack Center in Las Vegas. Geronimo staged her second major solo concert "In Motion" on July 14, 2007 at the Araneta Coliseum. Unlike her first solo concert, this concert went off with no technical glitches. She spent the rest of 2007 performing concerts in the Philippines and the U.S. and recording her fourth studio album, Taking Flight, which sold more than 60,000 units and achieved double platinum status. In the latter half of 2007, Geronimo appeared in her third television series for ABS-CBN, Pangarap Na Bituin.
Q: Wha t occurred in 2004?
A: Geronimo signed a TV contract with ABS-CBN network in 2004.
Q: What was it for?
A: She starred in her first television series, Sarah the Teen Princess (2004) and became a regular host and performer on the variety show ASAP (2004-present).
|
C_32b23f3625404e66b20028d99d30d0e4_1_q#2
|
What is In Motion?
| 0y
| 2x
|
{
"texts": [
"Geronimo staged her second major solo concert \"In Motion\" on July 14, 2007 at the Araneta Coliseum."
],
"answer_starts": [
1740
]
}
|
{
"text": "Geronimo staged her second major solo concert \"In Motion\" on July 14, 2007 at the Araneta Coliseum.",
"answer_start": 1740
}
|
C_32b23f3625404e66b20028d99d30d0e4_1
|
Sarah Geronimo
|
Sarah Geronimo (born July 25, 1988), is a Filipino singer, actress, and television personality. Her contributions to music along with her film and television work has made her a local figure in popular culture of the 2000s to 2010s in the Philippines. Born and raised in Santa Cruz, Manila, Geronimo started a career in music at the age of 14 after winning the television singing contest Star for a Night. She then signed with music label Viva Records and rose to fame with the release of her debut album Popstar
|
2004-2007: The Other Side and In Motion
|
Still managed by VIVA, Geronimo signed a TV contract with ABS-CBN network in 2004. She starred in her first television series, Sarah the Teen Princess (2004) and became a regular host and performer on the variety show ASAP (2004-present). Geronimo again had supporting roles in the films Masikip sa Dibdib (2004), Annie B. (2004) and Lastikman: Unang Banat (2004). Geronimo sang the Philippine National Anthem at the pre-inaugural ceremonies of President Gloria Macapagal-Arroyo on June 30, 2004. In November 2004, Geronimo released her second album, Sweet Sixteen that included the single "How Could You Say You Love Me". Geronimo performed in the Night of the Champions concert at the Araneta Coliseum with other singing competition winners Rachelle Ann Go and Erik Santos. In 2005, Geronimo joined the cast of the teen-oriented television program SCQ Reload: Kilig Ako and hosted two seasons of the singing competition show Little Big Star (2005-2007). On September 30, 2005, Geronimo staged a solo concert at Araneta Coliseum entitled The Other Side. In 2006, Geronimo starred in ABS-CBN's primetime soap opera, Bituing Walang Ningning, a remake of the 1985 movie. She played the role of an aspiring singer named Dorina Pineda, originally played by Sharon Cuneta in the movie, and released a soundtrack of the series. In July 2006, Geronimo release her third studio album, Becoming, produced by Christian De Walden. The album yielded three singles: "I Still Believe In Loving You", "Carry My Love" and "Iingatan Ko Ang Pag-ibig Mo". On November 18, 2006, Manny Pacquiao chose Geronimo to sing Lupang Hinirang, the Philippine national anthem, before his match against Mexico's Erik Morales at the Thomas and Mack Center in Las Vegas. Geronimo staged her second major solo concert "In Motion" on July 14, 2007 at the Araneta Coliseum. Unlike her first solo concert, this concert went off with no technical glitches. She spent the rest of 2007 performing concerts in the Philippines and the U.S. and recording her fourth studio album, Taking Flight, which sold more than 60,000 units and achieved double platinum status. In the latter half of 2007, Geronimo appeared in her third television series for ABS-CBN, Pangarap Na Bituin.
Q: Wha t occurred in 2004?
A: Geronimo signed a TV contract with ABS-CBN network in 2004.
Q: What was it for?
A: She starred in her first television series, Sarah the Teen Princess (2004) and became a regular host and performer on the variety show ASAP (2004-present).
Q: What is In Motion?
A: Geronimo staged her second major solo concert "In Motion" on July 14, 2007 at the Araneta Coliseum.
|
C_32b23f3625404e66b20028d99d30d0e4_1_q#3
|
When did the concert begin?
| 0y
| 2x
|
{
"texts": [
"July 14, 2007"
],
"answer_starts": [
1801
]
}
|
{
"text": "July 14, 2007",
"answer_start": 1801
}
|
C_32b23f3625404e66b20028d99d30d0e4_1
|
Sarah Geronimo
|
Sarah Geronimo (born July 25, 1988), is a Filipino singer, actress, and television personality. Her contributions to music along with her film and television work has made her a local figure in popular culture of the 2000s to 2010s in the Philippines. Born and raised in Santa Cruz, Manila, Geronimo started a career in music at the age of 14 after winning the television singing contest Star for a Night. She then signed with music label Viva Records and rose to fame with the release of her debut album Popstar
|
2004-2007: The Other Side and In Motion
|
Still managed by VIVA, Geronimo signed a TV contract with ABS-CBN network in 2004. She starred in her first television series, Sarah the Teen Princess (2004) and became a regular host and performer on the variety show ASAP (2004-present). Geronimo again had supporting roles in the films Masikip sa Dibdib (2004), Annie B. (2004) and Lastikman: Unang Banat (2004). Geronimo sang the Philippine National Anthem at the pre-inaugural ceremonies of President Gloria Macapagal-Arroyo on June 30, 2004. In November 2004, Geronimo released her second album, Sweet Sixteen that included the single "How Could You Say You Love Me". Geronimo performed in the Night of the Champions concert at the Araneta Coliseum with other singing competition winners Rachelle Ann Go and Erik Santos. In 2005, Geronimo joined the cast of the teen-oriented television program SCQ Reload: Kilig Ako and hosted two seasons of the singing competition show Little Big Star (2005-2007). On September 30, 2005, Geronimo staged a solo concert at Araneta Coliseum entitled The Other Side. In 2006, Geronimo starred in ABS-CBN's primetime soap opera, Bituing Walang Ningning, a remake of the 1985 movie. She played the role of an aspiring singer named Dorina Pineda, originally played by Sharon Cuneta in the movie, and released a soundtrack of the series. In July 2006, Geronimo release her third studio album, Becoming, produced by Christian De Walden. The album yielded three singles: "I Still Believe In Loving You", "Carry My Love" and "Iingatan Ko Ang Pag-ibig Mo". On November 18, 2006, Manny Pacquiao chose Geronimo to sing Lupang Hinirang, the Philippine national anthem, before his match against Mexico's Erik Morales at the Thomas and Mack Center in Las Vegas. Geronimo staged her second major solo concert "In Motion" on July 14, 2007 at the Araneta Coliseum. Unlike her first solo concert, this concert went off with no technical glitches. She spent the rest of 2007 performing concerts in the Philippines and the U.S. and recording her fourth studio album, Taking Flight, which sold more than 60,000 units and achieved double platinum status. In the latter half of 2007, Geronimo appeared in her third television series for ABS-CBN, Pangarap Na Bituin.
Q: Wha t occurred in 2004?
A: Geronimo signed a TV contract with ABS-CBN network in 2004.
Q: What was it for?
A: She starred in her first television series, Sarah the Teen Princess (2004) and became a regular host and performer on the variety show ASAP (2004-present).
Q: What is In Motion?
A: Geronimo staged her second major solo concert "In Motion" on July 14, 2007 at the Araneta Coliseum.
Q: When did the concert begin?
A: July 14, 2007
|
C_32b23f3625404e66b20028d99d30d0e4_1_q#4
|
Did she star in any TV shows?
| 2m
| 0y
|
{
"texts": [
"In 2005, Geronimo joined the cast of the teen-oriented television program SCQ Reload: Kilig Ako and hosted two seasons of the singing competition show Little Big Star (2005-2007)."
],
"answer_starts": [
777
]
}
|
{
"text": "In 2005, Geronimo joined the cast of the teen-oriented television program SCQ Reload: Kilig Ako and hosted two seasons of the singing competition show Little Big Star (2005-2007).",
"answer_start": 777
}
|
C_32b23f3625404e66b20028d99d30d0e4_1
|
Sarah Geronimo
|
Sarah Geronimo (born July 25, 1988), is a Filipino singer, actress, and television personality. Her contributions to music along with her film and television work has made her a local figure in popular culture of the 2000s to 2010s in the Philippines. Born and raised in Santa Cruz, Manila, Geronimo started a career in music at the age of 14 after winning the television singing contest Star for a Night. She then signed with music label Viva Records and rose to fame with the release of her debut album Popstar
|
2004-2007: The Other Side and In Motion
|
Still managed by VIVA, Geronimo signed a TV contract with ABS-CBN network in 2004. She starred in her first television series, Sarah the Teen Princess (2004) and became a regular host and performer on the variety show ASAP (2004-present). Geronimo again had supporting roles in the films Masikip sa Dibdib (2004), Annie B. (2004) and Lastikman: Unang Banat (2004). Geronimo sang the Philippine National Anthem at the pre-inaugural ceremonies of President Gloria Macapagal-Arroyo on June 30, 2004. In November 2004, Geronimo released her second album, Sweet Sixteen that included the single "How Could You Say You Love Me". Geronimo performed in the Night of the Champions concert at the Araneta Coliseum with other singing competition winners Rachelle Ann Go and Erik Santos. In 2005, Geronimo joined the cast of the teen-oriented television program SCQ Reload: Kilig Ako and hosted two seasons of the singing competition show Little Big Star (2005-2007). On September 30, 2005, Geronimo staged a solo concert at Araneta Coliseum entitled The Other Side. In 2006, Geronimo starred in ABS-CBN's primetime soap opera, Bituing Walang Ningning, a remake of the 1985 movie. She played the role of an aspiring singer named Dorina Pineda, originally played by Sharon Cuneta in the movie, and released a soundtrack of the series. In July 2006, Geronimo release her third studio album, Becoming, produced by Christian De Walden. The album yielded three singles: "I Still Believe In Loving You", "Carry My Love" and "Iingatan Ko Ang Pag-ibig Mo". On November 18, 2006, Manny Pacquiao chose Geronimo to sing Lupang Hinirang, the Philippine national anthem, before his match against Mexico's Erik Morales at the Thomas and Mack Center in Las Vegas. Geronimo staged her second major solo concert "In Motion" on July 14, 2007 at the Araneta Coliseum. Unlike her first solo concert, this concert went off with no technical glitches. She spent the rest of 2007 performing concerts in the Philippines and the U.S. and recording her fourth studio album, Taking Flight, which sold more than 60,000 units and achieved double platinum status. In the latter half of 2007, Geronimo appeared in her third television series for ABS-CBN, Pangarap Na Bituin.
Q: Wha t occurred in 2004?
A: Geronimo signed a TV contract with ABS-CBN network in 2004.
Q: What was it for?
A: She starred in her first television series, Sarah the Teen Princess (2004) and became a regular host and performer on the variety show ASAP (2004-present).
Q: What is In Motion?
A: Geronimo staged her second major solo concert "In Motion" on July 14, 2007 at the Araneta Coliseum.
Q: When did the concert begin?
A: July 14, 2007
Q: Did she star in any TV shows?
A: In 2005, Geronimo joined the cast of the teen-oriented television program SCQ Reload: Kilig Ako and hosted two seasons of the singing competition show Little Big Star (2005-2007).
|
C_32b23f3625404e66b20028d99d30d0e4_1_q#5
|
What other album did she have?
| 2m
| 2x
|
{
"texts": [
"In November 2004, Geronimo released her second album, Sweet Sixteen"
],
"answer_starts": [
497
]
}
|
{
"text": "In November 2004, Geronimo released her second album, Sweet Sixteen",
"answer_start": 497
}
|
C_31b6aef20b5e4ec5841e183fa3edbb37_0
|
Frenzal Rhomb
|
Frenzal Rhomb is an Australian punk rock band that formed in 1992, with Jason Whalley on lead vocals and rhythm guitar during this entire period. In 1996, Lindsay McDougall joined the line-up on lead guitar and backing vocals. Three of the group's albums have entered the top 20 on the ARIA Albums Chart: A Man's Not a Camel (1999),
|
2005-2009: Jay and the Doctor and Forever Malcolm Young
|
Frenzal Rhomb's Whalley and McDougall worked as Jay and the Doctor on Triple J's breakfast show from January 2005 through to November 2007. Prior to their employment at Triple J, the group's music had been banned after they had earlier criticised the station on air for playing the "same 40 songs". In 2004, they were asked to perform occasional late night shifts and request segments, which developed into the breakfast show slot. Their format includes banter where they provide "quips, one-liners, slagging off each other, other bands, other breakfast announcers, listeners, Triple J, Australian Idol and St Ives. It's verbal ping pong but more discursive." The band released Forever Malcolm Young in October 2006 - the title is a conflated reference to the 2005 song "Forever Young" by Youth Group and the name of AC/DC's guitarist, Malcolm Young - which peaked in the top 40. It provided a minor radio hit with the title track. Some controversy was expressed over the profanity in the title and lyrics of "Johnny Ramone was in a Fucking Good Band, but He Was a Cunt" (see Johnny Ramone, Ramones). Whalley's attitude to profanity and obscenity is "I often get amazed how offended people get by language, especially in Australia when its nothing you wouldn't hear in your local office or schoolyard. But we do make a point of shaking things up". Australian rock music journalist Ed Nimmervoll described them "[their] history is littered with legendary stories, perhaps true, perhaps exaggerations, but stories which fuel and match their song and album titles. Their songs are often profane, likely to poke fun at someone including themselves, hint at a social conscience, and inside all the tough talk and body jokes be hopelessly romantic." National touring followed the album's release, along with the announcement that from November 2007 Whalley would be leaving both Frenzal Rhomb and his job at Triple J to go on a world trip with his girlfriend. Some later copies of Forever Malcolm Young contained a bonus DVD covering the band's tours from 2002 up until 2005. It is titled Sucking All Over the World. Gordy Forman plays in the Melbourne hardcore band Mindsnare. McDougall continued as The Doctor at Triple J, initially with Robbie Buck and Marieke Hardy; and, from January 2010, he has hosted the afternoon show Drive with The Doctor. By April 2009, Frenzal Rhomb were performing The Boys Are Back in Town tour with 1990s punk group Nancy Vandal as their support act.
|
C_31b6aef20b5e4ec5841e183fa3edbb37_0_q#0
|
What happen in 2005
| 0y
| 1n
|
{
"texts": [
"breakfast show from January 2005 through to November 2007."
],
"answer_starts": [
81
]
}
|
{
"text": "breakfast show from January 2005 through to November 2007.",
"answer_start": 81
}
|
C_31b6aef20b5e4ec5841e183fa3edbb37_0
|
Frenzal Rhomb
|
Frenzal Rhomb is an Australian punk rock band that formed in 1992, with Jason Whalley on lead vocals and rhythm guitar during this entire period. In 1996, Lindsay McDougall joined the line-up on lead guitar and backing vocals. Three of the group's albums have entered the top 20 on the ARIA Albums Chart: A Man's Not a Camel (1999),
|
2005-2009: Jay and the Doctor and Forever Malcolm Young
|
Frenzal Rhomb's Whalley and McDougall worked as Jay and the Doctor on Triple J's breakfast show from January 2005 through to November 2007. Prior to their employment at Triple J, the group's music had been banned after they had earlier criticised the station on air for playing the "same 40 songs". In 2004, they were asked to perform occasional late night shifts and request segments, which developed into the breakfast show slot. Their format includes banter where they provide "quips, one-liners, slagging off each other, other bands, other breakfast announcers, listeners, Triple J, Australian Idol and St Ives. It's verbal ping pong but more discursive." The band released Forever Malcolm Young in October 2006 - the title is a conflated reference to the 2005 song "Forever Young" by Youth Group and the name of AC/DC's guitarist, Malcolm Young - which peaked in the top 40. It provided a minor radio hit with the title track. Some controversy was expressed over the profanity in the title and lyrics of "Johnny Ramone was in a Fucking Good Band, but He Was a Cunt" (see Johnny Ramone, Ramones). Whalley's attitude to profanity and obscenity is "I often get amazed how offended people get by language, especially in Australia when its nothing you wouldn't hear in your local office or schoolyard. But we do make a point of shaking things up". Australian rock music journalist Ed Nimmervoll described them "[their] history is littered with legendary stories, perhaps true, perhaps exaggerations, but stories which fuel and match their song and album titles. Their songs are often profane, likely to poke fun at someone including themselves, hint at a social conscience, and inside all the tough talk and body jokes be hopelessly romantic." National touring followed the album's release, along with the announcement that from November 2007 Whalley would be leaving both Frenzal Rhomb and his job at Triple J to go on a world trip with his girlfriend. Some later copies of Forever Malcolm Young contained a bonus DVD covering the band's tours from 2002 up until 2005. It is titled Sucking All Over the World. Gordy Forman plays in the Melbourne hardcore band Mindsnare. McDougall continued as The Doctor at Triple J, initially with Robbie Buck and Marieke Hardy; and, from January 2010, he has hosted the afternoon show Drive with The Doctor. By April 2009, Frenzal Rhomb were performing The Boys Are Back in Town tour with 1990s punk group Nancy Vandal as their support act.
Q: What happen in 2005
A: breakfast show from January 2005 through to November 2007.
|
C_31b6aef20b5e4ec5841e183fa3edbb37_0_q#1
|
What was Jay and the Doctor
| 2m
| 1n
|
{
"texts": [
"Frenzal Rhomb's Whalley and McDougall worked as Jay and the Doctor on Triple J's breakfast show"
],
"answer_starts": [
0
]
}
|
{
"text": "Frenzal Rhomb's Whalley and McDougall worked as Jay and the Doctor on Triple J's breakfast show",
"answer_start": 0
}
|
C_31b6aef20b5e4ec5841e183fa3edbb37_0
|
Frenzal Rhomb
|
Frenzal Rhomb is an Australian punk rock band that formed in 1992, with Jason Whalley on lead vocals and rhythm guitar during this entire period. In 1996, Lindsay McDougall joined the line-up on lead guitar and backing vocals. Three of the group's albums have entered the top 20 on the ARIA Albums Chart: A Man's Not a Camel (1999),
|
2005-2009: Jay and the Doctor and Forever Malcolm Young
|
Frenzal Rhomb's Whalley and McDougall worked as Jay and the Doctor on Triple J's breakfast show from January 2005 through to November 2007. Prior to their employment at Triple J, the group's music had been banned after they had earlier criticised the station on air for playing the "same 40 songs". In 2004, they were asked to perform occasional late night shifts and request segments, which developed into the breakfast show slot. Their format includes banter where they provide "quips, one-liners, slagging off each other, other bands, other breakfast announcers, listeners, Triple J, Australian Idol and St Ives. It's verbal ping pong but more discursive." The band released Forever Malcolm Young in October 2006 - the title is a conflated reference to the 2005 song "Forever Young" by Youth Group and the name of AC/DC's guitarist, Malcolm Young - which peaked in the top 40. It provided a minor radio hit with the title track. Some controversy was expressed over the profanity in the title and lyrics of "Johnny Ramone was in a Fucking Good Band, but He Was a Cunt" (see Johnny Ramone, Ramones). Whalley's attitude to profanity and obscenity is "I often get amazed how offended people get by language, especially in Australia when its nothing you wouldn't hear in your local office or schoolyard. But we do make a point of shaking things up". Australian rock music journalist Ed Nimmervoll described them "[their] history is littered with legendary stories, perhaps true, perhaps exaggerations, but stories which fuel and match their song and album titles. Their songs are often profane, likely to poke fun at someone including themselves, hint at a social conscience, and inside all the tough talk and body jokes be hopelessly romantic." National touring followed the album's release, along with the announcement that from November 2007 Whalley would be leaving both Frenzal Rhomb and his job at Triple J to go on a world trip with his girlfriend. Some later copies of Forever Malcolm Young contained a bonus DVD covering the band's tours from 2002 up until 2005. It is titled Sucking All Over the World. Gordy Forman plays in the Melbourne hardcore band Mindsnare. McDougall continued as The Doctor at Triple J, initially with Robbie Buck and Marieke Hardy; and, from January 2010, he has hosted the afternoon show Drive with The Doctor. By April 2009, Frenzal Rhomb were performing The Boys Are Back in Town tour with 1990s punk group Nancy Vandal as their support act.
