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dict |
|---|---|---|---|---|---|---|---|---|---|---|
C_b2fe1b225c6044d0b480f18deb33ff0d_0
|
Michael Bennett (theater)
|
Michael Bennett (April 8, 1943 - July 2, 1987) was an American musical theatre director, writer, choreographer, and dancer. He won seven Tony Awards for his choreography and direction of Broadway shows and was nominated for an additional eleven. Bennett choreographed Promises, Promises, Follies and Company. In 1976, he won the Tony Award for Best Direction of a Musical and the Tony Award for Best Choreography for the musical A Chorus Line.
|
Analysis
|
Unlike his more famous contemporary Bob Fosse, Bennett was not known for a particular choreographic style. Instead, Bennett's choreography was motivated by the form of the musical involved, or the distinct characters interpreted. In Act 2 of Company, Bennett defied the usual choreographic expectations by deliberately taking the polish off the standard Broadway production number. The company stumbled through the steps of a hat and cane routine ("Side By Side") and thus revealed to the audience the physical limitations of the characters' singing and dancing. Bennett made the audience aware that this group had been flung together to perform, and that they were in over their heads. He intended the number to be not about the routine, but rather the characters behind it. The song "One" from A Chorus Line functions in a different way. The various phases of construction/rehearsal of the number are shown, and because the show is about professional dancers, the last performance of the song-and-dance routine has all the gloss and polish expected of Broadway production values. Bennett's choreography also reveals the cost of the number to the people behind it. Bennett was influenced by the work of Jerome Robbins. "What Michael Bennett perceived early in Robbins' work was totality, all the sums of a given piece adding to a unified whole". In Dreamgirls, Bennett's musical staging was described as a "mesmerizing sense of movement": The most thrilling breakthrough of the extraordinary show is that whereas in A Chorus Line Michael Bennett choreographed the cast, in Dreamgirls he has choreographed the set.... Bennett's use of [the plexiglass towers that dominated the set] was revolutionary. The towers moved to create constantly changing perspectives and space, like an automated ballet.... They energized the action, driving it forcefully along. It's why there were no set-piece dance routines in the show: Dance and movement were organic to the entire action. But Bennett had made the mechanical set his dancers."
Q: what was the analysis made?
A: Instead, Bennett's choreography was motivated by the form of the musical involved, or the distinct characters interpreted.
Q: could you tell me something interesting about the analysis?
A: In Act 2 of Company, Bennett defied the usual choreographic expectations by deliberately taking the polish off the standard Broadway production number.
Q: What did they do instead?
A: The company stumbled through the steps of a hat and cane routine ("Side By Side") and
Q: and what else?
A: and thus revealed to the audience the physical limitations of the characters' singing and dancing.
Q: what was the audience's reaction to this?
A: Bennett made the audience aware that this group had been flung together to perform,
Q: did he do any other work that was different?
A: in Dreamgirls he has choreographed the set.... Bennett's use of [the plexiglass towers that dominated the set] was revolutionary.
|
C_b2fe1b225c6044d0b480f18deb33ff0d_0_q#6
|
what was revolutionary about it?
| 2m
| 2x
|
{
"texts": [
"But Bennett had made the mechanical set his dancers.\""
],
"answer_starts": [
1976
]
}
|
{
"text": "But Bennett had made the mechanical set his dancers.\"",
"answer_start": 1976
}
|
C_b2fe1b225c6044d0b480f18deb33ff0d_0
|
Michael Bennett (theater)
|
Michael Bennett (April 8, 1943 - July 2, 1987) was an American musical theatre director, writer, choreographer, and dancer. He won seven Tony Awards for his choreography and direction of Broadway shows and was nominated for an additional eleven. Bennett choreographed Promises, Promises, Follies and Company. In 1976, he won the Tony Award for Best Direction of a Musical and the Tony Award for Best Choreography for the musical A Chorus Line.
|
Analysis
|
Unlike his more famous contemporary Bob Fosse, Bennett was not known for a particular choreographic style. Instead, Bennett's choreography was motivated by the form of the musical involved, or the distinct characters interpreted. In Act 2 of Company, Bennett defied the usual choreographic expectations by deliberately taking the polish off the standard Broadway production number. The company stumbled through the steps of a hat and cane routine ("Side By Side") and thus revealed to the audience the physical limitations of the characters' singing and dancing. Bennett made the audience aware that this group had been flung together to perform, and that they were in over their heads. He intended the number to be not about the routine, but rather the characters behind it. The song "One" from A Chorus Line functions in a different way. The various phases of construction/rehearsal of the number are shown, and because the show is about professional dancers, the last performance of the song-and-dance routine has all the gloss and polish expected of Broadway production values. Bennett's choreography also reveals the cost of the number to the people behind it. Bennett was influenced by the work of Jerome Robbins. "What Michael Bennett perceived early in Robbins' work was totality, all the sums of a given piece adding to a unified whole". In Dreamgirls, Bennett's musical staging was described as a "mesmerizing sense of movement": The most thrilling breakthrough of the extraordinary show is that whereas in A Chorus Line Michael Bennett choreographed the cast, in Dreamgirls he has choreographed the set.... Bennett's use of [the plexiglass towers that dominated the set] was revolutionary. The towers moved to create constantly changing perspectives and space, like an automated ballet.... They energized the action, driving it forcefully along. It's why there were no set-piece dance routines in the show: Dance and movement were organic to the entire action. But Bennett had made the mechanical set his dancers."
Q: what was the analysis made?
A: Instead, Bennett's choreography was motivated by the form of the musical involved, or the distinct characters interpreted.
Q: could you tell me something interesting about the analysis?
A: In Act 2 of Company, Bennett defied the usual choreographic expectations by deliberately taking the polish off the standard Broadway production number.
Q: What did they do instead?
