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stringlengths 33
1.48k
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stringlengths 1.35k
11.2k
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stringlengths 40
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| question
stringlengths 1
131
| followup
class label 3
classes | yesno
class label 3
classes | answer
dict | orig_answer
dict |
|---|---|---|---|---|---|---|---|---|---|---|
C_3ce6c16c298847d0b8544cdd30a306bb_1
|
Malcolm Marshall
|
, Malcolm Denzil Marshall (18 April 1958 - 4 November 1999) was a West Indian cricketer. Primarily a fast bowler, Marshall is regarded as one of the finest and fastest pacemen ever to have played Test cricket. His Test bowling average of 20.94 is the best of anyone who has taken 200 or more wickets. He achieved his bowling success despite being, by the standards of other fast bowlers, a short man - he stood at 5 feet 11 inches (1.80 m), while most of the great quicks have been well above 6 feet (1.8 m) and many great West Indian fast bowlers, such as Joel Garner, Curtly Ambrose and Courtney Walsh, were 6 feet 6 inches (1.98 m) or above.
|
Early years
|
Marshall was born in Bridgetown, Barbados. His father, Denzil DeCoster Edghill was also an outstanding cricketer who played for Kingspark cricket club in St. Philip the son of Claudine (nee Edghill) and Guirdwood Ifill, was a policeman; he died in a traffic accident when Marshall was one year old. His mother was Eleanor (nee Welch). Malcolm had three half-brothers and three half-sisters. He grew up in the parish of Saint Michael, Barbados and was educated at St Giles Boys' School from 1963 to 1969 and then at Parkinson Comprehensive from 1969 to 1973. He was partly taught cricket by his grandfather, who helped to bring him up after his father's death. He played cricket for the Banks Brewery team from 1976. His first representative match was a 40-over affair for West Indies Young Cricketers against their English equivalents at Pointe-a-Pierre, Trinidad and Tobago in August 1976. He made nought and his eight overs disappeared for 53 runs. Marshall's initial senior appearance was a Geddes Grant/Harrison Line Trophy (List A) match for Barbados on 13 February 1978; again he made a duck and did not take a wicket. Four days later, he made his first-class debut against Jamaica, and whilst he failed to score runs, he claimed 6-77 in the Jamaican first innings. On the back of this single first-class appearance he was selected to tour India in 1978/79, many first-choice West Indian stars being unavailable having committed themselves to playing World Series Cricket. Marshall heard of his selection on the radio while working in the storeroom at Banks Brewery and later claimed he did not know where India was.
|
C_3ce6c16c298847d0b8544cdd30a306bb_1_q#0
|
When was Marshall born?
| 1n
| 2x
|
{
"texts": [
"unknown"
],
"answer_starts": [
1625
]
}
|
{
"text": "unknown",
"answer_start": 1625
}
|
C_3ce6c16c298847d0b8544cdd30a306bb_1
|
Malcolm Marshall
|
, Malcolm Denzil Marshall (18 April 1958 - 4 November 1999) was a West Indian cricketer. Primarily a fast bowler, Marshall is regarded as one of the finest and fastest pacemen ever to have played Test cricket. His Test bowling average of 20.94 is the best of anyone who has taken 200 or more wickets. He achieved his bowling success despite being, by the standards of other fast bowlers, a short man - he stood at 5 feet 11 inches (1.80 m), while most of the great quicks have been well above 6 feet (1.8 m) and many great West Indian fast bowlers, such as Joel Garner, Curtly Ambrose and Courtney Walsh, were 6 feet 6 inches (1.98 m) or above.
|
Early years
|
Marshall was born in Bridgetown, Barbados. His father, Denzil DeCoster Edghill was also an outstanding cricketer who played for Kingspark cricket club in St. Philip the son of Claudine (nee Edghill) and Guirdwood Ifill, was a policeman; he died in a traffic accident when Marshall was one year old. His mother was Eleanor (nee Welch). Malcolm had three half-brothers and three half-sisters. He grew up in the parish of Saint Michael, Barbados and was educated at St Giles Boys' School from 1963 to 1969 and then at Parkinson Comprehensive from 1969 to 1973. He was partly taught cricket by his grandfather, who helped to bring him up after his father's death. He played cricket for the Banks Brewery team from 1976. His first representative match was a 40-over affair for West Indies Young Cricketers against their English equivalents at Pointe-a-Pierre, Trinidad and Tobago in August 1976. He made nought and his eight overs disappeared for 53 runs. Marshall's initial senior appearance was a Geddes Grant/Harrison Line Trophy (List A) match for Barbados on 13 February 1978; again he made a duck and did not take a wicket. Four days later, he made his first-class debut against Jamaica, and whilst he failed to score runs, he claimed 6-77 in the Jamaican first innings. On the back of this single first-class appearance he was selected to tour India in 1978/79, many first-choice West Indian stars being unavailable having committed themselves to playing World Series Cricket. Marshall heard of his selection on the radio while working in the storeroom at Banks Brewery and later claimed he did not know where India was.
Q: When was Marshall born?
A: unknown
|
C_3ce6c16c298847d0b8544cdd30a306bb_1_q#1
|
Where did he grow up?
| 2m
| 0y
|
{
"texts": [
"Bridgetown, Barbados."
],
"answer_starts": [
21
]
}
|
{
"text": "Bridgetown, Barbados.",
"answer_start": 21
}
|
C_3ce6c16c298847d0b8544cdd30a306bb_1
|
Malcolm Marshall
|
, Malcolm Denzil Marshall (18 April 1958 - 4 November 1999) was a West Indian cricketer. Primarily a fast bowler, Marshall is regarded as one of the finest and fastest pacemen ever to have played Test cricket. His Test bowling average of 20.94 is the best of anyone who has taken 200 or more wickets. He achieved his bowling success despite being, by the standards of other fast bowlers, a short man - he stood at 5 feet 11 inches (1.80 m), while most of the great quicks have been well above 6 feet (1.8 m) and many great West Indian fast bowlers, such as Joel Garner, Curtly Ambrose and Courtney Walsh, were 6 feet 6 inches (1.98 m) or above.
|
Early years
|
Marshall was born in Bridgetown, Barbados. His father, Denzil DeCoster Edghill was also an outstanding cricketer who played for Kingspark cricket club in St. Philip the son of Claudine (nee Edghill) and Guirdwood Ifill, was a policeman; he died in a traffic accident when Marshall was one year old. His mother was Eleanor (nee Welch). Malcolm had three half-brothers and three half-sisters. He grew up in the parish of Saint Michael, Barbados and was educated at St Giles Boys' School from 1963 to 1969 and then at Parkinson Comprehensive from 1969 to 1973. He was partly taught cricket by his grandfather, who helped to bring him up after his father's death. He played cricket for the Banks Brewery team from 1976. His first representative match was a 40-over affair for West Indies Young Cricketers against their English equivalents at Pointe-a-Pierre, Trinidad and Tobago in August 1976. He made nought and his eight overs disappeared for 53 runs. Marshall's initial senior appearance was a Geddes Grant/Harrison Line Trophy (List A) match for Barbados on 13 February 1978; again he made a duck and did not take a wicket. Four days later, he made his first-class debut against Jamaica, and whilst he failed to score runs, he claimed 6-77 in the Jamaican first innings. On the back of this single first-class appearance he was selected to tour India in 1978/79, many first-choice West Indian stars being unavailable having committed themselves to playing World Series Cricket. Marshall heard of his selection on the radio while working in the storeroom at Banks Brewery and later claimed he did not know where India was.
Q: When was Marshall born?
A: unknown
Q: Where did he grow up?
A: Bridgetown, Barbados.
|
C_3ce6c16c298847d0b8544cdd30a306bb_1_q#2
|
What did his parents do?
| 1n
| 2x
|
{
"texts": [
"His father, Denzil DeCoster Edghill was also an outstanding cricketer who played for Kingspark cricket club"
],
"answer_starts": [
43
]
}
|
{
"text": "His father, Denzil DeCoster Edghill was also an outstanding cricketer who played for Kingspark cricket club",
"answer_start": 43
}
|
C_3ce6c16c298847d0b8544cdd30a306bb_1
|
Malcolm Marshall
|
, Malcolm Denzil Marshall (18 April 1958 - 4 November 1999) was a West Indian cricketer. Primarily a fast bowler, Marshall is regarded as one of the finest and fastest pacemen ever to have played Test cricket. His Test bowling average of 20.94 is the best of anyone who has taken 200 or more wickets. He achieved his bowling success despite being, by the standards of other fast bowlers, a short man - he stood at 5 feet 11 inches (1.80 m), while most of the great quicks have been well above 6 feet (1.8 m) and many great West Indian fast bowlers, such as Joel Garner, Curtly Ambrose and Courtney Walsh, were 6 feet 6 inches (1.98 m) or above.
|
Early years
|
Marshall was born in Bridgetown, Barbados. His father, Denzil DeCoster Edghill was also an outstanding cricketer who played for Kingspark cricket club in St. Philip the son of Claudine (nee Edghill) and Guirdwood Ifill, was a policeman; he died in a traffic accident when Marshall was one year old. His mother was Eleanor (nee Welch). Malcolm had three half-brothers and three half-sisters. He grew up in the parish of Saint Michael, Barbados and was educated at St Giles Boys' School from 1963 to 1969 and then at Parkinson Comprehensive from 1969 to 1973. He was partly taught cricket by his grandfather, who helped to bring him up after his father's death. He played cricket for the Banks Brewery team from 1976. His first representative match was a 40-over affair for West Indies Young Cricketers against their English equivalents at Pointe-a-Pierre, Trinidad and Tobago in August 1976. He made nought and his eight overs disappeared for 53 runs. Marshall's initial senior appearance was a Geddes Grant/Harrison Line Trophy (List A) match for Barbados on 13 February 1978; again he made a duck and did not take a wicket. Four days later, he made his first-class debut against Jamaica, and whilst he failed to score runs, he claimed 6-77 in the Jamaican first innings. On the back of this single first-class appearance he was selected to tour India in 1978/79, many first-choice West Indian stars being unavailable having committed themselves to playing World Series Cricket. Marshall heard of his selection on the radio while working in the storeroom at Banks Brewery and later claimed he did not know where India was.
Q: When was Marshall born?
A: unknown
Q: Where did he grow up?
A: Bridgetown, Barbados.
Q: What did his parents do?
A: His father, Denzil DeCoster Edghill was also an outstanding cricketer who played for Kingspark cricket club
|
C_3ce6c16c298847d0b8544cdd30a306bb_1_q#3
|
where did he go to school?
| 1n
| 2x
|
{
"texts": [
"educated at St Giles Boys' School from 1963 to 1969 and then at Parkinson Comprehensive from 1969 to 1973."
],
"answer_starts": [
451
]
}
|
{
"text": "educated at St Giles Boys' School from 1963 to 1969 and then at Parkinson Comprehensive from 1969 to 1973.",
"answer_start": 451
}
|
C_3ce6c16c298847d0b8544cdd30a306bb_1
|
Malcolm Marshall
|
, Malcolm Denzil Marshall (18 April 1958 - 4 November 1999) was a West Indian cricketer. Primarily a fast bowler, Marshall is regarded as one of the finest and fastest pacemen ever to have played Test cricket. His Test bowling average of 20.94 is the best of anyone who has taken 200 or more wickets. He achieved his bowling success despite being, by the standards of other fast bowlers, a short man - he stood at 5 feet 11 inches (1.80 m), while most of the great quicks have been well above 6 feet (1.8 m) and many great West Indian fast bowlers, such as Joel Garner, Curtly Ambrose and Courtney Walsh, were 6 feet 6 inches (1.98 m) or above.
|
Early years
|
Marshall was born in Bridgetown, Barbados. His father, Denzil DeCoster Edghill was also an outstanding cricketer who played for Kingspark cricket club in St. Philip the son of Claudine (nee Edghill) and Guirdwood Ifill, was a policeman; he died in a traffic accident when Marshall was one year old. His mother was Eleanor (nee Welch). Malcolm had three half-brothers and three half-sisters. He grew up in the parish of Saint Michael, Barbados and was educated at St Giles Boys' School from 1963 to 1969 and then at Parkinson Comprehensive from 1969 to 1973. He was partly taught cricket by his grandfather, who helped to bring him up after his father's death. He played cricket for the Banks Brewery team from 1976. His first representative match was a 40-over affair for West Indies Young Cricketers against their English equivalents at Pointe-a-Pierre, Trinidad and Tobago in August 1976. He made nought and his eight overs disappeared for 53 runs. Marshall's initial senior appearance was a Geddes Grant/Harrison Line Trophy (List A) match for Barbados on 13 February 1978; again he made a duck and did not take a wicket. Four days later, he made his first-class debut against Jamaica, and whilst he failed to score runs, he claimed 6-77 in the Jamaican first innings. On the back of this single first-class appearance he was selected to tour India in 1978/79, many first-choice West Indian stars being unavailable having committed themselves to playing World Series Cricket. Marshall heard of his selection on the radio while working in the storeroom at Banks Brewery and later claimed he did not know where India was.
Q: When was Marshall born?
A: unknown
Q: Where did he grow up?
A: Bridgetown, Barbados.
Q: What did his parents do?
A: His father, Denzil DeCoster Edghill was also an outstanding cricketer who played for Kingspark cricket club
Q: where did he go to school?
A: educated at St Giles Boys' School from 1963 to 1969 and then at Parkinson Comprehensive from 1969 to 1973.
|
C_3ce6c16c298847d0b8544cdd30a306bb_1_q#4
|
Did he go to college?
| 1n
| 2x
|
{
"texts": [
"unknown"
],
"answer_starts": [
1625
]
}
|
{
"text": "unknown",
"answer_start": 1625
}
|
C_3ce6c16c298847d0b8544cdd30a306bb_1
|
Malcolm Marshall
|
, Malcolm Denzil Marshall (18 April 1958 - 4 November 1999) was a West Indian cricketer. Primarily a fast bowler, Marshall is regarded as one of the finest and fastest pacemen ever to have played Test cricket. His Test bowling average of 20.94 is the best of anyone who has taken 200 or more wickets. He achieved his bowling success despite being, by the standards of other fast bowlers, a short man - he stood at 5 feet 11 inches (1.80 m), while most of the great quicks have been well above 6 feet (1.8 m) and many great West Indian fast bowlers, such as Joel Garner, Curtly Ambrose and Courtney Walsh, were 6 feet 6 inches (1.98 m) or above.
|
Early years
|
Marshall was born in Bridgetown, Barbados. His father, Denzil DeCoster Edghill was also an outstanding cricketer who played for Kingspark cricket club in St. Philip the son of Claudine (nee Edghill) and Guirdwood Ifill, was a policeman; he died in a traffic accident when Marshall was one year old. His mother was Eleanor (nee Welch). Malcolm had three half-brothers and three half-sisters. He grew up in the parish of Saint Michael, Barbados and was educated at St Giles Boys' School from 1963 to 1969 and then at Parkinson Comprehensive from 1969 to 1973. He was partly taught cricket by his grandfather, who helped to bring him up after his father's death. He played cricket for the Banks Brewery team from 1976. His first representative match was a 40-over affair for West Indies Young Cricketers against their English equivalents at Pointe-a-Pierre, Trinidad and Tobago in August 1976. He made nought and his eight overs disappeared for 53 runs. Marshall's initial senior appearance was a Geddes Grant/Harrison Line Trophy (List A) match for Barbados on 13 February 1978; again he made a duck and did not take a wicket. Four days later, he made his first-class debut against Jamaica, and whilst he failed to score runs, he claimed 6-77 in the Jamaican first innings. On the back of this single first-class appearance he was selected to tour India in 1978/79, many first-choice West Indian stars being unavailable having committed themselves to playing World Series Cricket. Marshall heard of his selection on the radio while working in the storeroom at Banks Brewery and later claimed he did not know where India was.
Q: When was Marshall born?
A: unknown
Q: Where did he grow up?
A: Bridgetown, Barbados.
Q: What did his parents do?
A: His father, Denzil DeCoster Edghill was also an outstanding cricketer who played for Kingspark cricket club
Q: where did he go to school?
A: educated at St Giles Boys' School from 1963 to 1969 and then at Parkinson Comprehensive from 1969 to 1973.
Q: Did he go to college?
A: unknown
|
C_3ce6c16c298847d0b8544cdd30a306bb_1_q#5
|
Did he work during his early years?
| 1n
| 2x
|
{
"texts": [
"working in the storeroom at Banks Brewery"
],
"answer_starts": [
1532
]
}
|
{
"text": "working in the storeroom at Banks Brewery",
"answer_start": 1532
}
|
C_ab92341da6e2412d8356f1b96ca94b64_1
|
Migration Period art
|
Migration Period art denotes the artwork of the Germanic peoples during the Migration period (ca. 300-900). It includes the Migration art of the Germanic tribes on the continent, as well the start of the Insular art or Hiberno-Saxon art of the Anglo-Saxon and Celtic fusion in the British Isles. It covers many different styles of art including the polychrome style and the animal style.
|
Background
|
In the 3rd century the Roman Empire almost collapsed and its army was becoming increasingly Germanic in make-up, so that in the 4th century when Huns pushed German tribes westward, they spilled across the Empire's borders and began to settle there. The Visigoths settled in Italy and then Spain, in the north the Franks settled into Gaul and western Germany, and in the 5th century Scandinavians such as the Angles, Saxons and Jutes invaded Britain. By the close of the 6th century the Western Roman Empire was almost completely replaced with smaller less politically organized, but vigorous, Germanic kingdoms. Although these kingdoms were never homogeneous, they shared certain common cultural features. They settled in their new lands and become farmers and fishermen. Archaeological evidence shows no tradition of monumental artwork, such as architecture or large sculpture in permanent materials, but a preference instead for "mobile" art for personal display, usually also with a practical function, such as weapons, horse harness, tools, and jewelry which fastened clothes. The surviving art of the Germanic peoples is almost entirely personal adornment, portable, and before conversion to Christianity was buried with its owner. Much art in organic materials has no doubt not survived. Three styles dominate Germanic art. The polychrome style originated with the Goths who had settled in the Black Sea area. The animal style was found in Scandinavia, north Germany and England. Finally there was Insular art or the Hiberno-Saxon style, a brief but prosperous period after Christianization that saw the fusion of animal style, Celtic, Mediterranean and other motifs and techniques.
|
C_ab92341da6e2412d8356f1b96ca94b64_1_q#0
|
Where did this art originate?
| 0y
| 2x
|
{
"texts": [
"found in Scandinavia, north Germany and England."
],
"answer_starts": [
1439
]
}
|
{
"text": "found in Scandinavia, north Germany and England.",
"answer_start": 1439
}
|
C_ab92341da6e2412d8356f1b96ca94b64_1
|
Migration Period art
|
Migration Period art denotes the artwork of the Germanic peoples during the Migration period (ca. 300-900). It includes the Migration art of the Germanic tribes on the continent, as well the start of the Insular art or Hiberno-Saxon art of the Anglo-Saxon and Celtic fusion in the British Isles. It covers many different styles of art including the polychrome style and the animal style.
|
Background
|
In the 3rd century the Roman Empire almost collapsed and its army was becoming increasingly Germanic in make-up, so that in the 4th century when Huns pushed German tribes westward, they spilled across the Empire's borders and began to settle there. The Visigoths settled in Italy and then Spain, in the north the Franks settled into Gaul and western Germany, and in the 5th century Scandinavians such as the Angles, Saxons and Jutes invaded Britain. By the close of the 6th century the Western Roman Empire was almost completely replaced with smaller less politically organized, but vigorous, Germanic kingdoms. Although these kingdoms were never homogeneous, they shared certain common cultural features. They settled in their new lands and become farmers and fishermen. Archaeological evidence shows no tradition of monumental artwork, such as architecture or large sculpture in permanent materials, but a preference instead for "mobile" art for personal display, usually also with a practical function, such as weapons, horse harness, tools, and jewelry which fastened clothes. The surviving art of the Germanic peoples is almost entirely personal adornment, portable, and before conversion to Christianity was buried with its owner. Much art in organic materials has no doubt not survived. Three styles dominate Germanic art. The polychrome style originated with the Goths who had settled in the Black Sea area. The animal style was found in Scandinavia, north Germany and England. Finally there was Insular art or the Hiberno-Saxon style, a brief but prosperous period after Christianization that saw the fusion of animal style, Celtic, Mediterranean and other motifs and techniques.
Q: Where did this art originate?
A: found in Scandinavia, north Germany and England.
|
C_ab92341da6e2412d8356f1b96ca94b64_1_q#1
|
Did the style migrate at all?
| 0y
| 2x
|
{
"texts": [
"so that in the 4th century when Huns pushed German tribes westward, they spilled across the Empire's borders and began to settle there."
],
"answer_starts": [
113
]
}
|
{
"text": "so that in the 4th century when Huns pushed German tribes westward, they spilled across the Empire's borders and began to settle there.",
"answer_start": 113
}
|
C_ab92341da6e2412d8356f1b96ca94b64_1
|
Migration Period art
|
Migration Period art denotes the artwork of the Germanic peoples during the Migration period (ca. 300-900). It includes the Migration art of the Germanic tribes on the continent, as well the start of the Insular art or Hiberno-Saxon art of the Anglo-Saxon and Celtic fusion in the British Isles. It covers many different styles of art including the polychrome style and the animal style.
|
Background
|
In the 3rd century the Roman Empire almost collapsed and its army was becoming increasingly Germanic in make-up, so that in the 4th century when Huns pushed German tribes westward, they spilled across the Empire's borders and began to settle there. The Visigoths settled in Italy and then Spain, in the north the Franks settled into Gaul and western Germany, and in the 5th century Scandinavians such as the Angles, Saxons and Jutes invaded Britain. By the close of the 6th century the Western Roman Empire was almost completely replaced with smaller less politically organized, but vigorous, Germanic kingdoms. Although these kingdoms were never homogeneous, they shared certain common cultural features. They settled in their new lands and become farmers and fishermen. Archaeological evidence shows no tradition of monumental artwork, such as architecture or large sculpture in permanent materials, but a preference instead for "mobile" art for personal display, usually also with a practical function, such as weapons, horse harness, tools, and jewelry which fastened clothes. The surviving art of the Germanic peoples is almost entirely personal adornment, portable, and before conversion to Christianity was buried with its owner. Much art in organic materials has no doubt not survived. Three styles dominate Germanic art. The polychrome style originated with the Goths who had settled in the Black Sea area. The animal style was found in Scandinavia, north Germany and England. Finally there was Insular art or the Hiberno-Saxon style, a brief but prosperous period after Christianization that saw the fusion of animal style, Celtic, Mediterranean and other motifs and techniques.
Q: Where did this art originate?
A: found in Scandinavia, north Germany and England.
Q: Did the style migrate at all?
A: so that in the 4th century when Huns pushed German tribes westward, they spilled across the Empire's borders and began to settle there.
|
C_ab92341da6e2412d8356f1b96ca94b64_1_q#2
|
Did the artwork travel with the Huns?
| 2m
| 1n
|
{
"texts": [
"Three styles dominate Germanic art. The polychrome style originated with the Goths who had settled in the Black Sea area."
],
"answer_starts": [
1296
]
}
|
{
"text": "Three styles dominate Germanic art. The polychrome style originated with the Goths who had settled in the Black Sea area.",
"answer_start": 1296
}
|
C_ab92341da6e2412d8356f1b96ca94b64_1
|
Migration Period art
|
Migration Period art denotes the artwork of the Germanic peoples during the Migration period (ca. 300-900). It includes the Migration art of the Germanic tribes on the continent, as well the start of the Insular art or Hiberno-Saxon art of the Anglo-Saxon and Celtic fusion in the British Isles. It covers many different styles of art including the polychrome style and the animal style.
|
Background
|
In the 3rd century the Roman Empire almost collapsed and its army was becoming increasingly Germanic in make-up, so that in the 4th century when Huns pushed German tribes westward, they spilled across the Empire's borders and began to settle there. The Visigoths settled in Italy and then Spain, in the north the Franks settled into Gaul and western Germany, and in the 5th century Scandinavians such as the Angles, Saxons and Jutes invaded Britain. By the close of the 6th century the Western Roman Empire was almost completely replaced with smaller less politically organized, but vigorous, Germanic kingdoms. Although these kingdoms were never homogeneous, they shared certain common cultural features. They settled in their new lands and become farmers and fishermen. Archaeological evidence shows no tradition of monumental artwork, such as architecture or large sculpture in permanent materials, but a preference instead for "mobile" art for personal display, usually also with a practical function, such as weapons, horse harness, tools, and jewelry which fastened clothes. The surviving art of the Germanic peoples is almost entirely personal adornment, portable, and before conversion to Christianity was buried with its owner. Much art in organic materials has no doubt not survived. Three styles dominate Germanic art. The polychrome style originated with the Goths who had settled in the Black Sea area. The animal style was found in Scandinavia, north Germany and England. Finally there was Insular art or the Hiberno-Saxon style, a brief but prosperous period after Christianization that saw the fusion of animal style, Celtic, Mediterranean and other motifs and techniques.
Q: Where did this art originate?
A: found in Scandinavia, north Germany and England.
Q: Did the style migrate at all?
A: so that in the 4th century when Huns pushed German tribes westward, they spilled across the Empire's borders and began to settle there.
Q: Did the artwork travel with the Huns?
A: Three styles dominate Germanic art. The polychrome style originated with the Goths who had settled in the Black Sea area.
|
C_ab92341da6e2412d8356f1b96ca94b64_1_q#3
|
What did this poychrome style look like?
| 1n
| 2x
|
{
"texts": [
"unknown"
],
"answer_starts": [
1691
]
}
|
{
"text": "unknown",
"answer_start": 1691
}
|
C_ab92341da6e2412d8356f1b96ca94b64_1
|
Migration Period art
|
Migration Period art denotes the artwork of the Germanic peoples during the Migration period (ca. 300-900). It includes the Migration art of the Germanic tribes on the continent, as well the start of the Insular art or Hiberno-Saxon art of the Anglo-Saxon and Celtic fusion in the British Isles. It covers many different styles of art including the polychrome style and the animal style.
|
Background
|
In the 3rd century the Roman Empire almost collapsed and its army was becoming increasingly Germanic in make-up, so that in the 4th century when Huns pushed German tribes westward, they spilled across the Empire's borders and began to settle there. The Visigoths settled in Italy and then Spain, in the north the Franks settled into Gaul and western Germany, and in the 5th century Scandinavians such as the Angles, Saxons and Jutes invaded Britain. By the close of the 6th century the Western Roman Empire was almost completely replaced with smaller less politically organized, but vigorous, Germanic kingdoms. Although these kingdoms were never homogeneous, they shared certain common cultural features. They settled in their new lands and become farmers and fishermen. Archaeological evidence shows no tradition of monumental artwork, such as architecture or large sculpture in permanent materials, but a preference instead for "mobile" art for personal display, usually also with a practical function, such as weapons, horse harness, tools, and jewelry which fastened clothes. The surviving art of the Germanic peoples is almost entirely personal adornment, portable, and before conversion to Christianity was buried with its owner. Much art in organic materials has no doubt not survived. Three styles dominate Germanic art. The polychrome style originated with the Goths who had settled in the Black Sea area. The animal style was found in Scandinavia, north Germany and England. Finally there was Insular art or the Hiberno-Saxon style, a brief but prosperous period after Christianization that saw the fusion of animal style, Celtic, Mediterranean and other motifs and techniques.
Q: Where did this art originate?
A: found in Scandinavia, north Germany and England.
Q: Did the style migrate at all?
A: so that in the 4th century when Huns pushed German tribes westward, they spilled across the Empire's borders and began to settle there.
Q: Did the artwork travel with the Huns?
A: Three styles dominate Germanic art. The polychrome style originated with the Goths who had settled in the Black Sea area.
Q: What did this poychrome style look like?
A: unknown
|
C_ab92341da6e2412d8356f1b96ca94b64_1_q#4
|
What were the other styles?
| 0y
| 2x
|
{
"texts": [
"The animal style was found in Scandinavia,"
],
"answer_starts": [
1418
]
}
|
{
"text": "The animal style was found in Scandinavia,",
"answer_start": 1418
}
|
C_ab92341da6e2412d8356f1b96ca94b64_1
|
Migration Period art
|
Migration Period art denotes the artwork of the Germanic peoples during the Migration period (ca. 300-900). It includes the Migration art of the Germanic tribes on the continent, as well the start of the Insular art or Hiberno-Saxon art of the Anglo-Saxon and Celtic fusion in the British Isles. It covers many different styles of art including the polychrome style and the animal style.
|
Background
|
In the 3rd century the Roman Empire almost collapsed and its army was becoming increasingly Germanic in make-up, so that in the 4th century when Huns pushed German tribes westward, they spilled across the Empire's borders and began to settle there. The Visigoths settled in Italy and then Spain, in the north the Franks settled into Gaul and western Germany, and in the 5th century Scandinavians such as the Angles, Saxons and Jutes invaded Britain. By the close of the 6th century the Western Roman Empire was almost completely replaced with smaller less politically organized, but vigorous, Germanic kingdoms. Although these kingdoms were never homogeneous, they shared certain common cultural features. They settled in their new lands and become farmers and fishermen. Archaeological evidence shows no tradition of monumental artwork, such as architecture or large sculpture in permanent materials, but a preference instead for "mobile" art for personal display, usually also with a practical function, such as weapons, horse harness, tools, and jewelry which fastened clothes. The surviving art of the Germanic peoples is almost entirely personal adornment, portable, and before conversion to Christianity was buried with its owner. Much art in organic materials has no doubt not survived. Three styles dominate Germanic art. The polychrome style originated with the Goths who had settled in the Black Sea area. The animal style was found in Scandinavia, north Germany and England. Finally there was Insular art or the Hiberno-Saxon style, a brief but prosperous period after Christianization that saw the fusion of animal style, Celtic, Mediterranean and other motifs and techniques.
Q: Where did this art originate?
A: found in Scandinavia, north Germany and England.
Q: Did the style migrate at all?
A: so that in the 4th century when Huns pushed German tribes westward, they spilled across the Empire's borders and began to settle there.
Q: Did the artwork travel with the Huns?
A: Three styles dominate Germanic art. The polychrome style originated with the Goths who had settled in the Black Sea area.
Q: What did this poychrome style look like?
A: unknown
Q: What were the other styles?
A: The animal style was found in Scandinavia,
|
C_ab92341da6e2412d8356f1b96ca94b64_1_q#5
|
Did anything happen in 1904?
| 1n
| 2x
|
{
"texts": [
"unknown"
],
"answer_starts": [
1691
]
}
|
{
"text": "unknown",
"answer_start": 1691
}
|
C_ab92341da6e2412d8356f1b96ca94b64_0
|
Migration Period art
|
Migration Period art denotes the artwork of the Germanic peoples during the Migration period (ca. 300-900). It includes the Migration art of the Germanic tribes on the continent, as well the start of the Insular art or Hiberno-Saxon art of the Anglo-Saxon and Celtic fusion in the British Isles. It covers many different styles of art including the polychrome style and the animal style.
|
Animal style
|
The study of Northern European, or "Germanic", zoomorphic decoration was pioneered by Bernhard Salin in a work published in 1904. He classified animal art of the period roughly from 400 to 900 into three phases: Styles I, II and III. The origins of these different phases are still the subject of considerable debate; the development of trends in late-Roman popular art in the provinces is one element, and the older traditions of nomadic Asiatic steppe peoples another. The first two styles are found very widely across Europe in the art of the "barbarian" peoples of the Migration Period. Style I. First appears in northwest Europe, it became a noticeable new style with the introduction of the chip carving technique applied to bronze and silver in the 5th century. It is characterized by animals whose bodies are divided into sections, and typically appear at the fringes of designs whose main emphasis is on abstract patterns. Style II. After about 560-570 Style I was in decline and Salin's Style II began to replace it. Style II's animals are whole beasts, but their bodies are elongated into "ribbons" which intertwined into symmetrical shapes with no pretence of naturalism, and rarely any legs, so that they tend to be described as serpents, although the heads often have characteristics of other types of animal. The animal becomes subsumed into ornamental patterns, typically using interlace. Thus two bears are facing each other in perfect symmetry ("confronted"), forming the shape of a heart. Examples of Style II can be found on the gold purse lid. After about 700 localised styles develop, and it is no longer very useful to talk of a general Germanic style. Salin Style III is found mainly in Scandinavia, and may also be called Viking art.
|
C_ab92341da6e2412d8356f1b96ca94b64_0_q#0
|
what is their animal style
| 0y
| 2x
|
{
"texts": [
"He classified animal art of the period roughly from 400 to 900 into three phases: Styles I, II and III."
],
"answer_starts": [
130
]
}
|
{
"text": "He classified animal art of the period roughly from 400 to 900 into three phases: Styles I, II and III.",
"answer_start": 130
}
|
C_ab92341da6e2412d8356f1b96ca94b64_0
|
Migration Period art
|
Migration Period art denotes the artwork of the Germanic peoples during the Migration period (ca. 300-900). It includes the Migration art of the Germanic tribes on the continent, as well the start of the Insular art or Hiberno-Saxon art of the Anglo-Saxon and Celtic fusion in the British Isles. It covers many different styles of art including the polychrome style and the animal style.
|
Animal style
|
The study of Northern European, or "Germanic", zoomorphic decoration was pioneered by Bernhard Salin in a work published in 1904. He classified animal art of the period roughly from 400 to 900 into three phases: Styles I, II and III. The origins of these different phases are still the subject of considerable debate; the development of trends in late-Roman popular art in the provinces is one element, and the older traditions of nomadic Asiatic steppe peoples another. The first two styles are found very widely across Europe in the art of the "barbarian" peoples of the Migration Period. Style I. First appears in northwest Europe, it became a noticeable new style with the introduction of the chip carving technique applied to bronze and silver in the 5th century. It is characterized by animals whose bodies are divided into sections, and typically appear at the fringes of designs whose main emphasis is on abstract patterns. Style II. After about 560-570 Style I was in decline and Salin's Style II began to replace it. Style II's animals are whole beasts, but their bodies are elongated into "ribbons" which intertwined into symmetrical shapes with no pretence of naturalism, and rarely any legs, so that they tend to be described as serpents, although the heads often have characteristics of other types of animal. The animal becomes subsumed into ornamental patterns, typically using interlace. Thus two bears are facing each other in perfect symmetry ("confronted"), forming the shape of a heart. Examples of Style II can be found on the gold purse lid. After about 700 localised styles develop, and it is no longer very useful to talk of a general Germanic style. Salin Style III is found mainly in Scandinavia, and may also be called Viking art.
Q: what is their animal style
A: He classified animal art of the period roughly from 400 to 900 into three phases: Styles I, II and III.
|
C_ab92341da6e2412d8356f1b96ca94b64_0_q#1
|
what animal is mentoned in the articlle
| 2m
| 2x
|
{
"texts": [
"two bears"
],
"answer_starts": [
1412
]
}
|
{
"text": "two bears",
"answer_start": 1412
}
|
C_ab92341da6e2412d8356f1b96ca94b64_0
|
Migration Period art
|
Migration Period art denotes the artwork of the Germanic peoples during the Migration period (ca. 300-900). It includes the Migration art of the Germanic tribes on the continent, as well the start of the Insular art or Hiberno-Saxon art of the Anglo-Saxon and Celtic fusion in the British Isles. It covers many different styles of art including the polychrome style and the animal style.
|
Animal style
|
The study of Northern European, or "Germanic", zoomorphic decoration was pioneered by Bernhard Salin in a work published in 1904. He classified animal art of the period roughly from 400 to 900 into three phases: Styles I, II and III. The origins of these different phases are still the subject of considerable debate; the development of trends in late-Roman popular art in the provinces is one element, and the older traditions of nomadic Asiatic steppe peoples another. The first two styles are found very widely across Europe in the art of the "barbarian" peoples of the Migration Period. Style I. First appears in northwest Europe, it became a noticeable new style with the introduction of the chip carving technique applied to bronze and silver in the 5th century. It is characterized by animals whose bodies are divided into sections, and typically appear at the fringes of designs whose main emphasis is on abstract patterns. Style II. After about 560-570 Style I was in decline and Salin's Style II began to replace it. Style II's animals are whole beasts, but their bodies are elongated into "ribbons" which intertwined into symmetrical shapes with no pretence of naturalism, and rarely any legs, so that they tend to be described as serpents, although the heads often have characteristics of other types of animal. The animal becomes subsumed into ornamental patterns, typically using interlace. Thus two bears are facing each other in perfect symmetry ("confronted"), forming the shape of a heart. Examples of Style II can be found on the gold purse lid. After about 700 localised styles develop, and it is no longer very useful to talk of a general Germanic style. Salin Style III is found mainly in Scandinavia, and may also be called Viking art.
Q: what is their animal style
A: He classified animal art of the period roughly from 400 to 900 into three phases: Styles I, II and III.
Q: what animal is mentoned in the articlle
A: two bears
|
C_ab92341da6e2412d8356f1b96ca94b64_0_q#2
|
after bear what else
| 2m
| 2x
|
{
"texts": [
"they tend to be described as serpents, although the heads often have characteristics of other types of animal."
],
"answer_starts": [
1215
]
}
|
{
"text": "they tend to be described as serpents, although the heads often have characteristics of other types of animal.",
"answer_start": 1215
}
|
C_ab92341da6e2412d8356f1b96ca94b64_0
|
Migration Period art
|
Migration Period art denotes the artwork of the Germanic peoples during the Migration period (ca. 300-900). It includes the Migration art of the Germanic tribes on the continent, as well the start of the Insular art or Hiberno-Saxon art of the Anglo-Saxon and Celtic fusion in the British Isles. It covers many different styles of art including the polychrome style and the animal style.
|
Animal style
|
The study of Northern European, or "Germanic", zoomorphic decoration was pioneered by Bernhard Salin in a work published in 1904. He classified animal art of the period roughly from 400 to 900 into three phases: Styles I, II and III. The origins of these different phases are still the subject of considerable debate; the development of trends in late-Roman popular art in the provinces is one element, and the older traditions of nomadic Asiatic steppe peoples another. The first two styles are found very widely across Europe in the art of the "barbarian" peoples of the Migration Period. Style I. First appears in northwest Europe, it became a noticeable new style with the introduction of the chip carving technique applied to bronze and silver in the 5th century. It is characterized by animals whose bodies are divided into sections, and typically appear at the fringes of designs whose main emphasis is on abstract patterns. Style II. After about 560-570 Style I was in decline and Salin's Style II began to replace it. Style II's animals are whole beasts, but their bodies are elongated into "ribbons" which intertwined into symmetrical shapes with no pretence of naturalism, and rarely any legs, so that they tend to be described as serpents, although the heads often have characteristics of other types of animal. The animal becomes subsumed into ornamental patterns, typically using interlace. Thus two bears are facing each other in perfect symmetry ("confronted"), forming the shape of a heart. Examples of Style II can be found on the gold purse lid. After about 700 localised styles develop, and it is no longer very useful to talk of a general Germanic style. Salin Style III is found mainly in Scandinavia, and may also be called Viking art.
Q: what is their animal style
A: He classified animal art of the period roughly from 400 to 900 into three phases: Styles I, II and III.
Q: what animal is mentoned in the articlle
A: two bears
Q: after bear what else
A: they tend to be described as serpents, although the heads often have characteristics of other types of animal.
|
C_ab92341da6e2412d8356f1b96ca94b64_0_q#3
|
how many style was classsified
| 0y
| 2x
|
{
"texts": [
"about 700 localised styles develop,"
],
"answer_starts": [
1574
]
}
|
{
"text": "about 700 localised styles develop,",
"answer_start": 1574
}
|
C_ab92341da6e2412d8356f1b96ca94b64_0
|
Migration Period art
|
Migration Period art denotes the artwork of the Germanic peoples during the Migration period (ca. 300-900). It includes the Migration art of the Germanic tribes on the continent, as well the start of the Insular art or Hiberno-Saxon art of the Anglo-Saxon and Celtic fusion in the British Isles. It covers many different styles of art including the polychrome style and the animal style.
|
Animal style
|
The study of Northern European, or "Germanic", zoomorphic decoration was pioneered by Bernhard Salin in a work published in 1904. He classified animal art of the period roughly from 400 to 900 into three phases: Styles I, II and III. The origins of these different phases are still the subject of considerable debate; the development of trends in late-Roman popular art in the provinces is one element, and the older traditions of nomadic Asiatic steppe peoples another. The first two styles are found very widely across Europe in the art of the "barbarian" peoples of the Migration Period. Style I. First appears in northwest Europe, it became a noticeable new style with the introduction of the chip carving technique applied to bronze and silver in the 5th century. It is characterized by animals whose bodies are divided into sections, and typically appear at the fringes of designs whose main emphasis is on abstract patterns. Style II. After about 560-570 Style I was in decline and Salin's Style II began to replace it. Style II's animals are whole beasts, but their bodies are elongated into "ribbons" which intertwined into symmetrical shapes with no pretence of naturalism, and rarely any legs, so that they tend to be described as serpents, although the heads often have characteristics of other types of animal. The animal becomes subsumed into ornamental patterns, typically using interlace. Thus two bears are facing each other in perfect symmetry ("confronted"), forming the shape of a heart. Examples of Style II can be found on the gold purse lid. After about 700 localised styles develop, and it is no longer very useful to talk of a general Germanic style. Salin Style III is found mainly in Scandinavia, and may also be called Viking art.
Q: what is their animal style
A: He classified animal art of the period roughly from 400 to 900 into three phases: Styles I, II and III.
Q: what animal is mentoned in the articlle
A: two bears
Q: after bear what else
A: they tend to be described as serpents, although the heads often have characteristics of other types of animal.
Q: how many style was classsified
A: about 700 localised styles develop,
|
C_ab92341da6e2412d8356f1b96ca94b64_0_q#4
|
what happened in 1904
| 2m
| 2x
|
{
"texts": [
"The study of Northern European, or \"Germanic\", zoomorphic decoration was pioneered by Bernhard Salin in a work published in 1904."
],
"answer_starts": [
0
]
}
|
{
"text": "The study of Northern European, or \"Germanic\", zoomorphic decoration was pioneered by Bernhard Salin in a work published in 1904.",
"answer_start": 0
}
|
C_ab92341da6e2412d8356f1b96ca94b64_0
|
Migration Period art
|
Migration Period art denotes the artwork of the Germanic peoples during the Migration period (ca. 300-900). It includes the Migration art of the Germanic tribes on the continent, as well the start of the Insular art or Hiberno-Saxon art of the Anglo-Saxon and Celtic fusion in the British Isles. It covers many different styles of art including the polychrome style and the animal style.
|
Animal style
|
The study of Northern European, or "Germanic", zoomorphic decoration was pioneered by Bernhard Salin in a work published in 1904. He classified animal art of the period roughly from 400 to 900 into three phases: Styles I, II and III. The origins of these different phases are still the subject of considerable debate; the development of trends in late-Roman popular art in the provinces is one element, and the older traditions of nomadic Asiatic steppe peoples another. The first two styles are found very widely across Europe in the art of the "barbarian" peoples of the Migration Period. Style I. First appears in northwest Europe, it became a noticeable new style with the introduction of the chip carving technique applied to bronze and silver in the 5th century. It is characterized by animals whose bodies are divided into sections, and typically appear at the fringes of designs whose main emphasis is on abstract patterns. Style II. After about 560-570 Style I was in decline and Salin's Style II began to replace it. Style II's animals are whole beasts, but their bodies are elongated into "ribbons" which intertwined into symmetrical shapes with no pretence of naturalism, and rarely any legs, so that they tend to be described as serpents, although the heads often have characteristics of other types of animal. The animal becomes subsumed into ornamental patterns, typically using interlace. Thus two bears are facing each other in perfect symmetry ("confronted"), forming the shape of a heart. Examples of Style II can be found on the gold purse lid. After about 700 localised styles develop, and it is no longer very useful to talk of a general Germanic style. Salin Style III is found mainly in Scandinavia, and may also be called Viking art.