Q: What happen in 2005
A: breakfast show from January 2005 through to November 2007.
Q: What was Jay and the Doctor
A: Frenzal Rhomb's Whalley and McDougall worked as Jay and the Doctor on Triple J's breakfast show
|
C_31b6aef20b5e4ec5841e183fa3edbb37_0_q#2
|
Are there any other interesting aspects about this article?
| 0y
| 0y
|
{
"texts": [
"The band released Forever Malcolm Young"
],
"answer_starts": [
661
]
}
|
{
"text": "The band released Forever Malcolm Young",
"answer_start": 661
}
|
C_31b6aef20b5e4ec5841e183fa3edbb37_0
|
Frenzal Rhomb
|
Frenzal Rhomb is an Australian punk rock band that formed in 1992, with Jason Whalley on lead vocals and rhythm guitar during this entire period. In 1996, Lindsay McDougall joined the line-up on lead guitar and backing vocals. Three of the group's albums have entered the top 20 on the ARIA Albums Chart: A Man's Not a Camel (1999),
|
2005-2009: Jay and the Doctor and Forever Malcolm Young
|
Frenzal Rhomb's Whalley and McDougall worked as Jay and the Doctor on Triple J's breakfast show from January 2005 through to November 2007. Prior to their employment at Triple J, the group's music had been banned after they had earlier criticised the station on air for playing the "same 40 songs". In 2004, they were asked to perform occasional late night shifts and request segments, which developed into the breakfast show slot. Their format includes banter where they provide "quips, one-liners, slagging off each other, other bands, other breakfast announcers, listeners, Triple J, Australian Idol and St Ives. It's verbal ping pong but more discursive." The band released Forever Malcolm Young in October 2006 - the title is a conflated reference to the 2005 song "Forever Young" by Youth Group and the name of AC/DC's guitarist, Malcolm Young - which peaked in the top 40. It provided a minor radio hit with the title track. Some controversy was expressed over the profanity in the title and lyrics of "Johnny Ramone was in a Fucking Good Band, but He Was a Cunt" (see Johnny Ramone, Ramones). Whalley's attitude to profanity and obscenity is "I often get amazed how offended people get by language, especially in Australia when its nothing you wouldn't hear in your local office or schoolyard. But we do make a point of shaking things up". Australian rock music journalist Ed Nimmervoll described them "[their] history is littered with legendary stories, perhaps true, perhaps exaggerations, but stories which fuel and match their song and album titles. Their songs are often profane, likely to poke fun at someone including themselves, hint at a social conscience, and inside all the tough talk and body jokes be hopelessly romantic." National touring followed the album's release, along with the announcement that from November 2007 Whalley would be leaving both Frenzal Rhomb and his job at Triple J to go on a world trip with his girlfriend. Some later copies of Forever Malcolm Young contained a bonus DVD covering the band's tours from 2002 up until 2005. It is titled Sucking All Over the World. Gordy Forman plays in the Melbourne hardcore band Mindsnare. McDougall continued as The Doctor at Triple J, initially with Robbie Buck and Marieke Hardy; and, from January 2010, he has hosted the afternoon show Drive with The Doctor. By April 2009, Frenzal Rhomb were performing The Boys Are Back in Town tour with 1990s punk group Nancy Vandal as their support act.
Q: What happen in 2005
A: breakfast show from January 2005 through to November 2007.
Q: What was Jay and the Doctor
A: Frenzal Rhomb's Whalley and McDougall worked as Jay and the Doctor on Triple J's breakfast show
Q: Are there any other interesting aspects about this article?
A: The band released Forever Malcolm Young
|
C_31b6aef20b5e4ec5841e183fa3edbb37_0_q#3
|
How did it do on the charts?
| 0y
| 1n
|
{
"texts": [
"peaked in the top 40."
],
"answer_starts": [
859
]
}
|
{
"text": "peaked in the top 40.",
"answer_start": 859
}
|
C_31b6aef20b5e4ec5841e183fa3edbb37_0
|
Frenzal Rhomb
|
Frenzal Rhomb is an Australian punk rock band that formed in 1992, with Jason Whalley on lead vocals and rhythm guitar during this entire period. In 1996, Lindsay McDougall joined the line-up on lead guitar and backing vocals. Three of the group's albums have entered the top 20 on the ARIA Albums Chart: A Man's Not a Camel (1999),
|
2005-2009: Jay and the Doctor and Forever Malcolm Young
|
Frenzal Rhomb's Whalley and McDougall worked as Jay and the Doctor on Triple J's breakfast show from January 2005 through to November 2007. Prior to their employment at Triple J, the group's music had been banned after they had earlier criticised the station on air for playing the "same 40 songs". In 2004, they were asked to perform occasional late night shifts and request segments, which developed into the breakfast show slot. Their format includes banter where they provide "quips, one-liners, slagging off each other, other bands, other breakfast announcers, listeners, Triple J, Australian Idol and St Ives. It's verbal ping pong but more discursive." The band released Forever Malcolm Young in October 2006 - the title is a conflated reference to the 2005 song "Forever Young" by Youth Group and the name of AC/DC's guitarist, Malcolm Young - which peaked in the top 40. It provided a minor radio hit with the title track. Some controversy was expressed over the profanity in the title and lyrics of "Johnny Ramone was in a Fucking Good Band, but He Was a Cunt" (see Johnny Ramone, Ramones). Whalley's attitude to profanity and obscenity is "I often get amazed how offended people get by language, especially in Australia when its nothing you wouldn't hear in your local office or schoolyard. But we do make a point of shaking things up". Australian rock music journalist Ed Nimmervoll described them "[their] history is littered with legendary stories, perhaps true, perhaps exaggerations, but stories which fuel and match their song and album titles. Their songs are often profane, likely to poke fun at someone including themselves, hint at a social conscience, and inside all the tough talk and body jokes be hopelessly romantic." National touring followed the album's release, along with the announcement that from November 2007 Whalley would be leaving both Frenzal Rhomb and his job at Triple J to go on a world trip with his girlfriend. Some later copies of Forever Malcolm Young contained a bonus DVD covering the band's tours from 2002 up until 2005. It is titled Sucking All Over the World. Gordy Forman plays in the Melbourne hardcore band Mindsnare. McDougall continued as The Doctor at Triple J, initially with Robbie Buck and Marieke Hardy; and, from January 2010, he has hosted the afternoon show Drive with The Doctor. By April 2009, Frenzal Rhomb were performing The Boys Are Back in Town tour with 1990s punk group Nancy Vandal as their support act.
Q: What happen in 2005
A: breakfast show from January 2005 through to November 2007.
Q: What was Jay and the Doctor
A: Frenzal Rhomb's Whalley and McDougall worked as Jay and the Doctor on Triple J's breakfast show
Q: Are there any other interesting aspects about this article?
A: The band released Forever Malcolm Young
Q: How did it do on the charts?
A: peaked in the top 40.
|
C_31b6aef20b5e4ec5841e183fa3edbb37_0_q#4
|
What else happen album wise
| 0y
| 1n
|
{
"texts": [
"- the title is a conflated reference to the 2005 song \"Forever Young"
],
"answer_starts": [
717
]
}
|
{
"text": "- the title is a conflated reference to the 2005 song \"Forever Young",
"answer_start": 717
}
|
C_31b6aef20b5e4ec5841e183fa3edbb37_0
|
Frenzal Rhomb
|
Frenzal Rhomb is an Australian punk rock band that formed in 1992, with Jason Whalley on lead vocals and rhythm guitar during this entire period. In 1996, Lindsay McDougall joined the line-up on lead guitar and backing vocals. Three of the group's albums have entered the top 20 on the ARIA Albums Chart: A Man's Not a Camel (1999),
|
2005-2009: Jay and the Doctor and Forever Malcolm Young
|
Frenzal Rhomb's Whalley and McDougall worked as Jay and the Doctor on Triple J's breakfast show from January 2005 through to November 2007. Prior to their employment at Triple J, the group's music had been banned after they had earlier criticised the station on air for playing the "same 40 songs". In 2004, they were asked to perform occasional late night shifts and request segments, which developed into the breakfast show slot. Their format includes banter where they provide "quips, one-liners, slagging off each other, other bands, other breakfast announcers, listeners, Triple J, Australian Idol and St Ives. It's verbal ping pong but more discursive." The band released Forever Malcolm Young in October 2006 - the title is a conflated reference to the 2005 song "Forever Young" by Youth Group and the name of AC/DC's guitarist, Malcolm Young - which peaked in the top 40. It provided a minor radio hit with the title track. Some controversy was expressed over the profanity in the title and lyrics of "Johnny Ramone was in a Fucking Good Band, but He Was a Cunt" (see Johnny Ramone, Ramones). Whalley's attitude to profanity and obscenity is "I often get amazed how offended people get by language, especially in Australia when its nothing you wouldn't hear in your local office or schoolyard. But we do make a point of shaking things up". Australian rock music journalist Ed Nimmervoll described them "[their] history is littered with legendary stories, perhaps true, perhaps exaggerations, but stories which fuel and match their song and album titles. Their songs are often profane, likely to poke fun at someone including themselves, hint at a social conscience, and inside all the tough talk and body jokes be hopelessly romantic." National touring followed the album's release, along with the announcement that from November 2007 Whalley would be leaving both Frenzal Rhomb and his job at Triple J to go on a world trip with his girlfriend. Some later copies of Forever Malcolm Young contained a bonus DVD covering the band's tours from 2002 up until 2005. It is titled Sucking All Over the World. Gordy Forman plays in the Melbourne hardcore band Mindsnare. McDougall continued as The Doctor at Triple J, initially with Robbie Buck and Marieke Hardy; and, from January 2010, he has hosted the afternoon show Drive with The Doctor. By April 2009, Frenzal Rhomb were performing The Boys Are Back in Town tour with 1990s punk group Nancy Vandal as their support act.
Q: What happen in 2005
A: breakfast show from January 2005 through to November 2007.
Q: What was Jay and the Doctor
A: Frenzal Rhomb's Whalley and McDougall worked as Jay and the Doctor on Triple J's breakfast show
Q: Are there any other interesting aspects about this article?
A: The band released Forever Malcolm Young
Q: How did it do on the charts?
A: peaked in the top 40.
Q: What else happen album wise
A: - the title is a conflated reference to the 2005 song "Forever Young
|
C_31b6aef20b5e4ec5841e183fa3edbb37_0_q#5
|
What else did you find interesting in this article?
| 0y
| 1n
|
{
"texts": [
"Australian rock music journalist Ed Nimmervoll described them \"[their] history is littered with legendary stories,"
],
"answer_starts": [
1349
]
}
|
{
"text": "Australian rock music journalist Ed Nimmervoll described them \"[their] history is littered with legendary stories,",
"answer_start": 1349
}
|
C_31b6aef20b5e4ec5841e183fa3edbb37_0
|
Frenzal Rhomb
|
Frenzal Rhomb is an Australian punk rock band that formed in 1992, with Jason Whalley on lead vocals and rhythm guitar during this entire period. In 1996, Lindsay McDougall joined the line-up on lead guitar and backing vocals. Three of the group's albums have entered the top 20 on the ARIA Albums Chart: A Man's Not a Camel (1999),
|
2005-2009: Jay and the Doctor and Forever Malcolm Young
|
Frenzal Rhomb's Whalley and McDougall worked as Jay and the Doctor on Triple J's breakfast show from January 2005 through to November 2007. Prior to their employment at Triple J, the group's music had been banned after they had earlier criticised the station on air for playing the "same 40 songs". In 2004, they were asked to perform occasional late night shifts and request segments, which developed into the breakfast show slot. Their format includes banter where they provide "quips, one-liners, slagging off each other, other bands, other breakfast announcers, listeners, Triple J, Australian Idol and St Ives. It's verbal ping pong but more discursive." The band released Forever Malcolm Young in October 2006 - the title is a conflated reference to the 2005 song "Forever Young" by Youth Group and the name of AC/DC's guitarist, Malcolm Young - which peaked in the top 40. It provided a minor radio hit with the title track. Some controversy was expressed over the profanity in the title and lyrics of "Johnny Ramone was in a Fucking Good Band, but He Was a Cunt" (see Johnny Ramone, Ramones). Whalley's attitude to profanity and obscenity is "I often get amazed how offended people get by language, especially in Australia when its nothing you wouldn't hear in your local office or schoolyard. But we do make a point of shaking things up". Australian rock music journalist Ed Nimmervoll described them "[their] history is littered with legendary stories, perhaps true, perhaps exaggerations, but stories which fuel and match their song and album titles. Their songs are often profane, likely to poke fun at someone including themselves, hint at a social conscience, and inside all the tough talk and body jokes be hopelessly romantic." National touring followed the album's release, along with the announcement that from November 2007 Whalley would be leaving both Frenzal Rhomb and his job at Triple J to go on a world trip with his girlfriend. Some later copies of Forever Malcolm Young contained a bonus DVD covering the band's tours from 2002 up until 2005. It is titled Sucking All Over the World. Gordy Forman plays in the Melbourne hardcore band Mindsnare. McDougall continued as The Doctor at Triple J, initially with Robbie Buck and Marieke Hardy; and, from January 2010, he has hosted the afternoon show Drive with The Doctor. By April 2009, Frenzal Rhomb were performing The Boys Are Back in Town tour with 1990s punk group Nancy Vandal as their support act.
Q: What happen in 2005
A: breakfast show from January 2005 through to November 2007.
Q: What was Jay and the Doctor
A: Frenzal Rhomb's Whalley and McDougall worked as Jay and the Doctor on Triple J's breakfast show
Q: Are there any other interesting aspects about this article?
A: The band released Forever Malcolm Young
Q: How did it do on the charts?
A: peaked in the top 40.
Q: What else happen album wise
A: - the title is a conflated reference to the 2005 song "Forever Young
Q: What else did you find interesting in this article?
A: Australian rock music journalist Ed Nimmervoll described them "[their] history is littered with legendary stories,
|
C_31b6aef20b5e4ec5841e183fa3edbb37_0_q#6
|
What else happen with Frenzal Rhomb
| 0y
| 1n
|
{
"texts": [
"National touring followed"
],
"answer_starts": [
1746
]
}
|
{
"text": "National touring followed",
"answer_start": 1746
}
|
C_31b6aef20b5e4ec5841e183fa3edbb37_0
|
Frenzal Rhomb
|
Frenzal Rhomb is an Australian punk rock band that formed in 1992, with Jason Whalley on lead vocals and rhythm guitar during this entire period. In 1996, Lindsay McDougall joined the line-up on lead guitar and backing vocals. Three of the group's albums have entered the top 20 on the ARIA Albums Chart: A Man's Not a Camel (1999),
|
2005-2009: Jay and the Doctor and Forever Malcolm Young
|
Frenzal Rhomb's Whalley and McDougall worked as Jay and the Doctor on Triple J's breakfast show from January 2005 through to November 2007. Prior to their employment at Triple J, the group's music had been banned after they had earlier criticised the station on air for playing the "same 40 songs". In 2004, they were asked to perform occasional late night shifts and request segments, which developed into the breakfast show slot. Their format includes banter where they provide "quips, one-liners, slagging off each other, other bands, other breakfast announcers, listeners, Triple J, Australian Idol and St Ives. It's verbal ping pong but more discursive." The band released Forever Malcolm Young in October 2006 - the title is a conflated reference to the 2005 song "Forever Young" by Youth Group and the name of AC/DC's guitarist, Malcolm Young - which peaked in the top 40. It provided a minor radio hit with the title track. Some controversy was expressed over the profanity in the title and lyrics of "Johnny Ramone was in a Fucking Good Band, but He Was a Cunt" (see Johnny Ramone, Ramones). Whalley's attitude to profanity and obscenity is "I often get amazed how offended people get by language, especially in Australia when its nothing you wouldn't hear in your local office or schoolyard. But we do make a point of shaking things up". Australian rock music journalist Ed Nimmervoll described them "[their] history is littered with legendary stories, perhaps true, perhaps exaggerations, but stories which fuel and match their song and album titles. Their songs are often profane, likely to poke fun at someone including themselves, hint at a social conscience, and inside all the tough talk and body jokes be hopelessly romantic." National touring followed the album's release, along with the announcement that from November 2007 Whalley would be leaving both Frenzal Rhomb and his job at Triple J to go on a world trip with his girlfriend. Some later copies of Forever Malcolm Young contained a bonus DVD covering the band's tours from 2002 up until 2005. It is titled Sucking All Over the World. Gordy Forman plays in the Melbourne hardcore band Mindsnare. McDougall continued as The Doctor at Triple J, initially with Robbie Buck and Marieke Hardy; and, from January 2010, he has hosted the afternoon show Drive with The Doctor. By April 2009, Frenzal Rhomb were performing The Boys Are Back in Town tour with 1990s punk group Nancy Vandal as their support act.
Q: What happen in 2005
A: breakfast show from January 2005 through to November 2007.
Q: What was Jay and the Doctor
A: Frenzal Rhomb's Whalley and McDougall worked as Jay and the Doctor on Triple J's breakfast show
Q: Are there any other interesting aspects about this article?
A: The band released Forever Malcolm Young
Q: How did it do on the charts?
A: peaked in the top 40.
Q: What else happen album wise
A: - the title is a conflated reference to the 2005 song "Forever Young
Q: What else did you find interesting in this article?
A: Australian rock music journalist Ed Nimmervoll described them "[their] history is littered with legendary stories,
Q: What else happen with Frenzal Rhomb
A: National touring followed
|
C_31b6aef20b5e4ec5841e183fa3edbb37_0_q#7
|
When did the touring ending
| 1n
| 2x
|
{
"texts": [
"unknown"
],
"answer_starts": [
2480
]
}
|
{
"text": "unknown",
"answer_start": 2480
}
|
C_31b6aef20b5e4ec5841e183fa3edbb37_0
|
Frenzal Rhomb
|
Frenzal Rhomb is an Australian punk rock band that formed in 1992, with Jason Whalley on lead vocals and rhythm guitar during this entire period. In 1996, Lindsay McDougall joined the line-up on lead guitar and backing vocals. Three of the group's albums have entered the top 20 on the ARIA Albums Chart: A Man's Not a Camel (1999),
|
2005-2009: Jay and the Doctor and Forever Malcolm Young
|
Frenzal Rhomb's Whalley and McDougall worked as Jay and the Doctor on Triple J's breakfast show from January 2005 through to November 2007. Prior to their employment at Triple J, the group's music had been banned after they had earlier criticised the station on air for playing the "same 40 songs". In 2004, they were asked to perform occasional late night shifts and request segments, which developed into the breakfast show slot. Their format includes banter where they provide "quips, one-liners, slagging off each other, other bands, other breakfast announcers, listeners, Triple J, Australian Idol and St Ives. It's verbal ping pong but more discursive." The band released Forever Malcolm Young in October 2006 - the title is a conflated reference to the 2005 song "Forever Young" by Youth Group and the name of AC/DC's guitarist, Malcolm Young - which peaked in the top 40. It provided a minor radio hit with the title track. Some controversy was expressed over the profanity in the title and lyrics of "Johnny Ramone was in a Fucking Good Band, but He Was a Cunt" (see Johnny Ramone, Ramones). Whalley's attitude to profanity and obscenity is "I often get amazed how offended people get by language, especially in Australia when its nothing you wouldn't hear in your local office or schoolyard. But we do make a point of shaking things up". Australian rock music journalist Ed Nimmervoll described them "[their] history is littered with legendary stories, perhaps true, perhaps exaggerations, but stories which fuel and match their song and album titles. Their songs are often profane, likely to poke fun at someone including themselves, hint at a social conscience, and inside all the tough talk and body jokes be hopelessly romantic." National touring followed the album's release, along with the announcement that from November 2007 Whalley would be leaving both Frenzal Rhomb and his job at Triple J to go on a world trip with his girlfriend. Some later copies of Forever Malcolm Young contained a bonus DVD covering the band's tours from 2002 up until 2005. It is titled Sucking All Over the World. Gordy Forman plays in the Melbourne hardcore band Mindsnare. McDougall continued as The Doctor at Triple J, initially with Robbie Buck and Marieke Hardy; and, from January 2010, he has hosted the afternoon show Drive with The Doctor. By April 2009, Frenzal Rhomb were performing The Boys Are Back in Town tour with 1990s punk group Nancy Vandal as their support act.