A: The company stumbled through the steps of a hat and cane routine ("Side By Side") and
Q: and what else?
A: and thus revealed to the audience the physical limitations of the characters' singing and dancing.
Q: what was the audience's reaction to this?
A: Bennett made the audience aware that this group had been flung together to perform,
Q: did he do any other work that was different?
A: in Dreamgirls he has choreographed the set.... Bennett's use of [the plexiglass towers that dominated the set] was revolutionary.
Q: what was revolutionary about it?
A: But Bennett had made the mechanical set his dancers."
|
C_b2fe1b225c6044d0b480f18deb33ff0d_0_q#7
|
what did critics have to say about his style?
| 2m
| 2x
|
{
"texts": [
"In Dreamgirls, Bennett's musical staging was described as a \"mesmerizing sense of movement\":"
],
"answer_starts": [
1350
]
}
|
{
"text": "In Dreamgirls, Bennett's musical staging was described as a \"mesmerizing sense of movement\":",
"answer_start": 1350
}
|
C_b2fe1b225c6044d0b480f18deb33ff0d_0
|
Michael Bennett (theater)
|
Michael Bennett (April 8, 1943 - July 2, 1987) was an American musical theatre director, writer, choreographer, and dancer. He won seven Tony Awards for his choreography and direction of Broadway shows and was nominated for an additional eleven. Bennett choreographed Promises, Promises, Follies and Company. In 1976, he won the Tony Award for Best Direction of a Musical and the Tony Award for Best Choreography for the musical A Chorus Line.
|
Analysis
|
Unlike his more famous contemporary Bob Fosse, Bennett was not known for a particular choreographic style. Instead, Bennett's choreography was motivated by the form of the musical involved, or the distinct characters interpreted. In Act 2 of Company, Bennett defied the usual choreographic expectations by deliberately taking the polish off the standard Broadway production number. The company stumbled through the steps of a hat and cane routine ("Side By Side") and thus revealed to the audience the physical limitations of the characters' singing and dancing. Bennett made the audience aware that this group had been flung together to perform, and that they were in over their heads. He intended the number to be not about the routine, but rather the characters behind it. The song "One" from A Chorus Line functions in a different way. The various phases of construction/rehearsal of the number are shown, and because the show is about professional dancers, the last performance of the song-and-dance routine has all the gloss and polish expected of Broadway production values. Bennett's choreography also reveals the cost of the number to the people behind it. Bennett was influenced by the work of Jerome Robbins. "What Michael Bennett perceived early in Robbins' work was totality, all the sums of a given piece adding to a unified whole". In Dreamgirls, Bennett's musical staging was described as a "mesmerizing sense of movement": The most thrilling breakthrough of the extraordinary show is that whereas in A Chorus Line Michael Bennett choreographed the cast, in Dreamgirls he has choreographed the set.... Bennett's use of [the plexiglass towers that dominated the set] was revolutionary. The towers moved to create constantly changing perspectives and space, like an automated ballet.... They energized the action, driving it forcefully along. It's why there were no set-piece dance routines in the show: Dance and movement were organic to the entire action. But Bennett had made the mechanical set his dancers."
Q: what was the analysis made?
A: Instead, Bennett's choreography was motivated by the form of the musical involved, or the distinct characters interpreted.
Q: could you tell me something interesting about the analysis?
A: In Act 2 of Company, Bennett defied the usual choreographic expectations by deliberately taking the polish off the standard Broadway production number.
Q: What did they do instead?
A: The company stumbled through the steps of a hat and cane routine ("Side By Side") and
Q: and what else?
A: and thus revealed to the audience the physical limitations of the characters' singing and dancing.
Q: what was the audience's reaction to this?
A: Bennett made the audience aware that this group had been flung together to perform,
Q: did he do any other work that was different?
A: in Dreamgirls he has choreographed the set.... Bennett's use of [the plexiglass towers that dominated the set] was revolutionary.
Q: what was revolutionary about it?
A: But Bennett had made the mechanical set his dancers."
Q: what did critics have to say about his style?
A: In Dreamgirls, Bennett's musical staging was described as a "mesmerizing sense of movement":
|
C_b2fe1b225c6044d0b480f18deb33ff0d_0_q#8
|
did he have any influences?
| 2m
| 0y
|
{
"texts": [
"Bennett was influenced by the work of Jerome Robbins. \""
],
"answer_starts": [
1169
]
}
|
{
"text": "Bennett was influenced by the work of Jerome Robbins. \"",
"answer_start": 1169
}
|
C_826d488f214d44f4a796bb50c7d6f8b4_0
|
Mackinac Island
|
Mackinac Island ( MAK-in-aw) is an island and resort area, covering 3.8 square miles (9.8 km2) in land area, in the U.S. state of Michigan. It is located in Lake Huron, at the eastern end of the Straits of Mackinac, between the state's Upper and Lower Peninsulas. The island was home to an Odawa settlement before European exploration began in the 17th century. It served a strategic position as a center on the commerce of the Great Lakes fur trade.