Q: what is their animal style
A: He classified animal art of the period roughly from 400 to 900 into three phases: Styles I, II and III.
Q: what animal is mentoned in the articlle
A: two bears
Q: after bear what else
A: they tend to be described as serpents, although the heads often have characteristics of other types of animal.
Q: how many style was classsified
A: about 700 localised styles develop,
Q: what happened in 1904
A: The study of Northern European, or "Germanic", zoomorphic decoration was pioneered by Bernhard Salin in a work published in 1904.
|
C_ab92341da6e2412d8356f1b96ca94b64_0_q#5
|
is there any notable name
| 1n
| 0y
|
{
"texts": [
"Bernhard Salin"
],
"answer_starts": [
86
]
}
|
{
"text": "Bernhard Salin",
"answer_start": 86
}
|
C_a9b96a021b774af3a303077bcfe676dd_0
|
Illyrians
|
The Illyrians (Ancient Greek: Illurioi, Illyrioi; Latin: Illyrii or Illyri) were a group of Indo-European tribes in antiquity, who inhabited part of the western Balkans. The territory the Illyrians inhabited came to be known as Illyria to Greek and Roman authors, who identified a territory that corresponds to Croatia, Bosnia and Herzegovina, Slovenia, Montenegro, part of Serbia and most of central and northern Albania, between the Adriatic Sea in the west, the Drava river in the north, the Morava river in the east and the mouth of the Aoos river in the south. The first account of Illyrian peoples comes from the Periplus of Pseudo-Scylax, an ancient Greek text of the middle of the 4th century BC that describes coastal passages in the Mediterranean. The name "Illyrians", as applied by the ancient Greeks to their northern neighbors, may have referred to a broad, ill-defined group of peoples, and it is today unclear to what extent they were linguistically and culturally homogeneous.
|
Hellenistic period
|
Illyria appears in Greco-Roman historiography from the 4th century BC. The Illyrians formed several kingdoms in the central Balkans, and the first known Illyrian king was Bardyllis. Illyrian kingdoms were often at war with ancient Macedonia, and the Illyrian pirates were also a significant danger to neighbouring peoples. At the Neretva Delta, there was a strong Hellenistic influence on the Illyrian tribe of Daors. Their capital was Daorson located in Osanici near Stolac in Herzegovina, which became the main center of classical Illyrian culture. Daorson, during the 4th century BC, was surrounded by megalithic, 5 meter high stonewalls, composed out of large trapeze stones blocks. Daors also made unique bronze coins and sculptures. The Illyrians even conquered Greek colonies on the Dalmatian islands. Queen Teuta was famous for having waged wars against the Romans. After Philip II of Macedon defeated Bardylis (358 BC), the Grabaei under Grabos became the strongest state in Illyria. Philip II killed 7,000 Illyrians in a great victory and annexed the territory up to Lake Ohrid. Next, Philip II reduced the Grabaei, and then went for the Ardiaei, defeated the Triballi (339 BC), and fought with Pleurias (337 BC). In the Illyrian Wars of 229 BC, 219 BC and 168 BC Rome overran the Illyrian settlements and suppressed the piracy that had made the Adriatic unsafe for Italian commerce. There were three campaigns, the first against Teuta the second against Demetrius of Pharos and the third against Gentius. The initial campaign in 229 BC marks the first time that the Roman Navy crossed the Adriatic Sea to launch an invasion. The Roman Republic subdued the Illyrians during the 2nd century BC. An Illyrian revolt was crushed under Augustus, resulting in the division of Illyria in the provinces of Pannonia in the north and Dalmatia in the south.
|
C_a9b96a021b774af3a303077bcfe676dd_0_q#0
|
When did the Hellenistic period take place?
| 0y
| 2x
|
{
"texts": [
"4th century BC."
],
"answer_starts": [
55
]
}
|
{
"text": "4th century BC.",
"answer_start": 55
}
|
C_a9b96a021b774af3a303077bcfe676dd_0
|
Illyrians
|
The Illyrians (Ancient Greek: Illurioi, Illyrioi; Latin: Illyrii or Illyri) were a group of Indo-European tribes in antiquity, who inhabited part of the western Balkans. The territory the Illyrians inhabited came to be known as Illyria to Greek and Roman authors, who identified a territory that corresponds to Croatia, Bosnia and Herzegovina, Slovenia, Montenegro, part of Serbia and most of central and northern Albania, between the Adriatic Sea in the west, the Drava river in the north, the Morava river in the east and the mouth of the Aoos river in the south. The first account of Illyrian peoples comes from the Periplus of Pseudo-Scylax, an ancient Greek text of the middle of the 4th century BC that describes coastal passages in the Mediterranean. The name "Illyrians", as applied by the ancient Greeks to their northern neighbors, may have referred to a broad, ill-defined group of peoples, and it is today unclear to what extent they were linguistically and culturally homogeneous.
|
Hellenistic period
|
Illyria appears in Greco-Roman historiography from the 4th century BC. The Illyrians formed several kingdoms in the central Balkans, and the first known Illyrian king was Bardyllis. Illyrian kingdoms were often at war with ancient Macedonia, and the Illyrian pirates were also a significant danger to neighbouring peoples. At the Neretva Delta, there was a strong Hellenistic influence on the Illyrian tribe of Daors. Their capital was Daorson located in Osanici near Stolac in Herzegovina, which became the main center of classical Illyrian culture. Daorson, during the 4th century BC, was surrounded by megalithic, 5 meter high stonewalls, composed out of large trapeze stones blocks. Daors also made unique bronze coins and sculptures. The Illyrians even conquered Greek colonies on the Dalmatian islands. Queen Teuta was famous for having waged wars against the Romans. After Philip II of Macedon defeated Bardylis (358 BC), the Grabaei under Grabos became the strongest state in Illyria. Philip II killed 7,000 Illyrians in a great victory and annexed the territory up to Lake Ohrid. Next, Philip II reduced the Grabaei, and then went for the Ardiaei, defeated the Triballi (339 BC), and fought with Pleurias (337 BC). In the Illyrian Wars of 229 BC, 219 BC and 168 BC Rome overran the Illyrian settlements and suppressed the piracy that had made the Adriatic unsafe for Italian commerce. There were three campaigns, the first against Teuta the second against Demetrius of Pharos and the third against Gentius. The initial campaign in 229 BC marks the first time that the Roman Navy crossed the Adriatic Sea to launch an invasion. The Roman Republic subdued the Illyrians during the 2nd century BC. An Illyrian revolt was crushed under Augustus, resulting in the division of Illyria in the provinces of Pannonia in the north and Dalmatia in the south.
Q: When did the Hellenistic period take place?
A: 4th century BC.
|
C_a9b96a021b774af3a303077bcfe676dd_0_q#1
|
Where were the Illyrians located?
| 0y
| 2x
|
{
"texts": [
"Greco-Roman historiography"
],
"answer_starts": [
19
]
}
|
{
"text": "Greco-Roman historiography",
"answer_start": 19
}
|
C_a9b96a021b774af3a303077bcfe676dd_0
|
Illyrians
|
The Illyrians (Ancient Greek: Illurioi, Illyrioi; Latin: Illyrii or Illyri) were a group of Indo-European tribes in antiquity, who inhabited part of the western Balkans. The territory the Illyrians inhabited came to be known as Illyria to Greek and Roman authors, who identified a territory that corresponds to Croatia, Bosnia and Herzegovina, Slovenia, Montenegro, part of Serbia and most of central and northern Albania, between the Adriatic Sea in the west, the Drava river in the north, the Morava river in the east and the mouth of the Aoos river in the south. The first account of Illyrian peoples comes from the Periplus of Pseudo-Scylax, an ancient Greek text of the middle of the 4th century BC that describes coastal passages in the Mediterranean. The name "Illyrians", as applied by the ancient Greeks to their northern neighbors, may have referred to a broad, ill-defined group of peoples, and it is today unclear to what extent they were linguistically and culturally homogeneous.
|
Hellenistic period
|
Illyria appears in Greco-Roman historiography from the 4th century BC. The Illyrians formed several kingdoms in the central Balkans, and the first known Illyrian king was Bardyllis. Illyrian kingdoms were often at war with ancient Macedonia, and the Illyrian pirates were also a significant danger to neighbouring peoples. At the Neretva Delta, there was a strong Hellenistic influence on the Illyrian tribe of Daors. Their capital was Daorson located in Osanici near Stolac in Herzegovina, which became the main center of classical Illyrian culture. Daorson, during the 4th century BC, was surrounded by megalithic, 5 meter high stonewalls, composed out of large trapeze stones blocks. Daors also made unique bronze coins and sculptures. The Illyrians even conquered Greek colonies on the Dalmatian islands. Queen Teuta was famous for having waged wars against the Romans. After Philip II of Macedon defeated Bardylis (358 BC), the Grabaei under Grabos became the strongest state in Illyria. Philip II killed 7,000 Illyrians in a great victory and annexed the territory up to Lake Ohrid. Next, Philip II reduced the Grabaei, and then went for the Ardiaei, defeated the Triballi (339 BC), and fought with Pleurias (337 BC). In the Illyrian Wars of 229 BC, 219 BC and 168 BC Rome overran the Illyrian settlements and suppressed the piracy that had made the Adriatic unsafe for Italian commerce. There were three campaigns, the first against Teuta the second against Demetrius of Pharos and the third against Gentius. The initial campaign in 229 BC marks the first time that the Roman Navy crossed the Adriatic Sea to launch an invasion. The Roman Republic subdued the Illyrians during the 2nd century BC. An Illyrian revolt was crushed under Augustus, resulting in the division of Illyria in the provinces of Pannonia in the north and Dalmatia in the south.
Q: When did the Hellenistic period take place?
A: 4th century BC.
Q: Where were the Illyrians located?
A: Greco-Roman historiography
|
C_a9b96a021b774af3a303077bcfe676dd_0_q#2
|
Did the Illyrians have a Ruler/King/President?
| 0y
| 2x
|
{
"texts": [
"The Illyrians formed several kingdoms in the central Balkans, and the first known Illyrian king was Bardyllis."
],
"answer_starts": [
71
]
}
|
{
"text": "The Illyrians formed several kingdoms in the central Balkans, and the first known Illyrian king was Bardyllis.",
"answer_start": 71
}
|
C_a9b96a021b774af3a303077bcfe676dd_0
|
Illyrians
|
The Illyrians (Ancient Greek: Illurioi, Illyrioi; Latin: Illyrii or Illyri) were a group of Indo-European tribes in antiquity, who inhabited part of the western Balkans. The territory the Illyrians inhabited came to be known as Illyria to Greek and Roman authors, who identified a territory that corresponds to Croatia, Bosnia and Herzegovina, Slovenia, Montenegro, part of Serbia and most of central and northern Albania, between the Adriatic Sea in the west, the Drava river in the north, the Morava river in the east and the mouth of the Aoos river in the south. The first account of Illyrian peoples comes from the Periplus of Pseudo-Scylax, an ancient Greek text of the middle of the 4th century BC that describes coastal passages in the Mediterranean. The name "Illyrians", as applied by the ancient Greeks to their northern neighbors, may have referred to a broad, ill-defined group of peoples, and it is today unclear to what extent they were linguistically and culturally homogeneous.
|
Hellenistic period
|
Illyria appears in Greco-Roman historiography from the 4th century BC. The Illyrians formed several kingdoms in the central Balkans, and the first known Illyrian king was Bardyllis. Illyrian kingdoms were often at war with ancient Macedonia, and the Illyrian pirates were also a significant danger to neighbouring peoples. At the Neretva Delta, there was a strong Hellenistic influence on the Illyrian tribe of Daors. Their capital was Daorson located in Osanici near Stolac in Herzegovina, which became the main center of classical Illyrian culture. Daorson, during the 4th century BC, was surrounded by megalithic, 5 meter high stonewalls, composed out of large trapeze stones blocks. Daors also made unique bronze coins and sculptures. The Illyrians even conquered Greek colonies on the Dalmatian islands. Queen Teuta was famous for having waged wars against the Romans. After Philip II of Macedon defeated Bardylis (358 BC), the Grabaei under Grabos became the strongest state in Illyria. Philip II killed 7,000 Illyrians in a great victory and annexed the territory up to Lake Ohrid. Next, Philip II reduced the Grabaei, and then went for the Ardiaei, defeated the Triballi (339 BC), and fought with Pleurias (337 BC). In the Illyrian Wars of 229 BC, 219 BC and 168 BC Rome overran the Illyrian settlements and suppressed the piracy that had made the Adriatic unsafe for Italian commerce. There were three campaigns, the first against Teuta the second against Demetrius of Pharos and the third against Gentius. The initial campaign in 229 BC marks the first time that the Roman Navy crossed the Adriatic Sea to launch an invasion. The Roman Republic subdued the Illyrians during the 2nd century BC. An Illyrian revolt was crushed under Augustus, resulting in the division of Illyria in the provinces of Pannonia in the north and Dalmatia in the south.
Q: When did the Hellenistic period take place?
A: 4th century BC.
Q: Where were the Illyrians located?
A: Greco-Roman historiography
Q: Did the Illyrians have a Ruler/King/President?
A: The Illyrians formed several kingdoms in the central Balkans, and the first known Illyrian king was Bardyllis.
|
C_a9b96a021b774af3a303077bcfe676dd_0_q#3
|
Were they peaceful or warlike?
| 0y
| 2x
|
{
"texts": [
"After Philip II of Macedon defeated Bardylis (358 BC), the Grabaei under Grabos became the strongest state in Illyria."
],
"answer_starts": [
875
]
}
|
{
"text": "After Philip II of Macedon defeated Bardylis (358 BC), the Grabaei under Grabos became the strongest state in Illyria.",
"answer_start": 875
}
|
C_a9b96a021b774af3a303077bcfe676dd_0
|
Illyrians
|
The Illyrians (Ancient Greek: Illurioi, Illyrioi; Latin: Illyrii or Illyri) were a group of Indo-European tribes in antiquity, who inhabited part of the western Balkans. The territory the Illyrians inhabited came to be known as Illyria to Greek and Roman authors, who identified a territory that corresponds to Croatia, Bosnia and Herzegovina, Slovenia, Montenegro, part of Serbia and most of central and northern Albania, between the Adriatic Sea in the west, the Drava river in the north, the Morava river in the east and the mouth of the Aoos river in the south. The first account of Illyrian peoples comes from the Periplus of Pseudo-Scylax, an ancient Greek text of the middle of the 4th century BC that describes coastal passages in the Mediterranean. The name "Illyrians", as applied by the ancient Greeks to their northern neighbors, may have referred to a broad, ill-defined group of peoples, and it is today unclear to what extent they were linguistically and culturally homogeneous.
|
Hellenistic period
|
Illyria appears in Greco-Roman historiography from the 4th century BC. The Illyrians formed several kingdoms in the central Balkans, and the first known Illyrian king was Bardyllis. Illyrian kingdoms were often at war with ancient Macedonia, and the Illyrian pirates were also a significant danger to neighbouring peoples. At the Neretva Delta, there was a strong Hellenistic influence on the Illyrian tribe of Daors. Their capital was Daorson located in Osanici near Stolac in Herzegovina, which became the main center of classical Illyrian culture. Daorson, during the 4th century BC, was surrounded by megalithic, 5 meter high stonewalls, composed out of large trapeze stones blocks. Daors also made unique bronze coins and sculptures. The Illyrians even conquered Greek colonies on the Dalmatian islands. Queen Teuta was famous for having waged wars against the Romans. After Philip II of Macedon defeated Bardylis (358 BC), the Grabaei under Grabos became the strongest state in Illyria. Philip II killed 7,000 Illyrians in a great victory and annexed the territory up to Lake Ohrid. Next, Philip II reduced the Grabaei, and then went for the Ardiaei, defeated the Triballi (339 BC), and fought with Pleurias (337 BC). In the Illyrian Wars of 229 BC, 219 BC and 168 BC Rome overran the Illyrian settlements and suppressed the piracy that had made the Adriatic unsafe for Italian commerce. There were three campaigns, the first against Teuta the second against Demetrius of Pharos and the third against Gentius. The initial campaign in 229 BC marks the first time that the Roman Navy crossed the Adriatic Sea to launch an invasion. The Roman Republic subdued the Illyrians during the 2nd century BC. An Illyrian revolt was crushed under Augustus, resulting in the division of Illyria in the provinces of Pannonia in the north and Dalmatia in the south.
Q: When did the Hellenistic period take place?
A: 4th century BC.
Q: Where were the Illyrians located?
A: Greco-Roman historiography
Q: Did the Illyrians have a Ruler/King/President?
A: The Illyrians formed several kingdoms in the central Balkans, and the first known Illyrian king was Bardyllis.
Q: Were they peaceful or warlike?
A: After Philip II of Macedon defeated Bardylis (358 BC), the Grabaei under Grabos became the strongest state in Illyria.
|
C_a9b96a021b774af3a303077bcfe676dd_0_q#4
|
Were there any other wars fought?
| 0y
| 2x
|
{
"texts": [
"In the Illyrian Wars of 229 BC, 219 BC and 168 BC Rome overran the Illyrian settlements and suppressed the piracy that had made the Adriatic unsafe for Italian commerce."
],
"answer_starts": [
1226
]
}
|
{
"text": "In the Illyrian Wars of 229 BC, 219 BC and 168 BC Rome overran the Illyrian settlements and suppressed the piracy that had made the Adriatic unsafe for Italian commerce.",
"answer_start": 1226
}
|
C_a9b96a021b774af3a303077bcfe676dd_0
|
Illyrians
|
The Illyrians (Ancient Greek: Illurioi, Illyrioi; Latin: Illyrii or Illyri) were a group of Indo-European tribes in antiquity, who inhabited part of the western Balkans. The territory the Illyrians inhabited came to be known as Illyria to Greek and Roman authors, who identified a territory that corresponds to Croatia, Bosnia and Herzegovina, Slovenia, Montenegro, part of Serbia and most of central and northern Albania, between the Adriatic Sea in the west, the Drava river in the north, the Morava river in the east and the mouth of the Aoos river in the south. The first account of Illyrian peoples comes from the Periplus of Pseudo-Scylax, an ancient Greek text of the middle of the 4th century BC that describes coastal passages in the Mediterranean. The name "Illyrians", as applied by the ancient Greeks to their northern neighbors, may have referred to a broad, ill-defined group of peoples, and it is today unclear to what extent they were linguistically and culturally homogeneous.
|
Hellenistic period
|
Illyria appears in Greco-Roman historiography from the 4th century BC. The Illyrians formed several kingdoms in the central Balkans, and the first known Illyrian king was Bardyllis. Illyrian kingdoms were often at war with ancient Macedonia, and the Illyrian pirates were also a significant danger to neighbouring peoples. At the Neretva Delta, there was a strong Hellenistic influence on the Illyrian tribe of Daors. Their capital was Daorson located in Osanici near Stolac in Herzegovina, which became the main center of classical Illyrian culture. Daorson, during the 4th century BC, was surrounded by megalithic, 5 meter high stonewalls, composed out of large trapeze stones blocks. Daors also made unique bronze coins and sculptures. The Illyrians even conquered Greek colonies on the Dalmatian islands. Queen Teuta was famous for having waged wars against the Romans. After Philip II of Macedon defeated Bardylis (358 BC), the Grabaei under Grabos became the strongest state in Illyria. Philip II killed 7,000 Illyrians in a great victory and annexed the territory up to Lake Ohrid. Next, Philip II reduced the Grabaei, and then went for the Ardiaei, defeated the Triballi (339 BC), and fought with Pleurias (337 BC). In the Illyrian Wars of 229 BC, 219 BC and 168 BC Rome overran the Illyrian settlements and suppressed the piracy that had made the Adriatic unsafe for Italian commerce. There were three campaigns, the first against Teuta the second against Demetrius of Pharos and the third against Gentius. The initial campaign in 229 BC marks the first time that the Roman Navy crossed the Adriatic Sea to launch an invasion. The Roman Republic subdued the Illyrians during the 2nd century BC. An Illyrian revolt was crushed under Augustus, resulting in the division of Illyria in the provinces of Pannonia in the north and Dalmatia in the south.
Q: When did the Hellenistic period take place?
A: 4th century BC.
Q: Where were the Illyrians located?
A: Greco-Roman historiography
Q: Did the Illyrians have a Ruler/King/President?
A: The Illyrians formed several kingdoms in the central Balkans, and the first known Illyrian king was Bardyllis.
Q: Were they peaceful or warlike?
A: After Philip II of Macedon defeated Bardylis (358 BC), the Grabaei under Grabos became the strongest state in Illyria.
Q: Were there any other wars fought?
A: In the Illyrian Wars of 229 BC, 219 BC and 168 BC Rome overran the Illyrian settlements and suppressed the piracy that had made the Adriatic unsafe for Italian commerce.
|
C_a9b96a021b774af3a303077bcfe676dd_0_q#5
|
What happened after these wars?
| 0y
| 2x
|
{
"texts": [
"There were three campaigns,"
],
"answer_starts": [
1396
]
}
|
{
"text": "There were three campaigns,",
"answer_start": 1396
}
|
C_a9b96a021b774af3a303077bcfe676dd_1
|
Illyrians
|
The Illyrians (Ancient Greek: Illurioi, Illyrioi; Latin: Illyrii or Illyri) were a group of Indo-European tribes in antiquity, who inhabited part of the western Balkans. The territory the Illyrians inhabited came to be known as Illyria to Greek and Roman authors, who identified a territory that corresponds to Croatia, Bosnia and Herzegovina, Slovenia, Montenegro, part of Serbia and most of central and northern Albania, between the Adriatic Sea in the west, the Drava river in the north, the Morava river in the east and the mouth of the Aoos river in the south. The first account of Illyrian peoples comes from the Periplus of Pseudo-Scylax, an ancient Greek text of the middle of the 4th century BC that describes coastal passages in the Mediterranean. The name "Illyrians", as applied by the ancient Greeks to their northern neighbors, may have referred to a broad, ill-defined group of peoples, and it is today unclear to what extent they were linguistically and culturally homogeneous.
|
Origins
|
Even before the advent of post-modernism, scholars recognized a "difficulty in producing a single theory on the ethnogenesis of the Illyrians" given their heterogeneous nature. Modern scholarship is unable to refer to the Illyrians as a unique and compact people and agrees that they were a sum of ill-defined communities without common origins that never merged to a single ethnic entity. On the other hand, some past Pan-Illyrian theories have been dismissed by scholars, based as they were on racialistic notions of Nordicism and Aryanism. The specific theories have found little archaeological corroboration, as no convincing evidence for significant migratory movements from the Luzatian culture into the west Balkans have ever been found. Rather, archaeologists from the former Yugoslavia highlighted the continuity between the Bronze and succeeding Iron Age (especially in regions such as Donja Dolina, central Bosnia-Glasinac, and northern Albania (Mat river basin)), ultimately developing the so-called "autochthonous theory" of Illyrian genesis. The "autochthonous" model was most elaborated upon by Alojz Benac and B. Covic. They argued (following the "Kurgan hypothesis") that the 'proto-Illyrians' had arrived much earlier, during the Bronze Age as nomadic Indo-Europeans from the steppe. From that point, there was a gradual Illyrianization of the western Balkans leading to historic Illyrians, with no early Iron Age migration from northern Europe. He did not deny a minor cultural impact from the northern Urnfield cultures, however "these movements had neither a profound influence on the stability.. of the Balkans, nor did they affect the ethnogenesis of the Illyrian ethnos". Aleksandar Stipcevic raised concerns regarding Benac's all-encompassing scenario of autochthonous ethnogenesis. He points out "can one negate the participation of the bearers of the field-urn culture in the ethnogenesis of the Illyrian tribes who lived in present-day Slovenia and Croatia" or "Hellenistic and Mediterranean influences on southern Illyrians and Liburnians?". He concludes that Benac's model is only applicable to the Illyrian groups in Bosnia, western Serbia and a part of Dalmatia, where there had indeed been a settlement continuity and 'native' progression of pottery sequences since the Bronze Age. Following prevailing trends in discourse on identity in Iron Age Europe, current anthropological perspectives reject older theories of a longue duree (long term) ethnogenesis of Illyrians, even where 'archaeological continuity' can be demonstrated to Bronze Age times. They rather see the emergence of historic Illyrians tribes as a more recent phenomenon - just prior to their first attestation. The impetus behind the emergence of larger regional groups, such as "Iapodes", "Liburnians", "Pannonians" etc., is traced to increased contacts with the Mediterranean and La Tene 'global worlds'. This catalyzed "the development of more complex political institutions and the increase in differences between individual communities". Emerging local elites selectively adopted either La Tene or Hellenistic and, later, Roman cultural templates "in order to legitimise and strengthen domination within their communities. They were competing fiercely through either alliance or conflict and resistance to Roman expansion. Thus, they established more complex political alliances, which convinced (Greco-Roman) sources to see them as 'ethnic' identities." Contemporary perspectives again highlight that the term "Illyrian" was a 'catch-all' exonym used by the Greeks and Romans to denote diverse communities beyond Epirus and Macedonia. Each was differentially conditioned by specific local cultural, ecological and economic factors; none of which fall into a compact, unitary "Illyrian" narrative.
|
C_a9b96a021b774af3a303077bcfe676dd_1_q#0
|
Are there any other interesting aspects about this article?
| 0y
| 0y
|
{
"texts": [
"Modern scholarship is unable to refer to the Illyrians as a unique and compact people"
],
"answer_starts": [
177
]
}
|
{
"text": "Modern scholarship is unable to refer to the Illyrians as a unique and compact people",
"answer_start": 177
}
|
C_a9b96a021b774af3a303077bcfe676dd_1
|
Illyrians
|
The Illyrians (Ancient Greek: Illurioi, Illyrioi; Latin: Illyrii or Illyri) were a group of Indo-European tribes in antiquity, who inhabited part of the western Balkans. The territory the Illyrians inhabited came to be known as Illyria to Greek and Roman authors, who identified a territory that corresponds to Croatia, Bosnia and Herzegovina, Slovenia, Montenegro, part of Serbia and most of central and northern Albania, between the Adriatic Sea in the west, the Drava river in the north, the Morava river in the east and the mouth of the Aoos river in the south. The first account of Illyrian peoples comes from the Periplus of Pseudo-Scylax, an ancient Greek text of the middle of the 4th century BC that describes coastal passages in the Mediterranean. The name "Illyrians", as applied by the ancient Greeks to their northern neighbors, may have referred to a broad, ill-defined group of peoples, and it is today unclear to what extent they were linguistically and culturally homogeneous.
|
Origins
|
Even before the advent of post-modernism, scholars recognized a "difficulty in producing a single theory on the ethnogenesis of the Illyrians" given their heterogeneous nature. Modern scholarship is unable to refer to the Illyrians as a unique and compact people and agrees that they were a sum of ill-defined communities without common origins that never merged to a single ethnic entity. On the other hand, some past Pan-Illyrian theories have been dismissed by scholars, based as they were on racialistic notions of Nordicism and Aryanism. The specific theories have found little archaeological corroboration, as no convincing evidence for significant migratory movements from the Luzatian culture into the west Balkans have ever been found. Rather, archaeologists from the former Yugoslavia highlighted the continuity between the Bronze and succeeding Iron Age (especially in regions such as Donja Dolina, central Bosnia-Glasinac, and northern Albania (Mat river basin)), ultimately developing the so-called "autochthonous theory" of Illyrian genesis. The "autochthonous" model was most elaborated upon by Alojz Benac and B. Covic. They argued (following the "Kurgan hypothesis") that the 'proto-Illyrians' had arrived much earlier, during the Bronze Age as nomadic Indo-Europeans from the steppe. From that point, there was a gradual Illyrianization of the western Balkans leading to historic Illyrians, with no early Iron Age migration from northern Europe. He did not deny a minor cultural impact from the northern Urnfield cultures, however "these movements had neither a profound influence on the stability.. of the Balkans, nor did they affect the ethnogenesis of the Illyrian ethnos". Aleksandar Stipcevic raised concerns regarding Benac's all-encompassing scenario of autochthonous ethnogenesis. He points out "can one negate the participation of the bearers of the field-urn culture in the ethnogenesis of the Illyrian tribes who lived in present-day Slovenia and Croatia" or "Hellenistic and Mediterranean influences on southern Illyrians and Liburnians?". He concludes that Benac's model is only applicable to the Illyrian groups in Bosnia, western Serbia and a part of Dalmatia, where there had indeed been a settlement continuity and 'native' progression of pottery sequences since the Bronze Age. Following prevailing trends in discourse on identity in Iron Age Europe, current anthropological perspectives reject older theories of a longue duree (long term) ethnogenesis of Illyrians, even where 'archaeological continuity' can be demonstrated to Bronze Age times. They rather see the emergence of historic Illyrians tribes as a more recent phenomenon - just prior to their first attestation. The impetus behind the emergence of larger regional groups, such as "Iapodes", "Liburnians", "Pannonians" etc., is traced to increased contacts with the Mediterranean and La Tene 'global worlds'. This catalyzed "the development of more complex political institutions and the increase in differences between individual communities". Emerging local elites selectively adopted either La Tene or Hellenistic and, later, Roman cultural templates "in order to legitimise and strengthen domination within their communities. They were competing fiercely through either alliance or conflict and resistance to Roman expansion. Thus, they established more complex political alliances, which convinced (Greco-Roman) sources to see them as 'ethnic' identities." Contemporary perspectives again highlight that the term "Illyrian" was a 'catch-all' exonym used by the Greeks and Romans to denote diverse communities beyond Epirus and Macedonia. Each was differentially conditioned by specific local cultural, ecological and economic factors; none of which fall into a compact, unitary "Illyrian" narrative.
Q: Are there any other interesting aspects about this article?
A: Modern scholarship is unable to refer to the Illyrians as a unique and compact people
|
C_a9b96a021b774af3a303077bcfe676dd_1_q#1
|
What scholarship?
| 1n
| 2x
|
{
"texts": [
"post-modernism, scholars"
],
"answer_starts": [
26
]
}
|
{
"text": "post-modernism, scholars",
"answer_start": 26
}
|
C_a9b96a021b774af3a303077bcfe676dd_1
|
Illyrians
|
The Illyrians (Ancient Greek: Illurioi, Illyrioi; Latin: Illyrii or Illyri) were a group of Indo-European tribes in antiquity, who inhabited part of the western Balkans. The territory the Illyrians inhabited came to be known as Illyria to Greek and Roman authors, who identified a territory that corresponds to Croatia, Bosnia and Herzegovina, Slovenia, Montenegro, part of Serbia and most of central and northern Albania, between the Adriatic Sea in the west, the Drava river in the north, the Morava river in the east and the mouth of the Aoos river in the south. The first account of Illyrian peoples comes from the Periplus of Pseudo-Scylax, an ancient Greek text of the middle of the 4th century BC that describes coastal passages in the Mediterranean. The name "Illyrians", as applied by the ancient Greeks to their northern neighbors, may have referred to a broad, ill-defined group of peoples, and it is today unclear to what extent they were linguistically and culturally homogeneous.
|
Origins
|
Even before the advent of post-modernism, scholars recognized a "difficulty in producing a single theory on the ethnogenesis of the Illyrians" given their heterogeneous nature. Modern scholarship is unable to refer to the Illyrians as a unique and compact people and agrees that they were a sum of ill-defined communities without common origins that never merged to a single ethnic entity. On the other hand, some past Pan-Illyrian theories have been dismissed by scholars, based as they were on racialistic notions of Nordicism and Aryanism. The specific theories have found little archaeological corroboration, as no convincing evidence for significant migratory movements from the Luzatian culture into the west Balkans have ever been found. Rather, archaeologists from the former Yugoslavia highlighted the continuity between the Bronze and succeeding Iron Age (especially in regions such as Donja Dolina, central Bosnia-Glasinac, and northern Albania (Mat river basin)), ultimately developing the so-called "autochthonous theory" of Illyrian genesis. The "autochthonous" model was most elaborated upon by Alojz Benac and B. Covic. They argued (following the "Kurgan hypothesis") that the 'proto-Illyrians' had arrived much earlier, during the Bronze Age as nomadic Indo-Europeans from the steppe. From that point, there was a gradual Illyrianization of the western Balkans leading to historic Illyrians, with no early Iron Age migration from northern Europe. He did not deny a minor cultural impact from the northern Urnfield cultures, however "these movements had neither a profound influence on the stability.. of the Balkans, nor did they affect the ethnogenesis of the Illyrian ethnos". Aleksandar Stipcevic raised concerns regarding Benac's all-encompassing scenario of autochthonous ethnogenesis. He points out "can one negate the participation of the bearers of the field-urn culture in the ethnogenesis of the Illyrian tribes who lived in present-day Slovenia and Croatia" or "Hellenistic and Mediterranean influences on southern Illyrians and Liburnians?". He concludes that Benac's model is only applicable to the Illyrian groups in Bosnia, western Serbia and a part of Dalmatia, where there had indeed been a settlement continuity and 'native' progression of pottery sequences since the Bronze Age. Following prevailing trends in discourse on identity in Iron Age Europe, current anthropological perspectives reject older theories of a longue duree (long term) ethnogenesis of Illyrians, even where 'archaeological continuity' can be demonstrated to Bronze Age times. They rather see the emergence of historic Illyrians tribes as a more recent phenomenon - just prior to their first attestation. The impetus behind the emergence of larger regional groups, such as "Iapodes", "Liburnians", "Pannonians" etc., is traced to increased contacts with the Mediterranean and La Tene 'global worlds'. This catalyzed "the development of more complex political institutions and the increase in differences between individual communities". Emerging local elites selectively adopted either La Tene or Hellenistic and, later, Roman cultural templates "in order to legitimise and strengthen domination within their communities. They were competing fiercely through either alliance or conflict and resistance to Roman expansion. Thus, they established more complex political alliances, which convinced (Greco-Roman) sources to see them as 'ethnic' identities." Contemporary perspectives again highlight that the term "Illyrian" was a 'catch-all' exonym used by the Greeks and Romans to denote diverse communities beyond Epirus and Macedonia. Each was differentially conditioned by specific local cultural, ecological and economic factors; none of which fall into a compact, unitary "Illyrian" narrative.
Q: Are there any other interesting aspects about this article?
A: Modern scholarship is unable to refer to the Illyrians as a unique and compact people
Q: What scholarship?
A: post-modernism, scholars
|
C_a9b96a021b774af3a303077bcfe676dd_1_q#2
|
Did this influence anything?
| 0y
| 0y
|
{
"texts": [
"The specific theories have found little archaeological corroboration, as no convincing evidence for significant migratory movements"
],
"answer_starts": [
544
]
}
|
{
"text": "The specific theories have found little archaeological corroboration, as no convincing evidence for significant migratory movements",
"answer_start": 544
}
|
C_a9b96a021b774af3a303077bcfe676dd_1
|
Illyrians
|
The Illyrians (Ancient Greek: Illurioi, Illyrioi; Latin: Illyrii or Illyri) were a group of Indo-European tribes in antiquity, who inhabited part of the western Balkans. The territory the Illyrians inhabited came to be known as Illyria to Greek and Roman authors, who identified a territory that corresponds to Croatia, Bosnia and Herzegovina, Slovenia, Montenegro, part of Serbia and most of central and northern Albania, between the Adriatic Sea in the west, the Drava river in the north, the Morava river in the east and the mouth of the Aoos river in the south. The first account of Illyrian peoples comes from the Periplus of Pseudo-Scylax, an ancient Greek text of the middle of the 4th century BC that describes coastal passages in the Mediterranean. The name "Illyrians", as applied by the ancient Greeks to their northern neighbors, may have referred to a broad, ill-defined group of peoples, and it is today unclear to what extent they were linguistically and culturally homogeneous.
|
Origins
|
Even before the advent of post-modernism, scholars recognized a "difficulty in producing a single theory on the ethnogenesis of the Illyrians" given their heterogeneous nature. Modern scholarship is unable to refer to the Illyrians as a unique and compact people and agrees that they were a sum of ill-defined communities without common origins that never merged to a single ethnic entity. On the other hand, some past Pan-Illyrian theories have been dismissed by scholars, based as they were on racialistic notions of Nordicism and Aryanism. The specific theories have found little archaeological corroboration, as no convincing evidence for significant migratory movements from the Luzatian culture into the west Balkans have ever been found. Rather, archaeologists from the former Yugoslavia highlighted the continuity between the Bronze and succeeding Iron Age (especially in regions such as Donja Dolina, central Bosnia-Glasinac, and northern Albania (Mat river basin)), ultimately developing the so-called "autochthonous theory" of Illyrian genesis. The "autochthonous" model was most elaborated upon by Alojz Benac and B. Covic. They argued (following the "Kurgan hypothesis") that the 'proto-Illyrians' had arrived much earlier, during the Bronze Age as nomadic Indo-Europeans from the steppe. From that point, there was a gradual Illyrianization of the western Balkans leading to historic Illyrians, with no early Iron Age migration from northern Europe. He did not deny a minor cultural impact from the northern Urnfield cultures, however "these movements had neither a profound influence on the stability.. of the Balkans, nor did they affect the ethnogenesis of the Illyrian ethnos". Aleksandar Stipcevic raised concerns regarding Benac's all-encompassing scenario of autochthonous ethnogenesis. He points out "can one negate the participation of the bearers of the field-urn culture in the ethnogenesis of the Illyrian tribes who lived in present-day Slovenia and Croatia" or "Hellenistic and Mediterranean influences on southern Illyrians and Liburnians?". He concludes that Benac's model is only applicable to the Illyrian groups in Bosnia, western Serbia and a part of Dalmatia, where there had indeed been a settlement continuity and 'native' progression of pottery sequences since the Bronze Age. Following prevailing trends in discourse on identity in Iron Age Europe, current anthropological perspectives reject older theories of a longue duree (long term) ethnogenesis of Illyrians, even where 'archaeological continuity' can be demonstrated to Bronze Age times. They rather see the emergence of historic Illyrians tribes as a more recent phenomenon - just prior to their first attestation. The impetus behind the emergence of larger regional groups, such as "Iapodes", "Liburnians", "Pannonians" etc., is traced to increased contacts with the Mediterranean and La Tene 'global worlds'. This catalyzed "the development of more complex political institutions and the increase in differences between individual communities". Emerging local elites selectively adopted either La Tene or Hellenistic and, later, Roman cultural templates "in order to legitimise and strengthen domination within their communities. They were competing fiercely through either alliance or conflict and resistance to Roman expansion. Thus, they established more complex political alliances, which convinced (Greco-Roman) sources to see them as 'ethnic' identities." Contemporary perspectives again highlight that the term "Illyrian" was a 'catch-all' exonym used by the Greeks and Romans to denote diverse communities beyond Epirus and Macedonia. Each was differentially conditioned by specific local cultural, ecological and economic factors; none of which fall into a compact, unitary "Illyrian" narrative.
Q: Are there any other interesting aspects about this article?
A: Modern scholarship is unable to refer to the Illyrians as a unique and compact people
Q: What scholarship?
A: post-modernism, scholars
Q: Did this influence anything?
A: The specific theories have found little archaeological corroboration, as no convincing evidence for significant migratory movements
|
C_a9b96a021b774af3a303077bcfe676dd_1_q#3
|
Where did they orginate?
| 0y
| 2x
|
{
"texts": [
"had arrived much earlier, during the Bronze Age as nomadic Indo-Europeans from the steppe."
],
"answer_starts": [
1212
]
}
|
{
"text": "had arrived much earlier, during the Bronze Age as nomadic Indo-Europeans from the steppe.",
"answer_start": 1212
}
|
C_a9b96a021b774af3a303077bcfe676dd_1
|
Illyrians
|
The Illyrians (Ancient Greek: Illurioi, Illyrioi; Latin: Illyrii or Illyri) were a group of Indo-European tribes in antiquity, who inhabited part of the western Balkans. The territory the Illyrians inhabited came to be known as Illyria to Greek and Roman authors, who identified a territory that corresponds to Croatia, Bosnia and Herzegovina, Slovenia, Montenegro, part of Serbia and most of central and northern Albania, between the Adriatic Sea in the west, the Drava river in the north, the Morava river in the east and the mouth of the Aoos river in the south. The first account of Illyrian peoples comes from the Periplus of Pseudo-Scylax, an ancient Greek text of the middle of the 4th century BC that describes coastal passages in the Mediterranean. The name "Illyrians", as applied by the ancient Greeks to their northern neighbors, may have referred to a broad, ill-defined group of peoples, and it is today unclear to what extent they were linguistically and culturally homogeneous.
|
Origins
|
Even before the advent of post-modernism, scholars recognized a "difficulty in producing a single theory on the ethnogenesis of the Illyrians" given their heterogeneous nature. Modern scholarship is unable to refer to the Illyrians as a unique and compact people and agrees that they were a sum of ill-defined communities without common origins that never merged to a single ethnic entity. On the other hand, some past Pan-Illyrian theories have been dismissed by scholars, based as they were on racialistic notions of Nordicism and Aryanism. The specific theories have found little archaeological corroboration, as no convincing evidence for significant migratory movements from the Luzatian culture into the west Balkans have ever been found. Rather, archaeologists from the former Yugoslavia highlighted the continuity between the Bronze and succeeding Iron Age (especially in regions such as Donja Dolina, central Bosnia-Glasinac, and northern Albania (Mat river basin)), ultimately developing the so-called "autochthonous theory" of Illyrian genesis. The "autochthonous" model was most elaborated upon by Alojz Benac and B. Covic. They argued (following the "Kurgan hypothesis") that the 'proto-Illyrians' had arrived much earlier, during the Bronze Age as nomadic Indo-Europeans from the steppe. From that point, there was a gradual Illyrianization of the western Balkans leading to historic Illyrians, with no early Iron Age migration from northern Europe. He did not deny a minor cultural impact from the northern Urnfield cultures, however "these movements had neither a profound influence on the stability.. of the Balkans, nor did they affect the ethnogenesis of the Illyrian ethnos". Aleksandar Stipcevic raised concerns regarding Benac's all-encompassing scenario of autochthonous ethnogenesis. He points out "can one negate the participation of the bearers of the field-urn culture in the ethnogenesis of the Illyrian tribes who lived in present-day Slovenia and Croatia" or "Hellenistic and Mediterranean influences on southern Illyrians and Liburnians?". He concludes that Benac's model is only applicable to the Illyrian groups in Bosnia, western Serbia and a part of Dalmatia, where there had indeed been a settlement continuity and 'native' progression of pottery sequences since the Bronze Age. Following prevailing trends in discourse on identity in Iron Age Europe, current anthropological perspectives reject older theories of a longue duree (long term) ethnogenesis of Illyrians, even where 'archaeological continuity' can be demonstrated to Bronze Age times. They rather see the emergence of historic Illyrians tribes as a more recent phenomenon - just prior to their first attestation. The impetus behind the emergence of larger regional groups, such as "Iapodes", "Liburnians", "Pannonians" etc., is traced to increased contacts with the Mediterranean and La Tene 'global worlds'. This catalyzed "the development of more complex political institutions and the increase in differences between individual communities". Emerging local elites selectively adopted either La Tene or Hellenistic and, later, Roman cultural templates "in order to legitimise and strengthen domination within their communities. They were competing fiercely through either alliance or conflict and resistance to Roman expansion. Thus, they established more complex political alliances, which convinced (Greco-Roman) sources to see them as 'ethnic' identities." Contemporary perspectives again highlight that the term "Illyrian" was a 'catch-all' exonym used by the Greeks and Romans to denote diverse communities beyond Epirus and Macedonia. Each was differentially conditioned by specific local cultural, ecological and economic factors; none of which fall into a compact, unitary "Illyrian" narrative.