Q: What happen in 2005
A: breakfast show from January 2005 through to November 2007.
Q: What was Jay and the Doctor
A: Frenzal Rhomb's Whalley and McDougall worked as Jay and the Doctor on Triple J's breakfast show
Q: Are there any other interesting aspects about this article?
A: The band released Forever Malcolm Young
Q: How did it do on the charts?
A: peaked in the top 40.
Q: What else happen album wise
A: - the title is a conflated reference to the 2005 song "Forever Young
Q: What else did you find interesting in this article?
A: Australian rock music journalist Ed Nimmervoll described them "[their] history is littered with legendary stories,
Q: What else happen with Frenzal Rhomb
A: National touring followed
Q: When did the touring ending
A: unknown
|
C_31b6aef20b5e4ec5841e183fa3edbb37_0_q#8
|
What happen after their album release
| 0y
| 1n
|
{
"texts": [
"Whalley would be leaving both Frenzal Rhomb and his job at Triple J"
],
"answer_starts": [
1845
]
}
|
{
"text": "Whalley would be leaving both Frenzal Rhomb and his job at Triple J",
"answer_start": 1845
}
|
C_31b6aef20b5e4ec5841e183fa3edbb37_0
|
Frenzal Rhomb
|
Frenzal Rhomb is an Australian punk rock band that formed in 1992, with Jason Whalley on lead vocals and rhythm guitar during this entire period. In 1996, Lindsay McDougall joined the line-up on lead guitar and backing vocals. Three of the group's albums have entered the top 20 on the ARIA Albums Chart: A Man's Not a Camel (1999),
|
2005-2009: Jay and the Doctor and Forever Malcolm Young
|
Frenzal Rhomb's Whalley and McDougall worked as Jay and the Doctor on Triple J's breakfast show from January 2005 through to November 2007. Prior to their employment at Triple J, the group's music had been banned after they had earlier criticised the station on air for playing the "same 40 songs". In 2004, they were asked to perform occasional late night shifts and request segments, which developed into the breakfast show slot. Their format includes banter where they provide "quips, one-liners, slagging off each other, other bands, other breakfast announcers, listeners, Triple J, Australian Idol and St Ives. It's verbal ping pong but more discursive." The band released Forever Malcolm Young in October 2006 - the title is a conflated reference to the 2005 song "Forever Young" by Youth Group and the name of AC/DC's guitarist, Malcolm Young - which peaked in the top 40. It provided a minor radio hit with the title track. Some controversy was expressed over the profanity in the title and lyrics of "Johnny Ramone was in a Fucking Good Band, but He Was a Cunt" (see Johnny Ramone, Ramones). Whalley's attitude to profanity and obscenity is "I often get amazed how offended people get by language, especially in Australia when its nothing you wouldn't hear in your local office or schoolyard. But we do make a point of shaking things up". Australian rock music journalist Ed Nimmervoll described them "[their] history is littered with legendary stories, perhaps true, perhaps exaggerations, but stories which fuel and match their song and album titles. Their songs are often profane, likely to poke fun at someone including themselves, hint at a social conscience, and inside all the tough talk and body jokes be hopelessly romantic." National touring followed the album's release, along with the announcement that from November 2007 Whalley would be leaving both Frenzal Rhomb and his job at Triple J to go on a world trip with his girlfriend. Some later copies of Forever Malcolm Young contained a bonus DVD covering the band's tours from 2002 up until 2005. It is titled Sucking All Over the World. Gordy Forman plays in the Melbourne hardcore band Mindsnare. McDougall continued as The Doctor at Triple J, initially with Robbie Buck and Marieke Hardy; and, from January 2010, he has hosted the afternoon show Drive with The Doctor. By April 2009, Frenzal Rhomb were performing The Boys Are Back in Town tour with 1990s punk group Nancy Vandal as their support act.
Q: What happen in 2005
A: breakfast show from January 2005 through to November 2007.
Q: What was Jay and the Doctor
A: Frenzal Rhomb's Whalley and McDougall worked as Jay and the Doctor on Triple J's breakfast show
Q: Are there any other interesting aspects about this article?
A: The band released Forever Malcolm Young
Q: How did it do on the charts?
A: peaked in the top 40.
Q: What else happen album wise
A: - the title is a conflated reference to the 2005 song "Forever Young
Q: What else did you find interesting in this article?
A: Australian rock music journalist Ed Nimmervoll described them "[their] history is littered with legendary stories,
Q: What else happen with Frenzal Rhomb
A: National touring followed
Q: When did the touring ending
A: unknown
Q: What happen after their album release
A: Whalley would be leaving both Frenzal Rhomb and his job at Triple J
|
C_31b6aef20b5e4ec5841e183fa3edbb37_0_q#9
|
WHat else did Whalley do
| 1n
| 1n
|
{
"texts": [
"on a world trip with his girlfriend."
],
"answer_starts": [
1919
]
}
|
{
"text": "on a world trip with his girlfriend.",
"answer_start": 1919
}
|
C_31b6aef20b5e4ec5841e183fa3edbb37_0
|
Frenzal Rhomb
|
Frenzal Rhomb is an Australian punk rock band that formed in 1992, with Jason Whalley on lead vocals and rhythm guitar during this entire period. In 1996, Lindsay McDougall joined the line-up on lead guitar and backing vocals. Three of the group's albums have entered the top 20 on the ARIA Albums Chart: A Man's Not a Camel (1999),
|
2005-2009: Jay and the Doctor and Forever Malcolm Young
|
Frenzal Rhomb's Whalley and McDougall worked as Jay and the Doctor on Triple J's breakfast show from January 2005 through to November 2007. Prior to their employment at Triple J, the group's music had been banned after they had earlier criticised the station on air for playing the "same 40 songs". In 2004, they were asked to perform occasional late night shifts and request segments, which developed into the breakfast show slot. Their format includes banter where they provide "quips, one-liners, slagging off each other, other bands, other breakfast announcers, listeners, Triple J, Australian Idol and St Ives. It's verbal ping pong but more discursive." The band released Forever Malcolm Young in October 2006 - the title is a conflated reference to the 2005 song "Forever Young" by Youth Group and the name of AC/DC's guitarist, Malcolm Young - which peaked in the top 40. It provided a minor radio hit with the title track. Some controversy was expressed over the profanity in the title and lyrics of "Johnny Ramone was in a Fucking Good Band, but He Was a Cunt" (see Johnny Ramone, Ramones). Whalley's attitude to profanity and obscenity is "I often get amazed how offended people get by language, especially in Australia when its nothing you wouldn't hear in your local office or schoolyard. But we do make a point of shaking things up". Australian rock music journalist Ed Nimmervoll described them "[their] history is littered with legendary stories, perhaps true, perhaps exaggerations, but stories which fuel and match their song and album titles. Their songs are often profane, likely to poke fun at someone including themselves, hint at a social conscience, and inside all the tough talk and body jokes be hopelessly romantic." National touring followed the album's release, along with the announcement that from November 2007 Whalley would be leaving both Frenzal Rhomb and his job at Triple J to go on a world trip with his girlfriend. Some later copies of Forever Malcolm Young contained a bonus DVD covering the band's tours from 2002 up until 2005. It is titled Sucking All Over the World. Gordy Forman plays in the Melbourne hardcore band Mindsnare. McDougall continued as The Doctor at Triple J, initially with Robbie Buck and Marieke Hardy; and, from January 2010, he has hosted the afternoon show Drive with The Doctor. By April 2009, Frenzal Rhomb were performing The Boys Are Back in Town tour with 1990s punk group Nancy Vandal as their support act.
Q: What happen in 2005
A: breakfast show from January 2005 through to November 2007.
Q: What was Jay and the Doctor
A: Frenzal Rhomb's Whalley and McDougall worked as Jay and the Doctor on Triple J's breakfast show
Q: Are there any other interesting aspects about this article?
A: The band released Forever Malcolm Young
Q: How did it do on the charts?
A: peaked in the top 40.
Q: What else happen album wise
A: - the title is a conflated reference to the 2005 song "Forever Young
Q: What else did you find interesting in this article?
A: Australian rock music journalist Ed Nimmervoll described them "[their] history is littered with legendary stories,
Q: What else happen with Frenzal Rhomb
A: National touring followed
Q: When did the touring ending
A: unknown
Q: What happen after their album release
A: Whalley would be leaving both Frenzal Rhomb and his job at Triple J
Q: WHat else did Whalley do
A: on a world trip with his girlfriend.
|
C_31b6aef20b5e4ec5841e183fa3edbb37_0_q#10
|
What else happen that was good for the group
| 0y
| 1n
|
{
"texts": [
"McDougall continued as The Doctor at Triple J, initially with Robbie Buck and Marieke Hardy;"
],
"answer_starts": [
2174
]
}
|
{
"text": "McDougall continued as The Doctor at Triple J, initially with Robbie Buck and Marieke Hardy;",
"answer_start": 2174
}
|
C_b9271226afc0432cb0e51e4f9214bb5b_1
|
Women in Hong Kong
|
Native women in Hong Kong used to be situated within the context of Chinese family and society, in which they were treated the same as Mainland women or Taiwanese women. Under the traditional Chinese patriarchy structure, the society was male-dominated, and women had a relatively subordinate familial role. However, there are cultural differences between Mainland Chinese citizens and citizens of Hong Kong. During the British colonial period the emergence of Western culture (i.e. "Westernization") created a mix of traditional Chinese culture and Western values.
|
Education
|
See also (Economy of Hong Kong) and (Education in Hong Kong) The implementation of compulsory universal education in 1971, following with an extension to nine years in 1978, give rises to an increased number of women elites. Besides, the transform of social environment in Hong Kong also contribute to the rise of women education. In the past, if a family does not have enough money to send both their son and daughter to school, they will choose to educate the son over the daughter. Nonetheless, owing to the economic growth since 1960s, Hong Kong has become a wealthy society with a significant change in population at the same time. The birth rate in Hong Kong steadily decreased from 16.8% in 1981 to 8.6% in 2014. It reveals that the nuclear family structure nurturing only one to two children in a family is common, in which girls could receive better education due to the more concentrated resources within the family. According to the report of Hong Kong Annual Digest of Statistics by Census and Statistics Department of Hong Kong, a trend of universalism for boys and girls could be observed since the 1970s; and girls' enrolment rate in general was higher than the boys' since the 1980s. The gap between male and female enrollment in post-secondary education has narrowed down and female students even outnumber male students in entering University Grants Committee (UGC) funded programmes in recent decades. The percentage of females and male students enrolled in UGC-funded programmes was 53.7% and 46.3% in 2014, which is quite different from 32.9% and 67.1% respectively in 1987. However, when specifically comes to research postgraduate programmes, more male students were recorded since the programmes are largely related to sciences, technology, engineering and mathematics (STEM). People in Hong Kong have gender bias in STEM fields, perceiving women as less capable of mastering the STEM knowledge and pursuing related careers. Half of the teenage girls in Hong Kong were discouraged to focus on mathematics and sciences during secondary school, which lead to their lessened self-concept in STEM. Thus, the sex ratio of students enrolled in UGC-funded engineering and technology programmes is imbalance, which is 29.5% for female and 70.5% for male in 2016. The situation is not much improved as compared with 14.1% for female and 85.9% for male in 1996.
|
C_b9271226afc0432cb0e51e4f9214bb5b_1_q#0
|
What is the education like?
| 0y
| 2x
|
{
"texts": [
"compulsory universal education in 1971, following with an extension to nine years in 1978, give rises to an increased number of women elites."
],
"answer_starts": [
83
]
}
|
{
"text": "compulsory universal education in 1971, following with an extension to nine years in 1978, give rises to an increased number of women elites.",
"answer_start": 83
}
|
C_b9271226afc0432cb0e51e4f9214bb5b_1
|
Women in Hong Kong
|
Native women in Hong Kong used to be situated within the context of Chinese family and society, in which they were treated the same as Mainland women or Taiwanese women. Under the traditional Chinese patriarchy structure, the society was male-dominated, and women had a relatively subordinate familial role. However, there are cultural differences between Mainland Chinese citizens and citizens of Hong Kong. During the British colonial period the emergence of Western culture (i.e. "Westernization") created a mix of traditional Chinese culture and Western values.
|
Education
|
See also (Economy of Hong Kong) and (Education in Hong Kong) The implementation of compulsory universal education in 1971, following with an extension to nine years in 1978, give rises to an increased number of women elites. Besides, the transform of social environment in Hong Kong also contribute to the rise of women education. In the past, if a family does not have enough money to send both their son and daughter to school, they will choose to educate the son over the daughter. Nonetheless, owing to the economic growth since 1960s, Hong Kong has become a wealthy society with a significant change in population at the same time. The birth rate in Hong Kong steadily decreased from 16.8% in 1981 to 8.6% in 2014. It reveals that the nuclear family structure nurturing only one to two children in a family is common, in which girls could receive better education due to the more concentrated resources within the family. According to the report of Hong Kong Annual Digest of Statistics by Census and Statistics Department of Hong Kong, a trend of universalism for boys and girls could be observed since the 1970s; and girls' enrolment rate in general was higher than the boys' since the 1980s. The gap between male and female enrollment in post-secondary education has narrowed down and female students even outnumber male students in entering University Grants Committee (UGC) funded programmes in recent decades. The percentage of females and male students enrolled in UGC-funded programmes was 53.7% and 46.3% in 2014, which is quite different from 32.9% and 67.1% respectively in 1987. However, when specifically comes to research postgraduate programmes, more male students were recorded since the programmes are largely related to sciences, technology, engineering and mathematics (STEM). People in Hong Kong have gender bias in STEM fields, perceiving women as less capable of mastering the STEM knowledge and pursuing related careers. Half of the teenage girls in Hong Kong were discouraged to focus on mathematics and sciences during secondary school, which lead to their lessened self-concept in STEM. Thus, the sex ratio of students enrolled in UGC-funded engineering and technology programmes is imbalance, which is 29.5% for female and 70.5% for male in 2016. The situation is not much improved as compared with 14.1% for female and 85.9% for male in 1996.
Q: What is the education like?
A: compulsory universal education in 1971, following with an extension to nine years in 1978, give rises to an increased number of women elites.
|
C_b9271226afc0432cb0e51e4f9214bb5b_1_q#1
|
Did they learn anything?
| 1n
| 2x
|
{
"texts": [
"unknown"
],
"answer_starts": [
2378
]
}
|
{
"text": "unknown",
"answer_start": 2378
}
|
C_b9271226afc0432cb0e51e4f9214bb5b_1
|
Women in Hong Kong
|
Native women in Hong Kong used to be situated within the context of Chinese family and society, in which they were treated the same as Mainland women or Taiwanese women. Under the traditional Chinese patriarchy structure, the society was male-dominated, and women had a relatively subordinate familial role. However, there are cultural differences between Mainland Chinese citizens and citizens of Hong Kong. During the British colonial period the emergence of Western culture (i.e. "Westernization") created a mix of traditional Chinese culture and Western values.
|
Education
|
See also (Economy of Hong Kong) and (Education in Hong Kong) The implementation of compulsory universal education in 1971, following with an extension to nine years in 1978, give rises to an increased number of women elites. Besides, the transform of social environment in Hong Kong also contribute to the rise of women education. In the past, if a family does not have enough money to send both their son and daughter to school, they will choose to educate the son over the daughter. Nonetheless, owing to the economic growth since 1960s, Hong Kong has become a wealthy society with a significant change in population at the same time. The birth rate in Hong Kong steadily decreased from 16.8% in 1981 to 8.6% in 2014. It reveals that the nuclear family structure nurturing only one to two children in a family is common, in which girls could receive better education due to the more concentrated resources within the family. According to the report of Hong Kong Annual Digest of Statistics by Census and Statistics Department of Hong Kong, a trend of universalism for boys and girls could be observed since the 1970s; and girls' enrolment rate in general was higher than the boys' since the 1980s. The gap between male and female enrollment in post-secondary education has narrowed down and female students even outnumber male students in entering University Grants Committee (UGC) funded programmes in recent decades. The percentage of females and male students enrolled in UGC-funded programmes was 53.7% and 46.3% in 2014, which is quite different from 32.9% and 67.1% respectively in 1987. However, when specifically comes to research postgraduate programmes, more male students were recorded since the programmes are largely related to sciences, technology, engineering and mathematics (STEM). People in Hong Kong have gender bias in STEM fields, perceiving women as less capable of mastering the STEM knowledge and pursuing related careers. Half of the teenage girls in Hong Kong were discouraged to focus on mathematics and sciences during secondary school, which lead to their lessened self-concept in STEM. Thus, the sex ratio of students enrolled in UGC-funded engineering and technology programmes is imbalance, which is 29.5% for female and 70.5% for male in 2016. The situation is not much improved as compared with 14.1% for female and 85.9% for male in 1996.
Q: What is the education like?
A: compulsory universal education in 1971, following with an extension to nine years in 1978, give rises to an increased number of women elites.
Q: Did they learn anything?
A: unknown
|
C_b9271226afc0432cb0e51e4f9214bb5b_1_q#2
|
What else happened for Women in hong kong and education?
| 2m
| 2x
|
{
"texts": [
"they will choose to educate the son over the daughter."
],
"answer_starts": [
430
]
}
|
{
"text": "they will choose to educate the son over the daughter.",
"answer_start": 430
}
|
C_b9271226afc0432cb0e51e4f9214bb5b_1
|
Women in Hong Kong
|
Native women in Hong Kong used to be situated within the context of Chinese family and society, in which they were treated the same as Mainland women or Taiwanese women. Under the traditional Chinese patriarchy structure, the society was male-dominated, and women had a relatively subordinate familial role. However, there are cultural differences between Mainland Chinese citizens and citizens of Hong Kong. During the British colonial period the emergence of Western culture (i.e. "Westernization") created a mix of traditional Chinese culture and Western values.
|
Education
|
See also (Economy of Hong Kong) and (Education in Hong Kong) The implementation of compulsory universal education in 1971, following with an extension to nine years in 1978, give rises to an increased number of women elites. Besides, the transform of social environment in Hong Kong also contribute to the rise of women education. In the past, if a family does not have enough money to send both their son and daughter to school, they will choose to educate the son over the daughter. Nonetheless, owing to the economic growth since 1960s, Hong Kong has become a wealthy society with a significant change in population at the same time. The birth rate in Hong Kong steadily decreased from 16.8% in 1981 to 8.6% in 2014. It reveals that the nuclear family structure nurturing only one to two children in a family is common, in which girls could receive better education due to the more concentrated resources within the family. According to the report of Hong Kong Annual Digest of Statistics by Census and Statistics Department of Hong Kong, a trend of universalism for boys and girls could be observed since the 1970s; and girls' enrolment rate in general was higher than the boys' since the 1980s. The gap between male and female enrollment in post-secondary education has narrowed down and female students even outnumber male students in entering University Grants Committee (UGC) funded programmes in recent decades. The percentage of females and male students enrolled in UGC-funded programmes was 53.7% and 46.3% in 2014, which is quite different from 32.9% and 67.1% respectively in 1987. However, when specifically comes to research postgraduate programmes, more male students were recorded since the programmes are largely related to sciences, technology, engineering and mathematics (STEM). People in Hong Kong have gender bias in STEM fields, perceiving women as less capable of mastering the STEM knowledge and pursuing related careers. Half of the teenage girls in Hong Kong were discouraged to focus on mathematics and sciences during secondary school, which lead to their lessened self-concept in STEM. Thus, the sex ratio of students enrolled in UGC-funded engineering and technology programmes is imbalance, which is 29.5% for female and 70.5% for male in 2016. The situation is not much improved as compared with 14.1% for female and 85.9% for male in 1996.
Q: What is the education like?
A: compulsory universal education in 1971, following with an extension to nine years in 1978, give rises to an increased number of women elites.
Q: Did they learn anything?
A: unknown
Q: What else happened for Women in hong kong and education?
A: they will choose to educate the son over the daughter.
|
C_b9271226afc0432cb0e51e4f9214bb5b_1_q#3
|
Did women go to school more than men?
| 0y
| 0y
|
{
"texts": [
"girls' enrolment rate in general was higher than the boys' since the 1980s."