|
19th century to present
|
During the War of 1812, the British captured the fort in the Siege of Fort Mackinac, the first battle of the conflict, because the Americans had not yet heard that war had been declared. The victorious British attempted to protect their prize by building Fort George on the high ground behind Fort Mackinac. In 1814, the Americans and British fought a second battle on the north side of the island. The American second-in-command, Major Andrew Holmes, was killed and the Americans failed to recapture the island. Despite this outcome, the Treaty of Ghent of 1815 forced the British to return the island and surrounding mainland to the U.S. The United States reoccupied Fort Mackinac, and renamed Fort George as Fort Holmes, after Major Holmes. Fort Mackinac remained under the control of the United States government until 1895 and provided volunteers to defend the Union during the American Civil War. The fort was used as a prison for three Confederate States of America sympathizers. John Jacob Astor's American Fur Company was centered on Mackinac Island after the War of 1812 and exported beaver pelts for thirty years. By the middle of the 19th century, commercial fishing for common whitefish and lake trout began to replace the fur trade as the island's primary industry. As sport fishing became more popular in the 1880s, hotels and restaurants accommodated tourists coming by train or lake boat from Detroit. Following the Civil War, the island became a popular tourist destination for residents of cities on the Great Lakes. Much of the federal land on Mackinac Island was designated as the second national park, Mackinac National Park, in 1875, just three years after Yellowstone National Park was named as the first national park. To accommodate an influx of tourists in the 1880s, the boat and railroad companies built hotels, including the Grand Hotel. Souvenir shops began to spring up as a way for island residents to profit from the tourists. Many wealthy business magnates built summer "cottages" along the island's bluffs for extended stays. When the federal government left the island in 1895, all of the federal land, including Fort Mackinac, was given to the state of Michigan and became Michigan's first state park. The Mackinac Island State Park Commission appointed to oversee the island has limited private development in the park and requires leaseholders to maintain the island's distinctive Victorian architecture. Motor vehicles were restricted at the end of the 19th century because of concerns for the health and safety of the island's residents and horses after local carriage drivers complained that automobiles startled their horses. This ban continues to the present with exceptions only for emergency and construction vehicles.
|
C_826d488f214d44f4a796bb50c7d6f8b4_0_q#0
|
What was this during
| 0y
| 2x
|
{
"texts": [
"During the War of 1812, the British captured the fort in the Siege of Fort Mackinac,"
],
"answer_starts": [
0
]
}
|
{
"text": "During the War of 1812, the British captured the fort in the Siege of Fort Mackinac,",
"answer_start": 0
}
|
C_826d488f214d44f4a796bb50c7d6f8b4_0
|
Mackinac Island
|
Mackinac Island ( MAK-in-aw) is an island and resort area, covering 3.8 square miles (9.8 km2) in land area, in the U.S. state of Michigan. It is located in Lake Huron, at the eastern end of the Straits of Mackinac, between the state's Upper and Lower Peninsulas. The island was home to an Odawa settlement before European exploration began in the 17th century. It served a strategic position as a center on the commerce of the Great Lakes fur trade.
|
19th century to present
|
During the War of 1812, the British captured the fort in the Siege of Fort Mackinac, the first battle of the conflict, because the Americans had not yet heard that war had been declared. The victorious British attempted to protect their prize by building Fort George on the high ground behind Fort Mackinac. In 1814, the Americans and British fought a second battle on the north side of the island. The American second-in-command, Major Andrew Holmes, was killed and the Americans failed to recapture the island. Despite this outcome, the Treaty of Ghent of 1815 forced the British to return the island and surrounding mainland to the U.S. The United States reoccupied Fort Mackinac, and renamed Fort George as Fort Holmes, after Major Holmes. Fort Mackinac remained under the control of the United States government until 1895 and provided volunteers to defend the Union during the American Civil War. The fort was used as a prison for three Confederate States of America sympathizers. John Jacob Astor's American Fur Company was centered on Mackinac Island after the War of 1812 and exported beaver pelts for thirty years. By the middle of the 19th century, commercial fishing for common whitefish and lake trout began to replace the fur trade as the island's primary industry. As sport fishing became more popular in the 1880s, hotels and restaurants accommodated tourists coming by train or lake boat from Detroit. Following the Civil War, the island became a popular tourist destination for residents of cities on the Great Lakes. Much of the federal land on Mackinac Island was designated as the second national park, Mackinac National Park, in 1875, just three years after Yellowstone National Park was named as the first national park. To accommodate an influx of tourists in the 1880s, the boat and railroad companies built hotels, including the Grand Hotel. Souvenir shops began to spring up as a way for island residents to profit from the tourists. Many wealthy business magnates built summer "cottages" along the island's bluffs for extended stays. When the federal government left the island in 1895, all of the federal land, including Fort Mackinac, was given to the state of Michigan and became Michigan's first state park. The Mackinac Island State Park Commission appointed to oversee the island has limited private development in the park and requires leaseholders to maintain the island's distinctive Victorian architecture. Motor vehicles were restricted at the end of the 19th century because of concerns for the health and safety of the island's residents and horses after local carriage drivers complained that automobiles startled their horses. This ban continues to the present with exceptions only for emergency and construction vehicles.
Q: What was this during
A: During the War of 1812, the British captured the fort in the Siege of Fort Mackinac,
|
C_826d488f214d44f4a796bb50c7d6f8b4_0_q#1
|
What did this do for him
| 0y
| 2x
|
{
"texts": [
"The victorious British attempted to protect their prize by building Fort George on the high ground behind Fort Mackinac."
],
"answer_starts": [
187
]
}
|
{
"text": "The victorious British attempted to protect their prize by building Fort George on the high ground behind Fort Mackinac.",
"answer_start": 187
}
|
C_826d488f214d44f4a796bb50c7d6f8b4_0
|
Mackinac Island
|
Mackinac Island ( MAK-in-aw) is an island and resort area, covering 3.8 square miles (9.8 km2) in land area, in the U.S. state of Michigan. It is located in Lake Huron, at the eastern end of the Straits of Mackinac, between the state's Upper and Lower Peninsulas. The island was home to an Odawa settlement before European exploration began in the 17th century. It served a strategic position as a center on the commerce of the Great Lakes fur trade.