Q: Are there any other interesting aspects about this article?
A: Modern scholarship is unable to refer to the Illyrians as a unique and compact people
Q: What scholarship?
A: post-modernism, scholars
Q: Did this influence anything?
A: The specific theories have found little archaeological corroboration, as no convincing evidence for significant migratory movements
Q: Where did they orginate?
A: had arrived much earlier, during the Bronze Age as nomadic Indo-Europeans from the steppe.
|
C_a9b96a021b774af3a303077bcfe676dd_1_q#4
|
Was it a mix blood line?
| 0y
| 2x
|
{
"texts": [
"The impetus behind the emergence of larger regional groups, such as \"Iapodes\", \"Liburnians\", \"Pannonians\" etc., is traced to increased contacts with the Mediterranean and La Tene 'global worlds'."
],
"answer_starts": [
2715
]
}
|
{
"text": "The impetus behind the emergence of larger regional groups, such as \"Iapodes\", \"Liburnians\", \"Pannonians\" etc., is traced to increased contacts with the Mediterranean and La Tene 'global worlds'.",
"answer_start": 2715
}
|
C_a9b96a021b774af3a303077bcfe676dd_1
|
Illyrians
|
The Illyrians (Ancient Greek: Illurioi, Illyrioi; Latin: Illyrii or Illyri) were a group of Indo-European tribes in antiquity, who inhabited part of the western Balkans. The territory the Illyrians inhabited came to be known as Illyria to Greek and Roman authors, who identified a territory that corresponds to Croatia, Bosnia and Herzegovina, Slovenia, Montenegro, part of Serbia and most of central and northern Albania, between the Adriatic Sea in the west, the Drava river in the north, the Morava river in the east and the mouth of the Aoos river in the south. The first account of Illyrian peoples comes from the Periplus of Pseudo-Scylax, an ancient Greek text of the middle of the 4th century BC that describes coastal passages in the Mediterranean. The name "Illyrians", as applied by the ancient Greeks to their northern neighbors, may have referred to a broad, ill-defined group of peoples, and it is today unclear to what extent they were linguistically and culturally homogeneous.
|
Origins
|
Even before the advent of post-modernism, scholars recognized a "difficulty in producing a single theory on the ethnogenesis of the Illyrians" given their heterogeneous nature. Modern scholarship is unable to refer to the Illyrians as a unique and compact people and agrees that they were a sum of ill-defined communities without common origins that never merged to a single ethnic entity. On the other hand, some past Pan-Illyrian theories have been dismissed by scholars, based as they were on racialistic notions of Nordicism and Aryanism. The specific theories have found little archaeological corroboration, as no convincing evidence for significant migratory movements from the Luzatian culture into the west Balkans have ever been found. Rather, archaeologists from the former Yugoslavia highlighted the continuity between the Bronze and succeeding Iron Age (especially in regions such as Donja Dolina, central Bosnia-Glasinac, and northern Albania (Mat river basin)), ultimately developing the so-called "autochthonous theory" of Illyrian genesis. The "autochthonous" model was most elaborated upon by Alojz Benac and B. Covic. They argued (following the "Kurgan hypothesis") that the 'proto-Illyrians' had arrived much earlier, during the Bronze Age as nomadic Indo-Europeans from the steppe. From that point, there was a gradual Illyrianization of the western Balkans leading to historic Illyrians, with no early Iron Age migration from northern Europe. He did not deny a minor cultural impact from the northern Urnfield cultures, however "these movements had neither a profound influence on the stability.. of the Balkans, nor did they affect the ethnogenesis of the Illyrian ethnos". Aleksandar Stipcevic raised concerns regarding Benac's all-encompassing scenario of autochthonous ethnogenesis. He points out "can one negate the participation of the bearers of the field-urn culture in the ethnogenesis of the Illyrian tribes who lived in present-day Slovenia and Croatia" or "Hellenistic and Mediterranean influences on southern Illyrians and Liburnians?". He concludes that Benac's model is only applicable to the Illyrian groups in Bosnia, western Serbia and a part of Dalmatia, where there had indeed been a settlement continuity and 'native' progression of pottery sequences since the Bronze Age. Following prevailing trends in discourse on identity in Iron Age Europe, current anthropological perspectives reject older theories of a longue duree (long term) ethnogenesis of Illyrians, even where 'archaeological continuity' can be demonstrated to Bronze Age times. They rather see the emergence of historic Illyrians tribes as a more recent phenomenon - just prior to their first attestation. The impetus behind the emergence of larger regional groups, such as "Iapodes", "Liburnians", "Pannonians" etc., is traced to increased contacts with the Mediterranean and La Tene 'global worlds'. This catalyzed "the development of more complex political institutions and the increase in differences between individual communities". Emerging local elites selectively adopted either La Tene or Hellenistic and, later, Roman cultural templates "in order to legitimise and strengthen domination within their communities. They were competing fiercely through either alliance or conflict and resistance to Roman expansion. Thus, they established more complex political alliances, which convinced (Greco-Roman) sources to see them as 'ethnic' identities." Contemporary perspectives again highlight that the term "Illyrian" was a 'catch-all' exonym used by the Greeks and Romans to denote diverse communities beyond Epirus and Macedonia. Each was differentially conditioned by specific local cultural, ecological and economic factors; none of which fall into a compact, unitary "Illyrian" narrative.
Q: Are there any other interesting aspects about this article?
A: Modern scholarship is unable to refer to the Illyrians as a unique and compact people
Q: What scholarship?
A: post-modernism, scholars
Q: Did this influence anything?
A: The specific theories have found little archaeological corroboration, as no convincing evidence for significant migratory movements
Q: Where did they orginate?
A: had arrived much earlier, during the Bronze Age as nomadic Indo-Europeans from the steppe.
Q: Was it a mix blood line?
A: The impetus behind the emergence of larger regional groups, such as "Iapodes", "Liburnians", "Pannonians" etc., is traced to increased contacts with the Mediterranean and La Tene 'global worlds'.
|
C_a9b96a021b774af3a303077bcfe676dd_1_q#5
|
Where were they located?
| 0y
| 2x
|
{
"texts": [
"there was a gradual Illyrianization of the western Balkans"
],
"answer_starts": [
1320
]
}
|
{
"text": "there was a gradual Illyrianization of the western Balkans",
"answer_start": 1320
}
|
C_a9b96a021b774af3a303077bcfe676dd_1
|
Illyrians
|
The Illyrians (Ancient Greek: Illurioi, Illyrioi; Latin: Illyrii or Illyri) were a group of Indo-European tribes in antiquity, who inhabited part of the western Balkans. The territory the Illyrians inhabited came to be known as Illyria to Greek and Roman authors, who identified a territory that corresponds to Croatia, Bosnia and Herzegovina, Slovenia, Montenegro, part of Serbia and most of central and northern Albania, between the Adriatic Sea in the west, the Drava river in the north, the Morava river in the east and the mouth of the Aoos river in the south. The first account of Illyrian peoples comes from the Periplus of Pseudo-Scylax, an ancient Greek text of the middle of the 4th century BC that describes coastal passages in the Mediterranean. The name "Illyrians", as applied by the ancient Greeks to their northern neighbors, may have referred to a broad, ill-defined group of peoples, and it is today unclear to what extent they were linguistically and culturally homogeneous.
|
Origins
|
Even before the advent of post-modernism, scholars recognized a "difficulty in producing a single theory on the ethnogenesis of the Illyrians" given their heterogeneous nature. Modern scholarship is unable to refer to the Illyrians as a unique and compact people and agrees that they were a sum of ill-defined communities without common origins that never merged to a single ethnic entity. On the other hand, some past Pan-Illyrian theories have been dismissed by scholars, based as they were on racialistic notions of Nordicism and Aryanism. The specific theories have found little archaeological corroboration, as no convincing evidence for significant migratory movements from the Luzatian culture into the west Balkans have ever been found. Rather, archaeologists from the former Yugoslavia highlighted the continuity between the Bronze and succeeding Iron Age (especially in regions such as Donja Dolina, central Bosnia-Glasinac, and northern Albania (Mat river basin)), ultimately developing the so-called "autochthonous theory" of Illyrian genesis. The "autochthonous" model was most elaborated upon by Alojz Benac and B. Covic. They argued (following the "Kurgan hypothesis") that the 'proto-Illyrians' had arrived much earlier, during the Bronze Age as nomadic Indo-Europeans from the steppe. From that point, there was a gradual Illyrianization of the western Balkans leading to historic Illyrians, with no early Iron Age migration from northern Europe. He did not deny a minor cultural impact from the northern Urnfield cultures, however "these movements had neither a profound influence on the stability.. of the Balkans, nor did they affect the ethnogenesis of the Illyrian ethnos". Aleksandar Stipcevic raised concerns regarding Benac's all-encompassing scenario of autochthonous ethnogenesis. He points out "can one negate the participation of the bearers of the field-urn culture in the ethnogenesis of the Illyrian tribes who lived in present-day Slovenia and Croatia" or "Hellenistic and Mediterranean influences on southern Illyrians and Liburnians?". He concludes that Benac's model is only applicable to the Illyrian groups in Bosnia, western Serbia and a part of Dalmatia, where there had indeed been a settlement continuity and 'native' progression of pottery sequences since the Bronze Age. Following prevailing trends in discourse on identity in Iron Age Europe, current anthropological perspectives reject older theories of a longue duree (long term) ethnogenesis of Illyrians, even where 'archaeological continuity' can be demonstrated to Bronze Age times. They rather see the emergence of historic Illyrians tribes as a more recent phenomenon - just prior to their first attestation. The impetus behind the emergence of larger regional groups, such as "Iapodes", "Liburnians", "Pannonians" etc., is traced to increased contacts with the Mediterranean and La Tene 'global worlds'. This catalyzed "the development of more complex political institutions and the increase in differences between individual communities". Emerging local elites selectively adopted either La Tene or Hellenistic and, later, Roman cultural templates "in order to legitimise and strengthen domination within their communities. They were competing fiercely through either alliance or conflict and resistance to Roman expansion. Thus, they established more complex political alliances, which convinced (Greco-Roman) sources to see them as 'ethnic' identities." Contemporary perspectives again highlight that the term "Illyrian" was a 'catch-all' exonym used by the Greeks and Romans to denote diverse communities beyond Epirus and Macedonia. Each was differentially conditioned by specific local cultural, ecological and economic factors; none of which fall into a compact, unitary "Illyrian" narrative.
Q: Are there any other interesting aspects about this article?
A: Modern scholarship is unable to refer to the Illyrians as a unique and compact people
Q: What scholarship?
A: post-modernism, scholars
Q: Did this influence anything?
A: The specific theories have found little archaeological corroboration, as no convincing evidence for significant migratory movements
Q: Where did they orginate?
A: had arrived much earlier, during the Bronze Age as nomadic Indo-Europeans from the steppe.
Q: Was it a mix blood line?
A: The impetus behind the emergence of larger regional groups, such as "Iapodes", "Liburnians", "Pannonians" etc., is traced to increased contacts with the Mediterranean and La Tene 'global worlds'.
Q: Where were they located?
A: there was a gradual Illyrianization of the western Balkans
|
C_a9b96a021b774af3a303077bcfe676dd_1_q#6
|
Where did the majority settle?
| 0y
| 2x
|
{
"texts": [
"Bosnia, western Serbia and a part of Dalmatia,"
],
"answer_starts": [
2150
]
}
|
{
"text": "Bosnia, western Serbia and a part of Dalmatia,",
"answer_start": 2150
}
|
C_d0366c5804654a7ab9cd04ea0ccaa6fa_1
|
Badfinger
|
Badfinger were a British rock band that, in their most successful lineup, consisted of Pete Ham, Mike Gibbins, Tom Evans, and Joey Molland. The band evolved from an earlier group called The Iveys that was formed in 1961 by Ham, Ron Griffiths and David "Dai" Jenkins in Swansea, Wales. The Iveys were the first group signed by the Beatles' Apple label in 1968. The band renamed themselves Badfinger and in 1969 Griffiths left and was replaced by Molland.
|
Early days
|
The Iveys formed in 1961 in Swansea, Wales from The Panthers, whose line-up consisted of Pete Ham (lead guitar) (b. Peter William Ham, 27 April 1947, Townhill, Swansea, d. 23 April 1975), Ron Griffiths (bass guitar) (b. Ronald Llewellyn Griffiths, 2 October 1946, Swansea), David "Dai" Jenkins (rhythm guitar) (b. David Owen Jenkins, 30 October 1945, Swansea), and Roy Anderson (drums). Playing under various names including The Black Velvets and the Wild Ones, by 1964 they settled on The Iveys, after a street in Swansea called Ivey Place. In March 1965, drummer Mike Gibbins (b. Michael George Gibbins, 12 March 1949, Swansea, d. 4 October 2005) joined The Iveys. The group secured concerts around Swansea area, opening for prominent British groups such as the Spencer Davis Group, The Who, The Moody Blues and The Yardbirds. By June 1966, Bill Collins (the father of actor Lewis Collins) had started to manage the group. In December 1966 the entire group moved into Collins' home at 7 Park Avenue, Golders Green, London, sharing space with an act called The Mojos. The house was terminally overcrowded, so the only place to find any privacy was in a room equipped with a two-track recording machine. The group performed a wide range of cover tunes on the London circuit, from Motown, blues, soul to Top 40, psychedelic pop, and Beatles hits, which garnered interest from record labels. Ray Davies of The Kinks auditioned to produce them, recording three of their songs at a 4-track demo studio in London's Old Kent Road on 15 January 1967: "Taxi" and "Sausage And Eggs", songs by Ham; and Griffiths' "I Believe in You Girl". On 8 December 1966, Collins and the group signed a five-year contract giving Collins a 20% share of net receipts, the same as the individual group members, but only after managerial expenses had been deducted. Collins said at the time, "Look, I can't promise you lads anything, except blood, sweat and tears". The group performed occasional concerts backing David Garrick, while performing as The Iveys across the United Kingdom throughout the rest of the decade. In August 1967, Dai Jenkins was asked to leave the group, and was replaced by Liverpudlian guitarist Tom Evans, formerly of Them Calderstones (b. Thomas Evans Jr., 5 June 1947, Liverpool, d. 19 November 1983). Jenkins' departure was remembered by Griffiths as being "politely asked if he would step down", as Jenkins seemed more interested in girls than the music.
|
C_d0366c5804654a7ab9cd04ea0ccaa6fa_1_q#0
|
Where did Badfinger get their start?
| 0y
| 0y
|
{
"texts": [
"The Iveys formed in 1961 in"
],
"answer_starts": [
0
]
}
|
{
"text": "The Iveys formed in 1961 in",
"answer_start": 0
}
|
C_d0366c5804654a7ab9cd04ea0ccaa6fa_1
|
Badfinger
|
Badfinger were a British rock band that, in their most successful lineup, consisted of Pete Ham, Mike Gibbins, Tom Evans, and Joey Molland. The band evolved from an earlier group called The Iveys that was formed in 1961 by Ham, Ron Griffiths and David "Dai" Jenkins in Swansea, Wales. The Iveys were the first group signed by the Beatles' Apple label in 1968. The band renamed themselves Badfinger and in 1969 Griffiths left and was replaced by Molland.
|
Early days
|
The Iveys formed in 1961 in Swansea, Wales from The Panthers, whose line-up consisted of Pete Ham (lead guitar) (b. Peter William Ham, 27 April 1947, Townhill, Swansea, d. 23 April 1975), Ron Griffiths (bass guitar) (b. Ronald Llewellyn Griffiths, 2 October 1946, Swansea), David "Dai" Jenkins (rhythm guitar) (b. David Owen Jenkins, 30 October 1945, Swansea), and Roy Anderson (drums). Playing under various names including The Black Velvets and the Wild Ones, by 1964 they settled on The Iveys, after a street in Swansea called Ivey Place. In March 1965, drummer Mike Gibbins (b. Michael George Gibbins, 12 March 1949, Swansea, d. 4 October 2005) joined The Iveys. The group secured concerts around Swansea area, opening for prominent British groups such as the Spencer Davis Group, The Who, The Moody Blues and The Yardbirds. By June 1966, Bill Collins (the father of actor Lewis Collins) had started to manage the group. In December 1966 the entire group moved into Collins' home at 7 Park Avenue, Golders Green, London, sharing space with an act called The Mojos. The house was terminally overcrowded, so the only place to find any privacy was in a room equipped with a two-track recording machine. The group performed a wide range of cover tunes on the London circuit, from Motown, blues, soul to Top 40, psychedelic pop, and Beatles hits, which garnered interest from record labels. Ray Davies of The Kinks auditioned to produce them, recording three of their songs at a 4-track demo studio in London's Old Kent Road on 15 January 1967: "Taxi" and "Sausage And Eggs", songs by Ham; and Griffiths' "I Believe in You Girl". On 8 December 1966, Collins and the group signed a five-year contract giving Collins a 20% share of net receipts, the same as the individual group members, but only after managerial expenses had been deducted. Collins said at the time, "Look, I can't promise you lads anything, except blood, sweat and tears". The group performed occasional concerts backing David Garrick, while performing as The Iveys across the United Kingdom throughout the rest of the decade. In August 1967, Dai Jenkins was asked to leave the group, and was replaced by Liverpudlian guitarist Tom Evans, formerly of Them Calderstones (b. Thomas Evans Jr., 5 June 1947, Liverpool, d. 19 November 1983). Jenkins' departure was remembered by Griffiths as being "politely asked if he would step down", as Jenkins seemed more interested in girls than the music.
Q: Where did Badfinger get their start?
A: The Iveys formed in 1961 in
|
C_d0366c5804654a7ab9cd04ea0ccaa6fa_1_q#1
|
When did the band first get together?
| 2m
| 2x
|
{
"texts": [
"1961 in Swansea, Wales"
],
"answer_starts": [
20
]
}
|
{
"text": "1961 in Swansea, Wales",
"answer_start": 20
}
|
C_d0366c5804654a7ab9cd04ea0ccaa6fa_1
|
Badfinger
|
Badfinger were a British rock band that, in their most successful lineup, consisted of Pete Ham, Mike Gibbins, Tom Evans, and Joey Molland. The band evolved from an earlier group called The Iveys that was formed in 1961 by Ham, Ron Griffiths and David "Dai" Jenkins in Swansea, Wales. The Iveys were the first group signed by the Beatles' Apple label in 1968. The band renamed themselves Badfinger and in 1969 Griffiths left and was replaced by Molland.
|
Early days
|
The Iveys formed in 1961 in Swansea, Wales from The Panthers, whose line-up consisted of Pete Ham (lead guitar) (b. Peter William Ham, 27 April 1947, Townhill, Swansea, d. 23 April 1975), Ron Griffiths (bass guitar) (b. Ronald Llewellyn Griffiths, 2 October 1946, Swansea), David "Dai" Jenkins (rhythm guitar) (b. David Owen Jenkins, 30 October 1945, Swansea), and Roy Anderson (drums). Playing under various names including The Black Velvets and the Wild Ones, by 1964 they settled on The Iveys, after a street in Swansea called Ivey Place. In March 1965, drummer Mike Gibbins (b. Michael George Gibbins, 12 March 1949, Swansea, d. 4 October 2005) joined The Iveys. The group secured concerts around Swansea area, opening for prominent British groups such as the Spencer Davis Group, The Who, The Moody Blues and The Yardbirds. By June 1966, Bill Collins (the father of actor Lewis Collins) had started to manage the group. In December 1966 the entire group moved into Collins' home at 7 Park Avenue, Golders Green, London, sharing space with an act called The Mojos. The house was terminally overcrowded, so the only place to find any privacy was in a room equipped with a two-track recording machine. The group performed a wide range of cover tunes on the London circuit, from Motown, blues, soul to Top 40, psychedelic pop, and Beatles hits, which garnered interest from record labels. Ray Davies of The Kinks auditioned to produce them, recording three of their songs at a 4-track demo studio in London's Old Kent Road on 15 January 1967: "Taxi" and "Sausage And Eggs", songs by Ham; and Griffiths' "I Believe in You Girl". On 8 December 1966, Collins and the group signed a five-year contract giving Collins a 20% share of net receipts, the same as the individual group members, but only after managerial expenses had been deducted. Collins said at the time, "Look, I can't promise you lads anything, except blood, sweat and tears". The group performed occasional concerts backing David Garrick, while performing as The Iveys across the United Kingdom throughout the rest of the decade. In August 1967, Dai Jenkins was asked to leave the group, and was replaced by Liverpudlian guitarist Tom Evans, formerly of Them Calderstones (b. Thomas Evans Jr., 5 June 1947, Liverpool, d. 19 November 1983). Jenkins' departure was remembered by Griffiths as being "politely asked if he would step down", as Jenkins seemed more interested in girls than the music.
Q: Where did Badfinger get their start?
A: The Iveys formed in 1961 in
Q: When did the band first get together?
A: 1961 in Swansea, Wales
|
C_d0366c5804654a7ab9cd04ea0ccaa6fa_1_q#2
|
Did they know each other before they became a band or did they meet during band auditions or what?
| 1n
| 2x
|
{
"texts": [
"unknown"
],
"answer_starts": [
2462
]
}
|
{
"text": "unknown",
"answer_start": 2462
}
|
C_d0366c5804654a7ab9cd04ea0ccaa6fa_1
|
Badfinger
|
Badfinger were a British rock band that, in their most successful lineup, consisted of Pete Ham, Mike Gibbins, Tom Evans, and Joey Molland. The band evolved from an earlier group called The Iveys that was formed in 1961 by Ham, Ron Griffiths and David "Dai" Jenkins in Swansea, Wales. The Iveys were the first group signed by the Beatles' Apple label in 1968. The band renamed themselves Badfinger and in 1969 Griffiths left and was replaced by Molland.
|
Early days
|
The Iveys formed in 1961 in Swansea, Wales from The Panthers, whose line-up consisted of Pete Ham (lead guitar) (b. Peter William Ham, 27 April 1947, Townhill, Swansea, d. 23 April 1975), Ron Griffiths (bass guitar) (b. Ronald Llewellyn Griffiths, 2 October 1946, Swansea), David "Dai" Jenkins (rhythm guitar) (b. David Owen Jenkins, 30 October 1945, Swansea), and Roy Anderson (drums). Playing under various names including The Black Velvets and the Wild Ones, by 1964 they settled on The Iveys, after a street in Swansea called Ivey Place. In March 1965, drummer Mike Gibbins (b. Michael George Gibbins, 12 March 1949, Swansea, d. 4 October 2005) joined The Iveys. The group secured concerts around Swansea area, opening for prominent British groups such as the Spencer Davis Group, The Who, The Moody Blues and The Yardbirds. By June 1966, Bill Collins (the father of actor Lewis Collins) had started to manage the group. In December 1966 the entire group moved into Collins' home at 7 Park Avenue, Golders Green, London, sharing space with an act called The Mojos. The house was terminally overcrowded, so the only place to find any privacy was in a room equipped with a two-track recording machine. The group performed a wide range of cover tunes on the London circuit, from Motown, blues, soul to Top 40, psychedelic pop, and Beatles hits, which garnered interest from record labels. Ray Davies of The Kinks auditioned to produce them, recording three of their songs at a 4-track demo studio in London's Old Kent Road on 15 January 1967: "Taxi" and "Sausage And Eggs", songs by Ham; and Griffiths' "I Believe in You Girl". On 8 December 1966, Collins and the group signed a five-year contract giving Collins a 20% share of net receipts, the same as the individual group members, but only after managerial expenses had been deducted. Collins said at the time, "Look, I can't promise you lads anything, except blood, sweat and tears". The group performed occasional concerts backing David Garrick, while performing as The Iveys across the United Kingdom throughout the rest of the decade. In August 1967, Dai Jenkins was asked to leave the group, and was replaced by Liverpudlian guitarist Tom Evans, formerly of Them Calderstones (b. Thomas Evans Jr., 5 June 1947, Liverpool, d. 19 November 1983). Jenkins' departure was remembered by Griffiths as being "politely asked if he would step down", as Jenkins seemed more interested in girls than the music.
Q: Where did Badfinger get their start?
A: The Iveys formed in 1961 in
Q: When did the band first get together?
A: 1961 in Swansea, Wales
Q: Did they know each other before they became a band or did they meet during band auditions or what?
A: unknown
|
C_d0366c5804654a7ab9cd04ea0ccaa6fa_1_q#3
|
How did they get their big break in the music business?
| 0y
| 0y
|
{
"texts": [
"The group performed a wide range of cover tunes on the London circuit,"
],
"answer_starts": [
1207
]
}
|
{
"text": "The group performed a wide range of cover tunes on the London circuit,",
"answer_start": 1207
}
|
C_d0366c5804654a7ab9cd04ea0ccaa6fa_1
|
Badfinger
|
Badfinger were a British rock band that, in their most successful lineup, consisted of Pete Ham, Mike Gibbins, Tom Evans, and Joey Molland. The band evolved from an earlier group called The Iveys that was formed in 1961 by Ham, Ron Griffiths and David "Dai" Jenkins in Swansea, Wales. The Iveys were the first group signed by the Beatles' Apple label in 1968. The band renamed themselves Badfinger and in 1969 Griffiths left and was replaced by Molland.
|
Early days
|
The Iveys formed in 1961 in Swansea, Wales from The Panthers, whose line-up consisted of Pete Ham (lead guitar) (b. Peter William Ham, 27 April 1947, Townhill, Swansea, d. 23 April 1975), Ron Griffiths (bass guitar) (b. Ronald Llewellyn Griffiths, 2 October 1946, Swansea), David "Dai" Jenkins (rhythm guitar) (b. David Owen Jenkins, 30 October 1945, Swansea), and Roy Anderson (drums). Playing under various names including The Black Velvets and the Wild Ones, by 1964 they settled on The Iveys, after a street in Swansea called Ivey Place. In March 1965, drummer Mike Gibbins (b. Michael George Gibbins, 12 March 1949, Swansea, d. 4 October 2005) joined The Iveys. The group secured concerts around Swansea area, opening for prominent British groups such as the Spencer Davis Group, The Who, The Moody Blues and The Yardbirds. By June 1966, Bill Collins (the father of actor Lewis Collins) had started to manage the group. In December 1966 the entire group moved into Collins' home at 7 Park Avenue, Golders Green, London, sharing space with an act called The Mojos. The house was terminally overcrowded, so the only place to find any privacy was in a room equipped with a two-track recording machine. The group performed a wide range of cover tunes on the London circuit, from Motown, blues, soul to Top 40, psychedelic pop, and Beatles hits, which garnered interest from record labels. Ray Davies of The Kinks auditioned to produce them, recording three of their songs at a 4-track demo studio in London's Old Kent Road on 15 January 1967: "Taxi" and "Sausage And Eggs", songs by Ham; and Griffiths' "I Believe in You Girl". On 8 December 1966, Collins and the group signed a five-year contract giving Collins a 20% share of net receipts, the same as the individual group members, but only after managerial expenses had been deducted. Collins said at the time, "Look, I can't promise you lads anything, except blood, sweat and tears". The group performed occasional concerts backing David Garrick, while performing as The Iveys across the United Kingdom throughout the rest of the decade. In August 1967, Dai Jenkins was asked to leave the group, and was replaced by Liverpudlian guitarist Tom Evans, formerly of Them Calderstones (b. Thomas Evans Jr., 5 June 1947, Liverpool, d. 19 November 1983). Jenkins' departure was remembered by Griffiths as being "politely asked if he would step down", as Jenkins seemed more interested in girls than the music.
Q: Where did Badfinger get their start?
A: The Iveys formed in 1961 in
Q: When did the band first get together?
A: 1961 in Swansea, Wales
Q: Did they know each other before they became a band or did they meet during band auditions or what?
A: unknown
Q: How did they get their big break in the music business?
A: The group performed a wide range of cover tunes on the London circuit,
|
C_d0366c5804654a7ab9cd04ea0ccaa6fa_1_q#4
|
When did they first tour outside of the UK?
| 2m
| 2x
|
{
"texts": [
"unknown"
],
"answer_starts": [
2462
]
}
|
{
"text": "unknown",
"answer_start": 2462
}
|
C_d0366c5804654a7ab9cd04ea0ccaa6fa_1
|
Badfinger
|
Badfinger were a British rock band that, in their most successful lineup, consisted of Pete Ham, Mike Gibbins, Tom Evans, and Joey Molland. The band evolved from an earlier group called The Iveys that was formed in 1961 by Ham, Ron Griffiths and David "Dai" Jenkins in Swansea, Wales. The Iveys were the first group signed by the Beatles' Apple label in 1968. The band renamed themselves Badfinger and in 1969 Griffiths left and was replaced by Molland.
|
Early days
|
The Iveys formed in 1961 in Swansea, Wales from The Panthers, whose line-up consisted of Pete Ham (lead guitar) (b. Peter William Ham, 27 April 1947, Townhill, Swansea, d. 23 April 1975), Ron Griffiths (bass guitar) (b. Ronald Llewellyn Griffiths, 2 October 1946, Swansea), David "Dai" Jenkins (rhythm guitar) (b. David Owen Jenkins, 30 October 1945, Swansea), and Roy Anderson (drums). Playing under various names including The Black Velvets and the Wild Ones, by 1964 they settled on The Iveys, after a street in Swansea called Ivey Place. In March 1965, drummer Mike Gibbins (b. Michael George Gibbins, 12 March 1949, Swansea, d. 4 October 2005) joined The Iveys. The group secured concerts around Swansea area, opening for prominent British groups such as the Spencer Davis Group, The Who, The Moody Blues and The Yardbirds. By June 1966, Bill Collins (the father of actor Lewis Collins) had started to manage the group. In December 1966 the entire group moved into Collins' home at 7 Park Avenue, Golders Green, London, sharing space with an act called The Mojos. The house was terminally overcrowded, so the only place to find any privacy was in a room equipped with a two-track recording machine. The group performed a wide range of cover tunes on the London circuit, from Motown, blues, soul to Top 40, psychedelic pop, and Beatles hits, which garnered interest from record labels. Ray Davies of The Kinks auditioned to produce them, recording three of their songs at a 4-track demo studio in London's Old Kent Road on 15 January 1967: "Taxi" and "Sausage And Eggs", songs by Ham; and Griffiths' "I Believe in You Girl". On 8 December 1966, Collins and the group signed a five-year contract giving Collins a 20% share of net receipts, the same as the individual group members, but only after managerial expenses had been deducted. Collins said at the time, "Look, I can't promise you lads anything, except blood, sweat and tears". The group performed occasional concerts backing David Garrick, while performing as The Iveys across the United Kingdom throughout the rest of the decade. In August 1967, Dai Jenkins was asked to leave the group, and was replaced by Liverpudlian guitarist Tom Evans, formerly of Them Calderstones (b. Thomas Evans Jr., 5 June 1947, Liverpool, d. 19 November 1983). Jenkins' departure was remembered by Griffiths as being "politely asked if he would step down", as Jenkins seemed more interested in girls than the music.
Q: Where did Badfinger get their start?
A: The Iveys formed in 1961 in
Q: When did the band first get together?
A: 1961 in Swansea, Wales
Q: Did they know each other before they became a band or did they meet during band auditions or what?
A: unknown
Q: How did they get their big break in the music business?
A: The group performed a wide range of cover tunes on the London circuit,
Q: When did they first tour outside of the UK?
A: unknown
|
C_d0366c5804654a7ab9cd04ea0ccaa6fa_1_q#5
|
did they lose any members before they got their break, or did the original band stay together?
| 2m
| 1n
|
{
"texts": [
"the entire group moved into Collins' home at 7 Park Avenue,"
],
"answer_starts": [
944
]
}
|
{
"text": "the entire group moved into Collins' home at 7 Park Avenue,",
"answer_start": 944
}
|
C_d0366c5804654a7ab9cd04ea0ccaa6fa_0
|
Badfinger
|
Badfinger were a British rock band that, in their most successful lineup, consisted of Pete Ham, Mike Gibbins, Tom Evans, and Joey Molland. The band evolved from an earlier group called The Iveys that was formed in 1961 by Ham, Ron Griffiths and David "Dai" Jenkins in Swansea, Wales. The Iveys were the first group signed by the Beatles' Apple label in 1968. The band renamed themselves Badfinger and in 1969 Griffiths left and was replaced by Molland.
|
Signing with Stan Polley
|
In April 1970, while in the US scouting prospects for a tour, Collins was introduced to New York businessman, Stan Polley, who signed Badfinger to a business management contract in November 1970. Polley established Badfinger Enterprises, Inc., with Stan Poses as vice-president. This signed the band members to various contracts dictating that receipts of touring, recording, publishing and even songwriter performance royalties would then go into holding companies controlled by Polley. This led to a salary arrangement for the band, which various members later complained was inadequate in comparison to their gross earnings. Gibbins: "My first impression was, Stan [Polley] is a powerful guy", while Molland thought that Polley seemed more of a father-figure. At the same time, Polley was also managing Al Kooper, of Blood, Sweat & Tears, and Lou Christie. Although Polley's professional reputation was admired, his dubious financial practices eventually contributed to the band's downfall. A financial statement prepared by Polley's accountants, Sigmund Balaban & Co., for the period from 8 December 1970 to 31 October 1971, showed Polley's income from the band: "Salaries and advances to client, $8,339 (Joey Molland), $6,861 (Mike Gibbins), $6,211 (Tom Evans), $5,959 (Pete Ham). Net corporation profit, $24,569. Management commission, $75,744 (Stan Polley)". Although it is not known if the band members saw the statement, Collins certainly had, as his handwriting was on the document. Badfinger toured the US for three months in late 1970, and were generally well received, although the band were already weary of persistent comparisons to the Beatles. "The thing that impressed me so much was how similar their voices were to The Beatles", Tony Visconti (producer, "Maybe Tomorrow") said; "I sometimes had to look over the control board down into the studio to make sure John and Paul weren't singing lead vocals ..." Rolling Stone critic Mike Saunders opined in a rave review of No Dice in 1970: "It's as if John, Paul, George, and Ringo had been reincarnated as Joey, Pete, Tom, and Mike of Badfinger". Media comparisons between them and the Beatles would continue throughout Badfinger's career.
|
C_d0366c5804654a7ab9cd04ea0ccaa6fa_0_q#0
|
When did the signing happen?
| 1n
| 2x
|
{
"texts": [
"signed Badfinger to a business management contract in November 1970."
],
"answer_starts": [
127
]
}
|
{
"text": "signed Badfinger to a business management contract in November 1970.",
"answer_start": 127
}
|
C_d0366c5804654a7ab9cd04ea0ccaa6fa_0
|
Badfinger
|
Badfinger were a British rock band that, in their most successful lineup, consisted of Pete Ham, Mike Gibbins, Tom Evans, and Joey Molland. The band evolved from an earlier group called The Iveys that was formed in 1961 by Ham, Ron Griffiths and David "Dai" Jenkins in Swansea, Wales. The Iveys were the first group signed by the Beatles' Apple label in 1968. The band renamed themselves Badfinger and in 1969 Griffiths left and was replaced by Molland.
|
Signing with Stan Polley
|
In April 1970, while in the US scouting prospects for a tour, Collins was introduced to New York businessman, Stan Polley, who signed Badfinger to a business management contract in November 1970. Polley established Badfinger Enterprises, Inc., with Stan Poses as vice-president. This signed the band members to various contracts dictating that receipts of touring, recording, publishing and even songwriter performance royalties would then go into holding companies controlled by Polley. This led to a salary arrangement for the band, which various members later complained was inadequate in comparison to their gross earnings. Gibbins: "My first impression was, Stan [Polley] is a powerful guy", while Molland thought that Polley seemed more of a father-figure. At the same time, Polley was also managing Al Kooper, of Blood, Sweat & Tears, and Lou Christie. Although Polley's professional reputation was admired, his dubious financial practices eventually contributed to the band's downfall. A financial statement prepared by Polley's accountants, Sigmund Balaban & Co., for the period from 8 December 1970 to 31 October 1971, showed Polley's income from the band: "Salaries and advances to client, $8,339 (Joey Molland), $6,861 (Mike Gibbins), $6,211 (Tom Evans), $5,959 (Pete Ham). Net corporation profit, $24,569. Management commission, $75,744 (Stan Polley)". Although it is not known if the band members saw the statement, Collins certainly had, as his handwriting was on the document. Badfinger toured the US for three months in late 1970, and were generally well received, although the band were already weary of persistent comparisons to the Beatles. "The thing that impressed me so much was how similar their voices were to The Beatles", Tony Visconti (producer, "Maybe Tomorrow") said; "I sometimes had to look over the control board down into the studio to make sure John and Paul weren't singing lead vocals ..." Rolling Stone critic Mike Saunders opined in a rave review of No Dice in 1970: "It's as if John, Paul, George, and Ringo had been reincarnated as Joey, Pete, Tom, and Mike of Badfinger". Media comparisons between them and the Beatles would continue throughout Badfinger's career.
Q: When did the signing happen?
A: signed Badfinger to a business management contract in November 1970.
|
C_d0366c5804654a7ab9cd04ea0ccaa6fa_0_q#1
|
Who was Stan Polley?
| 1n
| 2x
|
{
"texts": [
"Stan Polley, who signed Badfinger to a business management contract"
],
"answer_starts": [
110
]
}
|
{
"text": "Stan Polley, who signed Badfinger to a business management contract",
"answer_start": 110
}
|
C_d0366c5804654a7ab9cd04ea0ccaa6fa_0
|
Badfinger
|
Badfinger were a British rock band that, in their most successful lineup, consisted of Pete Ham, Mike Gibbins, Tom Evans, and Joey Molland. The band evolved from an earlier group called The Iveys that was formed in 1961 by Ham, Ron Griffiths and David "Dai" Jenkins in Swansea, Wales. The Iveys were the first group signed by the Beatles' Apple label in 1968. The band renamed themselves Badfinger and in 1969 Griffiths left and was replaced by Molland.
|
Signing with Stan Polley
|
In April 1970, while in the US scouting prospects for a tour, Collins was introduced to New York businessman, Stan Polley, who signed Badfinger to a business management contract in November 1970. Polley established Badfinger Enterprises, Inc., with Stan Poses as vice-president. This signed the band members to various contracts dictating that receipts of touring, recording, publishing and even songwriter performance royalties would then go into holding companies controlled by Polley. This led to a salary arrangement for the band, which various members later complained was inadequate in comparison to their gross earnings. Gibbins: "My first impression was, Stan [Polley] is a powerful guy", while Molland thought that Polley seemed more of a father-figure. At the same time, Polley was also managing Al Kooper, of Blood, Sweat & Tears, and Lou Christie. Although Polley's professional reputation was admired, his dubious financial practices eventually contributed to the band's downfall. A financial statement prepared by Polley's accountants, Sigmund Balaban & Co., for the period from 8 December 1970 to 31 October 1971, showed Polley's income from the band: "Salaries and advances to client, $8,339 (Joey Molland), $6,861 (Mike Gibbins), $6,211 (Tom Evans), $5,959 (Pete Ham). Net corporation profit, $24,569. Management commission, $75,744 (Stan Polley)". Although it is not known if the band members saw the statement, Collins certainly had, as his handwriting was on the document. Badfinger toured the US for three months in late 1970, and were generally well received, although the band were already weary of persistent comparisons to the Beatles. "The thing that impressed me so much was how similar their voices were to The Beatles", Tony Visconti (producer, "Maybe Tomorrow") said; "I sometimes had to look over the control board down into the studio to make sure John and Paul weren't singing lead vocals ..." Rolling Stone critic Mike Saunders opined in a rave review of No Dice in 1970: "It's as if John, Paul, George, and Ringo had been reincarnated as Joey, Pete, Tom, and Mike of Badfinger". Media comparisons between them and the Beatles would continue throughout Badfinger's career.
Q: When did the signing happen?
A: signed Badfinger to a business management contract in November 1970.
Q: Who was Stan Polley?
A: Stan Polley, who signed Badfinger to a business management contract
|
C_d0366c5804654a7ab9cd04ea0ccaa6fa_0_q#2
|
What prompted this?
| 1n
| 2x
|
{
"texts": [
"In April 1970, while in the US scouting prospects for a tour, Collins was introduced to New York businessman, Stan Polley,"
],
"answer_starts": [
0
]
}
|
{
"text": "In April 1970, while in the US scouting prospects for a tour, Collins was introduced to New York businessman, Stan Polley,",
"answer_start": 0
}
|
C_d0366c5804654a7ab9cd04ea0ccaa6fa_0
|
Badfinger
|
Badfinger were a British rock band that, in their most successful lineup, consisted of Pete Ham, Mike Gibbins, Tom Evans, and Joey Molland. The band evolved from an earlier group called The Iveys that was formed in 1961 by Ham, Ron Griffiths and David "Dai" Jenkins in Swansea, Wales. The Iveys were the first group signed by the Beatles' Apple label in 1968. The band renamed themselves Badfinger and in 1969 Griffiths left and was replaced by Molland.
|
Signing with Stan Polley
|
In April 1970, while in the US scouting prospects for a tour, Collins was introduced to New York businessman, Stan Polley, who signed Badfinger to a business management contract in November 1970. Polley established Badfinger Enterprises, Inc., with Stan Poses as vice-president. This signed the band members to various contracts dictating that receipts of touring, recording, publishing and even songwriter performance royalties would then go into holding companies controlled by Polley. This led to a salary arrangement for the band, which various members later complained was inadequate in comparison to their gross earnings. Gibbins: "My first impression was, Stan [Polley] is a powerful guy", while Molland thought that Polley seemed more of a father-figure. At the same time, Polley was also managing Al Kooper, of Blood, Sweat & Tears, and Lou Christie. Although Polley's professional reputation was admired, his dubious financial practices eventually contributed to the band's downfall. A financial statement prepared by Polley's accountants, Sigmund Balaban & Co., for the period from 8 December 1970 to 31 October 1971, showed Polley's income from the band: "Salaries and advances to client, $8,339 (Joey Molland), $6,861 (Mike Gibbins), $6,211 (Tom Evans), $5,959 (Pete Ham). Net corporation profit, $24,569. Management commission, $75,744 (Stan Polley)". Although it is not known if the band members saw the statement, Collins certainly had, as his handwriting was on the document. Badfinger toured the US for three months in late 1970, and were generally well received, although the band were already weary of persistent comparisons to the Beatles. "The thing that impressed me so much was how similar their voices were to The Beatles", Tony Visconti (producer, "Maybe Tomorrow") said; "I sometimes had to look over the control board down into the studio to make sure John and Paul weren't singing lead vocals ..." Rolling Stone critic Mike Saunders opined in a rave review of No Dice in 1970: "It's as if John, Paul, George, and Ringo had been reincarnated as Joey, Pete, Tom, and Mike of Badfinger". Media comparisons between them and the Beatles would continue throughout Badfinger's career.