],
"answer_starts": [
1125
]
}
|
{
"text": "girls' enrolment rate in general was higher than the boys' since the 1980s.",
"answer_start": 1125
}
|
C_b9271226afc0432cb0e51e4f9214bb5b_1
|
Women in Hong Kong
|
Native women in Hong Kong used to be situated within the context of Chinese family and society, in which they were treated the same as Mainland women or Taiwanese women. Under the traditional Chinese patriarchy structure, the society was male-dominated, and women had a relatively subordinate familial role. However, there are cultural differences between Mainland Chinese citizens and citizens of Hong Kong. During the British colonial period the emergence of Western culture (i.e. "Westernization") created a mix of traditional Chinese culture and Western values.
|
Education
|
See also (Economy of Hong Kong) and (Education in Hong Kong) The implementation of compulsory universal education in 1971, following with an extension to nine years in 1978, give rises to an increased number of women elites. Besides, the transform of social environment in Hong Kong also contribute to the rise of women education. In the past, if a family does not have enough money to send both their son and daughter to school, they will choose to educate the son over the daughter. Nonetheless, owing to the economic growth since 1960s, Hong Kong has become a wealthy society with a significant change in population at the same time. The birth rate in Hong Kong steadily decreased from 16.8% in 1981 to 8.6% in 2014. It reveals that the nuclear family structure nurturing only one to two children in a family is common, in which girls could receive better education due to the more concentrated resources within the family. According to the report of Hong Kong Annual Digest of Statistics by Census and Statistics Department of Hong Kong, a trend of universalism for boys and girls could be observed since the 1970s; and girls' enrolment rate in general was higher than the boys' since the 1980s. The gap between male and female enrollment in post-secondary education has narrowed down and female students even outnumber male students in entering University Grants Committee (UGC) funded programmes in recent decades. The percentage of females and male students enrolled in UGC-funded programmes was 53.7% and 46.3% in 2014, which is quite different from 32.9% and 67.1% respectively in 1987. However, when specifically comes to research postgraduate programmes, more male students were recorded since the programmes are largely related to sciences, technology, engineering and mathematics (STEM). People in Hong Kong have gender bias in STEM fields, perceiving women as less capable of mastering the STEM knowledge and pursuing related careers. Half of the teenage girls in Hong Kong were discouraged to focus on mathematics and sciences during secondary school, which lead to their lessened self-concept in STEM. Thus, the sex ratio of students enrolled in UGC-funded engineering and technology programmes is imbalance, which is 29.5% for female and 70.5% for male in 2016. The situation is not much improved as compared with 14.1% for female and 85.9% for male in 1996.
Q: What is the education like?
A: compulsory universal education in 1971, following with an extension to nine years in 1978, give rises to an increased number of women elites.
Q: Did they learn anything?
A: unknown
Q: What else happened for Women in hong kong and education?
A: they will choose to educate the son over the daughter.
Q: Did women go to school more than men?
A: girls' enrolment rate in general was higher than the boys' since the 1980s.
|
C_b9271226afc0432cb0e51e4f9214bb5b_1_q#4
|
Are there any other interesting aspects about this article?
| 1n
| 0y
|
{
"texts": [
"The gap between male and female enrollment in post-secondary education has narrowed down and female students even outnumber male students in entering University Grants"
],
"answer_starts": [
1201
]
}
|
{
"text": "The gap between male and female enrollment in post-secondary education has narrowed down and female students even outnumber male students in entering University Grants",
"answer_start": 1201
}
|
C_b9271226afc0432cb0e51e4f9214bb5b_1
|
Women in Hong Kong
|
Native women in Hong Kong used to be situated within the context of Chinese family and society, in which they were treated the same as Mainland women or Taiwanese women. Under the traditional Chinese patriarchy structure, the society was male-dominated, and women had a relatively subordinate familial role. However, there are cultural differences between Mainland Chinese citizens and citizens of Hong Kong. During the British colonial period the emergence of Western culture (i.e. "Westernization") created a mix of traditional Chinese culture and Western values.
|
Education
|
See also (Economy of Hong Kong) and (Education in Hong Kong) The implementation of compulsory universal education in 1971, following with an extension to nine years in 1978, give rises to an increased number of women elites. Besides, the transform of social environment in Hong Kong also contribute to the rise of women education. In the past, if a family does not have enough money to send both their son and daughter to school, they will choose to educate the son over the daughter. Nonetheless, owing to the economic growth since 1960s, Hong Kong has become a wealthy society with a significant change in population at the same time. The birth rate in Hong Kong steadily decreased from 16.8% in 1981 to 8.6% in 2014. It reveals that the nuclear family structure nurturing only one to two children in a family is common, in which girls could receive better education due to the more concentrated resources within the family. According to the report of Hong Kong Annual Digest of Statistics by Census and Statistics Department of Hong Kong, a trend of universalism for boys and girls could be observed since the 1970s; and girls' enrolment rate in general was higher than the boys' since the 1980s. The gap between male and female enrollment in post-secondary education has narrowed down and female students even outnumber male students in entering University Grants Committee (UGC) funded programmes in recent decades. The percentage of females and male students enrolled in UGC-funded programmes was 53.7% and 46.3% in 2014, which is quite different from 32.9% and 67.1% respectively in 1987. However, when specifically comes to research postgraduate programmes, more male students were recorded since the programmes are largely related to sciences, technology, engineering and mathematics (STEM). People in Hong Kong have gender bias in STEM fields, perceiving women as less capable of mastering the STEM knowledge and pursuing related careers. Half of the teenage girls in Hong Kong were discouraged to focus on mathematics and sciences during secondary school, which lead to their lessened self-concept in STEM. Thus, the sex ratio of students enrolled in UGC-funded engineering and technology programmes is imbalance, which is 29.5% for female and 70.5% for male in 2016. The situation is not much improved as compared with 14.1% for female and 85.9% for male in 1996.
Q: What is the education like?
A: compulsory universal education in 1971, following with an extension to nine years in 1978, give rises to an increased number of women elites.
Q: Did they learn anything?
A: unknown
Q: What else happened for Women in hong kong and education?
A: they will choose to educate the son over the daughter.
Q: Did women go to school more than men?
A: girls' enrolment rate in general was higher than the boys' since the 1980s.
Q: Are there any other interesting aspects about this article?
A: The gap between male and female enrollment in post-secondary education has narrowed down and female students even outnumber male students in entering University Grants
|
C_b9271226afc0432cb0e51e4f9214bb5b_1_q#5
|
Are they colleges in HK?
| 0y
| 2x
|
{
"texts": [
"research postgraduate programmes, more male students were recorded since the programmes are largely related to sciences,"
],
"answer_starts": [
1634
]
}
|
{
"text": "research postgraduate programmes, more male students were recorded since the programmes are largely related to sciences,",
"answer_start": 1634
}
|
C_b9271226afc0432cb0e51e4f9214bb5b_1
|
Women in Hong Kong
|
Native women in Hong Kong used to be situated within the context of Chinese family and society, in which they were treated the same as Mainland women or Taiwanese women. Under the traditional Chinese patriarchy structure, the society was male-dominated, and women had a relatively subordinate familial role. However, there are cultural differences between Mainland Chinese citizens and citizens of Hong Kong. During the British colonial period the emergence of Western culture (i.e. "Westernization") created a mix of traditional Chinese culture and Western values.
|
Education
|
See also (Economy of Hong Kong) and (Education in Hong Kong) The implementation of compulsory universal education in 1971, following with an extension to nine years in 1978, give rises to an increased number of women elites. Besides, the transform of social environment in Hong Kong also contribute to the rise of women education. In the past, if a family does not have enough money to send both their son and daughter to school, they will choose to educate the son over the daughter. Nonetheless, owing to the economic growth since 1960s, Hong Kong has become a wealthy society with a significant change in population at the same time. The birth rate in Hong Kong steadily decreased from 16.8% in 1981 to 8.6% in 2014. It reveals that the nuclear family structure nurturing only one to two children in a family is common, in which girls could receive better education due to the more concentrated resources within the family. According to the report of Hong Kong Annual Digest of Statistics by Census and Statistics Department of Hong Kong, a trend of universalism for boys and girls could be observed since the 1970s; and girls' enrolment rate in general was higher than the boys' since the 1980s. The gap between male and female enrollment in post-secondary education has narrowed down and female students even outnumber male students in entering University Grants Committee (UGC) funded programmes in recent decades. The percentage of females and male students enrolled in UGC-funded programmes was 53.7% and 46.3% in 2014, which is quite different from 32.9% and 67.1% respectively in 1987. However, when specifically comes to research postgraduate programmes, more male students were recorded since the programmes are largely related to sciences, technology, engineering and mathematics (STEM). People in Hong Kong have gender bias in STEM fields, perceiving women as less capable of mastering the STEM knowledge and pursuing related careers. Half of the teenage girls in Hong Kong were discouraged to focus on mathematics and sciences during secondary school, which lead to their lessened self-concept in STEM. Thus, the sex ratio of students enrolled in UGC-funded engineering and technology programmes is imbalance, which is 29.5% for female and 70.5% for male in 2016. The situation is not much improved as compared with 14.1% for female and 85.9% for male in 1996.
Q: What is the education like?
A: compulsory universal education in 1971, following with an extension to nine years in 1978, give rises to an increased number of women elites.
Q: Did they learn anything?
A: unknown
Q: What else happened for Women in hong kong and education?
A: they will choose to educate the son over the daughter.
Q: Did women go to school more than men?
A: girls' enrolment rate in general was higher than the boys' since the 1980s.
Q: Are there any other interesting aspects about this article?
A: The gap between male and female enrollment in post-secondary education has narrowed down and female students even outnumber male students in entering University Grants
Q: Are they colleges in HK?
A: research postgraduate programmes, more male students were recorded since the programmes are largely related to sciences,
|
C_b9271226afc0432cb0e51e4f9214bb5b_1_q#6
|
What if a women didn't go to school?
| 2m
| 2x
|
{
"texts": [
"Half of the teenage girls in Hong Kong were discouraged to focus on mathematics and sciences during secondary school,"
],
"answer_starts": [
1951
]
}
|
{
"text": "Half of the teenage girls in Hong Kong were discouraged to focus on mathematics and sciences during secondary school,",
"answer_start": 1951
}
|
C_b9271226afc0432cb0e51e4f9214bb5b_1
|
Women in Hong Kong
|
Native women in Hong Kong used to be situated within the context of Chinese family and society, in which they were treated the same as Mainland women or Taiwanese women. Under the traditional Chinese patriarchy structure, the society was male-dominated, and women had a relatively subordinate familial role. However, there are cultural differences between Mainland Chinese citizens and citizens of Hong Kong. During the British colonial period the emergence of Western culture (i.e. "Westernization") created a mix of traditional Chinese culture and Western values.
|
Education
|
See also (Economy of Hong Kong) and (Education in Hong Kong) The implementation of compulsory universal education in 1971, following with an extension to nine years in 1978, give rises to an increased number of women elites. Besides, the transform of social environment in Hong Kong also contribute to the rise of women education. In the past, if a family does not have enough money to send both their son and daughter to school, they will choose to educate the son over the daughter. Nonetheless, owing to the economic growth since 1960s, Hong Kong has become a wealthy society with a significant change in population at the same time. The birth rate in Hong Kong steadily decreased from 16.8% in 1981 to 8.6% in 2014. It reveals that the nuclear family structure nurturing only one to two children in a family is common, in which girls could receive better education due to the more concentrated resources within the family. According to the report of Hong Kong Annual Digest of Statistics by Census and Statistics Department of Hong Kong, a trend of universalism for boys and girls could be observed since the 1970s; and girls' enrolment rate in general was higher than the boys' since the 1980s. The gap between male and female enrollment in post-secondary education has narrowed down and female students even outnumber male students in entering University Grants Committee (UGC) funded programmes in recent decades. The percentage of females and male students enrolled in UGC-funded programmes was 53.7% and 46.3% in 2014, which is quite different from 32.9% and 67.1% respectively in 1987. However, when specifically comes to research postgraduate programmes, more male students were recorded since the programmes are largely related to sciences, technology, engineering and mathematics (STEM). People in Hong Kong have gender bias in STEM fields, perceiving women as less capable of mastering the STEM knowledge and pursuing related careers. Half of the teenage girls in Hong Kong were discouraged to focus on mathematics and sciences during secondary school, which lead to their lessened self-concept in STEM. Thus, the sex ratio of students enrolled in UGC-funded engineering and technology programmes is imbalance, which is 29.5% for female and 70.5% for male in 2016. The situation is not much improved as compared with 14.1% for female and 85.9% for male in 1996.
Q: What is the education like?
A: compulsory universal education in 1971, following with an extension to nine years in 1978, give rises to an increased number of women elites.
Q: Did they learn anything?
A: unknown
Q: What else happened for Women in hong kong and education?
A: they will choose to educate the son over the daughter.
Q: Did women go to school more than men?
A: girls' enrolment rate in general was higher than the boys' since the 1980s.
Q: Are there any other interesting aspects about this article?
A: The gap between male and female enrollment in post-secondary education has narrowed down and female students even outnumber male students in entering University Grants
Q: Are they colleges in HK?
A: research postgraduate programmes, more male students were recorded since the programmes are largely related to sciences,
Q: What if a women didn't go to school?
A: Half of the teenage girls in Hong Kong were discouraged to focus on mathematics and sciences during secondary school,
|
C_b9271226afc0432cb0e51e4f9214bb5b_1_q#7
|
Did any enjoy school?
| 1n
| 2x
|
{
"texts": [
"The situation is not much improved as compared with 14.1% for female and 85.9% for male in 1996."
],
"answer_starts": [
2281
]
}
|
{
"text": "The situation is not much improved as compared with 14.1% for female and 85.9% for male in 1996.",
"answer_start": 2281
}
|
C_b9271226afc0432cb0e51e4f9214bb5b_0
|
Women in Hong Kong
|
Native women in Hong Kong used to be situated within the context of Chinese family and society, in which they were treated the same as Mainland women or Taiwanese women. Under the traditional Chinese patriarchy structure, the society was male-dominated, and women had a relatively subordinate familial role. However, there are cultural differences between Mainland Chinese citizens and citizens of Hong Kong. During the British colonial period the emergence of Western culture (i.e. "Westernization") created a mix of traditional Chinese culture and Western values.
|
Career attainment
|
Women were in the workforce as early as the 1920s, but the small population of them often had to fight vigorously for equality of work rights. With the shift of Hong Kong's economy from manufacturing industry to services industry since the 1980s, there is a growing demand for white collar workers. Abundant job opportunities are hence available for both men and women. Employment in Hong Kong can be enjoyed by women, who possess rights, such as maternity protection and sick leave. Nevertheless, women in Hong Kong are aware of the difficulties they face in being a woman in the workforce. For example, when surveyed, both men and women working in Hong Kong stated that they preferred to have a male supervisor over a woman supervisor. In 2016, there are 49.3% females and 50.8% males in the employed population. In spite of the open-minded and relatively westernised culture in Hong Kong, the seemingly equal and fair workplace still poses obstacles on the way of women's career paths. 61.8% of females and 51.6% of males agreed that women have to sacrifice more than men for career success. Interestingly, 72.1% of females agreed that an increasing number of successful women is a positive social phenomenon, while only 59.6% of males shared the same view. The data showed that men, having the invisible privilege obtained from unequal gender perceptions, are content with the current situation and are slightly reluctant to the rising status of women, which might pose a threat to their career prospects. The Hong Kong media clearly reflects the social stereotypes and norms. Performers of authority roles are mostly men, with commentaries and voice overs mainly heard in male voices as well, whereas women are chiefly depicted in domestic roles and gender-specific professions, for example, secretaries and nurses. Despite the high education level and prospective vision women possess, it is uncommon to see women working on Hong Kong corporate boards and in senior management roles. Women account for only 11% of total director pool of Hong Kong's listed issuers and 33% of senior management roles, while the number of female participating in the labor force, which is 54% of the entire female population, lags behind many developed countries (67.6% in the US and 71% in the UK). The number of women in politics is also worryingly small. In the legislative council, there are only 12 female members among the 70 elected members. Comparing to 10 female members among the 60 elected members in 1998, women are clearly under-represented in the legislative stage of the city and such inadequacy will lead to prolonged suppression in women's rights and gender inequality.
|
C_b9271226afc0432cb0e51e4f9214bb5b_0_q#0
|
Did women have equal roles when it came to careers in Hong Kong?
| 0y
| 1n
|
{
"texts": [
"Women were in the workforce as early as the 1920s, but the small population of them often had to fight vigorously for equality of work rights."
],
"answer_starts": [
0
]
}
|
{
"text": "Women were in the workforce as early as the 1920s, but the small population of them often had to fight vigorously for equality of work rights.",
"answer_start": 0
}
|
C_b9271226afc0432cb0e51e4f9214bb5b_0
|
Women in Hong Kong
|
Native women in Hong Kong used to be situated within the context of Chinese family and society, in which they were treated the same as Mainland women or Taiwanese women. Under the traditional Chinese patriarchy structure, the society was male-dominated, and women had a relatively subordinate familial role. However, there are cultural differences between Mainland Chinese citizens and citizens of Hong Kong. During the British colonial period the emergence of Western culture (i.e. "Westernization") created a mix of traditional Chinese culture and Western values.
|
Career attainment
|
Women were in the workforce as early as the 1920s, but the small population of them often had to fight vigorously for equality of work rights. With the shift of Hong Kong's economy from manufacturing industry to services industry since the 1980s, there is a growing demand for white collar workers. Abundant job opportunities are hence available for both men and women. Employment in Hong Kong can be enjoyed by women, who possess rights, such as maternity protection and sick leave. Nevertheless, women in Hong Kong are aware of the difficulties they face in being a woman in the workforce. For example, when surveyed, both men and women working in Hong Kong stated that they preferred to have a male supervisor over a woman supervisor. In 2016, there are 49.3% females and 50.8% males in the employed population. In spite of the open-minded and relatively westernised culture in Hong Kong, the seemingly equal and fair workplace still poses obstacles on the way of women's career paths. 61.8% of females and 51.6% of males agreed that women have to sacrifice more than men for career success. Interestingly, 72.1% of females agreed that an increasing number of successful women is a positive social phenomenon, while only 59.6% of males shared the same view. The data showed that men, having the invisible privilege obtained from unequal gender perceptions, are content with the current situation and are slightly reluctant to the rising status of women, which might pose a threat to their career prospects. The Hong Kong media clearly reflects the social stereotypes and norms. Performers of authority roles are mostly men, with commentaries and voice overs mainly heard in male voices as well, whereas women are chiefly depicted in domestic roles and gender-specific professions, for example, secretaries and nurses. Despite the high education level and prospective vision women possess, it is uncommon to see women working on Hong Kong corporate boards and in senior management roles. Women account for only 11% of total director pool of Hong Kong's listed issuers and 33% of senior management roles, while the number of female participating in the labor force, which is 54% of the entire female population, lags behind many developed countries (67.6% in the US and 71% in the UK). The number of women in politics is also worryingly small. In the legislative council, there are only 12 female members among the 70 elected members. Comparing to 10 female members among the 60 elected members in 1998, women are clearly under-represented in the legislative stage of the city and such inadequacy will lead to prolonged suppression in women's rights and gender inequality.
Q: Did women have equal roles when it came to careers in Hong Kong?