|
19th century to present
|
During the War of 1812, the British captured the fort in the Siege of Fort Mackinac, the first battle of the conflict, because the Americans had not yet heard that war had been declared. The victorious British attempted to protect their prize by building Fort George on the high ground behind Fort Mackinac. In 1814, the Americans and British fought a second battle on the north side of the island. The American second-in-command, Major Andrew Holmes, was killed and the Americans failed to recapture the island. Despite this outcome, the Treaty of Ghent of 1815 forced the British to return the island and surrounding mainland to the U.S. The United States reoccupied Fort Mackinac, and renamed Fort George as Fort Holmes, after Major Holmes. Fort Mackinac remained under the control of the United States government until 1895 and provided volunteers to defend the Union during the American Civil War. The fort was used as a prison for three Confederate States of America sympathizers. John Jacob Astor's American Fur Company was centered on Mackinac Island after the War of 1812 and exported beaver pelts for thirty years. By the middle of the 19th century, commercial fishing for common whitefish and lake trout began to replace the fur trade as the island's primary industry. As sport fishing became more popular in the 1880s, hotels and restaurants accommodated tourists coming by train or lake boat from Detroit. Following the Civil War, the island became a popular tourist destination for residents of cities on the Great Lakes. Much of the federal land on Mackinac Island was designated as the second national park, Mackinac National Park, in 1875, just three years after Yellowstone National Park was named as the first national park. To accommodate an influx of tourists in the 1880s, the boat and railroad companies built hotels, including the Grand Hotel. Souvenir shops began to spring up as a way for island residents to profit from the tourists. Many wealthy business magnates built summer "cottages" along the island's bluffs for extended stays. When the federal government left the island in 1895, all of the federal land, including Fort Mackinac, was given to the state of Michigan and became Michigan's first state park. The Mackinac Island State Park Commission appointed to oversee the island has limited private development in the park and requires leaseholders to maintain the island's distinctive Victorian architecture. Motor vehicles were restricted at the end of the 19th century because of concerns for the health and safety of the island's residents and horses after local carriage drivers complained that automobiles startled their horses. This ban continues to the present with exceptions only for emergency and construction vehicles.
Q: What was this during
A: During the War of 1812, the British captured the fort in the Siege of Fort Mackinac,
Q: What did this do for him
A: The victorious British attempted to protect their prize by building Fort George on the high ground behind Fort Mackinac.
|
C_826d488f214d44f4a796bb50c7d6f8b4_0_q#2
|
Why was this so terrible
| 0y
| 2x
|
{
"texts": [
"In 1814, the Americans and British fought a second battle on the north side of the island."
],
"answer_starts": [
308
]
}
|
{
"text": "In 1814, the Americans and British fought a second battle on the north side of the island.",
"answer_start": 308
}
|
C_826d488f214d44f4a796bb50c7d6f8b4_0
|
Mackinac Island
|
Mackinac Island ( MAK-in-aw) is an island and resort area, covering 3.8 square miles (9.8 km2) in land area, in the U.S. state of Michigan. It is located in Lake Huron, at the eastern end of the Straits of Mackinac, between the state's Upper and Lower Peninsulas. The island was home to an Odawa settlement before European exploration began in the 17th century. It served a strategic position as a center on the commerce of the Great Lakes fur trade.
|
19th century to present
|
During the War of 1812, the British captured the fort in the Siege of Fort Mackinac, the first battle of the conflict, because the Americans had not yet heard that war had been declared. The victorious British attempted to protect their prize by building Fort George on the high ground behind Fort Mackinac. In 1814, the Americans and British fought a second battle on the north side of the island. The American second-in-command, Major Andrew Holmes, was killed and the Americans failed to recapture the island. Despite this outcome, the Treaty of Ghent of 1815 forced the British to return the island and surrounding mainland to the U.S. The United States reoccupied Fort Mackinac, and renamed Fort George as Fort Holmes, after Major Holmes. Fort Mackinac remained under the control of the United States government until 1895 and provided volunteers to defend the Union during the American Civil War. The fort was used as a prison for three Confederate States of America sympathizers. John Jacob Astor's American Fur Company was centered on Mackinac Island after the War of 1812 and exported beaver pelts for thirty years. By the middle of the 19th century, commercial fishing for common whitefish and lake trout began to replace the fur trade as the island's primary industry. As sport fishing became more popular in the 1880s, hotels and restaurants accommodated tourists coming by train or lake boat from Detroit. Following the Civil War, the island became a popular tourist destination for residents of cities on the Great Lakes. Much of the federal land on Mackinac Island was designated as the second national park, Mackinac National Park, in 1875, just three years after Yellowstone National Park was named as the first national park. To accommodate an influx of tourists in the 1880s, the boat and railroad companies built hotels, including the Grand Hotel. Souvenir shops began to spring up as a way for island residents to profit from the tourists. Many wealthy business magnates built summer "cottages" along the island's bluffs for extended stays. When the federal government left the island in 1895, all of the federal land, including Fort Mackinac, was given to the state of Michigan and became Michigan's first state park. The Mackinac Island State Park Commission appointed to oversee the island has limited private development in the park and requires leaseholders to maintain the island's distinctive Victorian architecture. Motor vehicles were restricted at the end of the 19th century because of concerns for the health and safety of the island's residents and horses after local carriage drivers complained that automobiles startled their horses. This ban continues to the present with exceptions only for emergency and construction vehicles.
Q: What was this during
A: During the War of 1812, the British captured the fort in the Siege of Fort Mackinac,
Q: What did this do for him
A: The victorious British attempted to protect their prize by building Fort George on the high ground behind Fort Mackinac.
Q: Why was this so terrible
A: In 1814, the Americans and British fought a second battle on the north side of the island.
|
C_826d488f214d44f4a796bb50c7d6f8b4_0_q#3
|
What did this mean to him
| 0y
| 2x
|
{
"texts": [
"The American second-in-command, Major Andrew Holmes, was killed and the Americans failed to recapture the island."