Q: When did the signing happen?
A: signed Badfinger to a business management contract in November 1970.
Q: Who was Stan Polley?
A: Stan Polley, who signed Badfinger to a business management contract
Q: What prompted this?
A: In April 1970, while in the US scouting prospects for a tour, Collins was introduced to New York businessman, Stan Polley,
|
C_d0366c5804654a7ab9cd04ea0ccaa6fa_0_q#3
|
Were they happy with this partnership?
| 1n
| 2x
|
{
"texts": [
"Although Polley's professional reputation was admired, his dubious financial practices eventually contributed to the band's downfall."
],
"answer_starts": [
861
]
}
|
{
"text": "Although Polley's professional reputation was admired, his dubious financial practices eventually contributed to the band's downfall.",
"answer_start": 861
}
|
C_d0366c5804654a7ab9cd04ea0ccaa6fa_0
|
Badfinger
|
Badfinger were a British rock band that, in their most successful lineup, consisted of Pete Ham, Mike Gibbins, Tom Evans, and Joey Molland. The band evolved from an earlier group called The Iveys that was formed in 1961 by Ham, Ron Griffiths and David "Dai" Jenkins in Swansea, Wales. The Iveys were the first group signed by the Beatles' Apple label in 1968. The band renamed themselves Badfinger and in 1969 Griffiths left and was replaced by Molland.
|
Signing with Stan Polley
|
In April 1970, while in the US scouting prospects for a tour, Collins was introduced to New York businessman, Stan Polley, who signed Badfinger to a business management contract in November 1970. Polley established Badfinger Enterprises, Inc., with Stan Poses as vice-president. This signed the band members to various contracts dictating that receipts of touring, recording, publishing and even songwriter performance royalties would then go into holding companies controlled by Polley. This led to a salary arrangement for the band, which various members later complained was inadequate in comparison to their gross earnings. Gibbins: "My first impression was, Stan [Polley] is a powerful guy", while Molland thought that Polley seemed more of a father-figure. At the same time, Polley was also managing Al Kooper, of Blood, Sweat & Tears, and Lou Christie. Although Polley's professional reputation was admired, his dubious financial practices eventually contributed to the band's downfall. A financial statement prepared by Polley's accountants, Sigmund Balaban & Co., for the period from 8 December 1970 to 31 October 1971, showed Polley's income from the band: "Salaries and advances to client, $8,339 (Joey Molland), $6,861 (Mike Gibbins), $6,211 (Tom Evans), $5,959 (Pete Ham). Net corporation profit, $24,569. Management commission, $75,744 (Stan Polley)". Although it is not known if the band members saw the statement, Collins certainly had, as his handwriting was on the document. Badfinger toured the US for three months in late 1970, and were generally well received, although the band were already weary of persistent comparisons to the Beatles. "The thing that impressed me so much was how similar their voices were to The Beatles", Tony Visconti (producer, "Maybe Tomorrow") said; "I sometimes had to look over the control board down into the studio to make sure John and Paul weren't singing lead vocals ..." Rolling Stone critic Mike Saunders opined in a rave review of No Dice in 1970: "It's as if John, Paul, George, and Ringo had been reincarnated as Joey, Pete, Tom, and Mike of Badfinger". Media comparisons between them and the Beatles would continue throughout Badfinger's career.
Q: When did the signing happen?
A: signed Badfinger to a business management contract in November 1970.
Q: Who was Stan Polley?
A: Stan Polley, who signed Badfinger to a business management contract
Q: What prompted this?
A: In April 1970, while in the US scouting prospects for a tour, Collins was introduced to New York businessman, Stan Polley,
Q: Were they happy with this partnership?
A: Although Polley's professional reputation was admired, his dubious financial practices eventually contributed to the band's downfall.
|
C_d0366c5804654a7ab9cd04ea0ccaa6fa_0_q#4
|
What else did you find interesting?
| 2m
| 1n
|
{
"texts": [
"). Net corporation profit, $24,569. Management commission, $75,744 (Stan Polley)\"."
],
"answer_starts": [
1284
]
}
|
{
"text": "). Net corporation profit, $24,569. Management commission, $75,744 (Stan Polley)\".",
"answer_start": 1284
}
|
C_d0366c5804654a7ab9cd04ea0ccaa6fa_0
|
Badfinger
|
Badfinger were a British rock band that, in their most successful lineup, consisted of Pete Ham, Mike Gibbins, Tom Evans, and Joey Molland. The band evolved from an earlier group called The Iveys that was formed in 1961 by Ham, Ron Griffiths and David "Dai" Jenkins in Swansea, Wales. The Iveys were the first group signed by the Beatles' Apple label in 1968. The band renamed themselves Badfinger and in 1969 Griffiths left and was replaced by Molland.
|
Signing with Stan Polley
|
In April 1970, while in the US scouting prospects for a tour, Collins was introduced to New York businessman, Stan Polley, who signed Badfinger to a business management contract in November 1970. Polley established Badfinger Enterprises, Inc., with Stan Poses as vice-president. This signed the band members to various contracts dictating that receipts of touring, recording, publishing and even songwriter performance royalties would then go into holding companies controlled by Polley. This led to a salary arrangement for the band, which various members later complained was inadequate in comparison to their gross earnings. Gibbins: "My first impression was, Stan [Polley] is a powerful guy", while Molland thought that Polley seemed more of a father-figure. At the same time, Polley was also managing Al Kooper, of Blood, Sweat & Tears, and Lou Christie. Although Polley's professional reputation was admired, his dubious financial practices eventually contributed to the band's downfall. A financial statement prepared by Polley's accountants, Sigmund Balaban & Co., for the period from 8 December 1970 to 31 October 1971, showed Polley's income from the band: "Salaries and advances to client, $8,339 (Joey Molland), $6,861 (Mike Gibbins), $6,211 (Tom Evans), $5,959 (Pete Ham). Net corporation profit, $24,569. Management commission, $75,744 (Stan Polley)". Although it is not known if the band members saw the statement, Collins certainly had, as his handwriting was on the document. Badfinger toured the US for three months in late 1970, and were generally well received, although the band were already weary of persistent comparisons to the Beatles. "The thing that impressed me so much was how similar their voices were to The Beatles", Tony Visconti (producer, "Maybe Tomorrow") said; "I sometimes had to look over the control board down into the studio to make sure John and Paul weren't singing lead vocals ..." Rolling Stone critic Mike Saunders opined in a rave review of No Dice in 1970: "It's as if John, Paul, George, and Ringo had been reincarnated as Joey, Pete, Tom, and Mike of Badfinger". Media comparisons between them and the Beatles would continue throughout Badfinger's career.
Q: When did the signing happen?
A: signed Badfinger to a business management contract in November 1970.
Q: Who was Stan Polley?
A: Stan Polley, who signed Badfinger to a business management contract
Q: What prompted this?
A: In April 1970, while in the US scouting prospects for a tour, Collins was introduced to New York businessman, Stan Polley,
Q: Were they happy with this partnership?
A: Although Polley's professional reputation was admired, his dubious financial practices eventually contributed to the band's downfall.
Q: What else did you find interesting?
A: ). Net corporation profit, $24,569. Management commission, $75,744 (Stan Polley)".
|
C_d0366c5804654a7ab9cd04ea0ccaa6fa_0_q#5
|
Was Stan sued for their downfall?
| 1n
| 2x
|
{
"texts": [
"unknown"
],
"answer_starts": [
2209
]
}
|
{
"text": "unknown",
"answer_start": 2209
}
|
C_d1cabf7093574c9d806bafea85be652b_1
|
Faryl Smith
|
Faryl Smith (born 23 July 1995) is a British soprano who rose to fame after appearing on the second series of the ITV television talent show Britain's Got Talent in 2008. She received praise throughout the competition, and although the favourite to win after the second round, she finished outside the top three in the live final on 31 May. During the competition, she was tutored by singing coach Yvie Burnett and received offers from various record labels. After the show, she, unlike other finalists, did not sign with Simon Cowell's Syco, although she did appear on fellow finalist Andrew Johnston's debut album, One Voice.
|
Record deal
|
The day after the Britain's Got Talent finals, Max Clifford, speaking for Simon Cowell, said that it was "quite possible" that Cowell would be signing some of the finalists, including Smith. Though she did not sign with Syco, Cowell's record label, she did record a duet of "Walking in the Air" with Johnston, which appeared on his debut album, One Voice, and was tipped as a potential Christmas number-one. Before the release of One Voice, it was revealed that Smith and her father, Tony Smith, were finalising the details of her record deal. In November, it was announced that Smith would be performing on stage in Kettering with Sylvia Berryman, a vocal tutor who had worked with Smith prior to her appearance on Britain's Got Talent. Smith said that she was "really looking forward to singing locally again", and it was again reported that Smith hoped to soon sign her own record deal. In December 2008 the Daily Mail reported that Smith had signed a PS2.3 million, multi-album deal with Universal Music Group that was the "most lucrative recording contract ever handed to a schoolgirl". Smith said "I'm honoured to be joining such a fantastic record company, especially since it's where [Jenkins] started." Dickon Stainer, speaking on behalf of Universal, said "as soon as we saw Faryl, it became an ambition to sign her." Universal claimed it intended to market Smith as a pop star. Smith signed the contract at the Royal Albert Hall, following which she performed with Katherine Jenkins. Neil Fisher, writing for The Times, described Smith as "heir apparent" to Jenkins; the pair had first met when Smith won a competition at the Llangollen International Musical Eisteddfod. By 2009, Jenkins was acting as a mentor to Smith. In January 2009 plans were released for Smith to perform with Placido Domingo, an idea originally suggested by him. In an interview with the Metro, Smith talked about her future plans, insisting that she did not wish to be dubbed as the next Charlotte Church. She later said that "In the papers, it sounded like I was snobby when I said 'I don't want to be like Charlotte Church', but I didn't mean it like that." She has also spoken of her desire to appear in films on top of her musical career. She said "Films and movies are something I'd really like to do. I've always wanted to act so doing a film would be amazing."
|
C_d1cabf7093574c9d806bafea85be652b_1_q#0
|
what was smith's record deal?
| 0y
| 2x
|
{
"texts": [
"Before the release of One Voice, it was revealed that Smith and her father, Tony Smith, were finalising the details of her record deal."
],
"answer_starts": [
408
]
}
|
{
"text": "Before the release of One Voice, it was revealed that Smith and her father, Tony Smith, were finalising the details of her record deal.",
"answer_start": 408
}
|
C_d1cabf7093574c9d806bafea85be652b_1
|
Faryl Smith
|
Faryl Smith (born 23 July 1995) is a British soprano who rose to fame after appearing on the second series of the ITV television talent show Britain's Got Talent in 2008. She received praise throughout the competition, and although the favourite to win after the second round, she finished outside the top three in the live final on 31 May. During the competition, she was tutored by singing coach Yvie Burnett and received offers from various record labels. After the show, she, unlike other finalists, did not sign with Simon Cowell's Syco, although she did appear on fellow finalist Andrew Johnston's debut album, One Voice.
|
Record deal
|
The day after the Britain's Got Talent finals, Max Clifford, speaking for Simon Cowell, said that it was "quite possible" that Cowell would be signing some of the finalists, including Smith. Though she did not sign with Syco, Cowell's record label, she did record a duet of "Walking in the Air" with Johnston, which appeared on his debut album, One Voice, and was tipped as a potential Christmas number-one. Before the release of One Voice, it was revealed that Smith and her father, Tony Smith, were finalising the details of her record deal. In November, it was announced that Smith would be performing on stage in Kettering with Sylvia Berryman, a vocal tutor who had worked with Smith prior to her appearance on Britain's Got Talent. Smith said that she was "really looking forward to singing locally again", and it was again reported that Smith hoped to soon sign her own record deal. In December 2008 the Daily Mail reported that Smith had signed a PS2.3 million, multi-album deal with Universal Music Group that was the "most lucrative recording contract ever handed to a schoolgirl". Smith said "I'm honoured to be joining such a fantastic record company, especially since it's where [Jenkins] started." Dickon Stainer, speaking on behalf of Universal, said "as soon as we saw Faryl, it became an ambition to sign her." Universal claimed it intended to market Smith as a pop star. Smith signed the contract at the Royal Albert Hall, following which she performed with Katherine Jenkins. Neil Fisher, writing for The Times, described Smith as "heir apparent" to Jenkins; the pair had first met when Smith won a competition at the Llangollen International Musical Eisteddfod. By 2009, Jenkins was acting as a mentor to Smith. In January 2009 plans were released for Smith to perform with Placido Domingo, an idea originally suggested by him. In an interview with the Metro, Smith talked about her future plans, insisting that she did not wish to be dubbed as the next Charlotte Church. She later said that "In the papers, it sounded like I was snobby when I said 'I don't want to be like Charlotte Church', but I didn't mean it like that." She has also spoken of her desire to appear in films on top of her musical career. She said "Films and movies are something I'd really like to do. I've always wanted to act so doing a film would be amazing."
Q: what was smith's record deal?
A: Before the release of One Voice, it was revealed that Smith and her father, Tony Smith, were finalising the details of her record deal.
|
C_d1cabf7093574c9d806bafea85be652b_1_q#1
|
what were those details?
| 0y
| 2x
|
{
"texts": [
"In December 2008 the Daily Mail reported that Smith had signed a PS2.3 million, multi-album deal with Universal Music Group"
],
"answer_starts": [
891
]
}
|
{
"text": "In December 2008 the Daily Mail reported that Smith had signed a PS2.3 million, multi-album deal with Universal Music Group",
"answer_start": 891
}
|
C_d1cabf7093574c9d806bafea85be652b_1
|
Faryl Smith
|
Faryl Smith (born 23 July 1995) is a British soprano who rose to fame after appearing on the second series of the ITV television talent show Britain's Got Talent in 2008. She received praise throughout the competition, and although the favourite to win after the second round, she finished outside the top three in the live final on 31 May. During the competition, she was tutored by singing coach Yvie Burnett and received offers from various record labels. After the show, she, unlike other finalists, did not sign with Simon Cowell's Syco, although she did appear on fellow finalist Andrew Johnston's debut album, One Voice.
|
Record deal
|
The day after the Britain's Got Talent finals, Max Clifford, speaking for Simon Cowell, said that it was "quite possible" that Cowell would be signing some of the finalists, including Smith. Though she did not sign with Syco, Cowell's record label, she did record a duet of "Walking in the Air" with Johnston, which appeared on his debut album, One Voice, and was tipped as a potential Christmas number-one. Before the release of One Voice, it was revealed that Smith and her father, Tony Smith, were finalising the details of her record deal. In November, it was announced that Smith would be performing on stage in Kettering with Sylvia Berryman, a vocal tutor who had worked with Smith prior to her appearance on Britain's Got Talent. Smith said that she was "really looking forward to singing locally again", and it was again reported that Smith hoped to soon sign her own record deal. In December 2008 the Daily Mail reported that Smith had signed a PS2.3 million, multi-album deal with Universal Music Group that was the "most lucrative recording contract ever handed to a schoolgirl". Smith said "I'm honoured to be joining such a fantastic record company, especially since it's where [Jenkins] started." Dickon Stainer, speaking on behalf of Universal, said "as soon as we saw Faryl, it became an ambition to sign her." Universal claimed it intended to market Smith as a pop star. Smith signed the contract at the Royal Albert Hall, following which she performed with Katherine Jenkins. Neil Fisher, writing for The Times, described Smith as "heir apparent" to Jenkins; the pair had first met when Smith won a competition at the Llangollen International Musical Eisteddfod. By 2009, Jenkins was acting as a mentor to Smith. In January 2009 plans were released for Smith to perform with Placido Domingo, an idea originally suggested by him. In an interview with the Metro, Smith talked about her future plans, insisting that she did not wish to be dubbed as the next Charlotte Church. She later said that "In the papers, it sounded like I was snobby when I said 'I don't want to be like Charlotte Church', but I didn't mean it like that." She has also spoken of her desire to appear in films on top of her musical career. She said "Films and movies are something I'd really like to do. I've always wanted to act so doing a film would be amazing."
Q: what was smith's record deal?
A: Before the release of One Voice, it was revealed that Smith and her father, Tony Smith, were finalising the details of her record deal.
Q: what were those details?
A: In December 2008 the Daily Mail reported that Smith had signed a PS2.3 million, multi-album deal with Universal Music Group
|
C_d1cabf7093574c9d806bafea85be652b_1_q#2
|
what albums did she put out?
| 1n
| 2x
|
{
"texts": [
"Though she did not sign with Syco, Cowell's record label, she did record a duet of \"Walking in the Air\" with Johnston, which appeared on his debut album, One Voice,"
],
"answer_starts": [
191
]
}
|
{
"text": "Though she did not sign with Syco, Cowell's record label, she did record a duet of \"Walking in the Air\" with Johnston, which appeared on his debut album, One Voice,",
"answer_start": 191
}
|
C_d1cabf7093574c9d806bafea85be652b_1
|
Faryl Smith
|
Faryl Smith (born 23 July 1995) is a British soprano who rose to fame after appearing on the second series of the ITV television talent show Britain's Got Talent in 2008. She received praise throughout the competition, and although the favourite to win after the second round, she finished outside the top three in the live final on 31 May. During the competition, she was tutored by singing coach Yvie Burnett and received offers from various record labels. After the show, she, unlike other finalists, did not sign with Simon Cowell's Syco, although she did appear on fellow finalist Andrew Johnston's debut album, One Voice.
|
Record deal
|
The day after the Britain's Got Talent finals, Max Clifford, speaking for Simon Cowell, said that it was "quite possible" that Cowell would be signing some of the finalists, including Smith. Though she did not sign with Syco, Cowell's record label, she did record a duet of "Walking in the Air" with Johnston, which appeared on his debut album, One Voice, and was tipped as a potential Christmas number-one. Before the release of One Voice, it was revealed that Smith and her father, Tony Smith, were finalising the details of her record deal. In November, it was announced that Smith would be performing on stage in Kettering with Sylvia Berryman, a vocal tutor who had worked with Smith prior to her appearance on Britain's Got Talent. Smith said that she was "really looking forward to singing locally again", and it was again reported that Smith hoped to soon sign her own record deal. In December 2008 the Daily Mail reported that Smith had signed a PS2.3 million, multi-album deal with Universal Music Group that was the "most lucrative recording contract ever handed to a schoolgirl". Smith said "I'm honoured to be joining such a fantastic record company, especially since it's where [Jenkins] started." Dickon Stainer, speaking on behalf of Universal, said "as soon as we saw Faryl, it became an ambition to sign her." Universal claimed it intended to market Smith as a pop star. Smith signed the contract at the Royal Albert Hall, following which she performed with Katherine Jenkins. Neil Fisher, writing for The Times, described Smith as "heir apparent" to Jenkins; the pair had first met when Smith won a competition at the Llangollen International Musical Eisteddfod. By 2009, Jenkins was acting as a mentor to Smith. In January 2009 plans were released for Smith to perform with Placido Domingo, an idea originally suggested by him. In an interview with the Metro, Smith talked about her future plans, insisting that she did not wish to be dubbed as the next Charlotte Church. She later said that "In the papers, it sounded like I was snobby when I said 'I don't want to be like Charlotte Church', but I didn't mean it like that." She has also spoken of her desire to appear in films on top of her musical career. She said "Films and movies are something I'd really like to do. I've always wanted to act so doing a film would be amazing."
Q: what was smith's record deal?
A: Before the release of One Voice, it was revealed that Smith and her father, Tony Smith, were finalising the details of her record deal.
Q: what were those details?
A: In December 2008 the Daily Mail reported that Smith had signed a PS2.3 million, multi-album deal with Universal Music Group
Q: what albums did she put out?
A: Though she did not sign with Syco, Cowell's record label, she did record a duet of "Walking in the Air" with Johnston, which appeared on his debut album, One Voice,
|
C_d1cabf7093574c9d806bafea85be652b_1_q#3
|
Are there any other interesting aspects about this article?
| 2m
| 0y
|
{
"texts": [
"In January 2009 plans were released for Smith to perform with Placido Domingo, an idea originally suggested by him."
],
"answer_starts": [
1734
]
}
|
{
"text": "In January 2009 plans were released for Smith to perform with Placido Domingo, an idea originally suggested by him.",
"answer_start": 1734
}
|
C_d1cabf7093574c9d806bafea85be652b_1
|
Faryl Smith
|
Faryl Smith (born 23 July 1995) is a British soprano who rose to fame after appearing on the second series of the ITV television talent show Britain's Got Talent in 2008. She received praise throughout the competition, and although the favourite to win after the second round, she finished outside the top three in the live final on 31 May. During the competition, she was tutored by singing coach Yvie Burnett and received offers from various record labels. After the show, she, unlike other finalists, did not sign with Simon Cowell's Syco, although she did appear on fellow finalist Andrew Johnston's debut album, One Voice.
|
Record deal
|
The day after the Britain's Got Talent finals, Max Clifford, speaking for Simon Cowell, said that it was "quite possible" that Cowell would be signing some of the finalists, including Smith. Though she did not sign with Syco, Cowell's record label, she did record a duet of "Walking in the Air" with Johnston, which appeared on his debut album, One Voice, and was tipped as a potential Christmas number-one. Before the release of One Voice, it was revealed that Smith and her father, Tony Smith, were finalising the details of her record deal. In November, it was announced that Smith would be performing on stage in Kettering with Sylvia Berryman, a vocal tutor who had worked with Smith prior to her appearance on Britain's Got Talent. Smith said that she was "really looking forward to singing locally again", and it was again reported that Smith hoped to soon sign her own record deal. In December 2008 the Daily Mail reported that Smith had signed a PS2.3 million, multi-album deal with Universal Music Group that was the "most lucrative recording contract ever handed to a schoolgirl". Smith said "I'm honoured to be joining such a fantastic record company, especially since it's where [Jenkins] started." Dickon Stainer, speaking on behalf of Universal, said "as soon as we saw Faryl, it became an ambition to sign her." Universal claimed it intended to market Smith as a pop star. Smith signed the contract at the Royal Albert Hall, following which she performed with Katherine Jenkins. Neil Fisher, writing for The Times, described Smith as "heir apparent" to Jenkins; the pair had first met when Smith won a competition at the Llangollen International Musical Eisteddfod. By 2009, Jenkins was acting as a mentor to Smith. In January 2009 plans were released for Smith to perform with Placido Domingo, an idea originally suggested by him. In an interview with the Metro, Smith talked about her future plans, insisting that she did not wish to be dubbed as the next Charlotte Church. She later said that "In the papers, it sounded like I was snobby when I said 'I don't want to be like Charlotte Church', but I didn't mean it like that." She has also spoken of her desire to appear in films on top of her musical career. She said "Films and movies are something I'd really like to do. I've always wanted to act so doing a film would be amazing."
Q: what was smith's record deal?
A: Before the release of One Voice, it was revealed that Smith and her father, Tony Smith, were finalising the details of her record deal.
Q: what were those details?
A: In December 2008 the Daily Mail reported that Smith had signed a PS2.3 million, multi-album deal with Universal Music Group
Q: what albums did she put out?
A: Though she did not sign with Syco, Cowell's record label, she did record a duet of "Walking in the Air" with Johnston, which appeared on his debut album, One Voice,
Q: Are there any other interesting aspects about this article?
A: In January 2009 plans were released for Smith to perform with Placido Domingo, an idea originally suggested by him.
|
C_d1cabf7093574c9d806bafea85be652b_1_q#4
|
did she perform with him after all?
| 2m
| 1n
|
{
"texts": [
"In an interview with the Metro, Smith talked about her future plans, insisting that she did not wish to be dubbed as the next Charlotte Church."
],
"answer_starts": [
1850
]
}
|
{
"text": "In an interview with the Metro, Smith talked about her future plans, insisting that she did not wish to be dubbed as the next Charlotte Church.",
"answer_start": 1850
}
|
C_d1cabf7093574c9d806bafea85be652b_1
|
Faryl Smith
|
Faryl Smith (born 23 July 1995) is a British soprano who rose to fame after appearing on the second series of the ITV television talent show Britain's Got Talent in 2008. She received praise throughout the competition, and although the favourite to win after the second round, she finished outside the top three in the live final on 31 May. During the competition, she was tutored by singing coach Yvie Burnett and received offers from various record labels. After the show, she, unlike other finalists, did not sign with Simon Cowell's Syco, although she did appear on fellow finalist Andrew Johnston's debut album, One Voice.
|
Record deal
|
The day after the Britain's Got Talent finals, Max Clifford, speaking for Simon Cowell, said that it was "quite possible" that Cowell would be signing some of the finalists, including Smith. Though she did not sign with Syco, Cowell's record label, she did record a duet of "Walking in the Air" with Johnston, which appeared on his debut album, One Voice, and was tipped as a potential Christmas number-one. Before the release of One Voice, it was revealed that Smith and her father, Tony Smith, were finalising the details of her record deal. In November, it was announced that Smith would be performing on stage in Kettering with Sylvia Berryman, a vocal tutor who had worked with Smith prior to her appearance on Britain's Got Talent. Smith said that she was "really looking forward to singing locally again", and it was again reported that Smith hoped to soon sign her own record deal. In December 2008 the Daily Mail reported that Smith had signed a PS2.3 million, multi-album deal with Universal Music Group that was the "most lucrative recording contract ever handed to a schoolgirl". Smith said "I'm honoured to be joining such a fantastic record company, especially since it's where [Jenkins] started." Dickon Stainer, speaking on behalf of Universal, said "as soon as we saw Faryl, it became an ambition to sign her." Universal claimed it intended to market Smith as a pop star. Smith signed the contract at the Royal Albert Hall, following which she performed with Katherine Jenkins. Neil Fisher, writing for The Times, described Smith as "heir apparent" to Jenkins; the pair had first met when Smith won a competition at the Llangollen International Musical Eisteddfod. By 2009, Jenkins was acting as a mentor to Smith. In January 2009 plans were released for Smith to perform with Placido Domingo, an idea originally suggested by him. In an interview with the Metro, Smith talked about her future plans, insisting that she did not wish to be dubbed as the next Charlotte Church. She later said that "In the papers, it sounded like I was snobby when I said 'I don't want to be like Charlotte Church', but I didn't mean it like that." She has also spoken of her desire to appear in films on top of her musical career. She said "Films and movies are something I'd really like to do. I've always wanted to act so doing a film would be amazing."
Q: what was smith's record deal?
A: Before the release of One Voice, it was revealed that Smith and her father, Tony Smith, were finalising the details of her record deal.
Q: what were those details?
A: In December 2008 the Daily Mail reported that Smith had signed a PS2.3 million, multi-album deal with Universal Music Group
Q: what albums did she put out?
A: Though she did not sign with Syco, Cowell's record label, she did record a duet of "Walking in the Air" with Johnston, which appeared on his debut album, One Voice,
Q: Are there any other interesting aspects about this article?
A: In January 2009 plans were released for Smith to perform with Placido Domingo, an idea originally suggested by him.
Q: did she perform with him after all?
A: In an interview with the Metro, Smith talked about her future plans, insisting that she did not wish to be dubbed as the next Charlotte Church.
|
C_d1cabf7093574c9d806bafea85be652b_1_q#5
|
what did she do insteaD?
| 2m
| 2x
|
{
"texts": [
"\"In the papers, it sounded like I was snobby when I said 'I don't want to be like Charlotte Church', but I didn't mean it like that.\""
],
"answer_starts": [
2014
]
}
|
{
"text": "\"In the papers, it sounded like I was snobby when I said 'I don't want to be like Charlotte Church', but I didn't mean it like that.\"",
"answer_start": 2014
}
|
C_d1cabf7093574c9d806bafea85be652b_0
|
Faryl Smith
|
Faryl Smith (born 23 July 1995) is a British soprano who rose to fame after appearing on the second series of the ITV television talent show Britain's Got Talent in 2008. She received praise throughout the competition, and although the favourite to win after the second round, she finished outside the top three in the live final on 31 May. During the competition, she was tutored by singing coach Yvie Burnett and received offers from various record labels. After the show, she, unlike other finalists, did not sign with Simon Cowell's Syco, although she did appear on fellow finalist Andrew Johnston's debut album, One Voice.
|
Wonderland
|
In July 2009 it was announced that Smith was hoping to release her second album later in the year. In an interview, she expressed surprise and pleasure that the label wanted her to do another album so soon after the first. In September, further details about the album were released, including its name, Wonderland, and planned release date, 30 November. Smith claimed that Faryl "was an introduction to me and an introduction for me to recording", while Cohen, producer of both Faryl and Wonderland, said Smith had "matured as an artist since the first album and I have no doubt that once again, people will be astonished and moved by her performances". The album, which was recorded at Sarm Studios in Notting Hill, London, was completed in early October, and is loosely based on Lewis Carroll's Alice in Wonderland. Wonderland was released on 30 November. To publicise the album, Smith appeared on numerous radio shows, as well as television appearances including Ready Steady Cook, Blue Peter, the BBC News Channel, The Alan Titchmarsh Show and Sky News Sunrise. Wonderland was well received by critics; Paul Callan, reviewing the album for the Daily Express, described it as "a joy". He compared it to other Christmas albums, saying that "[t]oo many are tired, much-repeated carol selections." He described Smith's "control, tone and warmth" as "very moving". Andy Gill, reviewing Wonderland for The Independent, gave a less positive review. He said that the influence of Alice in Wonderland was often hard to perceive and that Cohen and Smith had "sweetened the classical elements". However, he praised the arrangements of "Adiemus", "Barcarolle", "Merry Christmas, Mr Lawrence" and "Blow The Wind Southerly", but noted that on tracks including "Close To You", "the lack of emotional weight is telling." Overall, Gill gave Wonderland 3 out of 5. However, the album failed to perform as well as Faryl; it entered the British album charts at number 56 for the week ending 12 December before dropping to number 92 the following week and then out of the top 100. After Wonderland, Smith's contract with Universal ended, and she subsequently received less attention from the press. Smith described the break with the label as mainly her decision, as she needed to focus on her A levels, which would allow her to get to university, explaining in an interview that "It wasn't like it ended horribly." Smith performed at the 2009 Royal Variety Performance in front of Queen Elizabeth II, where she sang "God Save the Queen" with The Soldiers. She later said that the experience, including subsequently meeting the Queen, as the highlight of her year. Smith also performed elsewhere with The Soldiers, including at St Paul's Cathedral and Great Ormond Street Children's Hospital.
|
C_d1cabf7093574c9d806bafea85be652b_0_q#0
|
What was Wonderland?
| 0y
| 2x
|
{
"texts": [
"details about the album were released, including its name, Wonderland,"
],
"answer_starts": [
245
]
}
|
{
"text": "details about the album were released, including its name, Wonderland,",
"answer_start": 245
}
|
C_d1cabf7093574c9d806bafea85be652b_0
|
Faryl Smith
|
Faryl Smith (born 23 July 1995) is a British soprano who rose to fame after appearing on the second series of the ITV television talent show Britain's Got Talent in 2008. She received praise throughout the competition, and although the favourite to win after the second round, she finished outside the top three in the live final on 31 May. During the competition, she was tutored by singing coach Yvie Burnett and received offers from various record labels. After the show, she, unlike other finalists, did not sign with Simon Cowell's Syco, although she did appear on fellow finalist Andrew Johnston's debut album, One Voice.
|
Wonderland
|
In July 2009 it was announced that Smith was hoping to release her second album later in the year. In an interview, she expressed surprise and pleasure that the label wanted her to do another album so soon after the first. In September, further details about the album were released, including its name, Wonderland, and planned release date, 30 November. Smith claimed that Faryl "was an introduction to me and an introduction for me to recording", while Cohen, producer of both Faryl and Wonderland, said Smith had "matured as an artist since the first album and I have no doubt that once again, people will be astonished and moved by her performances". The album, which was recorded at Sarm Studios in Notting Hill, London, was completed in early October, and is loosely based on Lewis Carroll's Alice in Wonderland. Wonderland was released on 30 November. To publicise the album, Smith appeared on numerous radio shows, as well as television appearances including Ready Steady Cook, Blue Peter, the BBC News Channel, The Alan Titchmarsh Show and Sky News Sunrise. Wonderland was well received by critics; Paul Callan, reviewing the album for the Daily Express, described it as "a joy". He compared it to other Christmas albums, saying that "[t]oo many are tired, much-repeated carol selections." He described Smith's "control, tone and warmth" as "very moving". Andy Gill, reviewing Wonderland for The Independent, gave a less positive review. He said that the influence of Alice in Wonderland was often hard to perceive and that Cohen and Smith had "sweetened the classical elements". However, he praised the arrangements of "Adiemus", "Barcarolle", "Merry Christmas, Mr Lawrence" and "Blow The Wind Southerly", but noted that on tracks including "Close To You", "the lack of emotional weight is telling." Overall, Gill gave Wonderland 3 out of 5. However, the album failed to perform as well as Faryl; it entered the British album charts at number 56 for the week ending 12 December before dropping to number 92 the following week and then out of the top 100. After Wonderland, Smith's contract with Universal ended, and she subsequently received less attention from the press. Smith described the break with the label as mainly her decision, as she needed to focus on her A levels, which would allow her to get to university, explaining in an interview that "It wasn't like it ended horribly." Smith performed at the 2009 Royal Variety Performance in front of Queen Elizabeth II, where she sang "God Save the Queen" with The Soldiers. She later said that the experience, including subsequently meeting the Queen, as the highlight of her year. Smith also performed elsewhere with The Soldiers, including at St Paul's Cathedral and Great Ormond Street Children's Hospital.
Q: What was Wonderland?
A: details about the album were released, including its name, Wonderland,
|
C_d1cabf7093574c9d806bafea85be652b_0_q#1
|
When was the album released?
| 2m
| 2x
|
{
"texts": [
"30 November."
],
"answer_starts": [
342
]
}
|
{
"text": "30 November.",
"answer_start": 342
}
|
C_d1cabf7093574c9d806bafea85be652b_0
|
Faryl Smith
|
Faryl Smith (born 23 July 1995) is a British soprano who rose to fame after appearing on the second series of the ITV television talent show Britain's Got Talent in 2008. She received praise throughout the competition, and although the favourite to win after the second round, she finished outside the top three in the live final on 31 May. During the competition, she was tutored by singing coach Yvie Burnett and received offers from various record labels. After the show, she, unlike other finalists, did not sign with Simon Cowell's Syco, although she did appear on fellow finalist Andrew Johnston's debut album, One Voice.
|
Wonderland
|
In July 2009 it was announced that Smith was hoping to release her second album later in the year. In an interview, she expressed surprise and pleasure that the label wanted her to do another album so soon after the first. In September, further details about the album were released, including its name, Wonderland, and planned release date, 30 November. Smith claimed that Faryl "was an introduction to me and an introduction for me to recording", while Cohen, producer of both Faryl and Wonderland, said Smith had "matured as an artist since the first album and I have no doubt that once again, people will be astonished and moved by her performances". The album, which was recorded at Sarm Studios in Notting Hill, London, was completed in early October, and is loosely based on Lewis Carroll's Alice in Wonderland. Wonderland was released on 30 November. To publicise the album, Smith appeared on numerous radio shows, as well as television appearances including Ready Steady Cook, Blue Peter, the BBC News Channel, The Alan Titchmarsh Show and Sky News Sunrise. Wonderland was well received by critics; Paul Callan, reviewing the album for the Daily Express, described it as "a joy". He compared it to other Christmas albums, saying that "[t]oo many are tired, much-repeated carol selections." He described Smith's "control, tone and warmth" as "very moving". Andy Gill, reviewing Wonderland for The Independent, gave a less positive review. He said that the influence of Alice in Wonderland was often hard to perceive and that Cohen and Smith had "sweetened the classical elements". However, he praised the arrangements of "Adiemus", "Barcarolle", "Merry Christmas, Mr Lawrence" and "Blow The Wind Southerly", but noted that on tracks including "Close To You", "the lack of emotional weight is telling." Overall, Gill gave Wonderland 3 out of 5. However, the album failed to perform as well as Faryl; it entered the British album charts at number 56 for the week ending 12 December before dropping to number 92 the following week and then out of the top 100. After Wonderland, Smith's contract with Universal ended, and she subsequently received less attention from the press. Smith described the break with the label as mainly her decision, as she needed to focus on her A levels, which would allow her to get to university, explaining in an interview that "It wasn't like it ended horribly." Smith performed at the 2009 Royal Variety Performance in front of Queen Elizabeth II, where she sang "God Save the Queen" with The Soldiers. She later said that the experience, including subsequently meeting the Queen, as the highlight of her year. Smith also performed elsewhere with The Soldiers, including at St Paul's Cathedral and Great Ormond Street Children's Hospital.
Q: What was Wonderland?
A: details about the album were released, including its name, Wonderland,
Q: When was the album released?
A: 30 November.
|
C_d1cabf7093574c9d806bafea85be652b_0_q#2
|
What did people think or say about the album?
| 0y
| 2x
|
{
"texts": [
"said Smith had \"matured as an artist since the first album and I have no doubt that once again, people will be astonished and moved by her performances\"."
],
"answer_starts": [
501
]
}
|
{
"text": "said Smith had \"matured as an artist since the first album and I have no doubt that once again, people will be astonished and moved by her performances\".",
"answer_start": 501
}
|
C_d1cabf7093574c9d806bafea85be652b_0
|
Faryl Smith
|
Faryl Smith (born 23 July 1995) is a British soprano who rose to fame after appearing on the second series of the ITV television talent show Britain's Got Talent in 2008. She received praise throughout the competition, and although the favourite to win after the second round, she finished outside the top three in the live final on 31 May. During the competition, she was tutored by singing coach Yvie Burnett and received offers from various record labels. After the show, she, unlike other finalists, did not sign with Simon Cowell's Syco, although she did appear on fellow finalist Andrew Johnston's debut album, One Voice.
|
Wonderland
|
In July 2009 it was announced that Smith was hoping to release her second album later in the year. In an interview, she expressed surprise and pleasure that the label wanted her to do another album so soon after the first. In September, further details about the album were released, including its name, Wonderland, and planned release date, 30 November. Smith claimed that Faryl "was an introduction to me and an introduction for me to recording", while Cohen, producer of both Faryl and Wonderland, said Smith had "matured as an artist since the first album and I have no doubt that once again, people will be astonished and moved by her performances". The album, which was recorded at Sarm Studios in Notting Hill, London, was completed in early October, and is loosely based on Lewis Carroll's Alice in Wonderland. Wonderland was released on 30 November. To publicise the album, Smith appeared on numerous radio shows, as well as television appearances including Ready Steady Cook, Blue Peter, the BBC News Channel, The Alan Titchmarsh Show and Sky News Sunrise. Wonderland was well received by critics; Paul Callan, reviewing the album for the Daily Express, described it as "a joy". He compared it to other Christmas albums, saying that "[t]oo many are tired, much-repeated carol selections." He described Smith's "control, tone and warmth" as "very moving". Andy Gill, reviewing Wonderland for The Independent, gave a less positive review. He said that the influence of Alice in Wonderland was often hard to perceive and that Cohen and Smith had "sweetened the classical elements". However, he praised the arrangements of "Adiemus", "Barcarolle", "Merry Christmas, Mr Lawrence" and "Blow The Wind Southerly", but noted that on tracks including "Close To You", "the lack of emotional weight is telling." Overall, Gill gave Wonderland 3 out of 5. However, the album failed to perform as well as Faryl; it entered the British album charts at number 56 for the week ending 12 December before dropping to number 92 the following week and then out of the top 100. After Wonderland, Smith's contract with Universal ended, and she subsequently received less attention from the press. Smith described the break with the label as mainly her decision, as she needed to focus on her A levels, which would allow her to get to university, explaining in an interview that "It wasn't like it ended horribly." Smith performed at the 2009 Royal Variety Performance in front of Queen Elizabeth II, where she sang "God Save the Queen" with The Soldiers. She later said that the experience, including subsequently meeting the Queen, as the highlight of her year. Smith also performed elsewhere with The Soldiers, including at St Paul's Cathedral and Great Ormond Street Children's Hospital.
Q: What was Wonderland?
A: details about the album were released, including its name, Wonderland,
Q: When was the album released?
A: 30 November.
Q: What did people think or say about the album?
A: said Smith had "matured as an artist since the first album and I have no doubt that once again, people will be astonished and moved by her performances".
|
C_d1cabf7093574c9d806bafea85be652b_0_q#3
|
What else did others think?
| 0y
| 2x
|
{
"texts": [
"Paul Callan, reviewing the album for the Daily Express, described it as \"a joy\"."
],
"answer_starts": [
1109
]
}
|
{
"text": "Paul Callan, reviewing the album for the Daily Express, described it as \"a joy\".",
"answer_start": 1109
}
|
C_d1cabf7093574c9d806bafea85be652b_0
|
Faryl Smith
|
Faryl Smith (born 23 July 1995) is a British soprano who rose to fame after appearing on the second series of the ITV television talent show Britain's Got Talent in 2008. She received praise throughout the competition, and although the favourite to win after the second round, she finished outside the top three in the live final on 31 May. During the competition, she was tutored by singing coach Yvie Burnett and received offers from various record labels. After the show, she, unlike other finalists, did not sign with Simon Cowell's Syco, although she did appear on fellow finalist Andrew Johnston's debut album, One Voice.
|
Wonderland
|
In July 2009 it was announced that Smith was hoping to release her second album later in the year. In an interview, she expressed surprise and pleasure that the label wanted her to do another album so soon after the first. In September, further details about the album were released, including its name, Wonderland, and planned release date, 30 November. Smith claimed that Faryl "was an introduction to me and an introduction for me to recording", while Cohen, producer of both Faryl and Wonderland, said Smith had "matured as an artist since the first album and I have no doubt that once again, people will be astonished and moved by her performances". The album, which was recorded at Sarm Studios in Notting Hill, London, was completed in early October, and is loosely based on Lewis Carroll's Alice in Wonderland. Wonderland was released on 30 November. To publicise the album, Smith appeared on numerous radio shows, as well as television appearances including Ready Steady Cook, Blue Peter, the BBC News Channel, The Alan Titchmarsh Show and Sky News Sunrise. Wonderland was well received by critics; Paul Callan, reviewing the album for the Daily Express, described it as "a joy". He compared it to other Christmas albums, saying that "[t]oo many are tired, much-repeated carol selections." He described Smith's "control, tone and warmth" as "very moving". Andy Gill, reviewing Wonderland for The Independent, gave a less positive review. He said that the influence of Alice in Wonderland was often hard to perceive and that Cohen and Smith had "sweetened the classical elements". However, he praised the arrangements of "Adiemus", "Barcarolle", "Merry Christmas, Mr Lawrence" and "Blow The Wind Southerly", but noted that on tracks including "Close To You", "the lack of emotional weight is telling." Overall, Gill gave Wonderland 3 out of 5. However, the album failed to perform as well as Faryl; it entered the British album charts at number 56 for the week ending 12 December before dropping to number 92 the following week and then out of the top 100. After Wonderland, Smith's contract with Universal ended, and she subsequently received less attention from the press. Smith described the break with the label as mainly her decision, as she needed to focus on her A levels, which would allow her to get to university, explaining in an interview that "It wasn't like it ended horribly." Smith performed at the 2009 Royal Variety Performance in front of Queen Elizabeth II, where she sang "God Save the Queen" with The Soldiers. She later said that the experience, including subsequently meeting the Queen, as the highlight of her year. Smith also performed elsewhere with The Soldiers, including at St Paul's Cathedral and Great Ormond Street Children's Hospital.