A: Women were in the workforce as early as the 1920s, but the small population of them often had to fight vigorously for equality of work rights.
|
C_b9271226afc0432cb0e51e4f9214bb5b_0_q#1
|
Did a lot of women try to attain careers in the early 1920's?
| 1n
| 2x
|
{
"texts": [
"unknown"
],
"answer_starts": [
2677
]
}
|
{
"text": "unknown",
"answer_start": 2677
}
|
C_b9271226afc0432cb0e51e4f9214bb5b_0
|
Women in Hong Kong
|
Native women in Hong Kong used to be situated within the context of Chinese family and society, in which they were treated the same as Mainland women or Taiwanese women. Under the traditional Chinese patriarchy structure, the society was male-dominated, and women had a relatively subordinate familial role. However, there are cultural differences between Mainland Chinese citizens and citizens of Hong Kong. During the British colonial period the emergence of Western culture (i.e. "Westernization") created a mix of traditional Chinese culture and Western values.
|
Career attainment
|
Women were in the workforce as early as the 1920s, but the small population of them often had to fight vigorously for equality of work rights. With the shift of Hong Kong's economy from manufacturing industry to services industry since the 1980s, there is a growing demand for white collar workers. Abundant job opportunities are hence available for both men and women. Employment in Hong Kong can be enjoyed by women, who possess rights, such as maternity protection and sick leave. Nevertheless, women in Hong Kong are aware of the difficulties they face in being a woman in the workforce. For example, when surveyed, both men and women working in Hong Kong stated that they preferred to have a male supervisor over a woman supervisor. In 2016, there are 49.3% females and 50.8% males in the employed population. In spite of the open-minded and relatively westernised culture in Hong Kong, the seemingly equal and fair workplace still poses obstacles on the way of women's career paths. 61.8% of females and 51.6% of males agreed that women have to sacrifice more than men for career success. Interestingly, 72.1% of females agreed that an increasing number of successful women is a positive social phenomenon, while only 59.6% of males shared the same view. The data showed that men, having the invisible privilege obtained from unequal gender perceptions, are content with the current situation and are slightly reluctant to the rising status of women, which might pose a threat to their career prospects. The Hong Kong media clearly reflects the social stereotypes and norms. Performers of authority roles are mostly men, with commentaries and voice overs mainly heard in male voices as well, whereas women are chiefly depicted in domestic roles and gender-specific professions, for example, secretaries and nurses. Despite the high education level and prospective vision women possess, it is uncommon to see women working on Hong Kong corporate boards and in senior management roles. Women account for only 11% of total director pool of Hong Kong's listed issuers and 33% of senior management roles, while the number of female participating in the labor force, which is 54% of the entire female population, lags behind many developed countries (67.6% in the US and 71% in the UK). The number of women in politics is also worryingly small. In the legislative council, there are only 12 female members among the 70 elected members. Comparing to 10 female members among the 60 elected members in 1998, women are clearly under-represented in the legislative stage of the city and such inadequacy will lead to prolonged suppression in women's rights and gender inequality.
Q: Did women have equal roles when it came to careers in Hong Kong?
A: Women were in the workforce as early as the 1920s, but the small population of them often had to fight vigorously for equality of work rights.
Q: Did a lot of women try to attain careers in the early 1920's?
A: unknown
|
C_b9271226afc0432cb0e51e4f9214bb5b_0_q#2
|
What are some of the career obstacles that women there face?
| 2m
| 2x
|
{
"texts": [
"Despite the high education level and prospective vision women possess, it is uncommon to see women working on Hong Kong corporate boards and in senior management roles."
],
"answer_starts": [
1824
]
}
|
{
"text": "Despite the high education level and prospective vision women possess, it is uncommon to see women working on Hong Kong corporate boards and in senior management roles.",
"answer_start": 1824
}
|
C_b9271226afc0432cb0e51e4f9214bb5b_0
|
Women in Hong Kong
|
Native women in Hong Kong used to be situated within the context of Chinese family and society, in which they were treated the same as Mainland women or Taiwanese women. Under the traditional Chinese patriarchy structure, the society was male-dominated, and women had a relatively subordinate familial role. However, there are cultural differences between Mainland Chinese citizens and citizens of Hong Kong. During the British colonial period the emergence of Western culture (i.e. "Westernization") created a mix of traditional Chinese culture and Western values.
|
Career attainment
|
Women were in the workforce as early as the 1920s, but the small population of them often had to fight vigorously for equality of work rights. With the shift of Hong Kong's economy from manufacturing industry to services industry since the 1980s, there is a growing demand for white collar workers. Abundant job opportunities are hence available for both men and women. Employment in Hong Kong can be enjoyed by women, who possess rights, such as maternity protection and sick leave. Nevertheless, women in Hong Kong are aware of the difficulties they face in being a woman in the workforce. For example, when surveyed, both men and women working in Hong Kong stated that they preferred to have a male supervisor over a woman supervisor. In 2016, there are 49.3% females and 50.8% males in the employed population. In spite of the open-minded and relatively westernised culture in Hong Kong, the seemingly equal and fair workplace still poses obstacles on the way of women's career paths. 61.8% of females and 51.6% of males agreed that women have to sacrifice more than men for career success. Interestingly, 72.1% of females agreed that an increasing number of successful women is a positive social phenomenon, while only 59.6% of males shared the same view. The data showed that men, having the invisible privilege obtained from unequal gender perceptions, are content with the current situation and are slightly reluctant to the rising status of women, which might pose a threat to their career prospects. The Hong Kong media clearly reflects the social stereotypes and norms. Performers of authority roles are mostly men, with commentaries and voice overs mainly heard in male voices as well, whereas women are chiefly depicted in domestic roles and gender-specific professions, for example, secretaries and nurses. Despite the high education level and prospective vision women possess, it is uncommon to see women working on Hong Kong corporate boards and in senior management roles. Women account for only 11% of total director pool of Hong Kong's listed issuers and 33% of senior management roles, while the number of female participating in the labor force, which is 54% of the entire female population, lags behind many developed countries (67.6% in the US and 71% in the UK). The number of women in politics is also worryingly small. In the legislative council, there are only 12 female members among the 70 elected members. Comparing to 10 female members among the 60 elected members in 1998, women are clearly under-represented in the legislative stage of the city and such inadequacy will lead to prolonged suppression in women's rights and gender inequality.
Q: Did women have equal roles when it came to careers in Hong Kong?
A: Women were in the workforce as early as the 1920s, but the small population of them often had to fight vigorously for equality of work rights.
Q: Did a lot of women try to attain careers in the early 1920's?
A: unknown
Q: What are some of the career obstacles that women there face?
A: Despite the high education level and prospective vision women possess, it is uncommon to see women working on Hong Kong corporate boards and in senior management roles.
|
C_b9271226afc0432cb0e51e4f9214bb5b_0_q#3
|
Is this still true in the 2000's?
| 2m
| 1n
|
{
"texts": [
"In 2016, there are 49.3% females and 50.8% males in the employed population."
],
"answer_starts": [
739
]
}
|
{
"text": "In 2016, there are 49.3% females and 50.8% males in the employed population.",
"answer_start": 739
}
|
C_b9271226afc0432cb0e51e4f9214bb5b_0
|
Women in Hong Kong
|
Native women in Hong Kong used to be situated within the context of Chinese family and society, in which they were treated the same as Mainland women or Taiwanese women. Under the traditional Chinese patriarchy structure, the society was male-dominated, and women had a relatively subordinate familial role. However, there are cultural differences between Mainland Chinese citizens and citizens of Hong Kong. During the British colonial period the emergence of Western culture (i.e. "Westernization") created a mix of traditional Chinese culture and Western values.
|
Career attainment
|
Women were in the workforce as early as the 1920s, but the small population of them often had to fight vigorously for equality of work rights. With the shift of Hong Kong's economy from manufacturing industry to services industry since the 1980s, there is a growing demand for white collar workers. Abundant job opportunities are hence available for both men and women. Employment in Hong Kong can be enjoyed by women, who possess rights, such as maternity protection and sick leave. Nevertheless, women in Hong Kong are aware of the difficulties they face in being a woman in the workforce. For example, when surveyed, both men and women working in Hong Kong stated that they preferred to have a male supervisor over a woman supervisor. In 2016, there are 49.3% females and 50.8% males in the employed population. In spite of the open-minded and relatively westernised culture in Hong Kong, the seemingly equal and fair workplace still poses obstacles on the way of women's career paths. 61.8% of females and 51.6% of males agreed that women have to sacrifice more than men for career success. Interestingly, 72.1% of females agreed that an increasing number of successful women is a positive social phenomenon, while only 59.6% of males shared the same view. The data showed that men, having the invisible privilege obtained from unequal gender perceptions, are content with the current situation and are slightly reluctant to the rising status of women, which might pose a threat to their career prospects. The Hong Kong media clearly reflects the social stereotypes and norms. Performers of authority roles are mostly men, with commentaries and voice overs mainly heard in male voices as well, whereas women are chiefly depicted in domestic roles and gender-specific professions, for example, secretaries and nurses. Despite the high education level and prospective vision women possess, it is uncommon to see women working on Hong Kong corporate boards and in senior management roles. Women account for only 11% of total director pool of Hong Kong's listed issuers and 33% of senior management roles, while the number of female participating in the labor force, which is 54% of the entire female population, lags behind many developed countries (67.6% in the US and 71% in the UK). The number of women in politics is also worryingly small. In the legislative council, there are only 12 female members among the 70 elected members. Comparing to 10 female members among the 60 elected members in 1998, women are clearly under-represented in the legislative stage of the city and such inadequacy will lead to prolonged suppression in women's rights and gender inequality.
Q: Did women have equal roles when it came to careers in Hong Kong?
A: Women were in the workforce as early as the 1920s, but the small population of them often had to fight vigorously for equality of work rights.
Q: Did a lot of women try to attain careers in the early 1920's?
A: unknown
Q: What are some of the career obstacles that women there face?
A: Despite the high education level and prospective vision women possess, it is uncommon to see women working on Hong Kong corporate boards and in senior management roles.
Q: Is this still true in the 2000's?
A: In 2016, there are 49.3% females and 50.8% males in the employed population.
|
C_b9271226afc0432cb0e51e4f9214bb5b_0_q#4
|
Are there any other interesting aspects about this article?
| 0y
| 0y
|
{
"texts": [
"Women account for only 11% of total director pool of Hong Kong's listed issuers and 33% of senior management roles,"
],
"answer_starts": [
1993
]
}
|
{
"text": "Women account for only 11% of total director pool of Hong Kong's listed issuers and 33% of senior management roles,",
"answer_start": 1993
}
|
C_b9271226afc0432cb0e51e4f9214bb5b_0
|
Women in Hong Kong
|
Native women in Hong Kong used to be situated within the context of Chinese family and society, in which they were treated the same as Mainland women or Taiwanese women. Under the traditional Chinese patriarchy structure, the society was male-dominated, and women had a relatively subordinate familial role. However, there are cultural differences between Mainland Chinese citizens and citizens of Hong Kong. During the British colonial period the emergence of Western culture (i.e. "Westernization") created a mix of traditional Chinese culture and Western values.
|
Career attainment
|
Women were in the workforce as early as the 1920s, but the small population of them often had to fight vigorously for equality of work rights. With the shift of Hong Kong's economy from manufacturing industry to services industry since the 1980s, there is a growing demand for white collar workers. Abundant job opportunities are hence available for both men and women. Employment in Hong Kong can be enjoyed by women, who possess rights, such as maternity protection and sick leave. Nevertheless, women in Hong Kong are aware of the difficulties they face in being a woman in the workforce. For example, when surveyed, both men and women working in Hong Kong stated that they preferred to have a male supervisor over a woman supervisor. In 2016, there are 49.3% females and 50.8% males in the employed population. In spite of the open-minded and relatively westernised culture in Hong Kong, the seemingly equal and fair workplace still poses obstacles on the way of women's career paths. 61.8% of females and 51.6% of males agreed that women have to sacrifice more than men for career success. Interestingly, 72.1% of females agreed that an increasing number of successful women is a positive social phenomenon, while only 59.6% of males shared the same view. The data showed that men, having the invisible privilege obtained from unequal gender perceptions, are content with the current situation and are slightly reluctant to the rising status of women, which might pose a threat to their career prospects. The Hong Kong media clearly reflects the social stereotypes and norms. Performers of authority roles are mostly men, with commentaries and voice overs mainly heard in male voices as well, whereas women are chiefly depicted in domestic roles and gender-specific professions, for example, secretaries and nurses. Despite the high education level and prospective vision women possess, it is uncommon to see women working on Hong Kong corporate boards and in senior management roles. Women account for only 11% of total director pool of Hong Kong's listed issuers and 33% of senior management roles, while the number of female participating in the labor force, which is 54% of the entire female population, lags behind many developed countries (67.6% in the US and 71% in the UK). The number of women in politics is also worryingly small. In the legislative council, there are only 12 female members among the 70 elected members. Comparing to 10 female members among the 60 elected members in 1998, women are clearly under-represented in the legislative stage of the city and such inadequacy will lead to prolonged suppression in women's rights and gender inequality.
Q: Did women have equal roles when it came to careers in Hong Kong?
A: Women were in the workforce as early as the 1920s, but the small population of them often had to fight vigorously for equality of work rights.
Q: Did a lot of women try to attain careers in the early 1920's?
A: unknown
Q: What are some of the career obstacles that women there face?
A: Despite the high education level and prospective vision women possess, it is uncommon to see women working on Hong Kong corporate boards and in senior management roles.
Q: Is this still true in the 2000's?
A: In 2016, there are 49.3% females and 50.8% males in the employed population.
Q: Are there any other interesting aspects about this article?
A: Women account for only 11% of total director pool of Hong Kong's listed issuers and 33% of senior management roles,
|
C_b9271226afc0432cb0e51e4f9214bb5b_0_q#5
|
Do women hold political roles in Hong Kong?
| 0y
| 0y
|
{
"texts": [
"The number of women in politics is also worryingly small."
],
"answer_starts": [
2290
]
}
|
{
"text": "The number of women in politics is also worryingly small.",
"answer_start": 2290
}
|
C_b9271226afc0432cb0e51e4f9214bb5b_0
|
Women in Hong Kong
|
Native women in Hong Kong used to be situated within the context of Chinese family and society, in which they were treated the same as Mainland women or Taiwanese women. Under the traditional Chinese patriarchy structure, the society was male-dominated, and women had a relatively subordinate familial role. However, there are cultural differences between Mainland Chinese citizens and citizens of Hong Kong. During the British colonial period the emergence of Western culture (i.e. "Westernization") created a mix of traditional Chinese culture and Western values.
|
Career attainment
|
Women were in the workforce as early as the 1920s, but the small population of them often had to fight vigorously for equality of work rights. With the shift of Hong Kong's economy from manufacturing industry to services industry since the 1980s, there is a growing demand for white collar workers. Abundant job opportunities are hence available for both men and women. Employment in Hong Kong can be enjoyed by women, who possess rights, such as maternity protection and sick leave. Nevertheless, women in Hong Kong are aware of the difficulties they face in being a woman in the workforce. For example, when surveyed, both men and women working in Hong Kong stated that they preferred to have a male supervisor over a woman supervisor. In 2016, there are 49.3% females and 50.8% males in the employed population. In spite of the open-minded and relatively westernised culture in Hong Kong, the seemingly equal and fair workplace still poses obstacles on the way of women's career paths. 61.8% of females and 51.6% of males agreed that women have to sacrifice more than men for career success. Interestingly, 72.1% of females agreed that an increasing number of successful women is a positive social phenomenon, while only 59.6% of males shared the same view. The data showed that men, having the invisible privilege obtained from unequal gender perceptions, are content with the current situation and are slightly reluctant to the rising status of women, which might pose a threat to their career prospects. The Hong Kong media clearly reflects the social stereotypes and norms. Performers of authority roles are mostly men, with commentaries and voice overs mainly heard in male voices as well, whereas women are chiefly depicted in domestic roles and gender-specific professions, for example, secretaries and nurses. Despite the high education level and prospective vision women possess, it is uncommon to see women working on Hong Kong corporate boards and in senior management roles. Women account for only 11% of total director pool of Hong Kong's listed issuers and 33% of senior management roles, while the number of female participating in the labor force, which is 54% of the entire female population, lags behind many developed countries (67.6% in the US and 71% in the UK). The number of women in politics is also worryingly small. In the legislative council, there are only 12 female members among the 70 elected members. Comparing to 10 female members among the 60 elected members in 1998, women are clearly under-represented in the legislative stage of the city and such inadequacy will lead to prolonged suppression in women's rights and gender inequality.
Q: Did women have equal roles when it came to careers in Hong Kong?
A: Women were in the workforce as early as the 1920s, but the small population of them often had to fight vigorously for equality of work rights.
Q: Did a lot of women try to attain careers in the early 1920's?
A: unknown
Q: What are some of the career obstacles that women there face?
A: Despite the high education level and prospective vision women possess, it is uncommon to see women working on Hong Kong corporate boards and in senior management roles.
Q: Is this still true in the 2000's?
A: In 2016, there are 49.3% females and 50.8% males in the employed population.
Q: Are there any other interesting aspects about this article?
A: Women account for only 11% of total director pool of Hong Kong's listed issuers and 33% of senior management roles,
Q: Do women hold political roles in Hong Kong?
A: The number of women in politics is also worryingly small.
|
C_b9271226afc0432cb0e51e4f9214bb5b_0_q#6
|
Do any females hold an important political role in Hong Kong?
| 0y
| 0y
|
{
"texts": [
"In the legislative council, there are only 12 female members among the 70 elected members."
],
"answer_starts": [
2348
]
}
|
{
"text": "In the legislative council, there are only 12 female members among the 70 elected members.",
"answer_start": 2348
}
|
C_b9271226afc0432cb0e51e4f9214bb5b_0
|
Women in Hong Kong
|
Native women in Hong Kong used to be situated within the context of Chinese family and society, in which they were treated the same as Mainland women or Taiwanese women. Under the traditional Chinese patriarchy structure, the society was male-dominated, and women had a relatively subordinate familial role. However, there are cultural differences between Mainland Chinese citizens and citizens of Hong Kong. During the British colonial period the emergence of Western culture (i.e. "Westernization") created a mix of traditional Chinese culture and Western values.
|
Career attainment
|
Women were in the workforce as early as the 1920s, but the small population of them often had to fight vigorously for equality of work rights. With the shift of Hong Kong's economy from manufacturing industry to services industry since the 1980s, there is a growing demand for white collar workers. Abundant job opportunities are hence available for both men and women. Employment in Hong Kong can be enjoyed by women, who possess rights, such as maternity protection and sick leave. Nevertheless, women in Hong Kong are aware of the difficulties they face in being a woman in the workforce. For example, when surveyed, both men and women working in Hong Kong stated that they preferred to have a male supervisor over a woman supervisor. In 2016, there are 49.3% females and 50.8% males in the employed population. In spite of the open-minded and relatively westernised culture in Hong Kong, the seemingly equal and fair workplace still poses obstacles on the way of women's career paths. 61.8% of females and 51.6% of males agreed that women have to sacrifice more than men for career success. Interestingly, 72.1% of females agreed that an increasing number of successful women is a positive social phenomenon, while only 59.6% of males shared the same view. The data showed that men, having the invisible privilege obtained from unequal gender perceptions, are content with the current situation and are slightly reluctant to the rising status of women, which might pose a threat to their career prospects. The Hong Kong media clearly reflects the social stereotypes and norms. Performers of authority roles are mostly men, with commentaries and voice overs mainly heard in male voices as well, whereas women are chiefly depicted in domestic roles and gender-specific professions, for example, secretaries and nurses. Despite the high education level and prospective vision women possess, it is uncommon to see women working on Hong Kong corporate boards and in senior management roles. Women account for only 11% of total director pool of Hong Kong's listed issuers and 33% of senior management roles, while the number of female participating in the labor force, which is 54% of the entire female population, lags behind many developed countries (67.6% in the US and 71% in the UK). The number of women in politics is also worryingly small. In the legislative council, there are only 12 female members among the 70 elected members. Comparing to 10 female members among the 60 elected members in 1998, women are clearly under-represented in the legislative stage of the city and such inadequacy will lead to prolonged suppression in women's rights and gender inequality.
Q: Did women have equal roles when it came to careers in Hong Kong?
A: Women were in the workforce as early as the 1920s, but the small population of them often had to fight vigorously for equality of work rights.
Q: Did a lot of women try to attain careers in the early 1920's?
A: unknown
Q: What are some of the career obstacles that women there face?
A: Despite the high education level and prospective vision women possess, it is uncommon to see women working on Hong Kong corporate boards and in senior management roles.
Q: Is this still true in the 2000's?
A: In 2016, there are 49.3% females and 50.8% males in the employed population.
Q: Are there any other interesting aspects about this article?
A: Women account for only 11% of total director pool of Hong Kong's listed issuers and 33% of senior management roles,
Q: Do women hold political roles in Hong Kong?
A: The number of women in politics is also worryingly small.
Q: Do any females hold an important political role in Hong Kong?