],
"answer_starts": [
399
]
}
|
{
"text": "The American second-in-command, Major Andrew Holmes, was killed and the Americans failed to recapture the island.",
"answer_start": 399
}
|
C_826d488f214d44f4a796bb50c7d6f8b4_0
|
Mackinac Island
|
Mackinac Island ( MAK-in-aw) is an island and resort area, covering 3.8 square miles (9.8 km2) in land area, in the U.S. state of Michigan. It is located in Lake Huron, at the eastern end of the Straits of Mackinac, between the state's Upper and Lower Peninsulas. The island was home to an Odawa settlement before European exploration began in the 17th century. It served a strategic position as a center on the commerce of the Great Lakes fur trade.
|
19th century to present
|
During the War of 1812, the British captured the fort in the Siege of Fort Mackinac, the first battle of the conflict, because the Americans had not yet heard that war had been declared. The victorious British attempted to protect their prize by building Fort George on the high ground behind Fort Mackinac. In 1814, the Americans and British fought a second battle on the north side of the island. The American second-in-command, Major Andrew Holmes, was killed and the Americans failed to recapture the island. Despite this outcome, the Treaty of Ghent of 1815 forced the British to return the island and surrounding mainland to the U.S. The United States reoccupied Fort Mackinac, and renamed Fort George as Fort Holmes, after Major Holmes. Fort Mackinac remained under the control of the United States government until 1895 and provided volunteers to defend the Union during the American Civil War. The fort was used as a prison for three Confederate States of America sympathizers. John Jacob Astor's American Fur Company was centered on Mackinac Island after the War of 1812 and exported beaver pelts for thirty years. By the middle of the 19th century, commercial fishing for common whitefish and lake trout began to replace the fur trade as the island's primary industry. As sport fishing became more popular in the 1880s, hotels and restaurants accommodated tourists coming by train or lake boat from Detroit. Following the Civil War, the island became a popular tourist destination for residents of cities on the Great Lakes. Much of the federal land on Mackinac Island was designated as the second national park, Mackinac National Park, in 1875, just three years after Yellowstone National Park was named as the first national park. To accommodate an influx of tourists in the 1880s, the boat and railroad companies built hotels, including the Grand Hotel. Souvenir shops began to spring up as a way for island residents to profit from the tourists. Many wealthy business magnates built summer "cottages" along the island's bluffs for extended stays. When the federal government left the island in 1895, all of the federal land, including Fort Mackinac, was given to the state of Michigan and became Michigan's first state park. The Mackinac Island State Park Commission appointed to oversee the island has limited private development in the park and requires leaseholders to maintain the island's distinctive Victorian architecture. Motor vehicles were restricted at the end of the 19th century because of concerns for the health and safety of the island's residents and horses after local carriage drivers complained that automobiles startled their horses. This ban continues to the present with exceptions only for emergency and construction vehicles.
Q: What was this during
A: During the War of 1812, the British captured the fort in the Siege of Fort Mackinac,
Q: What did this do for him
A: The victorious British attempted to protect their prize by building Fort George on the high ground behind Fort Mackinac.
Q: Why was this so terrible
A: In 1814, the Americans and British fought a second battle on the north side of the island.
Q: What did this mean to him
A: The American second-in-command, Major Andrew Holmes, was killed and the Americans failed to recapture the island.
|
C_826d488f214d44f4a796bb50c7d6f8b4_0_q#4
|
What did he try and do
| 0y
| 2x
|
{
"texts": [
"Despite this outcome, the Treaty of Ghent of 1815 forced the British to return the island and surrounding mainland to the U.S."
],
"answer_starts": [
514
]
}
|
{
"text": "Despite this outcome, the Treaty of Ghent of 1815 forced the British to return the island and surrounding mainland to the U.S.",
"answer_start": 514
}
|
C_826d488f214d44f4a796bb50c7d6f8b4_0
|
Mackinac Island
|
Mackinac Island ( MAK-in-aw) is an island and resort area, covering 3.8 square miles (9.8 km2) in land area, in the U.S. state of Michigan. It is located in Lake Huron, at the eastern end of the Straits of Mackinac, between the state's Upper and Lower Peninsulas. The island was home to an Odawa settlement before European exploration began in the 17th century. It served a strategic position as a center on the commerce of the Great Lakes fur trade.
|
19th century to present
|
During the War of 1812, the British captured the fort in the Siege of Fort Mackinac, the first battle of the conflict, because the Americans had not yet heard that war had been declared. The victorious British attempted to protect their prize by building Fort George on the high ground behind Fort Mackinac. In 1814, the Americans and British fought a second battle on the north side of the island. The American second-in-command, Major Andrew Holmes, was killed and the Americans failed to recapture the island. Despite this outcome, the Treaty of Ghent of 1815 forced the British to return the island and surrounding mainland to the U.S. The United States reoccupied Fort Mackinac, and renamed Fort George as Fort Holmes, after Major Holmes. Fort Mackinac remained under the control of the United States government until 1895 and provided volunteers to defend the Union during the American Civil War. The fort was used as a prison for three Confederate States of America sympathizers. John Jacob Astor's American Fur Company was centered on Mackinac Island after the War of 1812 and exported beaver pelts for thirty years. By the middle of the 19th century, commercial fishing for common whitefish and lake trout began to replace the fur trade as the island's primary industry. As sport fishing became more popular in the 1880s, hotels and restaurants accommodated tourists coming by train or lake boat from Detroit. Following the Civil War, the island became a popular tourist destination for residents of cities on the Great Lakes. Much of the federal land on Mackinac Island was designated as the second national park, Mackinac National Park, in 1875, just three years after Yellowstone National Park was named as the first national park. To accommodate an influx of tourists in the 1880s, the boat and railroad companies built hotels, including the Grand Hotel. Souvenir shops began to spring up as a way for island residents to profit from the tourists. Many wealthy business magnates built summer "cottages" along the island's bluffs for extended stays. When the federal government left the island in 1895, all of the federal land, including Fort Mackinac, was given to the state of Michigan and became Michigan's first state park. The Mackinac Island State Park Commission appointed to oversee the island has limited private development in the park and requires leaseholders to maintain the island's distinctive Victorian architecture. Motor vehicles were restricted at the end of the 19th century because of concerns for the health and safety of the island's residents and horses after local carriage drivers complained that automobiles startled their horses. This ban continues to the present with exceptions only for emergency and construction vehicles.