Q: What was Wonderland?
A: details about the album were released, including its name, Wonderland,
Q: When was the album released?
A: 30 November.
Q: What did people think or say about the album?
A: said Smith had "matured as an artist since the first album and I have no doubt that once again, people will be astonished and moved by her performances".
Q: What else did others think?
A: Paul Callan, reviewing the album for the Daily Express, described it as "a joy".
|
C_d1cabf7093574c9d806bafea85be652b_0_q#4
|
What songs or hit singles did the album have?
| 0y
| 2x
|
{
"texts": [
"\"Adiemus\", \"Barcarolle\", \"Merry Christmas,"
],
"answer_starts": [
1630
]
}
|
{
"text": "\"Adiemus\", \"Barcarolle\", \"Merry Christmas,",
"answer_start": 1630
}
|
C_e27fa2123565461580f1ec274da842df_1
|
Tristan Tzara
|
Tristan Tzara (French: [tRista dzaRa]; Romanian: [tris'tan 'tsara]; born Samuel or Samy Rosenstock, also known as S. Samyro; April 16 [O.S. April 4] 1896 - December 25, 1963) was a Romanian and French avant-garde poet, essayist and performance artist. Also active as a journalist, playwright, literary and art critic, composer and film director, he was known best for being one of the founders and central figures of the anti-establishment Dada movement. Under the influence of Adrian Maniu, the adolescent Tzara became interested in Symbolism and co-founded the magazine Simbolul with Ion Vinea (with whom he also wrote experimental poetry) and painter Marcel Janco. During World War I, after briefly collaborating on Vinea's Chemarea, he joined Janco in Switzerland.
|
Name
|
S. Samyro, a partial anagram of Samy Rosenstock, was used by Tzara from his debut and throughout the early 1910s. A number of undated writings, which he probably authored as early as 1913, bear the signature Tristan Ruia, and, in summer of 1915, he was signing his pieces with the name Tristan. In the 1960s, Rosenstock's collaborator and later rival Ion Vinea claimed that he was responsible for coining the Tzara part of his pseudonym in 1915. Vinea also stated that Tzara wanted to keep Tristan as his adopted first name, and that this choice had later attracted him the "infamous pun" Triste Ane Tzara (French for "Sad Donkey Tzara"). This version of events is uncertain, as manuscripts show that the writer may have already been using the full name, as well as the variations Tristan Tara and Tr. Tzara, in 1913-1914 (although there is a possibility that he was signing his texts long after committing them to paper). In 1972, art historian Serge Fauchereau, based on information received from Colomba, the wife of avant-garde poet Ilarie Voronca, recounted that Tzara himself had explained his chosen name was a pun in Romanian, trist in tara, meaning "sad in the country"; Colomba Voronca was also dismissing rumors that Tzara had selected Tristan as a tribute to poet Tristan Corbiere or to Richard Wagner's Tristan und Isolde opera. Samy Rosenstock legally adopted his new name in 1925, after filing a request with Romania's Ministry of the Interior. The French pronunciation of his name has become commonplace in Romania, where it replaces its more natural reading as tara ("the land", Romanian pronunciation: ['tsara]).
|
C_e27fa2123565461580f1ec274da842df_1_q#0
|
When did Tristan change his name?
| 2m
| 2x
|
{
"texts": [
"in summer of 1915, he was signing his pieces with the name Tristan."
],
"answer_starts": [
227
]
}
|
{
"text": "in summer of 1915, he was signing his pieces with the name Tristan.",
"answer_start": 227
}
|
C_e27fa2123565461580f1ec274da842df_1
|
Tristan Tzara
|
Tristan Tzara (French: [tRista dzaRa]; Romanian: [tris'tan 'tsara]; born Samuel or Samy Rosenstock, also known as S. Samyro; April 16 [O.S. April 4] 1896 - December 25, 1963) was a Romanian and French avant-garde poet, essayist and performance artist. Also active as a journalist, playwright, literary and art critic, composer and film director, he was known best for being one of the founders and central figures of the anti-establishment Dada movement. Under the influence of Adrian Maniu, the adolescent Tzara became interested in Symbolism and co-founded the magazine Simbolul with Ion Vinea (with whom he also wrote experimental poetry) and painter Marcel Janco. During World War I, after briefly collaborating on Vinea's Chemarea, he joined Janco in Switzerland.
|
Name
|
S. Samyro, a partial anagram of Samy Rosenstock, was used by Tzara from his debut and throughout the early 1910s. A number of undated writings, which he probably authored as early as 1913, bear the signature Tristan Ruia, and, in summer of 1915, he was signing his pieces with the name Tristan. In the 1960s, Rosenstock's collaborator and later rival Ion Vinea claimed that he was responsible for coining the Tzara part of his pseudonym in 1915. Vinea also stated that Tzara wanted to keep Tristan as his adopted first name, and that this choice had later attracted him the "infamous pun" Triste Ane Tzara (French for "Sad Donkey Tzara"). This version of events is uncertain, as manuscripts show that the writer may have already been using the full name, as well as the variations Tristan Tara and Tr. Tzara, in 1913-1914 (although there is a possibility that he was signing his texts long after committing them to paper). In 1972, art historian Serge Fauchereau, based on information received from Colomba, the wife of avant-garde poet Ilarie Voronca, recounted that Tzara himself had explained his chosen name was a pun in Romanian, trist in tara, meaning "sad in the country"; Colomba Voronca was also dismissing rumors that Tzara had selected Tristan as a tribute to poet Tristan Corbiere or to Richard Wagner's Tristan und Isolde opera. Samy Rosenstock legally adopted his new name in 1925, after filing a request with Romania's Ministry of the Interior. The French pronunciation of his name has become commonplace in Romania, where it replaces its more natural reading as tara ("the land", Romanian pronunciation: ['tsara]).
Q: When did Tristan change his name?
A: in summer of 1915, he was signing his pieces with the name Tristan.
|
C_e27fa2123565461580f1ec274da842df_1_q#1
|
Why did he change his name?
| 0y
| 2x
|
{
"texts": [
"Vinea also stated that Tzara wanted to keep Tristan as his adopted first name,"
],
"answer_starts": [
447
]
}
|
{
"text": "Vinea also stated that Tzara wanted to keep Tristan as his adopted first name,",
"answer_start": 447
}
|
C_e27fa2123565461580f1ec274da842df_1
|
Tristan Tzara
|
Tristan Tzara (French: [tRista dzaRa]; Romanian: [tris'tan 'tsara]; born Samuel or Samy Rosenstock, also known as S. Samyro; April 16 [O.S. April 4] 1896 - December 25, 1963) was a Romanian and French avant-garde poet, essayist and performance artist. Also active as a journalist, playwright, literary and art critic, composer and film director, he was known best for being one of the founders and central figures of the anti-establishment Dada movement. Under the influence of Adrian Maniu, the adolescent Tzara became interested in Symbolism and co-founded the magazine Simbolul with Ion Vinea (with whom he also wrote experimental poetry) and painter Marcel Janco. During World War I, after briefly collaborating on Vinea's Chemarea, he joined Janco in Switzerland.
|
Name
|
S. Samyro, a partial anagram of Samy Rosenstock, was used by Tzara from his debut and throughout the early 1910s. A number of undated writings, which he probably authored as early as 1913, bear the signature Tristan Ruia, and, in summer of 1915, he was signing his pieces with the name Tristan. In the 1960s, Rosenstock's collaborator and later rival Ion Vinea claimed that he was responsible for coining the Tzara part of his pseudonym in 1915. Vinea also stated that Tzara wanted to keep Tristan as his adopted first name, and that this choice had later attracted him the "infamous pun" Triste Ane Tzara (French for "Sad Donkey Tzara"). This version of events is uncertain, as manuscripts show that the writer may have already been using the full name, as well as the variations Tristan Tara and Tr. Tzara, in 1913-1914 (although there is a possibility that he was signing his texts long after committing them to paper). In 1972, art historian Serge Fauchereau, based on information received from Colomba, the wife of avant-garde poet Ilarie Voronca, recounted that Tzara himself had explained his chosen name was a pun in Romanian, trist in tara, meaning "sad in the country"; Colomba Voronca was also dismissing rumors that Tzara had selected Tristan as a tribute to poet Tristan Corbiere or to Richard Wagner's Tristan und Isolde opera. Samy Rosenstock legally adopted his new name in 1925, after filing a request with Romania's Ministry of the Interior. The French pronunciation of his name has become commonplace in Romania, where it replaces its more natural reading as tara ("the land", Romanian pronunciation: ['tsara]).
Q: When did Tristan change his name?
A: in summer of 1915, he was signing his pieces with the name Tristan.
Q: Why did he change his name?
A: Vinea also stated that Tzara wanted to keep Tristan as his adopted first name,
|
C_e27fa2123565461580f1ec274da842df_1_q#2
|
Are there any other interesting aspects about this article?
| 0y
| 0y
|
{
"texts": [
"Tzara wanted to keep Tristan as his adopted first name, and that this choice had later attracted him the \"infamous pun\" Triste Ane Tzara (French for \"Sad Donkey Tzara\")."
],
"answer_starts": [
470
]
}
|
{
"text": "Tzara wanted to keep Tristan as his adopted first name, and that this choice had later attracted him the \"infamous pun\" Triste Ane Tzara (French for \"Sad Donkey Tzara\").",
"answer_start": 470
}
|
C_e27fa2123565461580f1ec274da842df_1
|
Tristan Tzara
|
Tristan Tzara (French: [tRista dzaRa]; Romanian: [tris'tan 'tsara]; born Samuel or Samy Rosenstock, also known as S. Samyro; April 16 [O.S. April 4] 1896 - December 25, 1963) was a Romanian and French avant-garde poet, essayist and performance artist. Also active as a journalist, playwright, literary and art critic, composer and film director, he was known best for being one of the founders and central figures of the anti-establishment Dada movement. Under the influence of Adrian Maniu, the adolescent Tzara became interested in Symbolism and co-founded the magazine Simbolul with Ion Vinea (with whom he also wrote experimental poetry) and painter Marcel Janco. During World War I, after briefly collaborating on Vinea's Chemarea, he joined Janco in Switzerland.
|
Name
|
S. Samyro, a partial anagram of Samy Rosenstock, was used by Tzara from his debut and throughout the early 1910s. A number of undated writings, which he probably authored as early as 1913, bear the signature Tristan Ruia, and, in summer of 1915, he was signing his pieces with the name Tristan. In the 1960s, Rosenstock's collaborator and later rival Ion Vinea claimed that he was responsible for coining the Tzara part of his pseudonym in 1915. Vinea also stated that Tzara wanted to keep Tristan as his adopted first name, and that this choice had later attracted him the "infamous pun" Triste Ane Tzara (French for "Sad Donkey Tzara"). This version of events is uncertain, as manuscripts show that the writer may have already been using the full name, as well as the variations Tristan Tara and Tr. Tzara, in 1913-1914 (although there is a possibility that he was signing his texts long after committing them to paper). In 1972, art historian Serge Fauchereau, based on information received from Colomba, the wife of avant-garde poet Ilarie Voronca, recounted that Tzara himself had explained his chosen name was a pun in Romanian, trist in tara, meaning "sad in the country"; Colomba Voronca was also dismissing rumors that Tzara had selected Tristan as a tribute to poet Tristan Corbiere or to Richard Wagner's Tristan und Isolde opera. Samy Rosenstock legally adopted his new name in 1925, after filing a request with Romania's Ministry of the Interior. The French pronunciation of his name has become commonplace in Romania, where it replaces its more natural reading as tara ("the land", Romanian pronunciation: ['tsara]).
Q: When did Tristan change his name?
A: in summer of 1915, he was signing his pieces with the name Tristan.
Q: Why did he change his name?
A: Vinea also stated that Tzara wanted to keep Tristan as his adopted first name,
Q: Are there any other interesting aspects about this article?
A: Tzara wanted to keep Tristan as his adopted first name, and that this choice had later attracted him the "infamous pun" Triste Ane Tzara (French for "Sad Donkey Tzara").
|
C_e27fa2123565461580f1ec274da842df_1_q#3
|
Did he have any other names?
| 2m
| 0y
|
{
"texts": [
"the variations Tristan Tara and Tr. Tzara, in 1913-1914 ("
],
"answer_starts": [
767
]
}
|
{
"text": "the variations Tristan Tara and Tr. Tzara, in 1913-1914 (",
"answer_start": 767
}
|
C_e27fa2123565461580f1ec274da842df_1
|
Tristan Tzara
|
Tristan Tzara (French: [tRista dzaRa]; Romanian: [tris'tan 'tsara]; born Samuel or Samy Rosenstock, also known as S. Samyro; April 16 [O.S. April 4] 1896 - December 25, 1963) was a Romanian and French avant-garde poet, essayist and performance artist. Also active as a journalist, playwright, literary and art critic, composer and film director, he was known best for being one of the founders and central figures of the anti-establishment Dada movement. Under the influence of Adrian Maniu, the adolescent Tzara became interested in Symbolism and co-founded the magazine Simbolul with Ion Vinea (with whom he also wrote experimental poetry) and painter Marcel Janco. During World War I, after briefly collaborating on Vinea's Chemarea, he joined Janco in Switzerland.
|
Name
|
S. Samyro, a partial anagram of Samy Rosenstock, was used by Tzara from his debut and throughout the early 1910s. A number of undated writings, which he probably authored as early as 1913, bear the signature Tristan Ruia, and, in summer of 1915, he was signing his pieces with the name Tristan. In the 1960s, Rosenstock's collaborator and later rival Ion Vinea claimed that he was responsible for coining the Tzara part of his pseudonym in 1915. Vinea also stated that Tzara wanted to keep Tristan as his adopted first name, and that this choice had later attracted him the "infamous pun" Triste Ane Tzara (French for "Sad Donkey Tzara"). This version of events is uncertain, as manuscripts show that the writer may have already been using the full name, as well as the variations Tristan Tara and Tr. Tzara, in 1913-1914 (although there is a possibility that he was signing his texts long after committing them to paper). In 1972, art historian Serge Fauchereau, based on information received from Colomba, the wife of avant-garde poet Ilarie Voronca, recounted that Tzara himself had explained his chosen name was a pun in Romanian, trist in tara, meaning "sad in the country"; Colomba Voronca was also dismissing rumors that Tzara had selected Tristan as a tribute to poet Tristan Corbiere or to Richard Wagner's Tristan und Isolde opera. Samy Rosenstock legally adopted his new name in 1925, after filing a request with Romania's Ministry of the Interior. The French pronunciation of his name has become commonplace in Romania, where it replaces its more natural reading as tara ("the land", Romanian pronunciation: ['tsara]).
Q: When did Tristan change his name?
A: in summer of 1915, he was signing his pieces with the name Tristan.
Q: Why did he change his name?
A: Vinea also stated that Tzara wanted to keep Tristan as his adopted first name,
Q: Are there any other interesting aspects about this article?
A: Tzara wanted to keep Tristan as his adopted first name, and that this choice had later attracted him the "infamous pun" Triste Ane Tzara (French for "Sad Donkey Tzara").
Q: Did he have any other names?
A: the variations Tristan Tara and Tr. Tzara, in 1913-1914 (
|
C_e27fa2123565461580f1ec274da842df_1_q#4
|
Did he ever have any issues because of his name?
| 1n
| 2x
|
{
"texts": [
"unknown"
],
"answer_starts": [
1633
]
}
|
{
"text": "unknown",
"answer_start": 1633
}
|
C_e27fa2123565461580f1ec274da842df_1
|
Tristan Tzara
|
Tristan Tzara (French: [tRista dzaRa]; Romanian: [tris'tan 'tsara]; born Samuel or Samy Rosenstock, also known as S. Samyro; April 16 [O.S. April 4] 1896 - December 25, 1963) was a Romanian and French avant-garde poet, essayist and performance artist. Also active as a journalist, playwright, literary and art critic, composer and film director, he was known best for being one of the founders and central figures of the anti-establishment Dada movement. Under the influence of Adrian Maniu, the adolescent Tzara became interested in Symbolism and co-founded the magazine Simbolul with Ion Vinea (with whom he also wrote experimental poetry) and painter Marcel Janco. During World War I, after briefly collaborating on Vinea's Chemarea, he joined Janco in Switzerland.
|
Name
|
S. Samyro, a partial anagram of Samy Rosenstock, was used by Tzara from his debut and throughout the early 1910s. A number of undated writings, which he probably authored as early as 1913, bear the signature Tristan Ruia, and, in summer of 1915, he was signing his pieces with the name Tristan. In the 1960s, Rosenstock's collaborator and later rival Ion Vinea claimed that he was responsible for coining the Tzara part of his pseudonym in 1915. Vinea also stated that Tzara wanted to keep Tristan as his adopted first name, and that this choice had later attracted him the "infamous pun" Triste Ane Tzara (French for "Sad Donkey Tzara"). This version of events is uncertain, as manuscripts show that the writer may have already been using the full name, as well as the variations Tristan Tara and Tr. Tzara, in 1913-1914 (although there is a possibility that he was signing his texts long after committing them to paper). In 1972, art historian Serge Fauchereau, based on information received from Colomba, the wife of avant-garde poet Ilarie Voronca, recounted that Tzara himself had explained his chosen name was a pun in Romanian, trist in tara, meaning "sad in the country"; Colomba Voronca was also dismissing rumors that Tzara had selected Tristan as a tribute to poet Tristan Corbiere or to Richard Wagner's Tristan und Isolde opera. Samy Rosenstock legally adopted his new name in 1925, after filing a request with Romania's Ministry of the Interior. The French pronunciation of his name has become commonplace in Romania, where it replaces its more natural reading as tara ("the land", Romanian pronunciation: ['tsara]).
Q: When did Tristan change his name?
A: in summer of 1915, he was signing his pieces with the name Tristan.
Q: Why did he change his name?
A: Vinea also stated that Tzara wanted to keep Tristan as his adopted first name,
Q: Are there any other interesting aspects about this article?
A: Tzara wanted to keep Tristan as his adopted first name, and that this choice had later attracted him the "infamous pun" Triste Ane Tzara (French for "Sad Donkey Tzara").
Q: Did he have any other names?
A: the variations Tristan Tara and Tr. Tzara, in 1913-1914 (
Q: Did he ever have any issues because of his name?
A: unknown
|
C_e27fa2123565461580f1ec274da842df_1_q#5
|
Did anyone else use his name after he used it?
| 1n
| 0y
|
{
"texts": [
"Samy Rosenstock legally adopted his new name in 1925,"
],
"answer_starts": [
1344
]
}
|
{
"text": "Samy Rosenstock legally adopted his new name in 1925,",
"answer_start": 1344
}
|
C_e27fa2123565461580f1ec274da842df_1
|
Tristan Tzara
|
Tristan Tzara (French: [tRista dzaRa]; Romanian: [tris'tan 'tsara]; born Samuel or Samy Rosenstock, also known as S. Samyro; April 16 [O.S. April 4] 1896 - December 25, 1963) was a Romanian and French avant-garde poet, essayist and performance artist. Also active as a journalist, playwright, literary and art critic, composer and film director, he was known best for being one of the founders and central figures of the anti-establishment Dada movement. Under the influence of Adrian Maniu, the adolescent Tzara became interested in Symbolism and co-founded the magazine Simbolul with Ion Vinea (with whom he also wrote experimental poetry) and painter Marcel Janco. During World War I, after briefly collaborating on Vinea's Chemarea, he joined Janco in Switzerland.
|
Name
|
S. Samyro, a partial anagram of Samy Rosenstock, was used by Tzara from his debut and throughout the early 1910s. A number of undated writings, which he probably authored as early as 1913, bear the signature Tristan Ruia, and, in summer of 1915, he was signing his pieces with the name Tristan. In the 1960s, Rosenstock's collaborator and later rival Ion Vinea claimed that he was responsible for coining the Tzara part of his pseudonym in 1915. Vinea also stated that Tzara wanted to keep Tristan as his adopted first name, and that this choice had later attracted him the "infamous pun" Triste Ane Tzara (French for "Sad Donkey Tzara"). This version of events is uncertain, as manuscripts show that the writer may have already been using the full name, as well as the variations Tristan Tara and Tr. Tzara, in 1913-1914 (although there is a possibility that he was signing his texts long after committing them to paper). In 1972, art historian Serge Fauchereau, based on information received from Colomba, the wife of avant-garde poet Ilarie Voronca, recounted that Tzara himself had explained his chosen name was a pun in Romanian, trist in tara, meaning "sad in the country"; Colomba Voronca was also dismissing rumors that Tzara had selected Tristan as a tribute to poet Tristan Corbiere or to Richard Wagner's Tristan und Isolde opera. Samy Rosenstock legally adopted his new name in 1925, after filing a request with Romania's Ministry of the Interior. The French pronunciation of his name has become commonplace in Romania, where it replaces its more natural reading as tara ("the land", Romanian pronunciation: ['tsara]).
Q: When did Tristan change his name?
A: in summer of 1915, he was signing his pieces with the name Tristan.
Q: Why did he change his name?
A: Vinea also stated that Tzara wanted to keep Tristan as his adopted first name,
Q: Are there any other interesting aspects about this article?
A: Tzara wanted to keep Tristan as his adopted first name, and that this choice had later attracted him the "infamous pun" Triste Ane Tzara (French for "Sad Donkey Tzara").
Q: Did he have any other names?
A: the variations Tristan Tara and Tr. Tzara, in 1913-1914 (
Q: Did he ever have any issues because of his name?
A: unknown
Q: Did anyone else use his name after he used it?
A: Samy Rosenstock legally adopted his new name in 1925,
|
C_e27fa2123565461580f1ec274da842df_1_q#6
|
What else is important about his name?
| 2m
| 2x
|
{
"texts": [
"Tzara himself had explained his chosen name was a pun in Romanian, trist in tara, meaning \"sad in the country\";"
],
"answer_starts": [
1070
]
}
|
{
"text": "Tzara himself had explained his chosen name was a pun in Romanian, trist in tara, meaning \"sad in the country\";",
"answer_start": 1070
}
|
C_e27fa2123565461580f1ec274da842df_1
|
Tristan Tzara
|
Tristan Tzara (French: [tRista dzaRa]; Romanian: [tris'tan 'tsara]; born Samuel or Samy Rosenstock, also known as S. Samyro; April 16 [O.S. April 4] 1896 - December 25, 1963) was a Romanian and French avant-garde poet, essayist and performance artist. Also active as a journalist, playwright, literary and art critic, composer and film director, he was known best for being one of the founders and central figures of the anti-establishment Dada movement. Under the influence of Adrian Maniu, the adolescent Tzara became interested in Symbolism and co-founded the magazine Simbolul with Ion Vinea (with whom he also wrote experimental poetry) and painter Marcel Janco. During World War I, after briefly collaborating on Vinea's Chemarea, he joined Janco in Switzerland.
|
Name
|
S. Samyro, a partial anagram of Samy Rosenstock, was used by Tzara from his debut and throughout the early 1910s. A number of undated writings, which he probably authored as early as 1913, bear the signature Tristan Ruia, and, in summer of 1915, he was signing his pieces with the name Tristan. In the 1960s, Rosenstock's collaborator and later rival Ion Vinea claimed that he was responsible for coining the Tzara part of his pseudonym in 1915. Vinea also stated that Tzara wanted to keep Tristan as his adopted first name, and that this choice had later attracted him the "infamous pun" Triste Ane Tzara (French for "Sad Donkey Tzara"). This version of events is uncertain, as manuscripts show that the writer may have already been using the full name, as well as the variations Tristan Tara and Tr. Tzara, in 1913-1914 (although there is a possibility that he was signing his texts long after committing them to paper). In 1972, art historian Serge Fauchereau, based on information received from Colomba, the wife of avant-garde poet Ilarie Voronca, recounted that Tzara himself had explained his chosen name was a pun in Romanian, trist in tara, meaning "sad in the country"; Colomba Voronca was also dismissing rumors that Tzara had selected Tristan as a tribute to poet Tristan Corbiere or to Richard Wagner's Tristan und Isolde opera. Samy Rosenstock legally adopted his new name in 1925, after filing a request with Romania's Ministry of the Interior. The French pronunciation of his name has become commonplace in Romania, where it replaces its more natural reading as tara ("the land", Romanian pronunciation: ['tsara]).
Q: When did Tristan change his name?
A: in summer of 1915, he was signing his pieces with the name Tristan.
Q: Why did he change his name?
A: Vinea also stated that Tzara wanted to keep Tristan as his adopted first name,
Q: Are there any other interesting aspects about this article?
A: Tzara wanted to keep Tristan as his adopted first name, and that this choice had later attracted him the "infamous pun" Triste Ane Tzara (French for "Sad Donkey Tzara").
Q: Did he have any other names?
A: the variations Tristan Tara and Tr. Tzara, in 1913-1914 (
Q: Did he ever have any issues because of his name?
A: unknown
Q: Did anyone else use his name after he used it?
A: Samy Rosenstock legally adopted his new name in 1925,
Q: What else is important about his name?
A: Tzara himself had explained his chosen name was a pun in Romanian, trist in tara, meaning "sad in the country";
|
C_e27fa2123565461580f1ec274da842df_1_q#7
|
Did his name have any other meanings?
| 2m
| 0y
|
{
"texts": [
"The French pronunciation of his name has become commonplace in Romania, where it replaces its more natural reading as tara"
],
"answer_starts": [
1462
]
}
|
{
"text": "The French pronunciation of his name has become commonplace in Romania, where it replaces its more natural reading as tara",
"answer_start": 1462
}
|
C_e27fa2123565461580f1ec274da842df_0
|
Tristan Tzara
|
Tristan Tzara (French: [tRista dzaRa]; Romanian: [tris'tan 'tsara]; born Samuel or Samy Rosenstock, also known as S. Samyro; April 16 [O.S. April 4] 1896 - December 25, 1963) was a Romanian and French avant-garde poet, essayist and performance artist. Also active as a journalist, playwright, literary and art critic, composer and film director, he was known best for being one of the founders and central figures of the anti-establishment Dada movement. Under the influence of Adrian Maniu, the adolescent Tzara became interested in Symbolism and co-founded the magazine Simbolul with Ion Vinea (with whom he also wrote experimental poetry) and painter Marcel Janco. During World War I, after briefly collaborating on Vinea's Chemarea, he joined Janco in Switzerland.
|
Early life and Simbolul years
|
Tzara was born in Moinesti, Bacau County, in the historical region of Western Moldavia. His parents were Jewish Romanians who reportedly spoke Yiddish as their first language; his father Filip and grandfather Ilie were entrepreneurs in the forestry business. Tzara's mother was Emilia Rosenstock, nee Zibalis. Owing to the Romanian Kingdom's discrimination laws, the Rosenstocks were not emancipated, and thus Tzara was not a full citizen of the country until after 1918. He moved to Bucharest at the age of eleven, and attended the Schemitz-Tierin boarding school. It is believed that the young Tzara completed his secondary education at a state-run high school, which is identified as the Saint Sava National College or as the Sfantul Gheorghe High School. In October 1912, when Tzara was aged sixteen, he joined his friends Vinea and Marcel Janco in editing Simbolul. Reputedly, Janco and Vinea provided the funds. Like Vinea, Tzara was also close to their young colleague Jacques G. Costin, who was later his self-declared promoter and admirer. Despite their young age, the three editors were able to attract collaborations from established Symbolist authors, active within Romania's own Symbolist movement. Alongside their close friend and mentor Adrian Maniu (an Imagist who had been Vinea's tutor), they included N. Davidescu, Alfred Hefter-Hidalgo, Emil Isac, Claudia Millian, Ion Minulescu, I. M. Rascu, Eugeniu Sperantia, Al. T. Stamatiad, Eugeniu Stefanescu-Est, Constantin T. Stoika, as well as the journalist and lawyer Poldi Chapier. In its inaugural issue, the journal even printed a poem by one of the leading figures in Romanian Symbolism, Alexandru Macedonski. Simbolul also featured illustrations by Maniu, Millian and Iosif Iser. Although the magazine ceased print in December 1912, it played an important part in shaping Romanian literature of the period. Literary historian Paul Cernat sees Simbolul as a main stage in Romania's modernism, and credits it with having brought about the first changes from Symbolism to the radical avant-garde. Also according to Cernat, the collaboration between Samyro, Vinea and Janco was an early instance of literature becoming "an interface between arts", which had for its contemporary equivalent the collaboration between Iser and writers such as Ion Minulescu and Tudor Arghezi. Although Maniu parted with the group and sought a change in style which brought him closer to traditionalist tenets, Tzara, Janco and Vinea continued their collaboration. Between 1913 and 1915, they were frequently vacationing together, either on the Black Sea coast or at the Rosenstock family property in Garceni, Vaslui County; during this time, Vinea and Samyro wrote poems with similar themes and alluding to one another.
|
C_e27fa2123565461580f1ec274da842df_0_q#0
|
Where was he born?
| 1n
| 2x
|
{
"texts": [
"Tzara was born in Moinesti, Bacau County, in the historical region of Western Moldavia."
],
"answer_starts": [
0
]
}
|
{
"text": "Tzara was born in Moinesti, Bacau County, in the historical region of Western Moldavia.",
"answer_start": 0
}
|
C_e27fa2123565461580f1ec274da842df_0
|
Tristan Tzara
|
Tristan Tzara (French: [tRista dzaRa]; Romanian: [tris'tan 'tsara]; born Samuel or Samy Rosenstock, also known as S. Samyro; April 16 [O.S. April 4] 1896 - December 25, 1963) was a Romanian and French avant-garde poet, essayist and performance artist. Also active as a journalist, playwright, literary and art critic, composer and film director, he was known best for being one of the founders and central figures of the anti-establishment Dada movement. Under the influence of Adrian Maniu, the adolescent Tzara became interested in Symbolism and co-founded the magazine Simbolul with Ion Vinea (with whom he also wrote experimental poetry) and painter Marcel Janco. During World War I, after briefly collaborating on Vinea's Chemarea, he joined Janco in Switzerland.
|
Early life and Simbolul years
|
Tzara was born in Moinesti, Bacau County, in the historical region of Western Moldavia. His parents were Jewish Romanians who reportedly spoke Yiddish as their first language; his father Filip and grandfather Ilie were entrepreneurs in the forestry business. Tzara's mother was Emilia Rosenstock, nee Zibalis. Owing to the Romanian Kingdom's discrimination laws, the Rosenstocks were not emancipated, and thus Tzara was not a full citizen of the country until after 1918. He moved to Bucharest at the age of eleven, and attended the Schemitz-Tierin boarding school. It is believed that the young Tzara completed his secondary education at a state-run high school, which is identified as the Saint Sava National College or as the Sfantul Gheorghe High School. In October 1912, when Tzara was aged sixteen, he joined his friends Vinea and Marcel Janco in editing Simbolul. Reputedly, Janco and Vinea provided the funds. Like Vinea, Tzara was also close to their young colleague Jacques G. Costin, who was later his self-declared promoter and admirer. Despite their young age, the three editors were able to attract collaborations from established Symbolist authors, active within Romania's own Symbolist movement. Alongside their close friend and mentor Adrian Maniu (an Imagist who had been Vinea's tutor), they included N. Davidescu, Alfred Hefter-Hidalgo, Emil Isac, Claudia Millian, Ion Minulescu, I. M. Rascu, Eugeniu Sperantia, Al. T. Stamatiad, Eugeniu Stefanescu-Est, Constantin T. Stoika, as well as the journalist and lawyer Poldi Chapier. In its inaugural issue, the journal even printed a poem by one of the leading figures in Romanian Symbolism, Alexandru Macedonski. Simbolul also featured illustrations by Maniu, Millian and Iosif Iser. Although the magazine ceased print in December 1912, it played an important part in shaping Romanian literature of the period. Literary historian Paul Cernat sees Simbolul as a main stage in Romania's modernism, and credits it with having brought about the first changes from Symbolism to the radical avant-garde. Also according to Cernat, the collaboration between Samyro, Vinea and Janco was an early instance of literature becoming "an interface between arts", which had for its contemporary equivalent the collaboration between Iser and writers such as Ion Minulescu and Tudor Arghezi. Although Maniu parted with the group and sought a change in style which brought him closer to traditionalist tenets, Tzara, Janco and Vinea continued their collaboration. Between 1913 and 1915, they were frequently vacationing together, either on the Black Sea coast or at the Rosenstock family property in Garceni, Vaslui County; during this time, Vinea and Samyro wrote poems with similar themes and alluding to one another.
Q: Where was he born?
A: Tzara was born in Moinesti, Bacau County, in the historical region of Western Moldavia.
|
C_e27fa2123565461580f1ec274da842df_0_q#1
|
where did he go to school?
| 0y
| 2x
|
{
"texts": [
"He moved to Bucharest at the age of eleven, and attended the Schemitz-Tierin boarding school."
],
"answer_starts": [
473
]
}
|
{
"text": "He moved to Bucharest at the age of eleven, and attended the Schemitz-Tierin boarding school.",
"answer_start": 473
}
|
C_e27fa2123565461580f1ec274da842df_0
|
Tristan Tzara
|
Tristan Tzara (French: [tRista dzaRa]; Romanian: [tris'tan 'tsara]; born Samuel or Samy Rosenstock, also known as S. Samyro; April 16 [O.S. April 4] 1896 - December 25, 1963) was a Romanian and French avant-garde poet, essayist and performance artist. Also active as a journalist, playwright, literary and art critic, composer and film director, he was known best for being one of the founders and central figures of the anti-establishment Dada movement. Under the influence of Adrian Maniu, the adolescent Tzara became interested in Symbolism and co-founded the magazine Simbolul with Ion Vinea (with whom he also wrote experimental poetry) and painter Marcel Janco. During World War I, after briefly collaborating on Vinea's Chemarea, he joined Janco in Switzerland.
|
Early life and Simbolul years
|
Tzara was born in Moinesti, Bacau County, in the historical region of Western Moldavia. His parents were Jewish Romanians who reportedly spoke Yiddish as their first language; his father Filip and grandfather Ilie were entrepreneurs in the forestry business. Tzara's mother was Emilia Rosenstock, nee Zibalis. Owing to the Romanian Kingdom's discrimination laws, the Rosenstocks were not emancipated, and thus Tzara was not a full citizen of the country until after 1918. He moved to Bucharest at the age of eleven, and attended the Schemitz-Tierin boarding school. It is believed that the young Tzara completed his secondary education at a state-run high school, which is identified as the Saint Sava National College or as the Sfantul Gheorghe High School. In October 1912, when Tzara was aged sixteen, he joined his friends Vinea and Marcel Janco in editing Simbolul. Reputedly, Janco and Vinea provided the funds. Like Vinea, Tzara was also close to their young colleague Jacques G. Costin, who was later his self-declared promoter and admirer. Despite their young age, the three editors were able to attract collaborations from established Symbolist authors, active within Romania's own Symbolist movement. Alongside their close friend and mentor Adrian Maniu (an Imagist who had been Vinea's tutor), they included N. Davidescu, Alfred Hefter-Hidalgo, Emil Isac, Claudia Millian, Ion Minulescu, I. M. Rascu, Eugeniu Sperantia, Al. T. Stamatiad, Eugeniu Stefanescu-Est, Constantin T. Stoika, as well as the journalist and lawyer Poldi Chapier. In its inaugural issue, the journal even printed a poem by one of the leading figures in Romanian Symbolism, Alexandru Macedonski. Simbolul also featured illustrations by Maniu, Millian and Iosif Iser. Although the magazine ceased print in December 1912, it played an important part in shaping Romanian literature of the period. Literary historian Paul Cernat sees Simbolul as a main stage in Romania's modernism, and credits it with having brought about the first changes from Symbolism to the radical avant-garde. Also according to Cernat, the collaboration between Samyro, Vinea and Janco was an early instance of literature becoming "an interface between arts", which had for its contemporary equivalent the collaboration between Iser and writers such as Ion Minulescu and Tudor Arghezi. Although Maniu parted with the group and sought a change in style which brought him closer to traditionalist tenets, Tzara, Janco and Vinea continued their collaboration. Between 1913 and 1915, they were frequently vacationing together, either on the Black Sea coast or at the Rosenstock family property in Garceni, Vaslui County; during this time, Vinea and Samyro wrote poems with similar themes and alluding to one another.
Q: Where was he born?
A: Tzara was born in Moinesti, Bacau County, in the historical region of Western Moldavia.
Q: where did he go to school?
A: He moved to Bucharest at the age of eleven, and attended the Schemitz-Tierin boarding school.
|
C_e27fa2123565461580f1ec274da842df_0_q#2
|
what did he study in school?
| 1n
| 2x
|
{
"texts": [
"unknown"
],
"answer_starts": [
2770
]
}
|
{
"text": "unknown",
"answer_start": 2770
}
|
C_e27fa2123565461580f1ec274da842df_0
|
Tristan Tzara
|
Tristan Tzara (French: [tRista dzaRa]; Romanian: [tris'tan 'tsara]; born Samuel or Samy Rosenstock, also known as S. Samyro; April 16 [O.S. April 4] 1896 - December 25, 1963) was a Romanian and French avant-garde poet, essayist and performance artist. Also active as a journalist, playwright, literary and art critic, composer and film director, he was known best for being one of the founders and central figures of the anti-establishment Dada movement. Under the influence of Adrian Maniu, the adolescent Tzara became interested in Symbolism and co-founded the magazine Simbolul with Ion Vinea (with whom he also wrote experimental poetry) and painter Marcel Janco. During World War I, after briefly collaborating on Vinea's Chemarea, he joined Janco in Switzerland.
|
Early life and Simbolul years
|
Tzara was born in Moinesti, Bacau County, in the historical region of Western Moldavia. His parents were Jewish Romanians who reportedly spoke Yiddish as their first language; his father Filip and grandfather Ilie were entrepreneurs in the forestry business. Tzara's mother was Emilia Rosenstock, nee Zibalis. Owing to the Romanian Kingdom's discrimination laws, the Rosenstocks were not emancipated, and thus Tzara was not a full citizen of the country until after 1918. He moved to Bucharest at the age of eleven, and attended the Schemitz-Tierin boarding school. It is believed that the young Tzara completed his secondary education at a state-run high school, which is identified as the Saint Sava National College or as the Sfantul Gheorghe High School. In October 1912, when Tzara was aged sixteen, he joined his friends Vinea and Marcel Janco in editing Simbolul. Reputedly, Janco and Vinea provided the funds. Like Vinea, Tzara was also close to their young colleague Jacques G. Costin, who was later his self-declared promoter and admirer. Despite their young age, the three editors were able to attract collaborations from established Symbolist authors, active within Romania's own Symbolist movement. Alongside their close friend and mentor Adrian Maniu (an Imagist who had been Vinea's tutor), they included N. Davidescu, Alfred Hefter-Hidalgo, Emil Isac, Claudia Millian, Ion Minulescu, I. M. Rascu, Eugeniu Sperantia, Al. T. Stamatiad, Eugeniu Stefanescu-Est, Constantin T. Stoika, as well as the journalist and lawyer Poldi Chapier. In its inaugural issue, the journal even printed a poem by one of the leading figures in Romanian Symbolism, Alexandru Macedonski. Simbolul also featured illustrations by Maniu, Millian and Iosif Iser. Although the magazine ceased print in December 1912, it played an important part in shaping Romanian literature of the period. Literary historian Paul Cernat sees Simbolul as a main stage in Romania's modernism, and credits it with having brought about the first changes from Symbolism to the radical avant-garde. Also according to Cernat, the collaboration between Samyro, Vinea and Janco was an early instance of literature becoming "an interface between arts", which had for its contemporary equivalent the collaboration between Iser and writers such as Ion Minulescu and Tudor Arghezi. Although Maniu parted with the group and sought a change in style which brought him closer to traditionalist tenets, Tzara, Janco and Vinea continued their collaboration. Between 1913 and 1915, they were frequently vacationing together, either on the Black Sea coast or at the Rosenstock family property in Garceni, Vaslui County; during this time, Vinea and Samyro wrote poems with similar themes and alluding to one another.
Q: Where was he born?
A: Tzara was born in Moinesti, Bacau County, in the historical region of Western Moldavia.
Q: where did he go to school?
A: He moved to Bucharest at the age of eleven, and attended the Schemitz-Tierin boarding school.
Q: what did he study in school?
A: unknown
|
C_e27fa2123565461580f1ec274da842df_0_q#3
|
Did he have any jobs in his early years?
| 2m
| 2x
|
{
"texts": [
"In October 1912, when Tzara was aged sixteen, he joined his friends Vinea and Marcel Janco in editing Simbolul."