A: In the legislative council, there are only 12 female members among the 70 elected members.
|
C_b9271226afc0432cb0e51e4f9214bb5b_0_q#7
|
How are those females viewed?
| 0y
| 2x
|
{
"texts": [
"women are clearly under-represented in the legislative stage"
],
"answer_starts": [
2508
]
}
|
{
"text": "women are clearly under-represented in the legislative stage",
"answer_start": 2508
}
|
C_28d6b4df2df24baa984a1ea2e224f44f_1
|
Roberto Orci
|
Orci was born in Mexico City on July 20, 1973, to a Mexican father and a Cuban mother. His mother immigrated to the United States with her parents after Fidel Castro came to power. Orci grew up in Mexico, and moved with his family to the United States at the age of 10. He was raised in Texas, Los Angeles and Canada.
|
Television and film screenwriting
|
Orci and Kurtzman began their writing collaboration on the television series Hercules: The Legendary Journeys, after being hired by Sam Raimi. After actor Kevin Sorbo suffered a stroke, the duo were required to come up with inventive ideas to minimize his appearances on screen. Due to this work, they became show runners at the age of 24. They were also involved in the sister-series to Hercules, Xena: Warrior Princess. They sought to move to writing for a network-based television series, but found this difficult. After receiving a series of negative responses, they met with J. J. Abrams who was starting work on Alias at the time. The meeting went well, and resulted in them working on the series. They would go on to work together again on the Fox science fiction series Fringe where all three were listed as co-creators. Orci and Kurtzman received their break in writing for films in 2004, with the Michael Bay film The Island, for which they developed the spec script by Caspian Tredwell-Owen. When Kurtzman and Orci first met Bay, he asked the pair "Why should I trust you?", to which Orci replied "You shouldn't yet. Let's see what happens." While the film was not an overwhelming success, they were brought back for Bay's following film, Transformers, after producer Steven Spielberg asked them to come in for a meeting. The movie took in $710 million at the box office. Following their work on that film, the duo were brought in to revise the script for Zack Snyder's Watchmen, in an uncredited capacity. They worked once more with Abrams, on Mission: Impossible III. When they collaborated once more with Bay for Transformers: Revenge of the Fallen, they were under significant time pressures due to the 2007-08 Writers Guild of America strike. Kurtzman and Orci had two weeks to outline the film, and after the strike Bay had them moved into the Hotel Casa del Mar. The hotel was six blocks away from his office, enabling Bay to conduct surprise inspections. In the period between 2005 and 2011, the films written by Kurtzman and Orci grossed more than $3 billion, leading to Forbes describing them as "Hollywood's secret weapons". The busyness of their screenwriting careers required them to collaborate with other writers due to the number of projects they were involved in. For example, on Transformers: Revenge of the Fallen, they teamed up with Ehren Kruger, who took over from them on the writing duties for the Transfomers franchise from Transformers: Dark of the Moon onwards.
|
C_28d6b4df2df24baa984a1ea2e224f44f_1_q#0
|
What was the first screenplay he was involved in?
| 0y
| 2x
|
{
"texts": [
"Orci and Kurtzman began their writing collaboration on the television series Hercules: The Legendary Journeys, after being hired by Sam Raimi."
],
"answer_starts": [
0
]
}
|
{
"text": "Orci and Kurtzman began their writing collaboration on the television series Hercules: The Legendary Journeys, after being hired by Sam Raimi.",
"answer_start": 0
}
|
C_28d6b4df2df24baa984a1ea2e224f44f_1
|
Roberto Orci
|
Orci was born in Mexico City on July 20, 1973, to a Mexican father and a Cuban mother. His mother immigrated to the United States with her parents after Fidel Castro came to power. Orci grew up in Mexico, and moved with his family to the United States at the age of 10. He was raised in Texas, Los Angeles and Canada.
|
Television and film screenwriting
|
Orci and Kurtzman began their writing collaboration on the television series Hercules: The Legendary Journeys, after being hired by Sam Raimi. After actor Kevin Sorbo suffered a stroke, the duo were required to come up with inventive ideas to minimize his appearances on screen. Due to this work, they became show runners at the age of 24. They were also involved in the sister-series to Hercules, Xena: Warrior Princess. They sought to move to writing for a network-based television series, but found this difficult. After receiving a series of negative responses, they met with J. J. Abrams who was starting work on Alias at the time. The meeting went well, and resulted in them working on the series. They would go on to work together again on the Fox science fiction series Fringe where all three were listed as co-creators. Orci and Kurtzman received their break in writing for films in 2004, with the Michael Bay film The Island, for which they developed the spec script by Caspian Tredwell-Owen. When Kurtzman and Orci first met Bay, he asked the pair "Why should I trust you?", to which Orci replied "You shouldn't yet. Let's see what happens." While the film was not an overwhelming success, they were brought back for Bay's following film, Transformers, after producer Steven Spielberg asked them to come in for a meeting. The movie took in $710 million at the box office. Following their work on that film, the duo were brought in to revise the script for Zack Snyder's Watchmen, in an uncredited capacity. They worked once more with Abrams, on Mission: Impossible III. When they collaborated once more with Bay for Transformers: Revenge of the Fallen, they were under significant time pressures due to the 2007-08 Writers Guild of America strike. Kurtzman and Orci had two weeks to outline the film, and after the strike Bay had them moved into the Hotel Casa del Mar. The hotel was six blocks away from his office, enabling Bay to conduct surprise inspections. In the period between 2005 and 2011, the films written by Kurtzman and Orci grossed more than $3 billion, leading to Forbes describing them as "Hollywood's secret weapons". The busyness of their screenwriting careers required them to collaborate with other writers due to the number of projects they were involved in. For example, on Transformers: Revenge of the Fallen, they teamed up with Ehren Kruger, who took over from them on the writing duties for the Transfomers franchise from Transformers: Dark of the Moon onwards.
Q: What was the first screenplay he was involved in?
A: Orci and Kurtzman began their writing collaboration on the television series Hercules: The Legendary Journeys, after being hired by Sam Raimi.
|
C_28d6b4df2df24baa984a1ea2e224f44f_1_q#1
|
What happened during Hercules?
| 0y
| 2x
|
{
"texts": [
"After actor Kevin Sorbo suffered a stroke, the duo were required to come up with inventive ideas to minimize his appearances on screen."
],
"answer_starts": [
143
]
}
|
{
"text": "After actor Kevin Sorbo suffered a stroke, the duo were required to come up with inventive ideas to minimize his appearances on screen.",
"answer_start": 143
}
|
C_28d6b4df2df24baa984a1ea2e224f44f_1
|
Roberto Orci
|
Orci was born in Mexico City on July 20, 1973, to a Mexican father and a Cuban mother. His mother immigrated to the United States with her parents after Fidel Castro came to power. Orci grew up in Mexico, and moved with his family to the United States at the age of 10. He was raised in Texas, Los Angeles and Canada.
|
Television and film screenwriting
|
Orci and Kurtzman began their writing collaboration on the television series Hercules: The Legendary Journeys, after being hired by Sam Raimi. After actor Kevin Sorbo suffered a stroke, the duo were required to come up with inventive ideas to minimize his appearances on screen. Due to this work, they became show runners at the age of 24. They were also involved in the sister-series to Hercules, Xena: Warrior Princess. They sought to move to writing for a network-based television series, but found this difficult. After receiving a series of negative responses, they met with J. J. Abrams who was starting work on Alias at the time. The meeting went well, and resulted in them working on the series. They would go on to work together again on the Fox science fiction series Fringe where all three were listed as co-creators. Orci and Kurtzman received their break in writing for films in 2004, with the Michael Bay film The Island, for which they developed the spec script by Caspian Tredwell-Owen. When Kurtzman and Orci first met Bay, he asked the pair "Why should I trust you?", to which Orci replied "You shouldn't yet. Let's see what happens." While the film was not an overwhelming success, they were brought back for Bay's following film, Transformers, after producer Steven Spielberg asked them to come in for a meeting. The movie took in $710 million at the box office. Following their work on that film, the duo were brought in to revise the script for Zack Snyder's Watchmen, in an uncredited capacity. They worked once more with Abrams, on Mission: Impossible III. When they collaborated once more with Bay for Transformers: Revenge of the Fallen, they were under significant time pressures due to the 2007-08 Writers Guild of America strike. Kurtzman and Orci had two weeks to outline the film, and after the strike Bay had them moved into the Hotel Casa del Mar. The hotel was six blocks away from his office, enabling Bay to conduct surprise inspections. In the period between 2005 and 2011, the films written by Kurtzman and Orci grossed more than $3 billion, leading to Forbes describing them as "Hollywood's secret weapons". The busyness of their screenwriting careers required them to collaborate with other writers due to the number of projects they were involved in. For example, on Transformers: Revenge of the Fallen, they teamed up with Ehren Kruger, who took over from them on the writing duties for the Transfomers franchise from Transformers: Dark of the Moon onwards.
Q: What was the first screenplay he was involved in?
A: Orci and Kurtzman began their writing collaboration on the television series Hercules: The Legendary Journeys, after being hired by Sam Raimi.
Q: What happened during Hercules?
A: After actor Kevin Sorbo suffered a stroke, the duo were required to come up with inventive ideas to minimize his appearances on screen.
|
C_28d6b4df2df24baa984a1ea2e224f44f_1_q#2
|
Did they pull it off?
| 1n
| 2x
|
{
"texts": [
"Due to this work, they became show runners at the age of 24."
],
"answer_starts": [
279
]
}
|
{
"text": "Due to this work, they became show runners at the age of 24.",
"answer_start": 279
}
|
C_28d6b4df2df24baa984a1ea2e224f44f_1
|
Roberto Orci
|
Orci was born in Mexico City on July 20, 1973, to a Mexican father and a Cuban mother. His mother immigrated to the United States with her parents after Fidel Castro came to power. Orci grew up in Mexico, and moved with his family to the United States at the age of 10. He was raised in Texas, Los Angeles and Canada.
|
Television and film screenwriting
|
Orci and Kurtzman began their writing collaboration on the television series Hercules: The Legendary Journeys, after being hired by Sam Raimi. After actor Kevin Sorbo suffered a stroke, the duo were required to come up with inventive ideas to minimize his appearances on screen. Due to this work, they became show runners at the age of 24. They were also involved in the sister-series to Hercules, Xena: Warrior Princess. They sought to move to writing for a network-based television series, but found this difficult. After receiving a series of negative responses, they met with J. J. Abrams who was starting work on Alias at the time. The meeting went well, and resulted in them working on the series. They would go on to work together again on the Fox science fiction series Fringe where all three were listed as co-creators. Orci and Kurtzman received their break in writing for films in 2004, with the Michael Bay film The Island, for which they developed the spec script by Caspian Tredwell-Owen. When Kurtzman and Orci first met Bay, he asked the pair "Why should I trust you?", to which Orci replied "You shouldn't yet. Let's see what happens." While the film was not an overwhelming success, they were brought back for Bay's following film, Transformers, after producer Steven Spielberg asked them to come in for a meeting. The movie took in $710 million at the box office. Following their work on that film, the duo were brought in to revise the script for Zack Snyder's Watchmen, in an uncredited capacity. They worked once more with Abrams, on Mission: Impossible III. When they collaborated once more with Bay for Transformers: Revenge of the Fallen, they were under significant time pressures due to the 2007-08 Writers Guild of America strike. Kurtzman and Orci had two weeks to outline the film, and after the strike Bay had them moved into the Hotel Casa del Mar. The hotel was six blocks away from his office, enabling Bay to conduct surprise inspections. In the period between 2005 and 2011, the films written by Kurtzman and Orci grossed more than $3 billion, leading to Forbes describing them as "Hollywood's secret weapons". The busyness of their screenwriting careers required them to collaborate with other writers due to the number of projects they were involved in. For example, on Transformers: Revenge of the Fallen, they teamed up with Ehren Kruger, who took over from them on the writing duties for the Transfomers franchise from Transformers: Dark of the Moon onwards.
Q: What was the first screenplay he was involved in?
A: Orci and Kurtzman began their writing collaboration on the television series Hercules: The Legendary Journeys, after being hired by Sam Raimi.
Q: What happened during Hercules?
A: After actor Kevin Sorbo suffered a stroke, the duo were required to come up with inventive ideas to minimize his appearances on screen.
Q: Did they pull it off?
A: Due to this work, they became show runners at the age of 24.
|
C_28d6b4df2df24baa984a1ea2e224f44f_1_q#3
|
What did they do next?
| 0y
| 2x
|
{
"texts": [
"They were also involved in the sister-series to Hercules, Xena: Warrior Princess."
],
"answer_starts": [
340
]
}
|
{
"text": "They were also involved in the sister-series to Hercules, Xena: Warrior Princess.",
"answer_start": 340
}
|
C_28d6b4df2df24baa984a1ea2e224f44f_1
|
Roberto Orci
|
Orci was born in Mexico City on July 20, 1973, to a Mexican father and a Cuban mother. His mother immigrated to the United States with her parents after Fidel Castro came to power. Orci grew up in Mexico, and moved with his family to the United States at the age of 10. He was raised in Texas, Los Angeles and Canada.
|
Television and film screenwriting
|
Orci and Kurtzman began their writing collaboration on the television series Hercules: The Legendary Journeys, after being hired by Sam Raimi. After actor Kevin Sorbo suffered a stroke, the duo were required to come up with inventive ideas to minimize his appearances on screen. Due to this work, they became show runners at the age of 24. They were also involved in the sister-series to Hercules, Xena: Warrior Princess. They sought to move to writing for a network-based television series, but found this difficult. After receiving a series of negative responses, they met with J. J. Abrams who was starting work on Alias at the time. The meeting went well, and resulted in them working on the series. They would go on to work together again on the Fox science fiction series Fringe where all three were listed as co-creators. Orci and Kurtzman received their break in writing for films in 2004, with the Michael Bay film The Island, for which they developed the spec script by Caspian Tredwell-Owen. When Kurtzman and Orci first met Bay, he asked the pair "Why should I trust you?", to which Orci replied "You shouldn't yet. Let's see what happens." While the film was not an overwhelming success, they were brought back for Bay's following film, Transformers, after producer Steven Spielberg asked them to come in for a meeting. The movie took in $710 million at the box office. Following their work on that film, the duo were brought in to revise the script for Zack Snyder's Watchmen, in an uncredited capacity. They worked once more with Abrams, on Mission: Impossible III. When they collaborated once more with Bay for Transformers: Revenge of the Fallen, they were under significant time pressures due to the 2007-08 Writers Guild of America strike. Kurtzman and Orci had two weeks to outline the film, and after the strike Bay had them moved into the Hotel Casa del Mar. The hotel was six blocks away from his office, enabling Bay to conduct surprise inspections. In the period between 2005 and 2011, the films written by Kurtzman and Orci grossed more than $3 billion, leading to Forbes describing them as "Hollywood's secret weapons". The busyness of their screenwriting careers required them to collaborate with other writers due to the number of projects they were involved in. For example, on Transformers: Revenge of the Fallen, they teamed up with Ehren Kruger, who took over from them on the writing duties for the Transfomers franchise from Transformers: Dark of the Moon onwards.
Q: What was the first screenplay he was involved in?
A: Orci and Kurtzman began their writing collaboration on the television series Hercules: The Legendary Journeys, after being hired by Sam Raimi.
Q: What happened during Hercules?
A: After actor Kevin Sorbo suffered a stroke, the duo were required to come up with inventive ideas to minimize his appearances on screen.
Q: Did they pull it off?
A: Due to this work, they became show runners at the age of 24.
Q: What did they do next?
A: They were also involved in the sister-series to Hercules, Xena: Warrior Princess.
|
C_28d6b4df2df24baa984a1ea2e224f44f_1_q#4
|
What did they do on Xena?
| 1n
| 2x
|
{
"texts": [
"unknown"
],
"answer_starts": [
2503
]
}
|
{
"text": "unknown",
"answer_start": 2503
}
|
C_28d6b4df2df24baa984a1ea2e224f44f_1
|
Roberto Orci
|
Orci was born in Mexico City on July 20, 1973, to a Mexican father and a Cuban mother. His mother immigrated to the United States with her parents after Fidel Castro came to power. Orci grew up in Mexico, and moved with his family to the United States at the age of 10. He was raised in Texas, Los Angeles and Canada.
|
Television and film screenwriting
|
Orci and Kurtzman began their writing collaboration on the television series Hercules: The Legendary Journeys, after being hired by Sam Raimi. After actor Kevin Sorbo suffered a stroke, the duo were required to come up with inventive ideas to minimize his appearances on screen. Due to this work, they became show runners at the age of 24. They were also involved in the sister-series to Hercules, Xena: Warrior Princess. They sought to move to writing for a network-based television series, but found this difficult. After receiving a series of negative responses, they met with J. J. Abrams who was starting work on Alias at the time. The meeting went well, and resulted in them working on the series. They would go on to work together again on the Fox science fiction series Fringe where all three were listed as co-creators. Orci and Kurtzman received their break in writing for films in 2004, with the Michael Bay film The Island, for which they developed the spec script by Caspian Tredwell-Owen. When Kurtzman and Orci first met Bay, he asked the pair "Why should I trust you?", to which Orci replied "You shouldn't yet. Let's see what happens." While the film was not an overwhelming success, they were brought back for Bay's following film, Transformers, after producer Steven Spielberg asked them to come in for a meeting. The movie took in $710 million at the box office. Following their work on that film, the duo were brought in to revise the script for Zack Snyder's Watchmen, in an uncredited capacity. They worked once more with Abrams, on Mission: Impossible III. When they collaborated once more with Bay for Transformers: Revenge of the Fallen, they were under significant time pressures due to the 2007-08 Writers Guild of America strike. Kurtzman and Orci had two weeks to outline the film, and after the strike Bay had them moved into the Hotel Casa del Mar. The hotel was six blocks away from his office, enabling Bay to conduct surprise inspections. In the period between 2005 and 2011, the films written by Kurtzman and Orci grossed more than $3 billion, leading to Forbes describing them as "Hollywood's secret weapons". The busyness of their screenwriting careers required them to collaborate with other writers due to the number of projects they were involved in. For example, on Transformers: Revenge of the Fallen, they teamed up with Ehren Kruger, who took over from them on the writing duties for the Transfomers franchise from Transformers: Dark of the Moon onwards.
Q: What was the first screenplay he was involved in?
A: Orci and Kurtzman began their writing collaboration on the television series Hercules: The Legendary Journeys, after being hired by Sam Raimi.
Q: What happened during Hercules?
A: After actor Kevin Sorbo suffered a stroke, the duo were required to come up with inventive ideas to minimize his appearances on screen.
Q: Did they pull it off?
A: Due to this work, they became show runners at the age of 24.
Q: What did they do next?
A: They were also involved in the sister-series to Hercules, Xena: Warrior Princess.
Q: What did they do on Xena?
A: unknown
|
C_28d6b4df2df24baa984a1ea2e224f44f_1_q#5
|
What project were they involved in next?
| 0y
| 2x
|
{
"texts": [
"After receiving a series of negative responses, they met with J. J. Abrams who was starting work on Alias at the time."
],
"answer_starts": [
518
]
}
|
{
"text": "After receiving a series of negative responses, they met with J. J. Abrams who was starting work on Alias at the time.",
"answer_start": 518
}
|
C_28d6b4df2df24baa984a1ea2e224f44f_1
|
Roberto Orci
|
Orci was born in Mexico City on July 20, 1973, to a Mexican father and a Cuban mother. His mother immigrated to the United States with her parents after Fidel Castro came to power. Orci grew up in Mexico, and moved with his family to the United States at the age of 10. He was raised in Texas, Los Angeles and Canada.
|
Television and film screenwriting
|
Orci and Kurtzman began their writing collaboration on the television series Hercules: The Legendary Journeys, after being hired by Sam Raimi. After actor Kevin Sorbo suffered a stroke, the duo were required to come up with inventive ideas to minimize his appearances on screen. Due to this work, they became show runners at the age of 24. They were also involved in the sister-series to Hercules, Xena: Warrior Princess. They sought to move to writing for a network-based television series, but found this difficult. After receiving a series of negative responses, they met with J. J. Abrams who was starting work on Alias at the time. The meeting went well, and resulted in them working on the series. They would go on to work together again on the Fox science fiction series Fringe where all three were listed as co-creators. Orci and Kurtzman received their break in writing for films in 2004, with the Michael Bay film The Island, for which they developed the spec script by Caspian Tredwell-Owen. When Kurtzman and Orci first met Bay, he asked the pair "Why should I trust you?", to which Orci replied "You shouldn't yet. Let's see what happens." While the film was not an overwhelming success, they were brought back for Bay's following film, Transformers, after producer Steven Spielberg asked them to come in for a meeting. The movie took in $710 million at the box office. Following their work on that film, the duo were brought in to revise the script for Zack Snyder's Watchmen, in an uncredited capacity. They worked once more with Abrams, on Mission: Impossible III. When they collaborated once more with Bay for Transformers: Revenge of the Fallen, they were under significant time pressures due to the 2007-08 Writers Guild of America strike. Kurtzman and Orci had two weeks to outline the film, and after the strike Bay had them moved into the Hotel Casa del Mar. The hotel was six blocks away from his office, enabling Bay to conduct surprise inspections. In the period between 2005 and 2011, the films written by Kurtzman and Orci grossed more than $3 billion, leading to Forbes describing them as "Hollywood's secret weapons". The busyness of their screenwriting careers required them to collaborate with other writers due to the number of projects they were involved in. For example, on Transformers: Revenge of the Fallen, they teamed up with Ehren Kruger, who took over from them on the writing duties for the Transfomers franchise from Transformers: Dark of the Moon onwards.