Q: What was this during
A: During the War of 1812, the British captured the fort in the Siege of Fort Mackinac,
Q: What did this do for him
A: The victorious British attempted to protect their prize by building Fort George on the high ground behind Fort Mackinac.
Q: Why was this so terrible
A: In 1814, the Americans and British fought a second battle on the north side of the island.
Q: What did this mean to him
A: The American second-in-command, Major Andrew Holmes, was killed and the Americans failed to recapture the island.
Q: What did he try and do
A: Despite this outcome, the Treaty of Ghent of 1815 forced the British to return the island and surrounding mainland to the U.S.
|
C_826d488f214d44f4a796bb50c7d6f8b4_0_q#5
|
WHat was so terrible to him
| 0y
| 2x
|
{
"texts": [
"The United States reoccupied Fort Mackinac, and renamed Fort George as Fort Holmes, after Major Holmes."
],
"answer_starts": [
641
]
}
|
{
"text": "The United States reoccupied Fort Mackinac, and renamed Fort George as Fort Holmes, after Major Holmes.",
"answer_start": 641
}
|
C_826d488f214d44f4a796bb50c7d6f8b4_0
|
Mackinac Island
|
Mackinac Island ( MAK-in-aw) is an island and resort area, covering 3.8 square miles (9.8 km2) in land area, in the U.S. state of Michigan. It is located in Lake Huron, at the eastern end of the Straits of Mackinac, between the state's Upper and Lower Peninsulas. The island was home to an Odawa settlement before European exploration began in the 17th century. It served a strategic position as a center on the commerce of the Great Lakes fur trade.
|
19th century to present
|
During the War of 1812, the British captured the fort in the Siege of Fort Mackinac, the first battle of the conflict, because the Americans had not yet heard that war had been declared. The victorious British attempted to protect their prize by building Fort George on the high ground behind Fort Mackinac. In 1814, the Americans and British fought a second battle on the north side of the island. The American second-in-command, Major Andrew Holmes, was killed and the Americans failed to recapture the island. Despite this outcome, the Treaty of Ghent of 1815 forced the British to return the island and surrounding mainland to the U.S. The United States reoccupied Fort Mackinac, and renamed Fort George as Fort Holmes, after Major Holmes. Fort Mackinac remained under the control of the United States government until 1895 and provided volunteers to defend the Union during the American Civil War. The fort was used as a prison for three Confederate States of America sympathizers. John Jacob Astor's American Fur Company was centered on Mackinac Island after the War of 1812 and exported beaver pelts for thirty years. By the middle of the 19th century, commercial fishing for common whitefish and lake trout began to replace the fur trade as the island's primary industry. As sport fishing became more popular in the 1880s, hotels and restaurants accommodated tourists coming by train or lake boat from Detroit. Following the Civil War, the island became a popular tourist destination for residents of cities on the Great Lakes. Much of the federal land on Mackinac Island was designated as the second national park, Mackinac National Park, in 1875, just three years after Yellowstone National Park was named as the first national park. To accommodate an influx of tourists in the 1880s, the boat and railroad companies built hotels, including the Grand Hotel. Souvenir shops began to spring up as a way for island residents to profit from the tourists. Many wealthy business magnates built summer "cottages" along the island's bluffs for extended stays. When the federal government left the island in 1895, all of the federal land, including Fort Mackinac, was given to the state of Michigan and became Michigan's first state park. The Mackinac Island State Park Commission appointed to oversee the island has limited private development in the park and requires leaseholders to maintain the island's distinctive Victorian architecture. Motor vehicles were restricted at the end of the 19th century because of concerns for the health and safety of the island's residents and horses after local carriage drivers complained that automobiles startled their horses. This ban continues to the present with exceptions only for emergency and construction vehicles.
Q: What was this during
A: During the War of 1812, the British captured the fort in the Siege of Fort Mackinac,
Q: What did this do for him
A: The victorious British attempted to protect their prize by building Fort George on the high ground behind Fort Mackinac.
Q: Why was this so terrible
A: In 1814, the Americans and British fought a second battle on the north side of the island.
Q: What did this mean to him
A: The American second-in-command, Major Andrew Holmes, was killed and the Americans failed to recapture the island.
Q: What did he try and do
A: Despite this outcome, the Treaty of Ghent of 1815 forced the British to return the island and surrounding mainland to the U.S.
Q: WHat was so terrible to him
A: The United States reoccupied Fort Mackinac, and renamed Fort George as Fort Holmes, after Major Holmes.
|
C_826d488f214d44f4a796bb50c7d6f8b4_0_q#6
|
Who was helping him
| 0y
| 2x
|
{
"texts": [
"Fort Mackinac remained under the control of the United States government until 1895 and provided volunteers to defend the Union during the American Civil War."