],
"answer_starts": [
760
]
}
|
{
"text": "In October 1912, when Tzara was aged sixteen, he joined his friends Vinea and Marcel Janco in editing Simbolul.",
"answer_start": 760
}
|
C_e27fa2123565461580f1ec274da842df_0
|
Tristan Tzara
|
Tristan Tzara (French: [tRista dzaRa]; Romanian: [tris'tan 'tsara]; born Samuel or Samy Rosenstock, also known as S. Samyro; April 16 [O.S. April 4] 1896 - December 25, 1963) was a Romanian and French avant-garde poet, essayist and performance artist. Also active as a journalist, playwright, literary and art critic, composer and film director, he was known best for being one of the founders and central figures of the anti-establishment Dada movement. Under the influence of Adrian Maniu, the adolescent Tzara became interested in Symbolism and co-founded the magazine Simbolul with Ion Vinea (with whom he also wrote experimental poetry) and painter Marcel Janco. During World War I, after briefly collaborating on Vinea's Chemarea, he joined Janco in Switzerland.
|
Early life and Simbolul years
|
Tzara was born in Moinesti, Bacau County, in the historical region of Western Moldavia. His parents were Jewish Romanians who reportedly spoke Yiddish as their first language; his father Filip and grandfather Ilie were entrepreneurs in the forestry business. Tzara's mother was Emilia Rosenstock, nee Zibalis. Owing to the Romanian Kingdom's discrimination laws, the Rosenstocks were not emancipated, and thus Tzara was not a full citizen of the country until after 1918. He moved to Bucharest at the age of eleven, and attended the Schemitz-Tierin boarding school. It is believed that the young Tzara completed his secondary education at a state-run high school, which is identified as the Saint Sava National College or as the Sfantul Gheorghe High School. In October 1912, when Tzara was aged sixteen, he joined his friends Vinea and Marcel Janco in editing Simbolul. Reputedly, Janco and Vinea provided the funds. Like Vinea, Tzara was also close to their young colleague Jacques G. Costin, who was later his self-declared promoter and admirer. Despite their young age, the three editors were able to attract collaborations from established Symbolist authors, active within Romania's own Symbolist movement. Alongside their close friend and mentor Adrian Maniu (an Imagist who had been Vinea's tutor), they included N. Davidescu, Alfred Hefter-Hidalgo, Emil Isac, Claudia Millian, Ion Minulescu, I. M. Rascu, Eugeniu Sperantia, Al. T. Stamatiad, Eugeniu Stefanescu-Est, Constantin T. Stoika, as well as the journalist and lawyer Poldi Chapier. In its inaugural issue, the journal even printed a poem by one of the leading figures in Romanian Symbolism, Alexandru Macedonski. Simbolul also featured illustrations by Maniu, Millian and Iosif Iser. Although the magazine ceased print in December 1912, it played an important part in shaping Romanian literature of the period. Literary historian Paul Cernat sees Simbolul as a main stage in Romania's modernism, and credits it with having brought about the first changes from Symbolism to the radical avant-garde. Also according to Cernat, the collaboration between Samyro, Vinea and Janco was an early instance of literature becoming "an interface between arts", which had for its contemporary equivalent the collaboration between Iser and writers such as Ion Minulescu and Tudor Arghezi. Although Maniu parted with the group and sought a change in style which brought him closer to traditionalist tenets, Tzara, Janco and Vinea continued their collaboration. Between 1913 and 1915, they were frequently vacationing together, either on the Black Sea coast or at the Rosenstock family property in Garceni, Vaslui County; during this time, Vinea and Samyro wrote poems with similar themes and alluding to one another.
Q: Where was he born?
A: Tzara was born in Moinesti, Bacau County, in the historical region of Western Moldavia.
Q: where did he go to school?
A: He moved to Bucharest at the age of eleven, and attended the Schemitz-Tierin boarding school.
Q: what did he study in school?
A: unknown
Q: Did he have any jobs in his early years?
A: In October 1912, when Tzara was aged sixteen, he joined his friends Vinea and Marcel Janco in editing Simbolul.
|
C_e27fa2123565461580f1ec274da842df_0_q#4
|
What is Simbolul
| 0y
| 2x
|
{
"texts": [
"Although the magazine ceased print in December 1912, it played an important part in shaping Romanian literature of the period."
],
"answer_starts": [
1753
]
}
|
{
"text": "Although the magazine ceased print in December 1912, it played an important part in shaping Romanian literature of the period.",
"answer_start": 1753
}
|
C_e27fa2123565461580f1ec274da842df_0
|
Tristan Tzara
|
Tristan Tzara (French: [tRista dzaRa]; Romanian: [tris'tan 'tsara]; born Samuel or Samy Rosenstock, also known as S. Samyro; April 16 [O.S. April 4] 1896 - December 25, 1963) was a Romanian and French avant-garde poet, essayist and performance artist. Also active as a journalist, playwright, literary and art critic, composer and film director, he was known best for being one of the founders and central figures of the anti-establishment Dada movement. Under the influence of Adrian Maniu, the adolescent Tzara became interested in Symbolism and co-founded the magazine Simbolul with Ion Vinea (with whom he also wrote experimental poetry) and painter Marcel Janco. During World War I, after briefly collaborating on Vinea's Chemarea, he joined Janco in Switzerland.
|
Early life and Simbolul years
|
Tzara was born in Moinesti, Bacau County, in the historical region of Western Moldavia. His parents were Jewish Romanians who reportedly spoke Yiddish as their first language; his father Filip and grandfather Ilie were entrepreneurs in the forestry business. Tzara's mother was Emilia Rosenstock, nee Zibalis. Owing to the Romanian Kingdom's discrimination laws, the Rosenstocks were not emancipated, and thus Tzara was not a full citizen of the country until after 1918. He moved to Bucharest at the age of eleven, and attended the Schemitz-Tierin boarding school. It is believed that the young Tzara completed his secondary education at a state-run high school, which is identified as the Saint Sava National College or as the Sfantul Gheorghe High School. In October 1912, when Tzara was aged sixteen, he joined his friends Vinea and Marcel Janco in editing Simbolul. Reputedly, Janco and Vinea provided the funds. Like Vinea, Tzara was also close to their young colleague Jacques G. Costin, who was later his self-declared promoter and admirer. Despite their young age, the three editors were able to attract collaborations from established Symbolist authors, active within Romania's own Symbolist movement. Alongside their close friend and mentor Adrian Maniu (an Imagist who had been Vinea's tutor), they included N. Davidescu, Alfred Hefter-Hidalgo, Emil Isac, Claudia Millian, Ion Minulescu, I. M. Rascu, Eugeniu Sperantia, Al. T. Stamatiad, Eugeniu Stefanescu-Est, Constantin T. Stoika, as well as the journalist and lawyer Poldi Chapier. In its inaugural issue, the journal even printed a poem by one of the leading figures in Romanian Symbolism, Alexandru Macedonski. Simbolul also featured illustrations by Maniu, Millian and Iosif Iser. Although the magazine ceased print in December 1912, it played an important part in shaping Romanian literature of the period. Literary historian Paul Cernat sees Simbolul as a main stage in Romania's modernism, and credits it with having brought about the first changes from Symbolism to the radical avant-garde. Also according to Cernat, the collaboration between Samyro, Vinea and Janco was an early instance of literature becoming "an interface between arts", which had for its contemporary equivalent the collaboration between Iser and writers such as Ion Minulescu and Tudor Arghezi. Although Maniu parted with the group and sought a change in style which brought him closer to traditionalist tenets, Tzara, Janco and Vinea continued their collaboration. Between 1913 and 1915, they were frequently vacationing together, either on the Black Sea coast or at the Rosenstock family property in Garceni, Vaslui County; during this time, Vinea and Samyro wrote poems with similar themes and alluding to one another.
Q: Where was he born?
A: Tzara was born in Moinesti, Bacau County, in the historical region of Western Moldavia.
Q: where did he go to school?
A: He moved to Bucharest at the age of eleven, and attended the Schemitz-Tierin boarding school.
Q: what did he study in school?
A: unknown
Q: Did he have any jobs in his early years?
A: In October 1912, when Tzara was aged sixteen, he joined his friends Vinea and Marcel Janco in editing Simbolul.
Q: What is Simbolul
A: Although the magazine ceased print in December 1912, it played an important part in shaping Romanian literature of the period.
|
C_e27fa2123565461580f1ec274da842df_0_q#5
|
Are there any other interesting aspects about this article?
| 2m
| 2x
|
{
"texts": [
"Despite their young age, the three editors were able to attract collaborations from established Symbolist authors, active within Romania's own Symbolist movement."
],
"answer_starts": [
1051
]
}
|
{
"text": "Despite their young age, the three editors were able to attract collaborations from established Symbolist authors, active within Romania's own Symbolist movement.",
"answer_start": 1051
}
|
C_e27fa2123565461580f1ec274da842df_0
|
Tristan Tzara
|
Tristan Tzara (French: [tRista dzaRa]; Romanian: [tris'tan 'tsara]; born Samuel or Samy Rosenstock, also known as S. Samyro; April 16 [O.S. April 4] 1896 - December 25, 1963) was a Romanian and French avant-garde poet, essayist and performance artist. Also active as a journalist, playwright, literary and art critic, composer and film director, he was known best for being one of the founders and central figures of the anti-establishment Dada movement. Under the influence of Adrian Maniu, the adolescent Tzara became interested in Symbolism and co-founded the magazine Simbolul with Ion Vinea (with whom he also wrote experimental poetry) and painter Marcel Janco. During World War I, after briefly collaborating on Vinea's Chemarea, he joined Janco in Switzerland.
|
Early life and Simbolul years
|
Tzara was born in Moinesti, Bacau County, in the historical region of Western Moldavia. His parents were Jewish Romanians who reportedly spoke Yiddish as their first language; his father Filip and grandfather Ilie were entrepreneurs in the forestry business. Tzara's mother was Emilia Rosenstock, nee Zibalis. Owing to the Romanian Kingdom's discrimination laws, the Rosenstocks were not emancipated, and thus Tzara was not a full citizen of the country until after 1918. He moved to Bucharest at the age of eleven, and attended the Schemitz-Tierin boarding school. It is believed that the young Tzara completed his secondary education at a state-run high school, which is identified as the Saint Sava National College or as the Sfantul Gheorghe High School. In October 1912, when Tzara was aged sixteen, he joined his friends Vinea and Marcel Janco in editing Simbolul. Reputedly, Janco and Vinea provided the funds. Like Vinea, Tzara was also close to their young colleague Jacques G. Costin, who was later his self-declared promoter and admirer. Despite their young age, the three editors were able to attract collaborations from established Symbolist authors, active within Romania's own Symbolist movement. Alongside their close friend and mentor Adrian Maniu (an Imagist who had been Vinea's tutor), they included N. Davidescu, Alfred Hefter-Hidalgo, Emil Isac, Claudia Millian, Ion Minulescu, I. M. Rascu, Eugeniu Sperantia, Al. T. Stamatiad, Eugeniu Stefanescu-Est, Constantin T. Stoika, as well as the journalist and lawyer Poldi Chapier. In its inaugural issue, the journal even printed a poem by one of the leading figures in Romanian Symbolism, Alexandru Macedonski. Simbolul also featured illustrations by Maniu, Millian and Iosif Iser. Although the magazine ceased print in December 1912, it played an important part in shaping Romanian literature of the period. Literary historian Paul Cernat sees Simbolul as a main stage in Romania's modernism, and credits it with having brought about the first changes from Symbolism to the radical avant-garde. Also according to Cernat, the collaboration between Samyro, Vinea and Janco was an early instance of literature becoming "an interface between arts", which had for its contemporary equivalent the collaboration between Iser and writers such as Ion Minulescu and Tudor Arghezi. Although Maniu parted with the group and sought a change in style which brought him closer to traditionalist tenets, Tzara, Janco and Vinea continued their collaboration. Between 1913 and 1915, they were frequently vacationing together, either on the Black Sea coast or at the Rosenstock family property in Garceni, Vaslui County; during this time, Vinea and Samyro wrote poems with similar themes and alluding to one another.
Q: Where was he born?
A: Tzara was born in Moinesti, Bacau County, in the historical region of Western Moldavia.
Q: where did he go to school?
A: He moved to Bucharest at the age of eleven, and attended the Schemitz-Tierin boarding school.
Q: what did he study in school?
A: unknown
Q: Did he have any jobs in his early years?
A: In October 1912, when Tzara was aged sixteen, he joined his friends Vinea and Marcel Janco in editing Simbolul.
Q: What is Simbolul
A: Although the magazine ceased print in December 1912, it played an important part in shaping Romanian literature of the period.
Q: Are there any other interesting aspects about this article?
A: Despite their young age, the three editors were able to attract collaborations from established Symbolist authors, active within Romania's own Symbolist movement.
|
C_e27fa2123565461580f1ec274da842df_0_q#6
|
what kind of things did Simbolul feature?
| 0y
| 2x
|
{
"texts": [
"the three editors were able to attract collaborations from established Symbolist authors, active within Romania's own Symbolist movement."
],
"answer_starts": [
1076
]
}
|
{
"text": "the three editors were able to attract collaborations from established Symbolist authors, active within Romania's own Symbolist movement.",
"answer_start": 1076
}
|
C_e27fa2123565461580f1ec274da842df_0
|
Tristan Tzara
|
Tristan Tzara (French: [tRista dzaRa]; Romanian: [tris'tan 'tsara]; born Samuel or Samy Rosenstock, also known as S. Samyro; April 16 [O.S. April 4] 1896 - December 25, 1963) was a Romanian and French avant-garde poet, essayist and performance artist. Also active as a journalist, playwright, literary and art critic, composer and film director, he was known best for being one of the founders and central figures of the anti-establishment Dada movement. Under the influence of Adrian Maniu, the adolescent Tzara became interested in Symbolism and co-founded the magazine Simbolul with Ion Vinea (with whom he also wrote experimental poetry) and painter Marcel Janco. During World War I, after briefly collaborating on Vinea's Chemarea, he joined Janco in Switzerland.
|
Early life and Simbolul years
|
Tzara was born in Moinesti, Bacau County, in the historical region of Western Moldavia. His parents were Jewish Romanians who reportedly spoke Yiddish as their first language; his father Filip and grandfather Ilie were entrepreneurs in the forestry business. Tzara's mother was Emilia Rosenstock, nee Zibalis. Owing to the Romanian Kingdom's discrimination laws, the Rosenstocks were not emancipated, and thus Tzara was not a full citizen of the country until after 1918. He moved to Bucharest at the age of eleven, and attended the Schemitz-Tierin boarding school. It is believed that the young Tzara completed his secondary education at a state-run high school, which is identified as the Saint Sava National College or as the Sfantul Gheorghe High School. In October 1912, when Tzara was aged sixteen, he joined his friends Vinea and Marcel Janco in editing Simbolul. Reputedly, Janco and Vinea provided the funds. Like Vinea, Tzara was also close to their young colleague Jacques G. Costin, who was later his self-declared promoter and admirer. Despite their young age, the three editors were able to attract collaborations from established Symbolist authors, active within Romania's own Symbolist movement. Alongside their close friend and mentor Adrian Maniu (an Imagist who had been Vinea's tutor), they included N. Davidescu, Alfred Hefter-Hidalgo, Emil Isac, Claudia Millian, Ion Minulescu, I. M. Rascu, Eugeniu Sperantia, Al. T. Stamatiad, Eugeniu Stefanescu-Est, Constantin T. Stoika, as well as the journalist and lawyer Poldi Chapier. In its inaugural issue, the journal even printed a poem by one of the leading figures in Romanian Symbolism, Alexandru Macedonski. Simbolul also featured illustrations by Maniu, Millian and Iosif Iser. Although the magazine ceased print in December 1912, it played an important part in shaping Romanian literature of the period. Literary historian Paul Cernat sees Simbolul as a main stage in Romania's modernism, and credits it with having brought about the first changes from Symbolism to the radical avant-garde. Also according to Cernat, the collaboration between Samyro, Vinea and Janco was an early instance of literature becoming "an interface between arts", which had for its contemporary equivalent the collaboration between Iser and writers such as Ion Minulescu and Tudor Arghezi. Although Maniu parted with the group and sought a change in style which brought him closer to traditionalist tenets, Tzara, Janco and Vinea continued their collaboration. Between 1913 and 1915, they were frequently vacationing together, either on the Black Sea coast or at the Rosenstock family property in Garceni, Vaslui County; during this time, Vinea and Samyro wrote poems with similar themes and alluding to one another.
Q: Where was he born?
A: Tzara was born in Moinesti, Bacau County, in the historical region of Western Moldavia.
Q: where did he go to school?
A: He moved to Bucharest at the age of eleven, and attended the Schemitz-Tierin boarding school.
Q: what did he study in school?
A: unknown
Q: Did he have any jobs in his early years?
A: In October 1912, when Tzara was aged sixteen, he joined his friends Vinea and Marcel Janco in editing Simbolul.
Q: What is Simbolul
A: Although the magazine ceased print in December 1912, it played an important part in shaping Romanian literature of the period.
Q: Are there any other interesting aspects about this article?
A: Despite their young age, the three editors were able to attract collaborations from established Symbolist authors, active within Romania's own Symbolist movement.
Q: what kind of things did Simbolul feature?
A: the three editors were able to attract collaborations from established Symbolist authors, active within Romania's own Symbolist movement.
|
C_e27fa2123565461580f1ec274da842df_0_q#7
|
Did he have any siblings?
| 1n
| 2x
|
{
"texts": [
"unknown"
],
"answer_starts": [
2770
]
}
|
{
"text": "unknown",
"answer_start": 2770
}
|
C_ebaf51b477a74a4884cb659b07039674_1
|
The Cribs
|
The Cribs are an English indie rock band originally from Wakefield, West Yorkshire. The band consists of twins Gary and Ryan Jarman and their younger brother Ross Jarman. They were subsequently joined by ex-The Smiths and Modest Mouse guitarist Johnny Marr who was a formal member of the group from 2008 until 2011. The band, who first became active on the concert circuit in 2002, were initially tied to other like-minded UK bands of that time, most notably The Libertines, by a British music press that were looking for a 'British rearguard' to the wave of popular US alternative rock bands of the time.
|
The New Fellas (2005-2006)
|
After concluding touring duties for the first record, the band were taken off the road to start writing the follow up. However, the Cribs decided they still wanted to tour and took to posting their phone numbers and email addresses on the internet, professing to play anywhere for fuel money and a crate of beer. This DIY approach is something the band and label now feel was a key factor in their success, as it helped nurture a very strong, passionate fanbase. The New Fellas, the band's second album release, was recorded with Edwyn Collins, the singer-songwriter and guitarist from Glasgow's influential Orange Juice in London at his own West Heath Studios. Again, it was a comparatively unpolished record sonically, as both the producer Collins and the band themselves were achieving sounds similar to those heard on the Orange Juice records. This was, however, the intention and the reason the band and producer were put together. "They had definite ideas what they wanted the record to sound like...They had this work ethic, there was nothing spoiled about them - they were proper indie; everything done on a shoe-string and they just got on with it....they were tremendous" - Edwyn Collins. One song, "Haunted", was even recorded on Scarborough beach on a whim, after hearing a Steve Martin ukulele duet recorded on a beach. The first release from the record was the single "Hey Scenesters!" on 18 April 2005. It reached no. 27 in the UK charts, and started their run of 7 consecutive top 40 singles. The album followed on 20 June 2005 although it had leaked onto the internet several months prior to the official release date, hampering its first week sales. The record has however, gone on to be certified Silver by the BPI, and in a recent poll held by the NME was proved to be the overall fans favourite record. The other singles released from the record were "Mirror Kissers", "Martell", and non album track "You're Gonna Lose Us" (produced by Bernard Butler), which was paired with "The Wrong Way To Be" as a AA side. The extensive New Fellas world tour took in several UK tours, Europe, United States, Canada, Japan, Australia, Scandinavia, and their first trip to Iceland. They appeared at numerous festivals at this time, including an appearance on the main stage at Reading and Leeds Festivals (becoming the first band to ever progress through all three stages in consecutive years), headlining the tent at T in the Park, Fuji Rock festival in Japan as well as an extensive USA arena tour with Death Cab for Cutie and Franz Ferdinand. A European tour during this period with ex Pavement man Stephen Malkmus and The Jicks would introduce Gary to his future wife Joanna Bolme. Shortly before their appearance at the Fuji Rock festival, the Cribs released a Japan-only mini album called Arigato Cockers, made up of B-sides and rarities from both the first and second albums. In their year-end issue, the NME made The New Fellas the No. 11 album of the year, and Hey Scenesters a single of the year.
|
C_ebaf51b477a74a4884cb659b07039674_1_q#0
|
What is 'The New Fellas'?
| 0y
| 2x
|
{
"texts": [
"The New Fellas, the band's second album release,"
],
"answer_starts": [
464
]
}
|
{
"text": "The New Fellas, the band's second album release,",
"answer_start": 464
}
|
C_ebaf51b477a74a4884cb659b07039674_1
|
The Cribs
|
The Cribs are an English indie rock band originally from Wakefield, West Yorkshire. The band consists of twins Gary and Ryan Jarman and their younger brother Ross Jarman. They were subsequently joined by ex-The Smiths and Modest Mouse guitarist Johnny Marr who was a formal member of the group from 2008 until 2011. The band, who first became active on the concert circuit in 2002, were initially tied to other like-minded UK bands of that time, most notably The Libertines, by a British music press that were looking for a 'British rearguard' to the wave of popular US alternative rock bands of the time.
|
The New Fellas (2005-2006)
|
After concluding touring duties for the first record, the band were taken off the road to start writing the follow up. However, the Cribs decided they still wanted to tour and took to posting their phone numbers and email addresses on the internet, professing to play anywhere for fuel money and a crate of beer. This DIY approach is something the band and label now feel was a key factor in their success, as it helped nurture a very strong, passionate fanbase. The New Fellas, the band's second album release, was recorded with Edwyn Collins, the singer-songwriter and guitarist from Glasgow's influential Orange Juice in London at his own West Heath Studios. Again, it was a comparatively unpolished record sonically, as both the producer Collins and the band themselves were achieving sounds similar to those heard on the Orange Juice records. This was, however, the intention and the reason the band and producer were put together. "They had definite ideas what they wanted the record to sound like...They had this work ethic, there was nothing spoiled about them - they were proper indie; everything done on a shoe-string and they just got on with it....they were tremendous" - Edwyn Collins. One song, "Haunted", was even recorded on Scarborough beach on a whim, after hearing a Steve Martin ukulele duet recorded on a beach. The first release from the record was the single "Hey Scenesters!" on 18 April 2005. It reached no. 27 in the UK charts, and started their run of 7 consecutive top 40 singles. The album followed on 20 June 2005 although it had leaked onto the internet several months prior to the official release date, hampering its first week sales. The record has however, gone on to be certified Silver by the BPI, and in a recent poll held by the NME was proved to be the overall fans favourite record. The other singles released from the record were "Mirror Kissers", "Martell", and non album track "You're Gonna Lose Us" (produced by Bernard Butler), which was paired with "The Wrong Way To Be" as a AA side. The extensive New Fellas world tour took in several UK tours, Europe, United States, Canada, Japan, Australia, Scandinavia, and their first trip to Iceland. They appeared at numerous festivals at this time, including an appearance on the main stage at Reading and Leeds Festivals (becoming the first band to ever progress through all three stages in consecutive years), headlining the tent at T in the Park, Fuji Rock festival in Japan as well as an extensive USA arena tour with Death Cab for Cutie and Franz Ferdinand. A European tour during this period with ex Pavement man Stephen Malkmus and The Jicks would introduce Gary to his future wife Joanna Bolme. Shortly before their appearance at the Fuji Rock festival, the Cribs released a Japan-only mini album called Arigato Cockers, made up of B-sides and rarities from both the first and second albums. In their year-end issue, the NME made The New Fellas the No. 11 album of the year, and Hey Scenesters a single of the year.
Q: What is 'The New Fellas'?
A: The New Fellas, the band's second album release,
|
C_ebaf51b477a74a4884cb659b07039674_1_q#1
|
Can you tell me something interesting about the album?
| 0y
| 2x
|
{
"texts": [
"release, was recorded with Edwyn Collins, the singer-songwriter and guitarist from Glasgow's influential Orange Juice in London at his own West Heath Studios."
],
"answer_starts": [
504
]
}
|
{
"text": "release, was recorded with Edwyn Collins, the singer-songwriter and guitarist from Glasgow's influential Orange Juice in London at his own West Heath Studios.",
"answer_start": 504
}
|
C_ebaf51b477a74a4884cb659b07039674_1
|
The Cribs
|
The Cribs are an English indie rock band originally from Wakefield, West Yorkshire. The band consists of twins Gary and Ryan Jarman and their younger brother Ross Jarman. They were subsequently joined by ex-The Smiths and Modest Mouse guitarist Johnny Marr who was a formal member of the group from 2008 until 2011. The band, who first became active on the concert circuit in 2002, were initially tied to other like-minded UK bands of that time, most notably The Libertines, by a British music press that were looking for a 'British rearguard' to the wave of popular US alternative rock bands of the time.
|
The New Fellas (2005-2006)
|
After concluding touring duties for the first record, the band were taken off the road to start writing the follow up. However, the Cribs decided they still wanted to tour and took to posting their phone numbers and email addresses on the internet, professing to play anywhere for fuel money and a crate of beer. This DIY approach is something the band and label now feel was a key factor in their success, as it helped nurture a very strong, passionate fanbase. The New Fellas, the band's second album release, was recorded with Edwyn Collins, the singer-songwriter and guitarist from Glasgow's influential Orange Juice in London at his own West Heath Studios. Again, it was a comparatively unpolished record sonically, as both the producer Collins and the band themselves were achieving sounds similar to those heard on the Orange Juice records. This was, however, the intention and the reason the band and producer were put together. "They had definite ideas what they wanted the record to sound like...They had this work ethic, there was nothing spoiled about them - they were proper indie; everything done on a shoe-string and they just got on with it....they were tremendous" - Edwyn Collins. One song, "Haunted", was even recorded on Scarborough beach on a whim, after hearing a Steve Martin ukulele duet recorded on a beach. The first release from the record was the single "Hey Scenesters!" on 18 April 2005. It reached no. 27 in the UK charts, and started their run of 7 consecutive top 40 singles. The album followed on 20 June 2005 although it had leaked onto the internet several months prior to the official release date, hampering its first week sales. The record has however, gone on to be certified Silver by the BPI, and in a recent poll held by the NME was proved to be the overall fans favourite record. The other singles released from the record were "Mirror Kissers", "Martell", and non album track "You're Gonna Lose Us" (produced by Bernard Butler), which was paired with "The Wrong Way To Be" as a AA side. The extensive New Fellas world tour took in several UK tours, Europe, United States, Canada, Japan, Australia, Scandinavia, and their first trip to Iceland. They appeared at numerous festivals at this time, including an appearance on the main stage at Reading and Leeds Festivals (becoming the first band to ever progress through all three stages in consecutive years), headlining the tent at T in the Park, Fuji Rock festival in Japan as well as an extensive USA arena tour with Death Cab for Cutie and Franz Ferdinand. A European tour during this period with ex Pavement man Stephen Malkmus and The Jicks would introduce Gary to his future wife Joanna Bolme. Shortly before their appearance at the Fuji Rock festival, the Cribs released a Japan-only mini album called Arigato Cockers, made up of B-sides and rarities from both the first and second albums. In their year-end issue, the NME made The New Fellas the No. 11 album of the year, and Hey Scenesters a single of the year.
Q: What is 'The New Fellas'?
A: The New Fellas, the band's second album release,
Q: Can you tell me something interesting about the album?
A: release, was recorded with Edwyn Collins, the singer-songwriter and guitarist from Glasgow's influential Orange Juice in London at his own West Heath Studios.
|
C_ebaf51b477a74a4884cb659b07039674_1_q#2
|
What were some songs from the album?
| 0y
| 2x
|
{
"texts": [
"One song, \"Haunted\","
],
"answer_starts": [
1200
]
}
|
{
"text": "One song, \"Haunted\",",
"answer_start": 1200
}
|
C_ebaf51b477a74a4884cb659b07039674_1
|
The Cribs
|
The Cribs are an English indie rock band originally from Wakefield, West Yorkshire. The band consists of twins Gary and Ryan Jarman and their younger brother Ross Jarman. They were subsequently joined by ex-The Smiths and Modest Mouse guitarist Johnny Marr who was a formal member of the group from 2008 until 2011. The band, who first became active on the concert circuit in 2002, were initially tied to other like-minded UK bands of that time, most notably The Libertines, by a British music press that were looking for a 'British rearguard' to the wave of popular US alternative rock bands of the time.
|
The New Fellas (2005-2006)
|
After concluding touring duties for the first record, the band were taken off the road to start writing the follow up. However, the Cribs decided they still wanted to tour and took to posting their phone numbers and email addresses on the internet, professing to play anywhere for fuel money and a crate of beer. This DIY approach is something the band and label now feel was a key factor in their success, as it helped nurture a very strong, passionate fanbase. The New Fellas, the band's second album release, was recorded with Edwyn Collins, the singer-songwriter and guitarist from Glasgow's influential Orange Juice in London at his own West Heath Studios. Again, it was a comparatively unpolished record sonically, as both the producer Collins and the band themselves were achieving sounds similar to those heard on the Orange Juice records. This was, however, the intention and the reason the band and producer were put together. "They had definite ideas what they wanted the record to sound like...They had this work ethic, there was nothing spoiled about them - they were proper indie; everything done on a shoe-string and they just got on with it....they were tremendous" - Edwyn Collins. One song, "Haunted", was even recorded on Scarborough beach on a whim, after hearing a Steve Martin ukulele duet recorded on a beach. The first release from the record was the single "Hey Scenesters!" on 18 April 2005. It reached no. 27 in the UK charts, and started their run of 7 consecutive top 40 singles. The album followed on 20 June 2005 although it had leaked onto the internet several months prior to the official release date, hampering its first week sales. The record has however, gone on to be certified Silver by the BPI, and in a recent poll held by the NME was proved to be the overall fans favourite record. The other singles released from the record were "Mirror Kissers", "Martell", and non album track "You're Gonna Lose Us" (produced by Bernard Butler), which was paired with "The Wrong Way To Be" as a AA side. The extensive New Fellas world tour took in several UK tours, Europe, United States, Canada, Japan, Australia, Scandinavia, and their first trip to Iceland. They appeared at numerous festivals at this time, including an appearance on the main stage at Reading and Leeds Festivals (becoming the first band to ever progress through all three stages in consecutive years), headlining the tent at T in the Park, Fuji Rock festival in Japan as well as an extensive USA arena tour with Death Cab for Cutie and Franz Ferdinand. A European tour during this period with ex Pavement man Stephen Malkmus and The Jicks would introduce Gary to his future wife Joanna Bolme. Shortly before their appearance at the Fuji Rock festival, the Cribs released a Japan-only mini album called Arigato Cockers, made up of B-sides and rarities from both the first and second albums. In their year-end issue, the NME made The New Fellas the No. 11 album of the year, and Hey Scenesters a single of the year.
Q: What is 'The New Fellas'?
A: The New Fellas, the band's second album release,
Q: Can you tell me something interesting about the album?
A: release, was recorded with Edwyn Collins, the singer-songwriter and guitarist from Glasgow's influential Orange Juice in London at his own West Heath Studios.
Q: What were some songs from the album?
A: One song, "Haunted",
|
C_ebaf51b477a74a4884cb659b07039674_1_q#3
|
Was there any other hit songs on the album?
| 2m
| 2x
|
{
"texts": [
"Hey Scenesters a single of the year."
],
"answer_starts": [
2981
]
}
|
{
"text": "Hey Scenesters a single of the year.",
"answer_start": 2981
}
|
C_ebaf51b477a74a4884cb659b07039674_1
|
The Cribs
|
The Cribs are an English indie rock band originally from Wakefield, West Yorkshire. The band consists of twins Gary and Ryan Jarman and their younger brother Ross Jarman. They were subsequently joined by ex-The Smiths and Modest Mouse guitarist Johnny Marr who was a formal member of the group from 2008 until 2011. The band, who first became active on the concert circuit in 2002, were initially tied to other like-minded UK bands of that time, most notably The Libertines, by a British music press that were looking for a 'British rearguard' to the wave of popular US alternative rock bands of the time.
|
The New Fellas (2005-2006)
|
After concluding touring duties for the first record, the band were taken off the road to start writing the follow up. However, the Cribs decided they still wanted to tour and took to posting their phone numbers and email addresses on the internet, professing to play anywhere for fuel money and a crate of beer. This DIY approach is something the band and label now feel was a key factor in their success, as it helped nurture a very strong, passionate fanbase. The New Fellas, the band's second album release, was recorded with Edwyn Collins, the singer-songwriter and guitarist from Glasgow's influential Orange Juice in London at his own West Heath Studios. Again, it was a comparatively unpolished record sonically, as both the producer Collins and the band themselves were achieving sounds similar to those heard on the Orange Juice records. This was, however, the intention and the reason the band and producer were put together. "They had definite ideas what they wanted the record to sound like...They had this work ethic, there was nothing spoiled about them - they were proper indie; everything done on a shoe-string and they just got on with it....they were tremendous" - Edwyn Collins. One song, "Haunted", was even recorded on Scarborough beach on a whim, after hearing a Steve Martin ukulele duet recorded on a beach. The first release from the record was the single "Hey Scenesters!" on 18 April 2005. It reached no. 27 in the UK charts, and started their run of 7 consecutive top 40 singles. The album followed on 20 June 2005 although it had leaked onto the internet several months prior to the official release date, hampering its first week sales. The record has however, gone on to be certified Silver by the BPI, and in a recent poll held by the NME was proved to be the overall fans favourite record. The other singles released from the record were "Mirror Kissers", "Martell", and non album track "You're Gonna Lose Us" (produced by Bernard Butler), which was paired with "The Wrong Way To Be" as a AA side. The extensive New Fellas world tour took in several UK tours, Europe, United States, Canada, Japan, Australia, Scandinavia, and their first trip to Iceland. They appeared at numerous festivals at this time, including an appearance on the main stage at Reading and Leeds Festivals (becoming the first band to ever progress through all three stages in consecutive years), headlining the tent at T in the Park, Fuji Rock festival in Japan as well as an extensive USA arena tour with Death Cab for Cutie and Franz Ferdinand. A European tour during this period with ex Pavement man Stephen Malkmus and The Jicks would introduce Gary to his future wife Joanna Bolme. Shortly before their appearance at the Fuji Rock festival, the Cribs released a Japan-only mini album called Arigato Cockers, made up of B-sides and rarities from both the first and second albums. In their year-end issue, the NME made The New Fellas the No. 11 album of the year, and Hey Scenesters a single of the year.
Q: What is 'The New Fellas'?
A: The New Fellas, the band's second album release,
Q: Can you tell me something interesting about the album?
A: release, was recorded with Edwyn Collins, the singer-songwriter and guitarist from Glasgow's influential Orange Juice in London at his own West Heath Studios.
Q: What were some songs from the album?
A: One song, "Haunted",
Q: Was there any other hit songs on the album?
A: Hey Scenesters a single of the year.
|
C_ebaf51b477a74a4884cb659b07039674_1_q#4
|
Did they do a tour for the album?
| 0y
| 2x
|
{
"texts": [
"The extensive New Fellas world tour took in several UK tours, Europe, United States, Canada, Japan, Australia, Scandinavia, and their first trip to Iceland."
],
"answer_starts": [
2034
]
}
|
{
"text": "The extensive New Fellas world tour took in several UK tours, Europe, United States, Canada, Japan, Australia, Scandinavia, and their first trip to Iceland.",
"answer_start": 2034
}
|
C_ebaf51b477a74a4884cb659b07039674_1
|
The Cribs
|
The Cribs are an English indie rock band originally from Wakefield, West Yorkshire. The band consists of twins Gary and Ryan Jarman and their younger brother Ross Jarman. They were subsequently joined by ex-The Smiths and Modest Mouse guitarist Johnny Marr who was a formal member of the group from 2008 until 2011. The band, who first became active on the concert circuit in 2002, were initially tied to other like-minded UK bands of that time, most notably The Libertines, by a British music press that were looking for a 'British rearguard' to the wave of popular US alternative rock bands of the time.
|
The New Fellas (2005-2006)
|
After concluding touring duties for the first record, the band were taken off the road to start writing the follow up. However, the Cribs decided they still wanted to tour and took to posting their phone numbers and email addresses on the internet, professing to play anywhere for fuel money and a crate of beer. This DIY approach is something the band and label now feel was a key factor in their success, as it helped nurture a very strong, passionate fanbase. The New Fellas, the band's second album release, was recorded with Edwyn Collins, the singer-songwriter and guitarist from Glasgow's influential Orange Juice in London at his own West Heath Studios. Again, it was a comparatively unpolished record sonically, as both the producer Collins and the band themselves were achieving sounds similar to those heard on the Orange Juice records. This was, however, the intention and the reason the band and producer were put together. "They had definite ideas what they wanted the record to sound like...They had this work ethic, there was nothing spoiled about them - they were proper indie; everything done on a shoe-string and they just got on with it....they were tremendous" - Edwyn Collins. One song, "Haunted", was even recorded on Scarborough beach on a whim, after hearing a Steve Martin ukulele duet recorded on a beach. The first release from the record was the single "Hey Scenesters!" on 18 April 2005. It reached no. 27 in the UK charts, and started their run of 7 consecutive top 40 singles. The album followed on 20 June 2005 although it had leaked onto the internet several months prior to the official release date, hampering its first week sales. The record has however, gone on to be certified Silver by the BPI, and in a recent poll held by the NME was proved to be the overall fans favourite record. The other singles released from the record were "Mirror Kissers", "Martell", and non album track "You're Gonna Lose Us" (produced by Bernard Butler), which was paired with "The Wrong Way To Be" as a AA side. The extensive New Fellas world tour took in several UK tours, Europe, United States, Canada, Japan, Australia, Scandinavia, and their first trip to Iceland. They appeared at numerous festivals at this time, including an appearance on the main stage at Reading and Leeds Festivals (becoming the first band to ever progress through all three stages in consecutive years), headlining the tent at T in the Park, Fuji Rock festival in Japan as well as an extensive USA arena tour with Death Cab for Cutie and Franz Ferdinand. A European tour during this period with ex Pavement man Stephen Malkmus and The Jicks would introduce Gary to his future wife Joanna Bolme. Shortly before their appearance at the Fuji Rock festival, the Cribs released a Japan-only mini album called Arigato Cockers, made up of B-sides and rarities from both the first and second albums. In their year-end issue, the NME made The New Fellas the No. 11 album of the year, and Hey Scenesters a single of the year.
Q: What is 'The New Fellas'?
A: The New Fellas, the band's second album release,
Q: Can you tell me something interesting about the album?
A: release, was recorded with Edwyn Collins, the singer-songwriter and guitarist from Glasgow's influential Orange Juice in London at his own West Heath Studios.
Q: What were some songs from the album?
A: One song, "Haunted",
Q: Was there any other hit songs on the album?
A: Hey Scenesters a single of the year.
Q: Did they do a tour for the album?
A: The extensive New Fellas world tour took in several UK tours, Europe, United States, Canada, Japan, Australia, Scandinavia, and their first trip to Iceland.
|
C_ebaf51b477a74a4884cb659b07039674_1_q#5
|
Who did they tour with?
| 2m
| 2x
|
{
"texts": [
"A European tour during this period with ex Pavement man Stephen Malkmus and The Jicks would introduce Gary to his future wife Joanna Bolme."
],
"answer_starts": [
2555
]
}
|
{
"text": "A European tour during this period with ex Pavement man Stephen Malkmus and The Jicks would introduce Gary to his future wife Joanna Bolme.",
"answer_start": 2555
}
|
C_ebaf51b477a74a4884cb659b07039674_1
|
The Cribs
|
The Cribs are an English indie rock band originally from Wakefield, West Yorkshire. The band consists of twins Gary and Ryan Jarman and their younger brother Ross Jarman. They were subsequently joined by ex-The Smiths and Modest Mouse guitarist Johnny Marr who was a formal member of the group from 2008 until 2011. The band, who first became active on the concert circuit in 2002, were initially tied to other like-minded UK bands of that time, most notably The Libertines, by a British music press that were looking for a 'British rearguard' to the wave of popular US alternative rock bands of the time.
|
The New Fellas (2005-2006)
|
After concluding touring duties for the first record, the band were taken off the road to start writing the follow up. However, the Cribs decided they still wanted to tour and took to posting their phone numbers and email addresses on the internet, professing to play anywhere for fuel money and a crate of beer. This DIY approach is something the band and label now feel was a key factor in their success, as it helped nurture a very strong, passionate fanbase. The New Fellas, the band's second album release, was recorded with Edwyn Collins, the singer-songwriter and guitarist from Glasgow's influential Orange Juice in London at his own West Heath Studios. Again, it was a comparatively unpolished record sonically, as both the producer Collins and the band themselves were achieving sounds similar to those heard on the Orange Juice records. This was, however, the intention and the reason the band and producer were put together. "They had definite ideas what they wanted the record to sound like...They had this work ethic, there was nothing spoiled about them - they were proper indie; everything done on a shoe-string and they just got on with it....they were tremendous" - Edwyn Collins. One song, "Haunted", was even recorded on Scarborough beach on a whim, after hearing a Steve Martin ukulele duet recorded on a beach. The first release from the record was the single "Hey Scenesters!" on 18 April 2005. It reached no. 27 in the UK charts, and started their run of 7 consecutive top 40 singles. The album followed on 20 June 2005 although it had leaked onto the internet several months prior to the official release date, hampering its first week sales. The record has however, gone on to be certified Silver by the BPI, and in a recent poll held by the NME was proved to be the overall fans favourite record. The other singles released from the record were "Mirror Kissers", "Martell", and non album track "You're Gonna Lose Us" (produced by Bernard Butler), which was paired with "The Wrong Way To Be" as a AA side. The extensive New Fellas world tour took in several UK tours, Europe, United States, Canada, Japan, Australia, Scandinavia, and their first trip to Iceland. They appeared at numerous festivals at this time, including an appearance on the main stage at Reading and Leeds Festivals (becoming the first band to ever progress through all three stages in consecutive years), headlining the tent at T in the Park, Fuji Rock festival in Japan as well as an extensive USA arena tour with Death Cab for Cutie and Franz Ferdinand. A European tour during this period with ex Pavement man Stephen Malkmus and The Jicks would introduce Gary to his future wife Joanna Bolme. Shortly before their appearance at the Fuji Rock festival, the Cribs released a Japan-only mini album called Arigato Cockers, made up of B-sides and rarities from both the first and second albums. In their year-end issue, the NME made The New Fellas the No. 11 album of the year, and Hey Scenesters a single of the year.
Q: What is 'The New Fellas'?
A: The New Fellas, the band's second album release,
Q: Can you tell me something interesting about the album?
A: release, was recorded with Edwyn Collins, the singer-songwriter and guitarist from Glasgow's influential Orange Juice in London at his own West Heath Studios.
Q: What were some songs from the album?
A: One song, "Haunted",
Q: Was there any other hit songs on the album?
A: Hey Scenesters a single of the year.
Q: Did they do a tour for the album?
A: The extensive New Fellas world tour took in several UK tours, Europe, United States, Canada, Japan, Australia, Scandinavia, and their first trip to Iceland.
Q: Who did they tour with?