Q: What was the first screenplay he was involved in?
A: Orci and Kurtzman began their writing collaboration on the television series Hercules: The Legendary Journeys, after being hired by Sam Raimi.
Q: What happened during Hercules?
A: After actor Kevin Sorbo suffered a stroke, the duo were required to come up with inventive ideas to minimize his appearances on screen.
Q: Did they pull it off?
A: Due to this work, they became show runners at the age of 24.
Q: What did they do next?
A: They were also involved in the sister-series to Hercules, Xena: Warrior Princess.
Q: What did they do on Xena?
A: unknown
Q: What project were they involved in next?
A: After receiving a series of negative responses, they met with J. J. Abrams who was starting work on Alias at the time.
|
C_28d6b4df2df24baa984a1ea2e224f44f_1_q#6
|
Did they work on Alias?
| 0y
| 2x
|
{
"texts": [
"The meeting went well, and resulted in them working on the series."
],
"answer_starts": [
637
]
}
|
{
"text": "The meeting went well, and resulted in them working on the series.",
"answer_start": 637
}
|
C_28d6b4df2df24baa984a1ea2e224f44f_1
|
Roberto Orci
|
Orci was born in Mexico City on July 20, 1973, to a Mexican father and a Cuban mother. His mother immigrated to the United States with her parents after Fidel Castro came to power. Orci grew up in Mexico, and moved with his family to the United States at the age of 10. He was raised in Texas, Los Angeles and Canada.
|
Television and film screenwriting
|
Orci and Kurtzman began their writing collaboration on the television series Hercules: The Legendary Journeys, after being hired by Sam Raimi. After actor Kevin Sorbo suffered a stroke, the duo were required to come up with inventive ideas to minimize his appearances on screen. Due to this work, they became show runners at the age of 24. They were also involved in the sister-series to Hercules, Xena: Warrior Princess. They sought to move to writing for a network-based television series, but found this difficult. After receiving a series of negative responses, they met with J. J. Abrams who was starting work on Alias at the time. The meeting went well, and resulted in them working on the series. They would go on to work together again on the Fox science fiction series Fringe where all three were listed as co-creators. Orci and Kurtzman received their break in writing for films in 2004, with the Michael Bay film The Island, for which they developed the spec script by Caspian Tredwell-Owen. When Kurtzman and Orci first met Bay, he asked the pair "Why should I trust you?", to which Orci replied "You shouldn't yet. Let's see what happens." While the film was not an overwhelming success, they were brought back for Bay's following film, Transformers, after producer Steven Spielberg asked them to come in for a meeting. The movie took in $710 million at the box office. Following their work on that film, the duo were brought in to revise the script for Zack Snyder's Watchmen, in an uncredited capacity. They worked once more with Abrams, on Mission: Impossible III. When they collaborated once more with Bay for Transformers: Revenge of the Fallen, they were under significant time pressures due to the 2007-08 Writers Guild of America strike. Kurtzman and Orci had two weeks to outline the film, and after the strike Bay had them moved into the Hotel Casa del Mar. The hotel was six blocks away from his office, enabling Bay to conduct surprise inspections. In the period between 2005 and 2011, the films written by Kurtzman and Orci grossed more than $3 billion, leading to Forbes describing them as "Hollywood's secret weapons". The busyness of their screenwriting careers required them to collaborate with other writers due to the number of projects they were involved in. For example, on Transformers: Revenge of the Fallen, they teamed up with Ehren Kruger, who took over from them on the writing duties for the Transfomers franchise from Transformers: Dark of the Moon onwards.
Q: What was the first screenplay he was involved in?
A: Orci and Kurtzman began their writing collaboration on the television series Hercules: The Legendary Journeys, after being hired by Sam Raimi.
Q: What happened during Hercules?
A: After actor Kevin Sorbo suffered a stroke, the duo were required to come up with inventive ideas to minimize his appearances on screen.
Q: Did they pull it off?
A: Due to this work, they became show runners at the age of 24.
Q: What did they do next?
A: They were also involved in the sister-series to Hercules, Xena: Warrior Princess.
Q: What did they do on Xena?
A: unknown
Q: What project were they involved in next?
A: After receiving a series of negative responses, they met with J. J. Abrams who was starting work on Alias at the time.
Q: Did they work on Alias?
A: The meeting went well, and resulted in them working on the series.
|
C_28d6b4df2df24baa984a1ea2e224f44f_1_q#7
|
How did things go for them on Alias?
| 1n
| 2x
|
{
"texts": [
"unknown"
],
"answer_starts": [
2503
]
}
|
{
"text": "unknown",
"answer_start": 2503
}
|
C_28d6b4df2df24baa984a1ea2e224f44f_1
|
Roberto Orci
|
Orci was born in Mexico City on July 20, 1973, to a Mexican father and a Cuban mother. His mother immigrated to the United States with her parents after Fidel Castro came to power. Orci grew up in Mexico, and moved with his family to the United States at the age of 10. He was raised in Texas, Los Angeles and Canada.
|
Television and film screenwriting
|
Orci and Kurtzman began their writing collaboration on the television series Hercules: The Legendary Journeys, after being hired by Sam Raimi. After actor Kevin Sorbo suffered a stroke, the duo were required to come up with inventive ideas to minimize his appearances on screen. Due to this work, they became show runners at the age of 24. They were also involved in the sister-series to Hercules, Xena: Warrior Princess. They sought to move to writing for a network-based television series, but found this difficult. After receiving a series of negative responses, they met with J. J. Abrams who was starting work on Alias at the time. The meeting went well, and resulted in them working on the series. They would go on to work together again on the Fox science fiction series Fringe where all three were listed as co-creators. Orci and Kurtzman received their break in writing for films in 2004, with the Michael Bay film The Island, for which they developed the spec script by Caspian Tredwell-Owen. When Kurtzman and Orci first met Bay, he asked the pair "Why should I trust you?", to which Orci replied "You shouldn't yet. Let's see what happens." While the film was not an overwhelming success, they were brought back for Bay's following film, Transformers, after producer Steven Spielberg asked them to come in for a meeting. The movie took in $710 million at the box office. Following their work on that film, the duo were brought in to revise the script for Zack Snyder's Watchmen, in an uncredited capacity. They worked once more with Abrams, on Mission: Impossible III. When they collaborated once more with Bay for Transformers: Revenge of the Fallen, they were under significant time pressures due to the 2007-08 Writers Guild of America strike. Kurtzman and Orci had two weeks to outline the film, and after the strike Bay had them moved into the Hotel Casa del Mar. The hotel was six blocks away from his office, enabling Bay to conduct surprise inspections. In the period between 2005 and 2011, the films written by Kurtzman and Orci grossed more than $3 billion, leading to Forbes describing them as "Hollywood's secret weapons". The busyness of their screenwriting careers required them to collaborate with other writers due to the number of projects they were involved in. For example, on Transformers: Revenge of the Fallen, they teamed up with Ehren Kruger, who took over from them on the writing duties for the Transfomers franchise from Transformers: Dark of the Moon onwards.
Q: What was the first screenplay he was involved in?
A: Orci and Kurtzman began their writing collaboration on the television series Hercules: The Legendary Journeys, after being hired by Sam Raimi.
Q: What happened during Hercules?
A: After actor Kevin Sorbo suffered a stroke, the duo were required to come up with inventive ideas to minimize his appearances on screen.
Q: Did they pull it off?
A: Due to this work, they became show runners at the age of 24.
Q: What did they do next?
A: They were also involved in the sister-series to Hercules, Xena: Warrior Princess.
Q: What did they do on Xena?
A: unknown
Q: What project were they involved in next?
A: After receiving a series of negative responses, they met with J. J. Abrams who was starting work on Alias at the time.
Q: Did they work on Alias?
A: The meeting went well, and resulted in them working on the series.
Q: How did things go for them on Alias?
A: unknown
|
C_28d6b4df2df24baa984a1ea2e224f44f_1_q#8
|
What project came after Alias?
| 1n
| 2x
|
{
"texts": [
"They would go on to work together again on the Fox science fiction series Fringe where all three were listed as co-creators."
],
"answer_starts": [
704
]
}
|
{
"text": "They would go on to work together again on the Fox science fiction series Fringe where all three were listed as co-creators.",
"answer_start": 704
}
|
C_28d6b4df2df24baa984a1ea2e224f44f_0
|
Roberto Orci
|
Orci was born in Mexico City on July 20, 1973, to a Mexican father and a Cuban mother. His mother immigrated to the United States with her parents after Fidel Castro came to power. Orci grew up in Mexico, and moved with his family to the United States at the age of 10. He was raised in Texas, Los Angeles and Canada.
|
Becoming a producer
|
Orci's first credit solely as a producer came with the film Eagle Eye, where he worked once again alongside Kurtzman. He said in an interview with the magazine Extra that he had previously been involved in productions where the producers had writing backgrounds and had looked to them for help, and he was happy to provide that same support to the writers on Eagle Eye. The director of the film, D. J. Caruso, praised the duo saying that "What's unusually cool about them is that they have maintained the producer-writer power that they earned in television and carried that over into the feature film area, and that is extremely rare." Following their work on Eagle Eye, they were executive producers on the Sandra Bullock film, The Proposal. Despite their film careers, Orci and Kurtzman continued to create television series. These included Sleepy Hollow, which they developed alongside Phillip Iscove. They pitched the series to a number of networks, and it was picked up by Fox. Orci took five years to bring the series Matador to television, with it originating from a conversation with his cousin Andrew. It was created for Robert Rodriguez's El Rey Network, and Rodriguez's one demand of the show was that he could direct the pilot episode. Orci later explained in an interview that it was an easy decision, and he needed to pretend to consider it. Orci and Kurtzman also worked together as executive producers on the animated television series, Transformers: Prime, due to their involvement with the live action movies. Following the end of the series they were hopeful to be involved in a future animated series based on the premise, which Orci saw less like a reboot of the show and more of a continuation in a different guise. He felt that while Prime was sophisticated, there were concerns that it was leaving younger viewers behind because of its complexity and intensity.
|
C_28d6b4df2df24baa984a1ea2e224f44f_0_q#0
|
When did Orci become a producer
| 0y
| 2x
|
{
"texts": [
"Orci's first credit solely as a producer came with the film Eagle Eye, where he worked once again alongside Kurtzman."
],
"answer_starts": [
0
]
}
|
{
"text": "Orci's first credit solely as a producer came with the film Eagle Eye, where he worked once again alongside Kurtzman.",
"answer_start": 0
}
|
C_28d6b4df2df24baa984a1ea2e224f44f_0
|
Roberto Orci
|
Orci was born in Mexico City on July 20, 1973, to a Mexican father and a Cuban mother. His mother immigrated to the United States with her parents after Fidel Castro came to power. Orci grew up in Mexico, and moved with his family to the United States at the age of 10. He was raised in Texas, Los Angeles and Canada.
|
Becoming a producer
|
Orci's first credit solely as a producer came with the film Eagle Eye, where he worked once again alongside Kurtzman. He said in an interview with the magazine Extra that he had previously been involved in productions where the producers had writing backgrounds and had looked to them for help, and he was happy to provide that same support to the writers on Eagle Eye. The director of the film, D. J. Caruso, praised the duo saying that "What's unusually cool about them is that they have maintained the producer-writer power that they earned in television and carried that over into the feature film area, and that is extremely rare." Following their work on Eagle Eye, they were executive producers on the Sandra Bullock film, The Proposal. Despite their film careers, Orci and Kurtzman continued to create television series. These included Sleepy Hollow, which they developed alongside Phillip Iscove. They pitched the series to a number of networks, and it was picked up by Fox. Orci took five years to bring the series Matador to television, with it originating from a conversation with his cousin Andrew. It was created for Robert Rodriguez's El Rey Network, and Rodriguez's one demand of the show was that he could direct the pilot episode. Orci later explained in an interview that it was an easy decision, and he needed to pretend to consider it. Orci and Kurtzman also worked together as executive producers on the animated television series, Transformers: Prime, due to their involvement with the live action movies. Following the end of the series they were hopeful to be involved in a future animated series based on the premise, which Orci saw less like a reboot of the show and more of a continuation in a different guise. He felt that while Prime was sophisticated, there were concerns that it was leaving younger viewers behind because of its complexity and intensity.
Q: When did Orci become a producer
A: Orci's first credit solely as a producer came with the film Eagle Eye, where he worked once again alongside Kurtzman.
|
C_28d6b4df2df24baa984a1ea2e224f44f_0_q#1
|
Was it a success
| 0y
| 2x
|
{
"texts": [
"The director of the film, D. J. Caruso, praised the duo saying that \"What's unusually cool about them is that they have maintained the producer-writer power that"
],
"answer_starts": [
370
]
}
|
{
"text": "The director of the film, D. J. Caruso, praised the duo saying that \"What's unusually cool about them is that they have maintained the producer-writer power that",
"answer_start": 370
}
|
C_28d6b4df2df24baa984a1ea2e224f44f_0
|
Roberto Orci
|
Orci was born in Mexico City on July 20, 1973, to a Mexican father and a Cuban mother. His mother immigrated to the United States with her parents after Fidel Castro came to power. Orci grew up in Mexico, and moved with his family to the United States at the age of 10. He was raised in Texas, Los Angeles and Canada.
|
Becoming a producer
|
Orci's first credit solely as a producer came with the film Eagle Eye, where he worked once again alongside Kurtzman. He said in an interview with the magazine Extra that he had previously been involved in productions where the producers had writing backgrounds and had looked to them for help, and he was happy to provide that same support to the writers on Eagle Eye. The director of the film, D. J. Caruso, praised the duo saying that "What's unusually cool about them is that they have maintained the producer-writer power that they earned in television and carried that over into the feature film area, and that is extremely rare." Following their work on Eagle Eye, they were executive producers on the Sandra Bullock film, The Proposal. Despite their film careers, Orci and Kurtzman continued to create television series. These included Sleepy Hollow, which they developed alongside Phillip Iscove. They pitched the series to a number of networks, and it was picked up by Fox. Orci took five years to bring the series Matador to television, with it originating from a conversation with his cousin Andrew. It was created for Robert Rodriguez's El Rey Network, and Rodriguez's one demand of the show was that he could direct the pilot episode. Orci later explained in an interview that it was an easy decision, and he needed to pretend to consider it. Orci and Kurtzman also worked together as executive producers on the animated television series, Transformers: Prime, due to their involvement with the live action movies. Following the end of the series they were hopeful to be involved in a future animated series based on the premise, which Orci saw less like a reboot of the show and more of a continuation in a different guise. He felt that while Prime was sophisticated, there were concerns that it was leaving younger viewers behind because of its complexity and intensity.
Q: When did Orci become a producer
A: Orci's first credit solely as a producer came with the film Eagle Eye, where he worked once again alongside Kurtzman.
Q: Was it a success
A: The director of the film, D. J. Caruso, praised the duo saying that "What's unusually cool about them is that they have maintained the producer-writer power that
|
C_28d6b4df2df24baa984a1ea2e224f44f_0_q#2
|
what did the producer-power do
| 0y
| 2x
|
{
"texts": [
"Following their work on Eagle Eye, they were executive producers on the Sandra Bullock film, The Proposal."
],
"answer_starts": [
637
]
}
|
{
"text": "Following their work on Eagle Eye, they were executive producers on the Sandra Bullock film, The Proposal.",
"answer_start": 637
}
|
C_28d6b4df2df24baa984a1ea2e224f44f_0
|
Roberto Orci
|
Orci was born in Mexico City on July 20, 1973, to a Mexican father and a Cuban mother. His mother immigrated to the United States with her parents after Fidel Castro came to power. Orci grew up in Mexico, and moved with his family to the United States at the age of 10. He was raised in Texas, Los Angeles and Canada.
|
Becoming a producer
|
Orci's first credit solely as a producer came with the film Eagle Eye, where he worked once again alongside Kurtzman. He said in an interview with the magazine Extra that he had previously been involved in productions where the producers had writing backgrounds and had looked to them for help, and he was happy to provide that same support to the writers on Eagle Eye. The director of the film, D. J. Caruso, praised the duo saying that "What's unusually cool about them is that they have maintained the producer-writer power that they earned in television and carried that over into the feature film area, and that is extremely rare." Following their work on Eagle Eye, they were executive producers on the Sandra Bullock film, The Proposal. Despite their film careers, Orci and Kurtzman continued to create television series. These included Sleepy Hollow, which they developed alongside Phillip Iscove. They pitched the series to a number of networks, and it was picked up by Fox. Orci took five years to bring the series Matador to television, with it originating from a conversation with his cousin Andrew. It was created for Robert Rodriguez's El Rey Network, and Rodriguez's one demand of the show was that he could direct the pilot episode. Orci later explained in an interview that it was an easy decision, and he needed to pretend to consider it. Orci and Kurtzman also worked together as executive producers on the animated television series, Transformers: Prime, due to their involvement with the live action movies. Following the end of the series they were hopeful to be involved in a future animated series based on the premise, which Orci saw less like a reboot of the show and more of a continuation in a different guise. He felt that while Prime was sophisticated, there were concerns that it was leaving younger viewers behind because of its complexity and intensity.
Q: When did Orci become a producer
A: Orci's first credit solely as a producer came with the film Eagle Eye, where he worked once again alongside Kurtzman.
Q: Was it a success
A: The director of the film, D. J. Caruso, praised the duo saying that "What's unusually cool about them is that they have maintained the producer-writer power that
Q: what did the producer-power do
A: Following their work on Eagle Eye, they were executive producers on the Sandra Bullock film, The Proposal.
|
C_28d6b4df2df24baa984a1ea2e224f44f_0_q#3
|
What year was that
| 1n
| 2x
|
{
"texts": [
"unknown"
],
"answer_starts": [
1889
]
}
|
{
"text": "unknown",
"answer_start": 1889
}
|
C_28d6b4df2df24baa984a1ea2e224f44f_0
|
Roberto Orci
|
Orci was born in Mexico City on July 20, 1973, to a Mexican father and a Cuban mother. His mother immigrated to the United States with her parents after Fidel Castro came to power. Orci grew up in Mexico, and moved with his family to the United States at the age of 10. He was raised in Texas, Los Angeles and Canada.
|
Becoming a producer
|
Orci's first credit solely as a producer came with the film Eagle Eye, where he worked once again alongside Kurtzman. He said in an interview with the magazine Extra that he had previously been involved in productions where the producers had writing backgrounds and had looked to them for help, and he was happy to provide that same support to the writers on Eagle Eye. The director of the film, D. J. Caruso, praised the duo saying that "What's unusually cool about them is that they have maintained the producer-writer power that they earned in television and carried that over into the feature film area, and that is extremely rare." Following their work on Eagle Eye, they were executive producers on the Sandra Bullock film, The Proposal. Despite their film careers, Orci and Kurtzman continued to create television series. These included Sleepy Hollow, which they developed alongside Phillip Iscove. They pitched the series to a number of networks, and it was picked up by Fox. Orci took five years to bring the series Matador to television, with it originating from a conversation with his cousin Andrew. It was created for Robert Rodriguez's El Rey Network, and Rodriguez's one demand of the show was that he could direct the pilot episode. Orci later explained in an interview that it was an easy decision, and he needed to pretend to consider it. Orci and Kurtzman also worked together as executive producers on the animated television series, Transformers: Prime, due to their involvement with the live action movies. Following the end of the series they were hopeful to be involved in a future animated series based on the premise, which Orci saw less like a reboot of the show and more of a continuation in a different guise. He felt that while Prime was sophisticated, there were concerns that it was leaving younger viewers behind because of its complexity and intensity.
Q: When did Orci become a producer
A: Orci's first credit solely as a producer came with the film Eagle Eye, where he worked once again alongside Kurtzman.