],
"answer_starts": [
745
]
}
|
{
"text": "Fort Mackinac remained under the control of the United States government until 1895 and provided volunteers to defend the Union during the American Civil War.",
"answer_start": 745
}
|
C_826d488f214d44f4a796bb50c7d6f8b4_0
|
Mackinac Island
|
Mackinac Island ( MAK-in-aw) is an island and resort area, covering 3.8 square miles (9.8 km2) in land area, in the U.S. state of Michigan. It is located in Lake Huron, at the eastern end of the Straits of Mackinac, between the state's Upper and Lower Peninsulas. The island was home to an Odawa settlement before European exploration began in the 17th century. It served a strategic position as a center on the commerce of the Great Lakes fur trade.
|
19th century to present
|
During the War of 1812, the British captured the fort in the Siege of Fort Mackinac, the first battle of the conflict, because the Americans had not yet heard that war had been declared. The victorious British attempted to protect their prize by building Fort George on the high ground behind Fort Mackinac. In 1814, the Americans and British fought a second battle on the north side of the island. The American second-in-command, Major Andrew Holmes, was killed and the Americans failed to recapture the island. Despite this outcome, the Treaty of Ghent of 1815 forced the British to return the island and surrounding mainland to the U.S. The United States reoccupied Fort Mackinac, and renamed Fort George as Fort Holmes, after Major Holmes. Fort Mackinac remained under the control of the United States government until 1895 and provided volunteers to defend the Union during the American Civil War. The fort was used as a prison for three Confederate States of America sympathizers. John Jacob Astor's American Fur Company was centered on Mackinac Island after the War of 1812 and exported beaver pelts for thirty years. By the middle of the 19th century, commercial fishing for common whitefish and lake trout began to replace the fur trade as the island's primary industry. As sport fishing became more popular in the 1880s, hotels and restaurants accommodated tourists coming by train or lake boat from Detroit. Following the Civil War, the island became a popular tourist destination for residents of cities on the Great Lakes. Much of the federal land on Mackinac Island was designated as the second national park, Mackinac National Park, in 1875, just three years after Yellowstone National Park was named as the first national park. To accommodate an influx of tourists in the 1880s, the boat and railroad companies built hotels, including the Grand Hotel. Souvenir shops began to spring up as a way for island residents to profit from the tourists. Many wealthy business magnates built summer "cottages" along the island's bluffs for extended stays. When the federal government left the island in 1895, all of the federal land, including Fort Mackinac, was given to the state of Michigan and became Michigan's first state park. The Mackinac Island State Park Commission appointed to oversee the island has limited private development in the park and requires leaseholders to maintain the island's distinctive Victorian architecture. Motor vehicles were restricted at the end of the 19th century because of concerns for the health and safety of the island's residents and horses after local carriage drivers complained that automobiles startled their horses. This ban continues to the present with exceptions only for emergency and construction vehicles.
Q: What was this during
A: During the War of 1812, the British captured the fort in the Siege of Fort Mackinac,
Q: What did this do for him
A: The victorious British attempted to protect their prize by building Fort George on the high ground behind Fort Mackinac.
Q: Why was this so terrible
A: In 1814, the Americans and British fought a second battle on the north side of the island.
Q: What did this mean to him
A: The American second-in-command, Major Andrew Holmes, was killed and the Americans failed to recapture the island.
Q: What did he try and do
A: Despite this outcome, the Treaty of Ghent of 1815 forced the British to return the island and surrounding mainland to the U.S.
Q: WHat was so terrible to him
A: The United States reoccupied Fort Mackinac, and renamed Fort George as Fort Holmes, after Major Holmes.
Q: Who was helping him
A: Fort Mackinac remained under the control of the United States government until 1895 and provided volunteers to defend the Union during the American Civil War.
|
C_826d488f214d44f4a796bb50c7d6f8b4_0_q#7
|
Did they do during the civil war
| 0y
| 2x
|
{
"texts": [
"The fort was used as a prison for three Confederate States of America sympathizers."
],
"answer_starts": [
904
]
}
|
{
"text": "The fort was used as a prison for three Confederate States of America sympathizers.",
"answer_start": 904
}
|
C_826d488f214d44f4a796bb50c7d6f8b4_0
|
Mackinac Island
|
Mackinac Island ( MAK-in-aw) is an island and resort area, covering 3.8 square miles (9.8 km2) in land area, in the U.S. state of Michigan. It is located in Lake Huron, at the eastern end of the Straits of Mackinac, between the state's Upper and Lower Peninsulas. The island was home to an Odawa settlement before European exploration began in the 17th century. It served a strategic position as a center on the commerce of the Great Lakes fur trade.
|
19th century to present
|
During the War of 1812, the British captured the fort in the Siege of Fort Mackinac, the first battle of the conflict, because the Americans had not yet heard that war had been declared. The victorious British attempted to protect their prize by building Fort George on the high ground behind Fort Mackinac. In 1814, the Americans and British fought a second battle on the north side of the island. The American second-in-command, Major Andrew Holmes, was killed and the Americans failed to recapture the island. Despite this outcome, the Treaty of Ghent of 1815 forced the British to return the island and surrounding mainland to the U.S. The United States reoccupied Fort Mackinac, and renamed Fort George as Fort Holmes, after Major Holmes. Fort Mackinac remained under the control of the United States government until 1895 and provided volunteers to defend the Union during the American Civil War. The fort was used as a prison for three Confederate States of America sympathizers. John Jacob Astor's American Fur Company was centered on Mackinac Island after the War of 1812 and exported beaver pelts for thirty years. By the middle of the 19th century, commercial fishing for common whitefish and lake trout began to replace the fur trade as the island's primary industry. As sport fishing became more popular in the 1880s, hotels and restaurants accommodated tourists coming by train or lake boat from Detroit. Following the Civil War, the island became a popular tourist destination for residents of cities on the Great Lakes. Much of the federal land on Mackinac Island was designated as the second national park, Mackinac National Park, in 1875, just three years after Yellowstone National Park was named as the first national park. To accommodate an influx of tourists in the 1880s, the boat and railroad companies built hotels, including the Grand Hotel. Souvenir shops began to spring up as a way for island residents to profit from the tourists. Many wealthy business magnates built summer "cottages" along the island's bluffs for extended stays. When the federal government left the island in 1895, all of the federal land, including Fort Mackinac, was given to the state of Michigan and became Michigan's first state park. The Mackinac Island State Park Commission appointed to oversee the island has limited private development in the park and requires leaseholders to maintain the island's distinctive Victorian architecture. Motor vehicles were restricted at the end of the 19th century because of concerns for the health and safety of the island's residents and horses after local carriage drivers complained that automobiles startled their horses. This ban continues to the present with exceptions only for emergency and construction vehicles.