A: A European tour during this period with ex Pavement man Stephen Malkmus and The Jicks would introduce Gary to his future wife Joanna Bolme.
|
C_ebaf51b477a74a4884cb659b07039674_1_q#6
|
Are they still married?
| 1n
| 2x
|
{
"texts": [
"unknown"
],
"answer_starts": [
3018
]
}
|
{
"text": "unknown",
"answer_start": 3018
}
|
C_ebaf51b477a74a4884cb659b07039674_1
|
The Cribs
|
The Cribs are an English indie rock band originally from Wakefield, West Yorkshire. The band consists of twins Gary and Ryan Jarman and their younger brother Ross Jarman. They were subsequently joined by ex-The Smiths and Modest Mouse guitarist Johnny Marr who was a formal member of the group from 2008 until 2011. The band, who first became active on the concert circuit in 2002, were initially tied to other like-minded UK bands of that time, most notably The Libertines, by a British music press that were looking for a 'British rearguard' to the wave of popular US alternative rock bands of the time.
|
The New Fellas (2005-2006)
|
After concluding touring duties for the first record, the band were taken off the road to start writing the follow up. However, the Cribs decided they still wanted to tour and took to posting their phone numbers and email addresses on the internet, professing to play anywhere for fuel money and a crate of beer. This DIY approach is something the band and label now feel was a key factor in their success, as it helped nurture a very strong, passionate fanbase. The New Fellas, the band's second album release, was recorded with Edwyn Collins, the singer-songwriter and guitarist from Glasgow's influential Orange Juice in London at his own West Heath Studios. Again, it was a comparatively unpolished record sonically, as both the producer Collins and the band themselves were achieving sounds similar to those heard on the Orange Juice records. This was, however, the intention and the reason the band and producer were put together. "They had definite ideas what they wanted the record to sound like...They had this work ethic, there was nothing spoiled about them - they were proper indie; everything done on a shoe-string and they just got on with it....they were tremendous" - Edwyn Collins. One song, "Haunted", was even recorded on Scarborough beach on a whim, after hearing a Steve Martin ukulele duet recorded on a beach. The first release from the record was the single "Hey Scenesters!" on 18 April 2005. It reached no. 27 in the UK charts, and started their run of 7 consecutive top 40 singles. The album followed on 20 June 2005 although it had leaked onto the internet several months prior to the official release date, hampering its first week sales. The record has however, gone on to be certified Silver by the BPI, and in a recent poll held by the NME was proved to be the overall fans favourite record. The other singles released from the record were "Mirror Kissers", "Martell", and non album track "You're Gonna Lose Us" (produced by Bernard Butler), which was paired with "The Wrong Way To Be" as a AA side. The extensive New Fellas world tour took in several UK tours, Europe, United States, Canada, Japan, Australia, Scandinavia, and their first trip to Iceland. They appeared at numerous festivals at this time, including an appearance on the main stage at Reading and Leeds Festivals (becoming the first band to ever progress through all three stages in consecutive years), headlining the tent at T in the Park, Fuji Rock festival in Japan as well as an extensive USA arena tour with Death Cab for Cutie and Franz Ferdinand. A European tour during this period with ex Pavement man Stephen Malkmus and The Jicks would introduce Gary to his future wife Joanna Bolme. Shortly before their appearance at the Fuji Rock festival, the Cribs released a Japan-only mini album called Arigato Cockers, made up of B-sides and rarities from both the first and second albums. In their year-end issue, the NME made The New Fellas the No. 11 album of the year, and Hey Scenesters a single of the year.
Q: What is 'The New Fellas'?
A: The New Fellas, the band's second album release,
Q: Can you tell me something interesting about the album?
A: release, was recorded with Edwyn Collins, the singer-songwriter and guitarist from Glasgow's influential Orange Juice in London at his own West Heath Studios.
Q: What were some songs from the album?
A: One song, "Haunted",
Q: Was there any other hit songs on the album?
A: Hey Scenesters a single of the year.
Q: Did they do a tour for the album?
A: The extensive New Fellas world tour took in several UK tours, Europe, United States, Canada, Japan, Australia, Scandinavia, and their first trip to Iceland.
Q: Who did they tour with?
A: A European tour during this period with ex Pavement man Stephen Malkmus and The Jicks would introduce Gary to his future wife Joanna Bolme.
Q: Are they still married?
A: unknown
|
C_ebaf51b477a74a4884cb659b07039674_1_q#7
|
Did anything else of interest happen in 2005-2006?
| 1n
| 2x
|
{
"texts": [
"In their year-end issue, the NME made The New Fellas the No. 11 album"
],
"answer_starts": [
2894
]
}
|
{
"text": "In their year-end issue, the NME made The New Fellas the No. 11 album",
"answer_start": 2894
}
|
C_ebaf51b477a74a4884cb659b07039674_1
|
The Cribs
|
The Cribs are an English indie rock band originally from Wakefield, West Yorkshire. The band consists of twins Gary and Ryan Jarman and their younger brother Ross Jarman. They were subsequently joined by ex-The Smiths and Modest Mouse guitarist Johnny Marr who was a formal member of the group from 2008 until 2011. The band, who first became active on the concert circuit in 2002, were initially tied to other like-minded UK bands of that time, most notably The Libertines, by a British music press that were looking for a 'British rearguard' to the wave of popular US alternative rock bands of the time.
|
The New Fellas (2005-2006)
|
After concluding touring duties for the first record, the band were taken off the road to start writing the follow up. However, the Cribs decided they still wanted to tour and took to posting their phone numbers and email addresses on the internet, professing to play anywhere for fuel money and a crate of beer. This DIY approach is something the band and label now feel was a key factor in their success, as it helped nurture a very strong, passionate fanbase. The New Fellas, the band's second album release, was recorded with Edwyn Collins, the singer-songwriter and guitarist from Glasgow's influential Orange Juice in London at his own West Heath Studios. Again, it was a comparatively unpolished record sonically, as both the producer Collins and the band themselves were achieving sounds similar to those heard on the Orange Juice records. This was, however, the intention and the reason the band and producer were put together. "They had definite ideas what they wanted the record to sound like...They had this work ethic, there was nothing spoiled about them - they were proper indie; everything done on a shoe-string and they just got on with it....they were tremendous" - Edwyn Collins. One song, "Haunted", was even recorded on Scarborough beach on a whim, after hearing a Steve Martin ukulele duet recorded on a beach. The first release from the record was the single "Hey Scenesters!" on 18 April 2005. It reached no. 27 in the UK charts, and started their run of 7 consecutive top 40 singles. The album followed on 20 June 2005 although it had leaked onto the internet several months prior to the official release date, hampering its first week sales. The record has however, gone on to be certified Silver by the BPI, and in a recent poll held by the NME was proved to be the overall fans favourite record. The other singles released from the record were "Mirror Kissers", "Martell", and non album track "You're Gonna Lose Us" (produced by Bernard Butler), which was paired with "The Wrong Way To Be" as a AA side. The extensive New Fellas world tour took in several UK tours, Europe, United States, Canada, Japan, Australia, Scandinavia, and their first trip to Iceland. They appeared at numerous festivals at this time, including an appearance on the main stage at Reading and Leeds Festivals (becoming the first band to ever progress through all three stages in consecutive years), headlining the tent at T in the Park, Fuji Rock festival in Japan as well as an extensive USA arena tour with Death Cab for Cutie and Franz Ferdinand. A European tour during this period with ex Pavement man Stephen Malkmus and The Jicks would introduce Gary to his future wife Joanna Bolme. Shortly before their appearance at the Fuji Rock festival, the Cribs released a Japan-only mini album called Arigato Cockers, made up of B-sides and rarities from both the first and second albums. In their year-end issue, the NME made The New Fellas the No. 11 album of the year, and Hey Scenesters a single of the year.
Q: What is 'The New Fellas'?
A: The New Fellas, the band's second album release,
Q: Can you tell me something interesting about the album?
A: release, was recorded with Edwyn Collins, the singer-songwriter and guitarist from Glasgow's influential Orange Juice in London at his own West Heath Studios.
Q: What were some songs from the album?
A: One song, "Haunted",
Q: Was there any other hit songs on the album?
A: Hey Scenesters a single of the year.
Q: Did they do a tour for the album?
A: The extensive New Fellas world tour took in several UK tours, Europe, United States, Canada, Japan, Australia, Scandinavia, and their first trip to Iceland.
Q: Who did they tour with?
A: A European tour during this period with ex Pavement man Stephen Malkmus and The Jicks would introduce Gary to his future wife Joanna Bolme.
Q: Are they still married?
A: unknown
Q: Did anything else of interest happen in 2005-2006?
A: In their year-end issue, the NME made The New Fellas the No. 11 album
|
C_ebaf51b477a74a4884cb659b07039674_1_q#8
|
How well did the album do?
| 1n
| 2x
|
{
"texts": [
"No. 11"
],
"answer_starts": [
2951
]
}
|
{
"text": "No. 11",
"answer_start": 2951
}
|
C_ebaf51b477a74a4884cb659b07039674_0
|
The Cribs
|
The Cribs are an English indie rock band originally from Wakefield, West Yorkshire. The band consists of twins Gary and Ryan Jarman and their younger brother Ross Jarman. They were subsequently joined by ex-The Smiths and Modest Mouse guitarist Johnny Marr who was a formal member of the group from 2008 until 2011. The band, who first became active on the concert circuit in 2002, were initially tied to other like-minded UK bands of that time, most notably The Libertines, by a British music press that were looking for a 'British rearguard' to the wave of popular US alternative rock bands of the time.
|
Payola (2013)
|
On 20 November 2012 the Cribs announced details of their first 'Best Of' compilation, Payola, which was released on 11 March 2013 via Wichita Recordings to mark the group's 10th anniversary. The 22 track album saw the first official release of "Leather Jacket Love Song" - recorded at sessions in early 2010, it is the final Cribs song to feature Johnny Marr. A special 40-track 'Anthology Edition' was released with an additional 18 track disc containing B-sides and rarities. On the 29th of February, the band made their fourth appearance on the cover of NME magazine, which came with an additional CD release "Payola: The Demos". This companion disc to "Payola" featured demo versions of most of the significant songs featured on "Payola", as well as 3 unheard and unreleased tracks harking back as far as 2001. Around the same time the band played an NME Awards show at Shepherds Bush Empire and several other headline dates around the country. Over the summer, the Cribs played numerous festivals in the UK and Europe, including headline slots at Y Not Festival and a show at the Olympic Park (London), as well as a short tour of Scottish venues. Autumn saw the band head back to Australia for an "Anniversary Tour", before venturing into Asia for a lengthy tour there. Cities and countries visited on this trip would include Thailand (Bangkok), Malaysia (Kuala Lumpur), Vietnam (Saigon), two shows in Japan (Tokyo), a show at the Kowloonbay International Trade & Exhibition Centre in Hong Kong, and a large outdoor show in the meadow at the Gardens by the Bay in Singapore. The year was rounded out by two sold out Christmas shows at the Leeds Academy 2014 began quietly, as the band began writing sessions for their next studio album. The only shows announced would be as part of the Weezer cruise from Florida to the Bahamas in February. Later in the year, the Cribs returned to the UK for some UK festival slots, including headlining Truck Festival and Tramlines Festival amongst others, and an Italian tour with Franz Ferdinand.
|
C_ebaf51b477a74a4884cb659b07039674_0_q#0
|
What is Payola?
| 0y
| 2x
|
{
"texts": [
"On 20 November 2012 the Cribs announced details of their first 'Best Of' compilation, Payola,"
],
"answer_starts": [
0
]
}
|
{
"text": "On 20 November 2012 the Cribs announced details of their first 'Best Of' compilation, Payola,",
"answer_start": 0
}
|
C_ebaf51b477a74a4884cb659b07039674_0
|
The Cribs
|
The Cribs are an English indie rock band originally from Wakefield, West Yorkshire. The band consists of twins Gary and Ryan Jarman and their younger brother Ross Jarman. They were subsequently joined by ex-The Smiths and Modest Mouse guitarist Johnny Marr who was a formal member of the group from 2008 until 2011. The band, who first became active on the concert circuit in 2002, were initially tied to other like-minded UK bands of that time, most notably The Libertines, by a British music press that were looking for a 'British rearguard' to the wave of popular US alternative rock bands of the time.
|
Payola (2013)
|
On 20 November 2012 the Cribs announced details of their first 'Best Of' compilation, Payola, which was released on 11 March 2013 via Wichita Recordings to mark the group's 10th anniversary. The 22 track album saw the first official release of "Leather Jacket Love Song" - recorded at sessions in early 2010, it is the final Cribs song to feature Johnny Marr. A special 40-track 'Anthology Edition' was released with an additional 18 track disc containing B-sides and rarities. On the 29th of February, the band made their fourth appearance on the cover of NME magazine, which came with an additional CD release "Payola: The Demos". This companion disc to "Payola" featured demo versions of most of the significant songs featured on "Payola", as well as 3 unheard and unreleased tracks harking back as far as 2001. Around the same time the band played an NME Awards show at Shepherds Bush Empire and several other headline dates around the country. Over the summer, the Cribs played numerous festivals in the UK and Europe, including headline slots at Y Not Festival and a show at the Olympic Park (London), as well as a short tour of Scottish venues. Autumn saw the band head back to Australia for an "Anniversary Tour", before venturing into Asia for a lengthy tour there. Cities and countries visited on this trip would include Thailand (Bangkok), Malaysia (Kuala Lumpur), Vietnam (Saigon), two shows in Japan (Tokyo), a show at the Kowloonbay International Trade & Exhibition Centre in Hong Kong, and a large outdoor show in the meadow at the Gardens by the Bay in Singapore. The year was rounded out by two sold out Christmas shows at the Leeds Academy 2014 began quietly, as the band began writing sessions for their next studio album. The only shows announced would be as part of the Weezer cruise from Florida to the Bahamas in February. Later in the year, the Cribs returned to the UK for some UK festival slots, including headlining Truck Festival and Tramlines Festival amongst others, and an Italian tour with Franz Ferdinand.
Q: What is Payola?
A: On 20 November 2012 the Cribs announced details of their first 'Best Of' compilation, Payola,
|
C_ebaf51b477a74a4884cb659b07039674_0_q#1
|
How well did it do?
| 2m
| 2x
|
{
"texts": [
"unknown"
],
"answer_starts": [
2043
]
}
|
{
"text": "unknown",
"answer_start": 2043
}
|
C_ebaf51b477a74a4884cb659b07039674_0
|
The Cribs
|
The Cribs are an English indie rock band originally from Wakefield, West Yorkshire. The band consists of twins Gary and Ryan Jarman and their younger brother Ross Jarman. They were subsequently joined by ex-The Smiths and Modest Mouse guitarist Johnny Marr who was a formal member of the group from 2008 until 2011. The band, who first became active on the concert circuit in 2002, were initially tied to other like-minded UK bands of that time, most notably The Libertines, by a British music press that were looking for a 'British rearguard' to the wave of popular US alternative rock bands of the time.
|
Payola (2013)
|
On 20 November 2012 the Cribs announced details of their first 'Best Of' compilation, Payola, which was released on 11 March 2013 via Wichita Recordings to mark the group's 10th anniversary. The 22 track album saw the first official release of "Leather Jacket Love Song" - recorded at sessions in early 2010, it is the final Cribs song to feature Johnny Marr. A special 40-track 'Anthology Edition' was released with an additional 18 track disc containing B-sides and rarities. On the 29th of February, the band made their fourth appearance on the cover of NME magazine, which came with an additional CD release "Payola: The Demos". This companion disc to "Payola" featured demo versions of most of the significant songs featured on "Payola", as well as 3 unheard and unreleased tracks harking back as far as 2001. Around the same time the band played an NME Awards show at Shepherds Bush Empire and several other headline dates around the country. Over the summer, the Cribs played numerous festivals in the UK and Europe, including headline slots at Y Not Festival and a show at the Olympic Park (London), as well as a short tour of Scottish venues. Autumn saw the band head back to Australia for an "Anniversary Tour", before venturing into Asia for a lengthy tour there. Cities and countries visited on this trip would include Thailand (Bangkok), Malaysia (Kuala Lumpur), Vietnam (Saigon), two shows in Japan (Tokyo), a show at the Kowloonbay International Trade & Exhibition Centre in Hong Kong, and a large outdoor show in the meadow at the Gardens by the Bay in Singapore. The year was rounded out by two sold out Christmas shows at the Leeds Academy 2014 began quietly, as the band began writing sessions for their next studio album. The only shows announced would be as part of the Weezer cruise from Florida to the Bahamas in February. Later in the year, the Cribs returned to the UK for some UK festival slots, including headlining Truck Festival and Tramlines Festival amongst others, and an Italian tour with Franz Ferdinand.
Q: What is Payola?
A: On 20 November 2012 the Cribs announced details of their first 'Best Of' compilation, Payola,
Q: How well did it do?
A: unknown
|
C_ebaf51b477a74a4884cb659b07039674_0_q#2
|
What songs are included in Payola?
| 0y
| 2x
|
{
"texts": [
"The 22 track album saw the first official release of \"Leather Jacket Love Song\" - recorded at sessions in early 2010,"
],
"answer_starts": [
191
]
}
|
{
"text": "The 22 track album saw the first official release of \"Leather Jacket Love Song\" - recorded at sessions in early 2010,",
"answer_start": 191
}
|
C_ebaf51b477a74a4884cb659b07039674_0
|
The Cribs
|
The Cribs are an English indie rock band originally from Wakefield, West Yorkshire. The band consists of twins Gary and Ryan Jarman and their younger brother Ross Jarman. They were subsequently joined by ex-The Smiths and Modest Mouse guitarist Johnny Marr who was a formal member of the group from 2008 until 2011. The band, who first became active on the concert circuit in 2002, were initially tied to other like-minded UK bands of that time, most notably The Libertines, by a British music press that were looking for a 'British rearguard' to the wave of popular US alternative rock bands of the time.
|
Payola (2013)
|
On 20 November 2012 the Cribs announced details of their first 'Best Of' compilation, Payola, which was released on 11 March 2013 via Wichita Recordings to mark the group's 10th anniversary. The 22 track album saw the first official release of "Leather Jacket Love Song" - recorded at sessions in early 2010, it is the final Cribs song to feature Johnny Marr. A special 40-track 'Anthology Edition' was released with an additional 18 track disc containing B-sides and rarities. On the 29th of February, the band made their fourth appearance on the cover of NME magazine, which came with an additional CD release "Payola: The Demos". This companion disc to "Payola" featured demo versions of most of the significant songs featured on "Payola", as well as 3 unheard and unreleased tracks harking back as far as 2001. Around the same time the band played an NME Awards show at Shepherds Bush Empire and several other headline dates around the country. Over the summer, the Cribs played numerous festivals in the UK and Europe, including headline slots at Y Not Festival and a show at the Olympic Park (London), as well as a short tour of Scottish venues. Autumn saw the band head back to Australia for an "Anniversary Tour", before venturing into Asia for a lengthy tour there. Cities and countries visited on this trip would include Thailand (Bangkok), Malaysia (Kuala Lumpur), Vietnam (Saigon), two shows in Japan (Tokyo), a show at the Kowloonbay International Trade & Exhibition Centre in Hong Kong, and a large outdoor show in the meadow at the Gardens by the Bay in Singapore. The year was rounded out by two sold out Christmas shows at the Leeds Academy 2014 began quietly, as the band began writing sessions for their next studio album. The only shows announced would be as part of the Weezer cruise from Florida to the Bahamas in February. Later in the year, the Cribs returned to the UK for some UK festival slots, including headlining Truck Festival and Tramlines Festival amongst others, and an Italian tour with Franz Ferdinand.
Q: What is Payola?
A: On 20 November 2012 the Cribs announced details of their first 'Best Of' compilation, Payola,
Q: How well did it do?
A: unknown
Q: What songs are included in Payola?
A: The 22 track album saw the first official release of "Leather Jacket Love Song" - recorded at sessions in early 2010,
|
C_ebaf51b477a74a4884cb659b07039674_0_q#3
|
Any other songs?
| 0y
| 0y
|
{
"texts": [
"A special 40-track 'Anthology Edition' was released with an additional 18 track disc containing B-sides and rarities."
],
"answer_starts": [
360
]
}
|
{
"text": "A special 40-track 'Anthology Edition' was released with an additional 18 track disc containing B-sides and rarities.",
"answer_start": 360
}
|
C_ebaf51b477a74a4884cb659b07039674_0
|
The Cribs
|
The Cribs are an English indie rock band originally from Wakefield, West Yorkshire. The band consists of twins Gary and Ryan Jarman and their younger brother Ross Jarman. They were subsequently joined by ex-The Smiths and Modest Mouse guitarist Johnny Marr who was a formal member of the group from 2008 until 2011. The band, who first became active on the concert circuit in 2002, were initially tied to other like-minded UK bands of that time, most notably The Libertines, by a British music press that were looking for a 'British rearguard' to the wave of popular US alternative rock bands of the time.
|
Payola (2013)
|
On 20 November 2012 the Cribs announced details of their first 'Best Of' compilation, Payola, which was released on 11 March 2013 via Wichita Recordings to mark the group's 10th anniversary. The 22 track album saw the first official release of "Leather Jacket Love Song" - recorded at sessions in early 2010, it is the final Cribs song to feature Johnny Marr. A special 40-track 'Anthology Edition' was released with an additional 18 track disc containing B-sides and rarities. On the 29th of February, the band made their fourth appearance on the cover of NME magazine, which came with an additional CD release "Payola: The Demos". This companion disc to "Payola" featured demo versions of most of the significant songs featured on "Payola", as well as 3 unheard and unreleased tracks harking back as far as 2001. Around the same time the band played an NME Awards show at Shepherds Bush Empire and several other headline dates around the country. Over the summer, the Cribs played numerous festivals in the UK and Europe, including headline slots at Y Not Festival and a show at the Olympic Park (London), as well as a short tour of Scottish venues. Autumn saw the band head back to Australia for an "Anniversary Tour", before venturing into Asia for a lengthy tour there. Cities and countries visited on this trip would include Thailand (Bangkok), Malaysia (Kuala Lumpur), Vietnam (Saigon), two shows in Japan (Tokyo), a show at the Kowloonbay International Trade & Exhibition Centre in Hong Kong, and a large outdoor show in the meadow at the Gardens by the Bay in Singapore. The year was rounded out by two sold out Christmas shows at the Leeds Academy 2014 began quietly, as the band began writing sessions for their next studio album. The only shows announced would be as part of the Weezer cruise from Florida to the Bahamas in February. Later in the year, the Cribs returned to the UK for some UK festival slots, including headlining Truck Festival and Tramlines Festival amongst others, and an Italian tour with Franz Ferdinand.
Q: What is Payola?
A: On 20 November 2012 the Cribs announced details of their first 'Best Of' compilation, Payola,
Q: How well did it do?
A: unknown
Q: What songs are included in Payola?
A: The 22 track album saw the first official release of "Leather Jacket Love Song" - recorded at sessions in early 2010,
Q: Any other songs?
A: A special 40-track 'Anthology Edition' was released with an additional 18 track disc containing B-sides and rarities.
|
C_ebaf51b477a74a4884cb659b07039674_0_q#4
|
Did they have any other albums?
| 2m
| 0y
|
{
"texts": [
"2014 began quietly, as the band began writing sessions for their next studio album."
],
"answer_starts": [
1662
]
}
|
{
"text": "2014 began quietly, as the band began writing sessions for their next studio album.",
"answer_start": 1662
}
|
C_ebaf51b477a74a4884cb659b07039674_0
|
The Cribs
|
The Cribs are an English indie rock band originally from Wakefield, West Yorkshire. The band consists of twins Gary and Ryan Jarman and their younger brother Ross Jarman. They were subsequently joined by ex-The Smiths and Modest Mouse guitarist Johnny Marr who was a formal member of the group from 2008 until 2011. The band, who first became active on the concert circuit in 2002, were initially tied to other like-minded UK bands of that time, most notably The Libertines, by a British music press that were looking for a 'British rearguard' to the wave of popular US alternative rock bands of the time.
|
Payola (2013)
|
On 20 November 2012 the Cribs announced details of their first 'Best Of' compilation, Payola, which was released on 11 March 2013 via Wichita Recordings to mark the group's 10th anniversary. The 22 track album saw the first official release of "Leather Jacket Love Song" - recorded at sessions in early 2010, it is the final Cribs song to feature Johnny Marr. A special 40-track 'Anthology Edition' was released with an additional 18 track disc containing B-sides and rarities. On the 29th of February, the band made their fourth appearance on the cover of NME magazine, which came with an additional CD release "Payola: The Demos". This companion disc to "Payola" featured demo versions of most of the significant songs featured on "Payola", as well as 3 unheard and unreleased tracks harking back as far as 2001. Around the same time the band played an NME Awards show at Shepherds Bush Empire and several other headline dates around the country. Over the summer, the Cribs played numerous festivals in the UK and Europe, including headline slots at Y Not Festival and a show at the Olympic Park (London), as well as a short tour of Scottish venues. Autumn saw the band head back to Australia for an "Anniversary Tour", before venturing into Asia for a lengthy tour there. Cities and countries visited on this trip would include Thailand (Bangkok), Malaysia (Kuala Lumpur), Vietnam (Saigon), two shows in Japan (Tokyo), a show at the Kowloonbay International Trade & Exhibition Centre in Hong Kong, and a large outdoor show in the meadow at the Gardens by the Bay in Singapore. The year was rounded out by two sold out Christmas shows at the Leeds Academy 2014 began quietly, as the band began writing sessions for their next studio album. The only shows announced would be as part of the Weezer cruise from Florida to the Bahamas in February. Later in the year, the Cribs returned to the UK for some UK festival slots, including headlining Truck Festival and Tramlines Festival amongst others, and an Italian tour with Franz Ferdinand.
Q: What is Payola?
A: On 20 November 2012 the Cribs announced details of their first 'Best Of' compilation, Payola,
Q: How well did it do?
A: unknown
Q: What songs are included in Payola?
A: The 22 track album saw the first official release of "Leather Jacket Love Song" - recorded at sessions in early 2010,
Q: Any other songs?
A: A special 40-track 'Anthology Edition' was released with an additional 18 track disc containing B-sides and rarities.
Q: Did they have any other albums?
A: 2014 began quietly, as the band began writing sessions for their next studio album.
|
C_ebaf51b477a74a4884cb659b07039674_0_q#5
|
What is their most famous song?
| 1n
| 2x
|
{
"texts": [
"\"Leather Jacket Love Song\" - recorded at sessions in early 2010, it is the final Cribs song to feature Johnny Marr."
],
"answer_starts": [
244
]
}
|
{
"text": "\"Leather Jacket Love Song\" - recorded at sessions in early 2010, it is the final Cribs song to feature Johnny Marr.",
"answer_start": 244
}
|
C_ebaf51b477a74a4884cb659b07039674_0
|
The Cribs
|
The Cribs are an English indie rock band originally from Wakefield, West Yorkshire. The band consists of twins Gary and Ryan Jarman and their younger brother Ross Jarman. They were subsequently joined by ex-The Smiths and Modest Mouse guitarist Johnny Marr who was a formal member of the group from 2008 until 2011. The band, who first became active on the concert circuit in 2002, were initially tied to other like-minded UK bands of that time, most notably The Libertines, by a British music press that were looking for a 'British rearguard' to the wave of popular US alternative rock bands of the time.
|
Payola (2013)
|
On 20 November 2012 the Cribs announced details of their first 'Best Of' compilation, Payola, which was released on 11 March 2013 via Wichita Recordings to mark the group's 10th anniversary. The 22 track album saw the first official release of "Leather Jacket Love Song" - recorded at sessions in early 2010, it is the final Cribs song to feature Johnny Marr. A special 40-track 'Anthology Edition' was released with an additional 18 track disc containing B-sides and rarities. On the 29th of February, the band made their fourth appearance on the cover of NME magazine, which came with an additional CD release "Payola: The Demos". This companion disc to "Payola" featured demo versions of most of the significant songs featured on "Payola", as well as 3 unheard and unreleased tracks harking back as far as 2001. Around the same time the band played an NME Awards show at Shepherds Bush Empire and several other headline dates around the country. Over the summer, the Cribs played numerous festivals in the UK and Europe, including headline slots at Y Not Festival and a show at the Olympic Park (London), as well as a short tour of Scottish venues. Autumn saw the band head back to Australia for an "Anniversary Tour", before venturing into Asia for a lengthy tour there. Cities and countries visited on this trip would include Thailand (Bangkok), Malaysia (Kuala Lumpur), Vietnam (Saigon), two shows in Japan (Tokyo), a show at the Kowloonbay International Trade & Exhibition Centre in Hong Kong, and a large outdoor show in the meadow at the Gardens by the Bay in Singapore. The year was rounded out by two sold out Christmas shows at the Leeds Academy 2014 began quietly, as the band began writing sessions for their next studio album. The only shows announced would be as part of the Weezer cruise from Florida to the Bahamas in February. Later in the year, the Cribs returned to the UK for some UK festival slots, including headlining Truck Festival and Tramlines Festival amongst others, and an Italian tour with Franz Ferdinand.
Q: What is Payola?
A: On 20 November 2012 the Cribs announced details of their first 'Best Of' compilation, Payola,
Q: How well did it do?
A: unknown
Q: What songs are included in Payola?
A: The 22 track album saw the first official release of "Leather Jacket Love Song" - recorded at sessions in early 2010,
Q: Any other songs?
A: A special 40-track 'Anthology Edition' was released with an additional 18 track disc containing B-sides and rarities.
Q: Did they have any other albums?
A: 2014 began quietly, as the band began writing sessions for their next studio album.
Q: What is their most famous song?
A: "Leather Jacket Love Song" - recorded at sessions in early 2010, it is the final Cribs song to feature Johnny Marr.
|
C_ebaf51b477a74a4884cb659b07039674_0_q#6
|
Can you tell me some more interesting information?
| 2m
| 0y
|
{
"texts": [
"Later in the year, the Cribs returned to the UK for some UK festival slots, including headlining Truck Festival and Tramlines Festival"
],
"answer_starts": [
1850
]
}
|
{
"text": "Later in the year, the Cribs returned to the UK for some UK festival slots, including headlining Truck Festival and Tramlines Festival",
"answer_start": 1850
}
|
C_ebaf51b477a74a4884cb659b07039674_0
|
The Cribs
|
The Cribs are an English indie rock band originally from Wakefield, West Yorkshire. The band consists of twins Gary and Ryan Jarman and their younger brother Ross Jarman. They were subsequently joined by ex-The Smiths and Modest Mouse guitarist Johnny Marr who was a formal member of the group from 2008 until 2011. The band, who first became active on the concert circuit in 2002, were initially tied to other like-minded UK bands of that time, most notably The Libertines, by a British music press that were looking for a 'British rearguard' to the wave of popular US alternative rock bands of the time.
|
Payola (2013)
|
On 20 November 2012 the Cribs announced details of their first 'Best Of' compilation, Payola, which was released on 11 March 2013 via Wichita Recordings to mark the group's 10th anniversary. The 22 track album saw the first official release of "Leather Jacket Love Song" - recorded at sessions in early 2010, it is the final Cribs song to feature Johnny Marr. A special 40-track 'Anthology Edition' was released with an additional 18 track disc containing B-sides and rarities. On the 29th of February, the band made their fourth appearance on the cover of NME magazine, which came with an additional CD release "Payola: The Demos". This companion disc to "Payola" featured demo versions of most of the significant songs featured on "Payola", as well as 3 unheard and unreleased tracks harking back as far as 2001. Around the same time the band played an NME Awards show at Shepherds Bush Empire and several other headline dates around the country. Over the summer, the Cribs played numerous festivals in the UK and Europe, including headline slots at Y Not Festival and a show at the Olympic Park (London), as well as a short tour of Scottish venues. Autumn saw the band head back to Australia for an "Anniversary Tour", before venturing into Asia for a lengthy tour there. Cities and countries visited on this trip would include Thailand (Bangkok), Malaysia (Kuala Lumpur), Vietnam (Saigon), two shows in Japan (Tokyo), a show at the Kowloonbay International Trade & Exhibition Centre in Hong Kong, and a large outdoor show in the meadow at the Gardens by the Bay in Singapore. The year was rounded out by two sold out Christmas shows at the Leeds Academy 2014 began quietly, as the band began writing sessions for their next studio album. The only shows announced would be as part of the Weezer cruise from Florida to the Bahamas in February. Later in the year, the Cribs returned to the UK for some UK festival slots, including headlining Truck Festival and Tramlines Festival amongst others, and an Italian tour with Franz Ferdinand.
Q: What is Payola?
A: On 20 November 2012 the Cribs announced details of their first 'Best Of' compilation, Payola,
Q: How well did it do?
A: unknown
Q: What songs are included in Payola?
A: The 22 track album saw the first official release of "Leather Jacket Love Song" - recorded at sessions in early 2010,
Q: Any other songs?
A: A special 40-track 'Anthology Edition' was released with an additional 18 track disc containing B-sides and rarities.
Q: Did they have any other albums?
A: 2014 began quietly, as the band began writing sessions for their next studio album.
Q: What is their most famous song?
A: "Leather Jacket Love Song" - recorded at sessions in early 2010, it is the final Cribs song to feature Johnny Marr.
Q: Can you tell me some more interesting information?
A: Later in the year, the Cribs returned to the UK for some UK festival slots, including headlining Truck Festival and Tramlines Festival
|
C_ebaf51b477a74a4884cb659b07039674_0_q#7
|
Did they do anything else in the UK?
| 0y
| 0y
|
{
"texts": [
"Over the summer, the Cribs played numerous festivals in the UK and Europe, including headline slots at Y Not Festival and a show at the Olympic Park (London),"
],
"answer_starts": [
951
]
}
|
{
"text": "Over the summer, the Cribs played numerous festivals in the UK and Europe, including headline slots at Y Not Festival and a show at the Olympic Park (London),",
"answer_start": 951
}
|
C_d2a529a2f8c64de493485f0cf0bcaa76_1
|
Lew Grade
|
Grade was born in Tokmak, Taurida Governorate, Russian Empire to Isaak and Olga Winogradsky. In 1912, when Grade was six, the Jewish family emigrated to escape Cossack violence and anti-Semitism, from Odessa via Berlin to Brick Lane in Bethnal Green in the East End of London. Isaak worked as a trouser-presser while his three sons (Grade and his younger brothers, Bernard (later Bernard Delfont) and Leslie) attended the Rochelle Street Elementary School near Shoreditch, where Yiddish was spoken by 90% of the pupils. For two years the Winogradskys lived in rented rooms at the north end of Brick Lane, before moving to the nearby Boundary Estate.
|
Television: 1962-68
|
At the age of 15, Grade became an agent for a clothing company, and shortly afterwards started his own business. In 1926, he was declared Charleston Champion of the World at a dancing competition at the Royal Albert Hall. Fred Astaire was one of the judges. Grade subsequently became a professional dancer going by the name Louis Grad; this form came from a Paris reporter's typing error that Grade liked and decided to keep. Decades later, the then octogenarian Lord Grade once danced the Charleston at a party Arthur Ochs Sulzberger gave in New York. Signed as a dancer by Joe Collins (father of Jackie and Joan Collins) in 1931, around 1934, Grade went into partnership with him and became a talent agent in their company Collins & Grade. Among their earliest clients were the harmonica player Larry Adler and the jazz group Quintet of the Hot Club of France. Following the beginning of the Second World War in 1939, Grade became involved in arranging entertainment for soldiers in Harrogate, and later joined the British Army. He was discharged after two years when an old problem with swelling of the knees, which had earlier ended his dancing career, recurred. In 1945, the arrangement with Collins having been terminated, Grade formed a partnership with his brother Leslie (Lew and Leslie Grade Ltd., or the Grade Organisation). That year, the brothers traveled in the United States, where they developed their entertainment interests. His connections included, among others, Bob Hope and Judy Garland, who performed in Britain for the first time. The brothers became the main bookers of artists for the London Palladium in 1948, then managed by Val Parnell for the Moss Empires Group owned by the family of Prince Littler. In 1954, Grade was contacted by the manager of singer Jo Stafford, Mike Nidorf, who notified him of an advertisement in The Times inviting franchise bids for the new, commercial ITV network. Assembling a consortium that included impresarios Val Parnell and Prince Littler, the Incorporated Television Programme Company (ITP), which soon changed its name to Incorporated Television Company (ITC; also known as ITC Entertainment), was formed. ITC's bid to the Independent Television Authority (ITA) was rejected on the grounds of its conflict of interest from its prominence and involvement in artist management. The Associated Broadcasting Development Company (ABD) had gained ITA approval for both the London weekend and Midlands weekday contracts, but was undercapitalised; Grade's consortium joined with the ABD to form what became Associated Television (ATV). Reflecting his background in variety, Grade's favourite show and a success for the new company was Sunday Night at the London Palladium (1955-67, 1973-74), one of the most popular programmes on British television in its day. Grade did not avoid the other end of the cultural spectrum, and from 1958 Sir Kenneth Clark began to talk about the history of art on television. Meanwhile, Grade committed the funds for what would become the first trans-Atlantic success of the ITP subsidiary: The Adventures of Robin Hood (1955-60), commissioned by UK-based American producer Hannah Weinstein. ITC became a wholly owned ATV subsidiary in 1957, That same year ATV established a music publishing division with ATV Music and gained a half interest in Pye Records in 1959, later Pye became a wholly owned subsidiary. Grade was deputy managing director of ATV under Val Parnell until 1962, when he became managing director having contrived to have the board oust Parnell. Grade soon decided that the Midlands deserved its own regular soap opera as a rival to Coronation Street. Crossroads, much derided but ultimately a serious challenge to Granada's series in the ratings, began its initial quarter century run in November 1964. ITC's success continued and had many internationally successful TV series, leading Howard Thomas, managing director of the Associated British Corporation (ABC), to complain that Grade distributed programming for "Birmingham, Alabama, rather than Birmingham, England". These series included The Saint (1962-69), which was sold to over 80 countries, and two featuring Patrick McGoohan: Danger Man (1960-68) and The Prisoner (1967-68). These series, exclusively thrillers, were normally used as summer replacements for American-made programmes until the mid-1960s. While many of Grade's series used American actors in lead roles (The Baron and Man in a Suitcase, for example) it was those series which used an exclusively British cast, such as The Saint (and The Avengers, made by another ITV contractor), which were more successful in the United States. In 1962, AP Films became a subsidiary of ITC. Co-founded by Gerry Anderson, AP Films produced the children's marionette puppet ("Supermarionation") series during the 1960s, Thunderbirds (1965-66), and (as Century 21), Captain Scarlet and the Mysterons (1967-68). After a screening of the pilot for Thunderbirds ("Trapped in the Sky", 1964), Grade insisted that the episodes be lengthened to fill a one-hour slot. Unusually for children's television series, these colour programmes were generously budgeted for the time (Grade paid PS22,000 per episode), and has been successfully repeated internationally. In 1966, Grade's companies were re-organised again to form the Associated Communications Corporation (ACC). That year, The Sunday Times investigated the interconnected nature of the companies controlled by Grade and his two brothers, Bernard Delfont and Leslie Grade. Their firms, effectively amounting to a "cartel", were agents for most of the major talents in acting as well as entertainment and controlled theatres in both London and the rest of the UK and ATV was a major provider of televised entertainment.
|
C_d2a529a2f8c64de493485f0cf0bcaa76_1_q#0
|
What was Lew Grade up to in 1962?
| 0y
| 2x
|
{
"texts": [
"Grade was deputy managing director of ATV under Val Parnell until 1962, when he became managing director"
],
"answer_starts": [
3407
]
}
|
{
"text": "Grade was deputy managing director of ATV under Val Parnell until 1962, when he became managing director",
"answer_start": 3407
}
|
C_d2a529a2f8c64de493485f0cf0bcaa76_1
|
Lew Grade
|
Grade was born in Tokmak, Taurida Governorate, Russian Empire to Isaak and Olga Winogradsky. In 1912, when Grade was six, the Jewish family emigrated to escape Cossack violence and anti-Semitism, from Odessa via Berlin to Brick Lane in Bethnal Green in the East End of London. Isaak worked as a trouser-presser while his three sons (Grade and his younger brothers, Bernard (later Bernard Delfont) and Leslie) attended the Rochelle Street Elementary School near Shoreditch, where Yiddish was spoken by 90% of the pupils. For two years the Winogradskys lived in rented rooms at the north end of Brick Lane, before moving to the nearby Boundary Estate.
|
Television: 1962-68
|
At the age of 15, Grade became an agent for a clothing company, and shortly afterwards started his own business. In 1926, he was declared Charleston Champion of the World at a dancing competition at the Royal Albert Hall. Fred Astaire was one of the judges. Grade subsequently became a professional dancer going by the name Louis Grad; this form came from a Paris reporter's typing error that Grade liked and decided to keep. Decades later, the then octogenarian Lord Grade once danced the Charleston at a party Arthur Ochs Sulzberger gave in New York. Signed as a dancer by Joe Collins (father of Jackie and Joan Collins) in 1931, around 1934, Grade went into partnership with him and became a talent agent in their company Collins & Grade. Among their earliest clients were the harmonica player Larry Adler and the jazz group Quintet of the Hot Club of France. Following the beginning of the Second World War in 1939, Grade became involved in arranging entertainment for soldiers in Harrogate, and later joined the British Army. He was discharged after two years when an old problem with swelling of the knees, which had earlier ended his dancing career, recurred. In 1945, the arrangement with Collins having been terminated, Grade formed a partnership with his brother Leslie (Lew and Leslie Grade Ltd., or the Grade Organisation). That year, the brothers traveled in the United States, where they developed their entertainment interests. His connections included, among others, Bob Hope and Judy Garland, who performed in Britain for the first time. The brothers became the main bookers of artists for the London Palladium in 1948, then managed by Val Parnell for the Moss Empires Group owned by the family of Prince Littler. In 1954, Grade was contacted by the manager of singer Jo Stafford, Mike Nidorf, who notified him of an advertisement in The Times inviting franchise bids for the new, commercial ITV network. Assembling a consortium that included impresarios Val Parnell and Prince Littler, the Incorporated Television Programme Company (ITP), which soon changed its name to Incorporated Television Company (ITC; also known as ITC Entertainment), was formed. ITC's bid to the Independent Television Authority (ITA) was rejected on the grounds of its conflict of interest from its prominence and involvement in artist management. The Associated Broadcasting Development Company (ABD) had gained ITA approval for both the London weekend and Midlands weekday contracts, but was undercapitalised; Grade's consortium joined with the ABD to form what became Associated Television (ATV). Reflecting his background in variety, Grade's favourite show and a success for the new company was Sunday Night at the London Palladium (1955-67, 1973-74), one of the most popular programmes on British television in its day. Grade did not avoid the other end of the cultural spectrum, and from 1958 Sir Kenneth Clark began to talk about the history of art on television. Meanwhile, Grade committed the funds for what would become the first trans-Atlantic success of the ITP subsidiary: The Adventures of Robin Hood (1955-60), commissioned by UK-based American producer Hannah Weinstein. ITC became a wholly owned ATV subsidiary in 1957, That same year ATV established a music publishing division with ATV Music and gained a half interest in Pye Records in 1959, later Pye became a wholly owned subsidiary. Grade was deputy managing director of ATV under Val Parnell until 1962, when he became managing director having contrived to have the board oust Parnell. Grade soon decided that the Midlands deserved its own regular soap opera as a rival to Coronation Street. Crossroads, much derided but ultimately a serious challenge to Granada's series in the ratings, began its initial quarter century run in November 1964. ITC's success continued and had many internationally successful TV series, leading Howard Thomas, managing director of the Associated British Corporation (ABC), to complain that Grade distributed programming for "Birmingham, Alabama, rather than Birmingham, England". These series included The Saint (1962-69), which was sold to over 80 countries, and two featuring Patrick McGoohan: Danger Man (1960-68) and The Prisoner (1967-68). These series, exclusively thrillers, were normally used as summer replacements for American-made programmes until the mid-1960s. While many of Grade's series used American actors in lead roles (The Baron and Man in a Suitcase, for example) it was those series which used an exclusively British cast, such as The Saint (and The Avengers, made by another ITV contractor), which were more successful in the United States. In 1962, AP Films became a subsidiary of ITC. Co-founded by Gerry Anderson, AP Films produced the children's marionette puppet ("Supermarionation") series during the 1960s, Thunderbirds (1965-66), and (as Century 21), Captain Scarlet and the Mysterons (1967-68). After a screening of the pilot for Thunderbirds ("Trapped in the Sky", 1964), Grade insisted that the episodes be lengthened to fill a one-hour slot. Unusually for children's television series, these colour programmes were generously budgeted for the time (Grade paid PS22,000 per episode), and has been successfully repeated internationally. In 1966, Grade's companies were re-organised again to form the Associated Communications Corporation (ACC). That year, The Sunday Times investigated the interconnected nature of the companies controlled by Grade and his two brothers, Bernard Delfont and Leslie Grade. Their firms, effectively amounting to a "cartel", were agents for most of the major talents in acting as well as entertainment and controlled theatres in both London and the rest of the UK and ATV was a major provider of televised entertainment.