Q: Was it a success
A: The director of the film, D. J. Caruso, praised the duo saying that "What's unusually cool about them is that they have maintained the producer-writer power that
Q: what did the producer-power do
A: Following their work on Eagle Eye, they were executive producers on the Sandra Bullock film, The Proposal.
Q: What year was that
A: unknown
|
C_28d6b4df2df24baa984a1ea2e224f44f_0_q#4
|
What happened during the production of the proposal
| 1n
| 2x
|
{
"texts": [
"unknown"
],
"answer_starts": [
1889
]
}
|
{
"text": "unknown",
"answer_start": 1889
}
|
C_28d6b4df2df24baa984a1ea2e224f44f_0
|
Roberto Orci
|
Orci was born in Mexico City on July 20, 1973, to a Mexican father and a Cuban mother. His mother immigrated to the United States with her parents after Fidel Castro came to power. Orci grew up in Mexico, and moved with his family to the United States at the age of 10. He was raised in Texas, Los Angeles and Canada.
|
Becoming a producer
|
Orci's first credit solely as a producer came with the film Eagle Eye, where he worked once again alongside Kurtzman. He said in an interview with the magazine Extra that he had previously been involved in productions where the producers had writing backgrounds and had looked to them for help, and he was happy to provide that same support to the writers on Eagle Eye. The director of the film, D. J. Caruso, praised the duo saying that "What's unusually cool about them is that they have maintained the producer-writer power that they earned in television and carried that over into the feature film area, and that is extremely rare." Following their work on Eagle Eye, they were executive producers on the Sandra Bullock film, The Proposal. Despite their film careers, Orci and Kurtzman continued to create television series. These included Sleepy Hollow, which they developed alongside Phillip Iscove. They pitched the series to a number of networks, and it was picked up by Fox. Orci took five years to bring the series Matador to television, with it originating from a conversation with his cousin Andrew. It was created for Robert Rodriguez's El Rey Network, and Rodriguez's one demand of the show was that he could direct the pilot episode. Orci later explained in an interview that it was an easy decision, and he needed to pretend to consider it. Orci and Kurtzman also worked together as executive producers on the animated television series, Transformers: Prime, due to their involvement with the live action movies. Following the end of the series they were hopeful to be involved in a future animated series based on the premise, which Orci saw less like a reboot of the show and more of a continuation in a different guise. He felt that while Prime was sophisticated, there were concerns that it was leaving younger viewers behind because of its complexity and intensity.
Q: When did Orci become a producer
A: Orci's first credit solely as a producer came with the film Eagle Eye, where he worked once again alongside Kurtzman.
Q: Was it a success
A: The director of the film, D. J. Caruso, praised the duo saying that "What's unusually cool about them is that they have maintained the producer-writer power that
Q: what did the producer-power do
A: Following their work on Eagle Eye, they were executive producers on the Sandra Bullock film, The Proposal.
Q: What year was that
A: unknown
Q: What happened during the production of the proposal
A: unknown
|
C_28d6b4df2df24baa984a1ea2e224f44f_0_q#5
|
What else did he work on
| 0y
| 2x
|
{
"texts": [
"Despite their film careers, Orci and Kurtzman continued to create television series. These included Sleepy Hollow, which"
],
"answer_starts": [
745
]
}
|
{
"text": "Despite their film careers, Orci and Kurtzman continued to create television series. These included Sleepy Hollow, which",
"answer_start": 745
}
|
C_28d6b4df2df24baa984a1ea2e224f44f_0
|
Roberto Orci
|
Orci was born in Mexico City on July 20, 1973, to a Mexican father and a Cuban mother. His mother immigrated to the United States with her parents after Fidel Castro came to power. Orci grew up in Mexico, and moved with his family to the United States at the age of 10. He was raised in Texas, Los Angeles and Canada.
|
Becoming a producer
|
Orci's first credit solely as a producer came with the film Eagle Eye, where he worked once again alongside Kurtzman. He said in an interview with the magazine Extra that he had previously been involved in productions where the producers had writing backgrounds and had looked to them for help, and he was happy to provide that same support to the writers on Eagle Eye. The director of the film, D. J. Caruso, praised the duo saying that "What's unusually cool about them is that they have maintained the producer-writer power that they earned in television and carried that over into the feature film area, and that is extremely rare." Following their work on Eagle Eye, they were executive producers on the Sandra Bullock film, The Proposal. Despite their film careers, Orci and Kurtzman continued to create television series. These included Sleepy Hollow, which they developed alongside Phillip Iscove. They pitched the series to a number of networks, and it was picked up by Fox. Orci took five years to bring the series Matador to television, with it originating from a conversation with his cousin Andrew. It was created for Robert Rodriguez's El Rey Network, and Rodriguez's one demand of the show was that he could direct the pilot episode. Orci later explained in an interview that it was an easy decision, and he needed to pretend to consider it. Orci and Kurtzman also worked together as executive producers on the animated television series, Transformers: Prime, due to their involvement with the live action movies. Following the end of the series they were hopeful to be involved in a future animated series based on the premise, which Orci saw less like a reboot of the show and more of a continuation in a different guise. He felt that while Prime was sophisticated, there were concerns that it was leaving younger viewers behind because of its complexity and intensity.
Q: When did Orci become a producer
A: Orci's first credit solely as a producer came with the film Eagle Eye, where he worked once again alongside Kurtzman.
Q: Was it a success
A: The director of the film, D. J. Caruso, praised the duo saying that "What's unusually cool about them is that they have maintained the producer-writer power that
Q: what did the producer-power do
A: Following their work on Eagle Eye, they were executive producers on the Sandra Bullock film, The Proposal.
Q: What year was that
A: unknown
Q: What happened during the production of the proposal
A: unknown
Q: What else did he work on
A: Despite their film careers, Orci and Kurtzman continued to create television series. These included Sleepy Hollow, which
|
C_28d6b4df2df24baa984a1ea2e224f44f_0_q#6
|
what happened in sleepy hollow
| 1n
| 2x
|
{
"texts": [
"which they developed alongside Phillip Iscove. They pitched the series to a number of networks, and it was picked up by Fox."
],
"answer_starts": [
860
]
}
|
{
"text": "which they developed alongside Phillip Iscove. They pitched the series to a number of networks, and it was picked up by Fox.",
"answer_start": 860
}
|
C_28d6b4df2df24baa984a1ea2e224f44f_0
|
Roberto Orci
|
Orci was born in Mexico City on July 20, 1973, to a Mexican father and a Cuban mother. His mother immigrated to the United States with her parents after Fidel Castro came to power. Orci grew up in Mexico, and moved with his family to the United States at the age of 10. He was raised in Texas, Los Angeles and Canada.
|
Becoming a producer
|
Orci's first credit solely as a producer came with the film Eagle Eye, where he worked once again alongside Kurtzman. He said in an interview with the magazine Extra that he had previously been involved in productions where the producers had writing backgrounds and had looked to them for help, and he was happy to provide that same support to the writers on Eagle Eye. The director of the film, D. J. Caruso, praised the duo saying that "What's unusually cool about them is that they have maintained the producer-writer power that they earned in television and carried that over into the feature film area, and that is extremely rare." Following their work on Eagle Eye, they were executive producers on the Sandra Bullock film, The Proposal. Despite their film careers, Orci and Kurtzman continued to create television series. These included Sleepy Hollow, which they developed alongside Phillip Iscove. They pitched the series to a number of networks, and it was picked up by Fox. Orci took five years to bring the series Matador to television, with it originating from a conversation with his cousin Andrew. It was created for Robert Rodriguez's El Rey Network, and Rodriguez's one demand of the show was that he could direct the pilot episode. Orci later explained in an interview that it was an easy decision, and he needed to pretend to consider it. Orci and Kurtzman also worked together as executive producers on the animated television series, Transformers: Prime, due to their involvement with the live action movies. Following the end of the series they were hopeful to be involved in a future animated series based on the premise, which Orci saw less like a reboot of the show and more of a continuation in a different guise. He felt that while Prime was sophisticated, there were concerns that it was leaving younger viewers behind because of its complexity and intensity.
Q: When did Orci become a producer
A: Orci's first credit solely as a producer came with the film Eagle Eye, where he worked once again alongside Kurtzman.
Q: Was it a success
A: The director of the film, D. J. Caruso, praised the duo saying that "What's unusually cool about them is that they have maintained the producer-writer power that
Q: what did the producer-power do
A: Following their work on Eagle Eye, they were executive producers on the Sandra Bullock film, The Proposal.
Q: What year was that
A: unknown
Q: What happened during the production of the proposal
A: unknown
Q: What else did he work on
A: Despite their film careers, Orci and Kurtzman continued to create television series. These included Sleepy Hollow, which
Q: what happened in sleepy hollow
A: which they developed alongside Phillip Iscove. They pitched the series to a number of networks, and it was picked up by Fox.
|
C_28d6b4df2df24baa984a1ea2e224f44f_0_q#7
|
Are there any other interesting aspects about this article?
| 0y
| 2x
|
{
"texts": [
"Orci took five years to bring the series Matador to television, with it originating from a conversation with his cousin Andrew."
],
"answer_starts": [
985
]
}
|
{
"text": "Orci took five years to bring the series Matador to television, with it originating from a conversation with his cousin Andrew.",
"answer_start": 985
}
|
C_28d6b4df2df24baa984a1ea2e224f44f_0
|
Roberto Orci
|
Orci was born in Mexico City on July 20, 1973, to a Mexican father and a Cuban mother. His mother immigrated to the United States with her parents after Fidel Castro came to power. Orci grew up in Mexico, and moved with his family to the United States at the age of 10. He was raised in Texas, Los Angeles and Canada.
|
Becoming a producer
|
Orci's first credit solely as a producer came with the film Eagle Eye, where he worked once again alongside Kurtzman. He said in an interview with the magazine Extra that he had previously been involved in productions where the producers had writing backgrounds and had looked to them for help, and he was happy to provide that same support to the writers on Eagle Eye. The director of the film, D. J. Caruso, praised the duo saying that "What's unusually cool about them is that they have maintained the producer-writer power that they earned in television and carried that over into the feature film area, and that is extremely rare." Following their work on Eagle Eye, they were executive producers on the Sandra Bullock film, The Proposal. Despite their film careers, Orci and Kurtzman continued to create television series. These included Sleepy Hollow, which they developed alongside Phillip Iscove. They pitched the series to a number of networks, and it was picked up by Fox. Orci took five years to bring the series Matador to television, with it originating from a conversation with his cousin Andrew. It was created for Robert Rodriguez's El Rey Network, and Rodriguez's one demand of the show was that he could direct the pilot episode. Orci later explained in an interview that it was an easy decision, and he needed to pretend to consider it. Orci and Kurtzman also worked together as executive producers on the animated television series, Transformers: Prime, due to their involvement with the live action movies. Following the end of the series they were hopeful to be involved in a future animated series based on the premise, which Orci saw less like a reboot of the show and more of a continuation in a different guise. He felt that while Prime was sophisticated, there were concerns that it was leaving younger viewers behind because of its complexity and intensity.
Q: When did Orci become a producer
A: Orci's first credit solely as a producer came with the film Eagle Eye, where he worked once again alongside Kurtzman.
Q: Was it a success
A: The director of the film, D. J. Caruso, praised the duo saying that "What's unusually cool about them is that they have maintained the producer-writer power that
Q: what did the producer-power do
A: Following their work on Eagle Eye, they were executive producers on the Sandra Bullock film, The Proposal.
Q: What year was that
A: unknown
Q: What happened during the production of the proposal
A: unknown
Q: What else did he work on
A: Despite their film careers, Orci and Kurtzman continued to create television series. These included Sleepy Hollow, which
Q: what happened in sleepy hollow
A: which they developed alongside Phillip Iscove. They pitched the series to a number of networks, and it was picked up by Fox.
Q: Are there any other interesting aspects about this article?
A: Orci took five years to bring the series Matador to television, with it originating from a conversation with his cousin Andrew.
|
C_28d6b4df2df24baa984a1ea2e224f44f_0_q#8
|
why did it take 5 years
| 2m
| 2x
|
{
"texts": [
"unknown"
],
"answer_starts": [
1889
]
}
|
{
"text": "unknown",
"answer_start": 1889
}
|
C_315a72ed09284397a027f03df3228888_1
|
Jacqueline Fernandez
|
Jacqueline Fernandez (born 11 August 1985) is a Sri Lankan actress, former model, and the winner of the Miss Sri Lanka Universe pageant of 2006. Born into a multiracial family of Canadian, Sri Lankan and Malaysian descent, Fernandez was raised in Bahrain. After graduating in mass communication from the University of Sydney and working as a television reporter in Sri Lanka, she joined the modeling industry. She was crowned the Miss Sri Lanka Universe 2006, and represented her country at Miss Universe 2006.
|
2009-2013: Debut and breakthrough
|
In 2009, Fernandez traveled to India for a modeling assignment. She studied acting under the mentorship of theatre director Barry John, and successfully auditioned for Sujoy Ghosh's fantasy film Aladin (2009) her acting debut. She played the love interest of Riteish Deshmukh's character, a role based on the character of Princess Jasmine. and Rajeev Masand of CNN-IBN felt that she was: "easy on the eyes and appears confident but has precious little to do". Although the film was a critical and commercial failure, she won the IIFA Award for Star Debut of the Year - Female. In 2010, Fernandez appeared opposite Deshmukh in the science fiction romantic comedy Jaane Kahan Se Aayi Hai. She was cast as a girl from Venus, who lands on Earth in search of love. The film, along with Fernandez's performance, received poor reviews; Rediff.com's Sukanya Verma noted: "She gamely makes a fool of herself whilst aping the actions of movie stars, ranging from Sridevi's Naagin dance, Mithun Chakravarthy's Disco Dancer moves, to Big B's violent headshake in Hum. Her Tara could be a keeper if only Jaane Kahan Se Aayi Hai wasn't so intent on turning her into a love-struck Barbie." Critic Anupama Chopra also criticized Fernandez, calling her "a pin-prick on a balloon". Later that year, she made a special appearance in the song "Dhanno" for Sajid Khan's comedy Housefull. Mahesh Bhatt's thriller Murder 2 was Fernandez's first commercial success and marked a turning point in her career. She took on the role of Priya, a lonely model who is in a confused relationship with Arjun Bhagwat (played by Emraan Hashmi). Fernandez was praised for her performance, and for the boldness and sex appeal she displayed in the film. Gaurav Malini of The Times of India stated that she was "tastefully tempting" but noted that her romance with Hashmi was "literally half-baked". The following year, Fernandez appeared in the ensemble comedy Housefull 2 alongside Akshay Kumar, John Abraham, and Asin. It became one of the top grossing productions of India that year and earned Rs1.86 billion (US$28 million) worldwide. Fernandez received mostly negative reviews for her performance. While Gaurav Malini praised her for her looks, NDTV called her a "blathering bimbo" who "find[s] no pleasure in [her role]". Despite the negative reviews, Fernandez received a Best Supporting Actress nomination at the 14th IIFA Awards for her performance. Fernandez's first release of 2013 was Race 2, an ensemble action thriller (alongside Saif Ali Khan, John Abraham and Deepika Padukone), described as the "cinematic equivalent of a trashy novel" by critic Rajeev Masand. She played Omisha, a femme fatale, a role which required her learn fencing and some acrobatics. The film emerged as a commercial success, with the domestic gross of more than Rs1 billion (US$15 million). In a particularly scathing review, Saibal Chatterjee of NDTV wrote that both Fernandez and Padukone "strut around like wound-up automatons that are all decked-up but have nowhere to go." Also that year, Fernandez appeared in an item number, titled, "Jaadu Ki Jhappi", for Prabhu Deva's romantic comedy Ramaiya Vasta Vaiya.
|
C_315a72ed09284397a027f03df3228888_1_q#0
|
What is most memorable about Jacqueline Fernandez's career?
| 2m
| 2x
|
{
"texts": [
"Mahesh Bhatt's thriller Murder 2 was Fernandez's first commercial success and marked a turning point in her career."
],
"answer_starts": [
1369
]
}
|
{
"text": "Mahesh Bhatt's thriller Murder 2 was Fernandez's first commercial success and marked a turning point in her career.",
"answer_start": 1369
}
|
C_315a72ed09284397a027f03df3228888_1
|
Jacqueline Fernandez
|
Jacqueline Fernandez (born 11 August 1985) is a Sri Lankan actress, former model, and the winner of the Miss Sri Lanka Universe pageant of 2006. Born into a multiracial family of Canadian, Sri Lankan and Malaysian descent, Fernandez was raised in Bahrain. After graduating in mass communication from the University of Sydney and working as a television reporter in Sri Lanka, she joined the modeling industry. She was crowned the Miss Sri Lanka Universe 2006, and represented her country at Miss Universe 2006.
|
2009-2013: Debut and breakthrough
|
In 2009, Fernandez traveled to India for a modeling assignment. She studied acting under the mentorship of theatre director Barry John, and successfully auditioned for Sujoy Ghosh's fantasy film Aladin (2009) her acting debut. She played the love interest of Riteish Deshmukh's character, a role based on the character of Princess Jasmine. and Rajeev Masand of CNN-IBN felt that she was: "easy on the eyes and appears confident but has precious little to do". Although the film was a critical and commercial failure, she won the IIFA Award for Star Debut of the Year - Female. In 2010, Fernandez appeared opposite Deshmukh in the science fiction romantic comedy Jaane Kahan Se Aayi Hai. She was cast as a girl from Venus, who lands on Earth in search of love. The film, along with Fernandez's performance, received poor reviews; Rediff.com's Sukanya Verma noted: "She gamely makes a fool of herself whilst aping the actions of movie stars, ranging from Sridevi's Naagin dance, Mithun Chakravarthy's Disco Dancer moves, to Big B's violent headshake in Hum. Her Tara could be a keeper if only Jaane Kahan Se Aayi Hai wasn't so intent on turning her into a love-struck Barbie." Critic Anupama Chopra also criticized Fernandez, calling her "a pin-prick on a balloon". Later that year, she made a special appearance in the song "Dhanno" for Sajid Khan's comedy Housefull. Mahesh Bhatt's thriller Murder 2 was Fernandez's first commercial success and marked a turning point in her career. She took on the role of Priya, a lonely model who is in a confused relationship with Arjun Bhagwat (played by Emraan Hashmi). Fernandez was praised for her performance, and for the boldness and sex appeal she displayed in the film. Gaurav Malini of The Times of India stated that she was "tastefully tempting" but noted that her romance with Hashmi was "literally half-baked". The following year, Fernandez appeared in the ensemble comedy Housefull 2 alongside Akshay Kumar, John Abraham, and Asin. It became one of the top grossing productions of India that year and earned Rs1.86 billion (US$28 million) worldwide. Fernandez received mostly negative reviews for her performance. While Gaurav Malini praised her for her looks, NDTV called her a "blathering bimbo" who "find[s] no pleasure in [her role]". Despite the negative reviews, Fernandez received a Best Supporting Actress nomination at the 14th IIFA Awards for her performance. Fernandez's first release of 2013 was Race 2, an ensemble action thriller (alongside Saif Ali Khan, John Abraham and Deepika Padukone), described as the "cinematic equivalent of a trashy novel" by critic Rajeev Masand. She played Omisha, a femme fatale, a role which required her learn fencing and some acrobatics. The film emerged as a commercial success, with the domestic gross of more than Rs1 billion (US$15 million). In a particularly scathing review, Saibal Chatterjee of NDTV wrote that both Fernandez and Padukone "strut around like wound-up automatons that are all decked-up but have nowhere to go." Also that year, Fernandez appeared in an item number, titled, "Jaadu Ki Jhappi", for Prabhu Deva's romantic comedy Ramaiya Vasta Vaiya.
Q: What is most memorable about Jacqueline Fernandez's career?
A: Mahesh Bhatt's thriller Murder 2 was Fernandez's first commercial success and marked a turning point in her career.
|
C_315a72ed09284397a027f03df3228888_1_q#1
|
Is there any thing interesting about Jacqueline Fernandez's career?
| 1n
| 2x
|
{
"texts": [
"]\". Despite the negative reviews, Fernandez received a Best Supporting Actress nomination at the 14th IIFA Awards for her performance."
],
"answer_starts": [
2287
]
}
|
{
"text": "]\". Despite the negative reviews, Fernandez received a Best Supporting Actress nomination at the 14th IIFA Awards for her performance.",
"answer_start": 2287
}
|
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