Q: What was Lew Grade up to in 1962?
A: Grade was deputy managing director of ATV under Val Parnell until 1962, when he became managing director
|
C_d2a529a2f8c64de493485f0cf0bcaa76_1_q#1
|
Was he responsible for any hit TV shows?
| 0y
| 0y
|
{
"texts": [
"These series included The Saint (1962-69), which was sold to over 80 countries, and two featuring Patrick McGoohan: Danger Man (1960-68) and The Prisoner (1967-68)."
],
"answer_starts": [
4088
]
}
|
{
"text": "These series included The Saint (1962-69), which was sold to over 80 countries, and two featuring Patrick McGoohan: Danger Man (1960-68) and The Prisoner (1967-68).",
"answer_start": 4088
}
|
C_d2a529a2f8c64de493485f0cf0bcaa76_1
|
Lew Grade
|
Grade was born in Tokmak, Taurida Governorate, Russian Empire to Isaak and Olga Winogradsky. In 1912, when Grade was six, the Jewish family emigrated to escape Cossack violence and anti-Semitism, from Odessa via Berlin to Brick Lane in Bethnal Green in the East End of London. Isaak worked as a trouser-presser while his three sons (Grade and his younger brothers, Bernard (later Bernard Delfont) and Leslie) attended the Rochelle Street Elementary School near Shoreditch, where Yiddish was spoken by 90% of the pupils. For two years the Winogradskys lived in rented rooms at the north end of Brick Lane, before moving to the nearby Boundary Estate.
|
Television: 1962-68
|
At the age of 15, Grade became an agent for a clothing company, and shortly afterwards started his own business. In 1926, he was declared Charleston Champion of the World at a dancing competition at the Royal Albert Hall. Fred Astaire was one of the judges. Grade subsequently became a professional dancer going by the name Louis Grad; this form came from a Paris reporter's typing error that Grade liked and decided to keep. Decades later, the then octogenarian Lord Grade once danced the Charleston at a party Arthur Ochs Sulzberger gave in New York. Signed as a dancer by Joe Collins (father of Jackie and Joan Collins) in 1931, around 1934, Grade went into partnership with him and became a talent agent in their company Collins & Grade. Among their earliest clients were the harmonica player Larry Adler and the jazz group Quintet of the Hot Club of France. Following the beginning of the Second World War in 1939, Grade became involved in arranging entertainment for soldiers in Harrogate, and later joined the British Army. He was discharged after two years when an old problem with swelling of the knees, which had earlier ended his dancing career, recurred. In 1945, the arrangement with Collins having been terminated, Grade formed a partnership with his brother Leslie (Lew and Leslie Grade Ltd., or the Grade Organisation). That year, the brothers traveled in the United States, where they developed their entertainment interests. His connections included, among others, Bob Hope and Judy Garland, who performed in Britain for the first time. The brothers became the main bookers of artists for the London Palladium in 1948, then managed by Val Parnell for the Moss Empires Group owned by the family of Prince Littler. In 1954, Grade was contacted by the manager of singer Jo Stafford, Mike Nidorf, who notified him of an advertisement in The Times inviting franchise bids for the new, commercial ITV network. Assembling a consortium that included impresarios Val Parnell and Prince Littler, the Incorporated Television Programme Company (ITP), which soon changed its name to Incorporated Television Company (ITC; also known as ITC Entertainment), was formed. ITC's bid to the Independent Television Authority (ITA) was rejected on the grounds of its conflict of interest from its prominence and involvement in artist management. The Associated Broadcasting Development Company (ABD) had gained ITA approval for both the London weekend and Midlands weekday contracts, but was undercapitalised; Grade's consortium joined with the ABD to form what became Associated Television (ATV). Reflecting his background in variety, Grade's favourite show and a success for the new company was Sunday Night at the London Palladium (1955-67, 1973-74), one of the most popular programmes on British television in its day. Grade did not avoid the other end of the cultural spectrum, and from 1958 Sir Kenneth Clark began to talk about the history of art on television. Meanwhile, Grade committed the funds for what would become the first trans-Atlantic success of the ITP subsidiary: The Adventures of Robin Hood (1955-60), commissioned by UK-based American producer Hannah Weinstein. ITC became a wholly owned ATV subsidiary in 1957, That same year ATV established a music publishing division with ATV Music and gained a half interest in Pye Records in 1959, later Pye became a wholly owned subsidiary. Grade was deputy managing director of ATV under Val Parnell until 1962, when he became managing director having contrived to have the board oust Parnell. Grade soon decided that the Midlands deserved its own regular soap opera as a rival to Coronation Street. Crossroads, much derided but ultimately a serious challenge to Granada's series in the ratings, began its initial quarter century run in November 1964. ITC's success continued and had many internationally successful TV series, leading Howard Thomas, managing director of the Associated British Corporation (ABC), to complain that Grade distributed programming for "Birmingham, Alabama, rather than Birmingham, England". These series included The Saint (1962-69), which was sold to over 80 countries, and two featuring Patrick McGoohan: Danger Man (1960-68) and The Prisoner (1967-68). These series, exclusively thrillers, were normally used as summer replacements for American-made programmes until the mid-1960s. While many of Grade's series used American actors in lead roles (The Baron and Man in a Suitcase, for example) it was those series which used an exclusively British cast, such as The Saint (and The Avengers, made by another ITV contractor), which were more successful in the United States. In 1962, AP Films became a subsidiary of ITC. Co-founded by Gerry Anderson, AP Films produced the children's marionette puppet ("Supermarionation") series during the 1960s, Thunderbirds (1965-66), and (as Century 21), Captain Scarlet and the Mysterons (1967-68). After a screening of the pilot for Thunderbirds ("Trapped in the Sky", 1964), Grade insisted that the episodes be lengthened to fill a one-hour slot. Unusually for children's television series, these colour programmes were generously budgeted for the time (Grade paid PS22,000 per episode), and has been successfully repeated internationally. In 1966, Grade's companies were re-organised again to form the Associated Communications Corporation (ACC). That year, The Sunday Times investigated the interconnected nature of the companies controlled by Grade and his two brothers, Bernard Delfont and Leslie Grade. Their firms, effectively amounting to a "cartel", were agents for most of the major talents in acting as well as entertainment and controlled theatres in both London and the rest of the UK and ATV was a major provider of televised entertainment.
Q: What was Lew Grade up to in 1962?
A: Grade was deputy managing director of ATV under Val Parnell until 1962, when he became managing director
Q: Was he responsible for any hit TV shows?
A: These series included The Saint (1962-69), which was sold to over 80 countries, and two featuring Patrick McGoohan: Danger Man (1960-68) and The Prisoner (1967-68).
|
C_d2a529a2f8c64de493485f0cf0bcaa76_1_q#2
|
Were there any notable specials?
| 0y
| 2x
|
{
"texts": [
"it was those series which used an exclusively British cast, such as The Saint (and The Avengers, made by another ITV contractor), which were more successful in the United States."
],
"answer_starts": [
4493
]
}
|
{
"text": "it was those series which used an exclusively British cast, such as The Saint (and The Avengers, made by another ITV contractor), which were more successful in the United States.",
"answer_start": 4493
}
|
C_d2a529a2f8c64de493485f0cf0bcaa76_1
|
Lew Grade
|
Grade was born in Tokmak, Taurida Governorate, Russian Empire to Isaak and Olga Winogradsky. In 1912, when Grade was six, the Jewish family emigrated to escape Cossack violence and anti-Semitism, from Odessa via Berlin to Brick Lane in Bethnal Green in the East End of London. Isaak worked as a trouser-presser while his three sons (Grade and his younger brothers, Bernard (later Bernard Delfont) and Leslie) attended the Rochelle Street Elementary School near Shoreditch, where Yiddish was spoken by 90% of the pupils. For two years the Winogradskys lived in rented rooms at the north end of Brick Lane, before moving to the nearby Boundary Estate.
|
Television: 1962-68
|
At the age of 15, Grade became an agent for a clothing company, and shortly afterwards started his own business. In 1926, he was declared Charleston Champion of the World at a dancing competition at the Royal Albert Hall. Fred Astaire was one of the judges. Grade subsequently became a professional dancer going by the name Louis Grad; this form came from a Paris reporter's typing error that Grade liked and decided to keep. Decades later, the then octogenarian Lord Grade once danced the Charleston at a party Arthur Ochs Sulzberger gave in New York. Signed as a dancer by Joe Collins (father of Jackie and Joan Collins) in 1931, around 1934, Grade went into partnership with him and became a talent agent in their company Collins & Grade. Among their earliest clients were the harmonica player Larry Adler and the jazz group Quintet of the Hot Club of France. Following the beginning of the Second World War in 1939, Grade became involved in arranging entertainment for soldiers in Harrogate, and later joined the British Army. He was discharged after two years when an old problem with swelling of the knees, which had earlier ended his dancing career, recurred. In 1945, the arrangement with Collins having been terminated, Grade formed a partnership with his brother Leslie (Lew and Leslie Grade Ltd., or the Grade Organisation). That year, the brothers traveled in the United States, where they developed their entertainment interests. His connections included, among others, Bob Hope and Judy Garland, who performed in Britain for the first time. The brothers became the main bookers of artists for the London Palladium in 1948, then managed by Val Parnell for the Moss Empires Group owned by the family of Prince Littler. In 1954, Grade was contacted by the manager of singer Jo Stafford, Mike Nidorf, who notified him of an advertisement in The Times inviting franchise bids for the new, commercial ITV network. Assembling a consortium that included impresarios Val Parnell and Prince Littler, the Incorporated Television Programme Company (ITP), which soon changed its name to Incorporated Television Company (ITC; also known as ITC Entertainment), was formed. ITC's bid to the Independent Television Authority (ITA) was rejected on the grounds of its conflict of interest from its prominence and involvement in artist management. The Associated Broadcasting Development Company (ABD) had gained ITA approval for both the London weekend and Midlands weekday contracts, but was undercapitalised; Grade's consortium joined with the ABD to form what became Associated Television (ATV). Reflecting his background in variety, Grade's favourite show and a success for the new company was Sunday Night at the London Palladium (1955-67, 1973-74), one of the most popular programmes on British television in its day. Grade did not avoid the other end of the cultural spectrum, and from 1958 Sir Kenneth Clark began to talk about the history of art on television. Meanwhile, Grade committed the funds for what would become the first trans-Atlantic success of the ITP subsidiary: The Adventures of Robin Hood (1955-60), commissioned by UK-based American producer Hannah Weinstein. ITC became a wholly owned ATV subsidiary in 1957, That same year ATV established a music publishing division with ATV Music and gained a half interest in Pye Records in 1959, later Pye became a wholly owned subsidiary. Grade was deputy managing director of ATV under Val Parnell until 1962, when he became managing director having contrived to have the board oust Parnell. Grade soon decided that the Midlands deserved its own regular soap opera as a rival to Coronation Street. Crossroads, much derided but ultimately a serious challenge to Granada's series in the ratings, began its initial quarter century run in November 1964. ITC's success continued and had many internationally successful TV series, leading Howard Thomas, managing director of the Associated British Corporation (ABC), to complain that Grade distributed programming for "Birmingham, Alabama, rather than Birmingham, England". These series included The Saint (1962-69), which was sold to over 80 countries, and two featuring Patrick McGoohan: Danger Man (1960-68) and The Prisoner (1967-68). These series, exclusively thrillers, were normally used as summer replacements for American-made programmes until the mid-1960s. While many of Grade's series used American actors in lead roles (The Baron and Man in a Suitcase, for example) it was those series which used an exclusively British cast, such as The Saint (and The Avengers, made by another ITV contractor), which were more successful in the United States. In 1962, AP Films became a subsidiary of ITC. Co-founded by Gerry Anderson, AP Films produced the children's marionette puppet ("Supermarionation") series during the 1960s, Thunderbirds (1965-66), and (as Century 21), Captain Scarlet and the Mysterons (1967-68). After a screening of the pilot for Thunderbirds ("Trapped in the Sky", 1964), Grade insisted that the episodes be lengthened to fill a one-hour slot. Unusually for children's television series, these colour programmes were generously budgeted for the time (Grade paid PS22,000 per episode), and has been successfully repeated internationally. In 1966, Grade's companies were re-organised again to form the Associated Communications Corporation (ACC). That year, The Sunday Times investigated the interconnected nature of the companies controlled by Grade and his two brothers, Bernard Delfont and Leslie Grade. Their firms, effectively amounting to a "cartel", were agents for most of the major talents in acting as well as entertainment and controlled theatres in both London and the rest of the UK and ATV was a major provider of televised entertainment.
Q: What was Lew Grade up to in 1962?
A: Grade was deputy managing director of ATV under Val Parnell until 1962, when he became managing director
Q: Was he responsible for any hit TV shows?
A: These series included The Saint (1962-69), which was sold to over 80 countries, and two featuring Patrick McGoohan: Danger Man (1960-68) and The Prisoner (1967-68).
Q: Were there any notable specials?
A: it was those series which used an exclusively British cast, such as The Saint (and The Avengers, made by another ITV contractor), which were more successful in the United States.
|
C_d2a529a2f8c64de493485f0cf0bcaa76_1_q#3
|
What programs did not have an exclusively British cast?
| 2m
| 2x
|
{
"texts": [
"AP Films produced the children's marionette puppet (\"Supermarionation\") series during the 1960s, Thunderbirds (1965-66),"
],
"answer_starts": [
4749
]
}
|
{
"text": "AP Films produced the children's marionette puppet (\"Supermarionation\") series during the 1960s, Thunderbirds (1965-66),",
"answer_start": 4749
}
|
C_d2a529a2f8c64de493485f0cf0bcaa76_0
|
Lew Grade
|
Grade was born in Tokmak, Taurida Governorate, Russian Empire to Isaak and Olga Winogradsky. In 1912, when Grade was six, the Jewish family emigrated to escape Cossack violence and anti-Semitism, from Odessa via Berlin to Brick Lane in Bethnal Green in the East End of London. Isaak worked as a trouser-presser while his three sons (Grade and his younger brothers, Bernard (later Bernard Delfont) and Leslie) attended the Rochelle Street Elementary School near Shoreditch, where Yiddish was spoken by 90% of the pupils. For two years the Winogradskys lived in rented rooms at the north end of Brick Lane, before moving to the nearby Boundary Estate.
|
Later television productions
|
The following year, ATV lost its London franchise to what would become London Weekend Television (LWT); at the same time, however, ATV's Midlands franchise was expanded to run throughout the week from July 1968. Through ATV Music, Grade acquired Northern Songs, gaining control of the Lennon-McCartney song catalogue. Foreign sales remained strong for a time (valued at $30 million in 1970) and the ACC received the Queen's Awards for Export in both 1967 and 1969. Some of the 1970s distributions performed poorly: these included The Julie Andrews Hour (1972-1973), which aired for only one season on the ABC Television Network in the United States. This received positive reviews and seven Emmy Awards, including the title Best Variety Series. Neither action shows The Protectors (1972-74) and The Persuaders! (1971-72), nor the live action science fiction shows UFO (1969-71) and Space: 1999 (1975-77) were notably successful. After Space: 1999, Gerry Anderson made no new series for ITC, but maintained a connection with Grade until Grade lost control of his companies in 1982. In the mid-1970s Grade approached American puppeteer Jim Henson, who was in need of assistance for his latest TV project. Henson wanted to create a new variety show starring his Muppet characters, but had been dismissed by American networks on account of his contributions to children's programmes such as Sesame Street (from 1969). CBS came close to agreeing to broadcast The Muppet Show, but only if it was during a syndicated block of its programming. After watching one of Henson's pilots and recalling a special made in one of his studios Grade allowed Henson to realise his project in Britain (the series was recorded at ATV's Elstree Studios) and distributed internationally by ITC. Grade's action was instrumental in bringing The Muppet Show to the screen in 1976 and ensuring its success. Grade's other accomplishments in TV included the mini-series Jesus of Nazareth (1977), which was successfully sold to the American market and secured a record-breaking $12 million in revenue. Several years in preparation, the deal with the Italian broadcaster RAI and director Franco Zeffirelli was announced in August 1974. Grade promoted "quality" productions on ATV as a challenge to the BBC -- for example, dedicating a whole evening to a live broadcast of Tosca, starring Maria Callas, from La Scala opera house in Milan, Italy.
|
C_d2a529a2f8c64de493485f0cf0bcaa76_0_q#0
|
What shows did they produce
| 0y
| 2x
|
{
"texts": [
"these included The Julie Andrews Hour (1972-1973), which aired for only one season on the ABC Television Network in the United States."
],
"answer_starts": [
517
]
}
|
{
"text": "these included The Julie Andrews Hour (1972-1973), which aired for only one season on the ABC Television Network in the United States.",
"answer_start": 517
}
|
C_d2a529a2f8c64de493485f0cf0bcaa76_0
|
Lew Grade
|
Grade was born in Tokmak, Taurida Governorate, Russian Empire to Isaak and Olga Winogradsky. In 1912, when Grade was six, the Jewish family emigrated to escape Cossack violence and anti-Semitism, from Odessa via Berlin to Brick Lane in Bethnal Green in the East End of London. Isaak worked as a trouser-presser while his three sons (Grade and his younger brothers, Bernard (later Bernard Delfont) and Leslie) attended the Rochelle Street Elementary School near Shoreditch, where Yiddish was spoken by 90% of the pupils. For two years the Winogradskys lived in rented rooms at the north end of Brick Lane, before moving to the nearby Boundary Estate.
|
Later television productions
|
The following year, ATV lost its London franchise to what would become London Weekend Television (LWT); at the same time, however, ATV's Midlands franchise was expanded to run throughout the week from July 1968. Through ATV Music, Grade acquired Northern Songs, gaining control of the Lennon-McCartney song catalogue. Foreign sales remained strong for a time (valued at $30 million in 1970) and the ACC received the Queen's Awards for Export in both 1967 and 1969. Some of the 1970s distributions performed poorly: these included The Julie Andrews Hour (1972-1973), which aired for only one season on the ABC Television Network in the United States. This received positive reviews and seven Emmy Awards, including the title Best Variety Series. Neither action shows The Protectors (1972-74) and The Persuaders! (1971-72), nor the live action science fiction shows UFO (1969-71) and Space: 1999 (1975-77) were notably successful. After Space: 1999, Gerry Anderson made no new series for ITC, but maintained a connection with Grade until Grade lost control of his companies in 1982. In the mid-1970s Grade approached American puppeteer Jim Henson, who was in need of assistance for his latest TV project. Henson wanted to create a new variety show starring his Muppet characters, but had been dismissed by American networks on account of his contributions to children's programmes such as Sesame Street (from 1969). CBS came close to agreeing to broadcast The Muppet Show, but only if it was during a syndicated block of its programming. After watching one of Henson's pilots and recalling a special made in one of his studios Grade allowed Henson to realise his project in Britain (the series was recorded at ATV's Elstree Studios) and distributed internationally by ITC. Grade's action was instrumental in bringing The Muppet Show to the screen in 1976 and ensuring its success. Grade's other accomplishments in TV included the mini-series Jesus of Nazareth (1977), which was successfully sold to the American market and secured a record-breaking $12 million in revenue. Several years in preparation, the deal with the Italian broadcaster RAI and director Franco Zeffirelli was announced in August 1974. Grade promoted "quality" productions on ATV as a challenge to the BBC -- for example, dedicating a whole evening to a live broadcast of Tosca, starring Maria Callas, from La Scala opera house in Milan, Italy.
Q: What shows did they produce
A: these included The Julie Andrews Hour (1972-1973), which aired for only one season on the ABC Television Network in the United States.
|
C_d2a529a2f8c64de493485f0cf0bcaa76_0_q#1
|
Did they produce anything else
| 0y
| 0y
|
{
"texts": [
"action shows The Protectors (1972-74) and The Persuaders! (1971-72),"
],
"answer_starts": [
755
]
}
|
{
"text": "action shows The Protectors (1972-74) and The Persuaders! (1971-72),",
"answer_start": 755
}
|
C_d2a529a2f8c64de493485f0cf0bcaa76_0
|
Lew Grade
|
Grade was born in Tokmak, Taurida Governorate, Russian Empire to Isaak and Olga Winogradsky. In 1912, when Grade was six, the Jewish family emigrated to escape Cossack violence and anti-Semitism, from Odessa via Berlin to Brick Lane in Bethnal Green in the East End of London. Isaak worked as a trouser-presser while his three sons (Grade and his younger brothers, Bernard (later Bernard Delfont) and Leslie) attended the Rochelle Street Elementary School near Shoreditch, where Yiddish was spoken by 90% of the pupils. For two years the Winogradskys lived in rented rooms at the north end of Brick Lane, before moving to the nearby Boundary Estate.
|
Later television productions
|
The following year, ATV lost its London franchise to what would become London Weekend Television (LWT); at the same time, however, ATV's Midlands franchise was expanded to run throughout the week from July 1968. Through ATV Music, Grade acquired Northern Songs, gaining control of the Lennon-McCartney song catalogue. Foreign sales remained strong for a time (valued at $30 million in 1970) and the ACC received the Queen's Awards for Export in both 1967 and 1969. Some of the 1970s distributions performed poorly: these included The Julie Andrews Hour (1972-1973), which aired for only one season on the ABC Television Network in the United States. This received positive reviews and seven Emmy Awards, including the title Best Variety Series. Neither action shows The Protectors (1972-74) and The Persuaders! (1971-72), nor the live action science fiction shows UFO (1969-71) and Space: 1999 (1975-77) were notably successful. After Space: 1999, Gerry Anderson made no new series for ITC, but maintained a connection with Grade until Grade lost control of his companies in 1982. In the mid-1970s Grade approached American puppeteer Jim Henson, who was in need of assistance for his latest TV project. Henson wanted to create a new variety show starring his Muppet characters, but had been dismissed by American networks on account of his contributions to children's programmes such as Sesame Street (from 1969). CBS came close to agreeing to broadcast The Muppet Show, but only if it was during a syndicated block of its programming. After watching one of Henson's pilots and recalling a special made in one of his studios Grade allowed Henson to realise his project in Britain (the series was recorded at ATV's Elstree Studios) and distributed internationally by ITC. Grade's action was instrumental in bringing The Muppet Show to the screen in 1976 and ensuring its success. Grade's other accomplishments in TV included the mini-series Jesus of Nazareth (1977), which was successfully sold to the American market and secured a record-breaking $12 million in revenue. Several years in preparation, the deal with the Italian broadcaster RAI and director Franco Zeffirelli was announced in August 1974. Grade promoted "quality" productions on ATV as a challenge to the BBC -- for example, dedicating a whole evening to a live broadcast of Tosca, starring Maria Callas, from La Scala opera house in Milan, Italy.
Q: What shows did they produce
A: these included The Julie Andrews Hour (1972-1973), which aired for only one season on the ABC Television Network in the United States.
Q: Did they produce anything else
A: action shows The Protectors (1972-74) and The Persuaders! (1971-72),
|
C_d2a529a2f8c64de493485f0cf0bcaa76_0_q#2
|
What other shows did they make
| 0y
| 0y
|
{
"texts": [
"the live action science fiction shows UFO (1969-71) and Space: 1999 (1975-77)"
],
"answer_starts": [
828
]
}
|
{
"text": "the live action science fiction shows UFO (1969-71) and Space: 1999 (1975-77)",
"answer_start": 828
}
|
C_d2a529a2f8c64de493485f0cf0bcaa76_0
|
Lew Grade
|
Grade was born in Tokmak, Taurida Governorate, Russian Empire to Isaak and Olga Winogradsky. In 1912, when Grade was six, the Jewish family emigrated to escape Cossack violence and anti-Semitism, from Odessa via Berlin to Brick Lane in Bethnal Green in the East End of London. Isaak worked as a trouser-presser while his three sons (Grade and his younger brothers, Bernard (later Bernard Delfont) and Leslie) attended the Rochelle Street Elementary School near Shoreditch, where Yiddish was spoken by 90% of the pupils. For two years the Winogradskys lived in rented rooms at the north end of Brick Lane, before moving to the nearby Boundary Estate.
|
Later television productions
|
The following year, ATV lost its London franchise to what would become London Weekend Television (LWT); at the same time, however, ATV's Midlands franchise was expanded to run throughout the week from July 1968. Through ATV Music, Grade acquired Northern Songs, gaining control of the Lennon-McCartney song catalogue. Foreign sales remained strong for a time (valued at $30 million in 1970) and the ACC received the Queen's Awards for Export in both 1967 and 1969. Some of the 1970s distributions performed poorly: these included The Julie Andrews Hour (1972-1973), which aired for only one season on the ABC Television Network in the United States. This received positive reviews and seven Emmy Awards, including the title Best Variety Series. Neither action shows The Protectors (1972-74) and The Persuaders! (1971-72), nor the live action science fiction shows UFO (1969-71) and Space: 1999 (1975-77) were notably successful. After Space: 1999, Gerry Anderson made no new series for ITC, but maintained a connection with Grade until Grade lost control of his companies in 1982. In the mid-1970s Grade approached American puppeteer Jim Henson, who was in need of assistance for his latest TV project. Henson wanted to create a new variety show starring his Muppet characters, but had been dismissed by American networks on account of his contributions to children's programmes such as Sesame Street (from 1969). CBS came close to agreeing to broadcast The Muppet Show, but only if it was during a syndicated block of its programming. After watching one of Henson's pilots and recalling a special made in one of his studios Grade allowed Henson to realise his project in Britain (the series was recorded at ATV's Elstree Studios) and distributed internationally by ITC. Grade's action was instrumental in bringing The Muppet Show to the screen in 1976 and ensuring its success. Grade's other accomplishments in TV included the mini-series Jesus of Nazareth (1977), which was successfully sold to the American market and secured a record-breaking $12 million in revenue. Several years in preparation, the deal with the Italian broadcaster RAI and director Franco Zeffirelli was announced in August 1974. Grade promoted "quality" productions on ATV as a challenge to the BBC -- for example, dedicating a whole evening to a live broadcast of Tosca, starring Maria Callas, from La Scala opera house in Milan, Italy.
Q: What shows did they produce
A: these included The Julie Andrews Hour (1972-1973), which aired for only one season on the ABC Television Network in the United States.
Q: Did they produce anything else
A: action shows The Protectors (1972-74) and The Persuaders! (1971-72),
Q: What other shows did they make
A: the live action science fiction shows UFO (1969-71) and Space: 1999 (1975-77)
|
C_d2a529a2f8c64de493485f0cf0bcaa76_0_q#3
|
Did any of their shows win awards
| 1n
| 2x
|
{
"texts": [
"unknown"
],
"answer_starts": [
2417
]
}
|
{
"text": "unknown",
"answer_start": 2417
}
|
C_c4e4f91533b2443fa73aff85521d0ec5_1
|
Faryl Smith
|
Faryl Smith (born 23 July 1995) is a British soprano who rose to fame after appearing on the second series of the ITV television talent show Britain's Got Talent in 2008. She received praise throughout the competition, and although the favourite to win after the second round, she finished outside the top three in the live final on 31 May. During the competition, she was tutored by singing coach Yvie Burnett and received offers from various record labels. After the show, she, unlike other finalists, did not sign with Simon Cowell's Syco, although she did appear on fellow finalist Andrew Johnston's debut album, One Voice.
|
Record deal
|
The day after the Britain's Got Talent finals, Max Clifford, speaking for Simon Cowell, said that it was "quite possible" that Cowell would be signing some of the finalists, including Smith. Though she did not sign with Syco, Cowell's record label, she did record a duet of "Walking in the Air" with Johnston, which appeared on his debut album, One Voice, and was tipped as a potential Christmas number-one. Before the release of One Voice, it was revealed that Smith and her father, Tony Smith, were finalising the details of her record deal. In November, it was announced that Smith would be performing on stage in Kettering with Sylvia Berryman, a vocal tutor who had worked with Smith prior to her appearance on Britain's Got Talent. Smith said that she was "really looking forward to singing locally again", and it was again reported that Smith hoped to soon sign her own record deal. In December 2008 the Daily Mail reported that Smith had signed a PS2.3 million, multi-album deal with Universal Music Group that was the "most lucrative recording contract ever handed to a schoolgirl". Smith said "I'm honoured to be joining such a fantastic record company, especially since it's where [Jenkins] started." Dickon Stainer, speaking on behalf of Universal, said "as soon as we saw Faryl, it became an ambition to sign her." Universal claimed it intended to market Smith as a pop star. Smith signed the contract at the Royal Albert Hall, following which she performed with Katherine Jenkins. Neil Fisher, writing for The Times, described Smith as "heir apparent" to Jenkins; the pair had first met when Smith won a competition at the Llangollen International Musical Eisteddfod. By 2009, Jenkins was acting as a mentor to Smith. In January 2009 plans were released for Smith to perform with Placido Domingo, an idea originally suggested by him. In an interview with the Metro, Smith talked about her future plans, insisting that she did not wish to be dubbed as the next Charlotte Church. She later said that "In the papers, it sounded like I was snobby when I said 'I don't want to be like Charlotte Church', but I didn't mean it like that." She has also spoken of her desire to appear in films on top of her musical career. She said "Films and movies are something I'd really like to do. I've always wanted to act so doing a film would be amazing."
|
C_c4e4f91533b2443fa73aff85521d0ec5_1_q#0
|
What was her record deal?
| 0y
| 2x
|
{
"texts": [
"Though she did not sign with Syco, Cowell's record label, she did record a duet of \"Walking in the Air\""
],
"answer_starts": [
191
]
}
|
{
"text": "Though she did not sign with Syco, Cowell's record label, she did record a duet of \"Walking in the Air\"",
"answer_start": 191
}
|
C_c4e4f91533b2443fa73aff85521d0ec5_1
|
Faryl Smith
|
Faryl Smith (born 23 July 1995) is a British soprano who rose to fame after appearing on the second series of the ITV television talent show Britain's Got Talent in 2008. She received praise throughout the competition, and although the favourite to win after the second round, she finished outside the top three in the live final on 31 May. During the competition, she was tutored by singing coach Yvie Burnett and received offers from various record labels. After the show, she, unlike other finalists, did not sign with Simon Cowell's Syco, although she did appear on fellow finalist Andrew Johnston's debut album, One Voice.
|
Record deal
|
The day after the Britain's Got Talent finals, Max Clifford, speaking for Simon Cowell, said that it was "quite possible" that Cowell would be signing some of the finalists, including Smith. Though she did not sign with Syco, Cowell's record label, she did record a duet of "Walking in the Air" with Johnston, which appeared on his debut album, One Voice, and was tipped as a potential Christmas number-one. Before the release of One Voice, it was revealed that Smith and her father, Tony Smith, were finalising the details of her record deal. In November, it was announced that Smith would be performing on stage in Kettering with Sylvia Berryman, a vocal tutor who had worked with Smith prior to her appearance on Britain's Got Talent. Smith said that she was "really looking forward to singing locally again", and it was again reported that Smith hoped to soon sign her own record deal. In December 2008 the Daily Mail reported that Smith had signed a PS2.3 million, multi-album deal with Universal Music Group that was the "most lucrative recording contract ever handed to a schoolgirl". Smith said "I'm honoured to be joining such a fantastic record company, especially since it's where [Jenkins] started." Dickon Stainer, speaking on behalf of Universal, said "as soon as we saw Faryl, it became an ambition to sign her." Universal claimed it intended to market Smith as a pop star. Smith signed the contract at the Royal Albert Hall, following which she performed with Katherine Jenkins. Neil Fisher, writing for The Times, described Smith as "heir apparent" to Jenkins; the pair had first met when Smith won a competition at the Llangollen International Musical Eisteddfod. By 2009, Jenkins was acting as a mentor to Smith. In January 2009 plans were released for Smith to perform with Placido Domingo, an idea originally suggested by him. In an interview with the Metro, Smith talked about her future plans, insisting that she did not wish to be dubbed as the next Charlotte Church. She later said that "In the papers, it sounded like I was snobby when I said 'I don't want to be like Charlotte Church', but I didn't mean it like that." She has also spoken of her desire to appear in films on top of her musical career. She said "Films and movies are something I'd really like to do. I've always wanted to act so doing a film would be amazing."
Q: What was her record deal?
A: Though she did not sign with Syco, Cowell's record label, she did record a duet of "Walking in the Air"
|
C_c4e4f91533b2443fa73aff85521d0ec5_1_q#1
|
Was this a hit?
| 2m
| 0y
|
{
"texts": [
"and was tipped as a potential Christmas number-one."
],
"answer_starts": [
356
]
}
|
{
"text": "and was tipped as a potential Christmas number-one.",
"answer_start": 356
}
|
C_c4e4f91533b2443fa73aff85521d0ec5_1
|
Faryl Smith
|
Faryl Smith (born 23 July 1995) is a British soprano who rose to fame after appearing on the second series of the ITV television talent show Britain's Got Talent in 2008. She received praise throughout the competition, and although the favourite to win after the second round, she finished outside the top three in the live final on 31 May. During the competition, she was tutored by singing coach Yvie Burnett and received offers from various record labels. After the show, she, unlike other finalists, did not sign with Simon Cowell's Syco, although she did appear on fellow finalist Andrew Johnston's debut album, One Voice.
|
Record deal
|
The day after the Britain's Got Talent finals, Max Clifford, speaking for Simon Cowell, said that it was "quite possible" that Cowell would be signing some of the finalists, including Smith. Though she did not sign with Syco, Cowell's record label, she did record a duet of "Walking in the Air" with Johnston, which appeared on his debut album, One Voice, and was tipped as a potential Christmas number-one. Before the release of One Voice, it was revealed that Smith and her father, Tony Smith, were finalising the details of her record deal. In November, it was announced that Smith would be performing on stage in Kettering with Sylvia Berryman, a vocal tutor who had worked with Smith prior to her appearance on Britain's Got Talent. Smith said that she was "really looking forward to singing locally again", and it was again reported that Smith hoped to soon sign her own record deal. In December 2008 the Daily Mail reported that Smith had signed a PS2.3 million, multi-album deal with Universal Music Group that was the "most lucrative recording contract ever handed to a schoolgirl". Smith said "I'm honoured to be joining such a fantastic record company, especially since it's where [Jenkins] started." Dickon Stainer, speaking on behalf of Universal, said "as soon as we saw Faryl, it became an ambition to sign her." Universal claimed it intended to market Smith as a pop star. Smith signed the contract at the Royal Albert Hall, following which she performed with Katherine Jenkins. Neil Fisher, writing for The Times, described Smith as "heir apparent" to Jenkins; the pair had first met when Smith won a competition at the Llangollen International Musical Eisteddfod. By 2009, Jenkins was acting as a mentor to Smith. In January 2009 plans were released for Smith to perform with Placido Domingo, an idea originally suggested by him. In an interview with the Metro, Smith talked about her future plans, insisting that she did not wish to be dubbed as the next Charlotte Church. She later said that "In the papers, it sounded like I was snobby when I said 'I don't want to be like Charlotte Church', but I didn't mean it like that." She has also spoken of her desire to appear in films on top of her musical career. She said "Films and movies are something I'd really like to do. I've always wanted to act so doing a film would be amazing."
Q: What was her record deal?
A: Though she did not sign with Syco, Cowell's record label, she did record a duet of "Walking in the Air"
Q: Was this a hit?
A: and was tipped as a potential Christmas number-one.
|
C_c4e4f91533b2443fa73aff85521d0ec5_1_q#2
|
did she have any other record deals?
| 2m
| 0y
|
{
"texts": [
"Before the release of One Voice, it was revealed that Smith and her father, Tony Smith, were finalising the details of her record deal."
],
"answer_starts": [
408
]
}
|
{
"text": "Before the release of One Voice, it was revealed that Smith and her father, Tony Smith, were finalising the details of her record deal.",
"answer_start": 408
}
|
C_c4e4f91533b2443fa73aff85521d0ec5_1
|
Faryl Smith
|
Faryl Smith (born 23 July 1995) is a British soprano who rose to fame after appearing on the second series of the ITV television talent show Britain's Got Talent in 2008. She received praise throughout the competition, and although the favourite to win after the second round, she finished outside the top three in the live final on 31 May. During the competition, she was tutored by singing coach Yvie Burnett and received offers from various record labels. After the show, she, unlike other finalists, did not sign with Simon Cowell's Syco, although she did appear on fellow finalist Andrew Johnston's debut album, One Voice.
|
Record deal
|
The day after the Britain's Got Talent finals, Max Clifford, speaking for Simon Cowell, said that it was "quite possible" that Cowell would be signing some of the finalists, including Smith. Though she did not sign with Syco, Cowell's record label, she did record a duet of "Walking in the Air" with Johnston, which appeared on his debut album, One Voice, and was tipped as a potential Christmas number-one. Before the release of One Voice, it was revealed that Smith and her father, Tony Smith, were finalising the details of her record deal. In November, it was announced that Smith would be performing on stage in Kettering with Sylvia Berryman, a vocal tutor who had worked with Smith prior to her appearance on Britain's Got Talent. Smith said that she was "really looking forward to singing locally again", and it was again reported that Smith hoped to soon sign her own record deal. In December 2008 the Daily Mail reported that Smith had signed a PS2.3 million, multi-album deal with Universal Music Group that was the "most lucrative recording contract ever handed to a schoolgirl". Smith said "I'm honoured to be joining such a fantastic record company, especially since it's where [Jenkins] started." Dickon Stainer, speaking on behalf of Universal, said "as soon as we saw Faryl, it became an ambition to sign her." Universal claimed it intended to market Smith as a pop star. Smith signed the contract at the Royal Albert Hall, following which she performed with Katherine Jenkins. Neil Fisher, writing for The Times, described Smith as "heir apparent" to Jenkins; the pair had first met when Smith won a competition at the Llangollen International Musical Eisteddfod. By 2009, Jenkins was acting as a mentor to Smith. In January 2009 plans were released for Smith to perform with Placido Domingo, an idea originally suggested by him. In an interview with the Metro, Smith talked about her future plans, insisting that she did not wish to be dubbed as the next Charlotte Church. She later said that "In the papers, it sounded like I was snobby when I said 'I don't want to be like Charlotte Church', but I didn't mean it like that." She has also spoken of her desire to appear in films on top of her musical career. She said "Films and movies are something I'd really like to do. I've always wanted to act so doing a film would be amazing."
Q: What was her record deal?
A: Though she did not sign with Syco, Cowell's record label, she did record a duet of "Walking in the Air"
Q: Was this a hit?
A: and was tipped as a potential Christmas number-one.
Q: did she have any other record deals?
A: Before the release of One Voice, it was revealed that Smith and her father, Tony Smith, were finalising the details of her record deal.
|
C_c4e4f91533b2443fa73aff85521d0ec5_1_q#3
|
What happened after it was finalized?
| 1n
| 2x
|
{
"texts": [
"In December 2008 the Daily Mail reported that Smith had signed a PS2.3 million, multi-album deal with Universal Music Group"
],
"answer_starts": [
891
]
}
|
{
"text": "In December 2008 the Daily Mail reported that Smith had signed a PS2.3 million, multi-album deal with Universal Music Group",
"answer_start": 891
}
|
C_c4e4f91533b2443fa73aff85521d0ec5_1
|
Faryl Smith
|
Faryl Smith (born 23 July 1995) is a British soprano who rose to fame after appearing on the second series of the ITV television talent show Britain's Got Talent in 2008. She received praise throughout the competition, and although the favourite to win after the second round, she finished outside the top three in the live final on 31 May. During the competition, she was tutored by singing coach Yvie Burnett and received offers from various record labels. After the show, she, unlike other finalists, did not sign with Simon Cowell's Syco, although she did appear on fellow finalist Andrew Johnston's debut album, One Voice.
|
Record deal
|
The day after the Britain's Got Talent finals, Max Clifford, speaking for Simon Cowell, said that it was "quite possible" that Cowell would be signing some of the finalists, including Smith. Though she did not sign with Syco, Cowell's record label, she did record a duet of "Walking in the Air" with Johnston, which appeared on his debut album, One Voice, and was tipped as a potential Christmas number-one. Before the release of One Voice, it was revealed that Smith and her father, Tony Smith, were finalising the details of her record deal. In November, it was announced that Smith would be performing on stage in Kettering with Sylvia Berryman, a vocal tutor who had worked with Smith prior to her appearance on Britain's Got Talent. Smith said that she was "really looking forward to singing locally again", and it was again reported that Smith hoped to soon sign her own record deal. In December 2008 the Daily Mail reported that Smith had signed a PS2.3 million, multi-album deal with Universal Music Group that was the "most lucrative recording contract ever handed to a schoolgirl". Smith said "I'm honoured to be joining such a fantastic record company, especially since it's where [Jenkins] started." Dickon Stainer, speaking on behalf of Universal, said "as soon as we saw Faryl, it became an ambition to sign her." Universal claimed it intended to market Smith as a pop star. Smith signed the contract at the Royal Albert Hall, following which she performed with Katherine Jenkins. Neil Fisher, writing for The Times, described Smith as "heir apparent" to Jenkins; the pair had first met when Smith won a competition at the Llangollen International Musical Eisteddfod. By 2009, Jenkins was acting as a mentor to Smith. In January 2009 plans were released for Smith to perform with Placido Domingo, an idea originally suggested by him. In an interview with the Metro, Smith talked about her future plans, insisting that she did not wish to be dubbed as the next Charlotte Church. She later said that "In the papers, it sounded like I was snobby when I said 'I don't want to be like Charlotte Church', but I didn't mean it like that." She has also spoken of her desire to appear in films on top of her musical career. She said "Films and movies are something I'd really like to do. I've always wanted to act so doing a film would be amazing."
Q: What was her record deal?
A: Though she did not sign with Syco, Cowell's record label, she did record a duet of "Walking in the Air"
Q: Was this a hit?
A: and was tipped as a potential Christmas number-one.
Q: did she have any other record deals?
A: Before the release of One Voice, it was revealed that Smith and her father, Tony Smith, were finalising the details of her record deal.
Q: What happened after it was finalized?
A: In December 2008 the Daily Mail reported that Smith had signed a PS2.3 million, multi-album deal with Universal Music Group
|
C_c4e4f91533b2443fa73aff85521d0ec5_1_q#4
|
Are there any other interesting aspects about this article?
| 2m
| 0y
|
{
"texts": [
"In January 2009 plans were released for Smith to perform with Placido Domingo, an idea originally suggested by him."
],
"answer_starts": [
1734
]
}
|
{
"text": "In January 2009 plans were released for Smith to perform with Placido Domingo, an idea originally suggested by him.",
"answer_start": 1734
}
|
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