Q: What was this during
A: During the War of 1812, the British captured the fort in the Siege of Fort Mackinac,
Q: What did this do for him
A: The victorious British attempted to protect their prize by building Fort George on the high ground behind Fort Mackinac.
Q: Why was this so terrible
A: In 1814, the Americans and British fought a second battle on the north side of the island.
Q: What did this mean to him
A: The American second-in-command, Major Andrew Holmes, was killed and the Americans failed to recapture the island.
Q: What did he try and do
A: Despite this outcome, the Treaty of Ghent of 1815 forced the British to return the island and surrounding mainland to the U.S.
Q: WHat was so terrible to him
A: The United States reoccupied Fort Mackinac, and renamed Fort George as Fort Holmes, after Major Holmes.
Q: Who was helping him
A: Fort Mackinac remained under the control of the United States government until 1895 and provided volunteers to defend the Union during the American Civil War.
Q: Did they do during the civil war
A: The fort was used as a prison for three Confederate States of America sympathizers.
|
C_826d488f214d44f4a796bb50c7d6f8b4_0_q#8
|
Who helped him with this
| 0y
| 2x
|
{
"texts": [
"John Jacob Astor's American Fur Company was centered on Mackinac Island after the War of 1812 and exported beaver pelts for thirty years."
],
"answer_starts": [
989
]
}
|
{
"text": "John Jacob Astor's American Fur Company was centered on Mackinac Island after the War of 1812 and exported beaver pelts for thirty years.",
"answer_start": 989
}
|
C_826d488f214d44f4a796bb50c7d6f8b4_1
|
Mackinac Island
|
Mackinac Island ( MAK-in-aw) is an island and resort area, covering 3.8 square miles (9.8 km2) in land area, in the U.S. state of Michigan. It is located in Lake Huron, at the eastern end of the Straits of Mackinac, between the state's Upper and Lower Peninsulas. The island was home to an Odawa settlement before European exploration began in the 17th century. It served a strategic position as a center on the commerce of the Great Lakes fur trade.
|
Etymology
|
Like many historic places in the Great Lakes region, Mackinac Island's name derives from a Native American language. Native Americans in the Straits of Mackinac region likened the shape of the island to that of a turtle so they named it "Mitchimakinak" (Ojibwe: mishimikinaak) "Big Turtle". Andrew Blackbird, an official interpreter for the U.S. government and an Ottawa chief's son, said it was named after a tribe that had lived there. The French spelled it with their version of the original pronunciation: Michilimackinac. The British shortened it to the present name: "Mackinac." Michillimackinac is also spelled as Mishinimakinago, Mishima'kinung, Mi-shi-ne-macki naw-go, Missilimakinak, Teiodondoraghie. The Menominee traditionally lived in a large territory of 10 million acres extending from Wisconsin to the Upper Peninsula of Michigan. Historic references include one by Father Frederic Baraga, a Slovenian missionary priest in Michigan, who in his 1878 dictionary wrote: Mishinimakinago; pl.-g.--This name is given to some strange Indians (according to the sayings of the Otchipwes [Ojibwe]), who are rowing through the woods, and who are sometimes heard shooting, but never seen. And from this word, the name of the village of Mackinac, or Michillimackinac, is derived. Maehkaenah is the Menominee word for turtle. In his 1952 The Indian Tribes of North America, John Reed Swanton recorded under the "Wisconsin" section: "Menominee," a band named "Misi'nimak Kimiko Wini'niwuk, 'Michilimackinac People,' near the old fort at Mackinac, Mich." In an early written history of Mackinac Island (1887) by Andrew Blackbird, the Odawa historian, he describes that a small independent tribe called "Mi-shi-ne-macki naw-go" once occupied Mackinac Island. They became confederated with the Ottawa from Ottawa Island (now Manitoulin Island) situated north of Lake Huron. One winter the Mi-shi-ne-macki naw-go on Mackinac Island were almost entirely annihilated by the Seneca people from New York, who were part of the Iroquois Confederacy. Only two of the local natives escaped by hiding in one of the natural caves at the island. To commemorate the losses of this allied tribe, the Ottawa named what is now Mackinac Island, as "Mi-shi-ne-macki-nong." In 1895 Fort Mackinac's John R. Bailey, M. D. published his history, entitled Mackinac formerly Michilimackinac, describing some of the first recorded presence on Mackinac of French traders. They arrived in 1654 with a large party of Huron and Ottawa heading to Three Rivers; another visitor was an adventurer making a canoe voyage in 1665.
|
C_826d488f214d44f4a796bb50c7d6f8b4_1_q#0
|
What did this do for him
| 0y
| 2x
|
{
"texts": [
"Like many historic places in the Great Lakes region, Mackinac Island's name derives from a Native American language."
],
"answer_starts": [
0
]
}
|
{
"text": "Like many historic places in the Great Lakes region, Mackinac Island's name derives from a Native American language.",
"answer_start": 0
}
|
C_826d488f214d44f4a796bb50c7d6f8b4_1
|
Mackinac Island
|
Mackinac Island ( MAK-in-aw) is an island and resort area, covering 3.8 square miles (9.8 km2) in land area, in the U.S. state of Michigan. It is located in Lake Huron, at the eastern end of the Straits of Mackinac, between the state's Upper and Lower Peninsulas. The island was home to an Odawa settlement before European exploration began in the 17th century. It served a strategic position as a center on the commerce of the Great Lakes fur trade.
|
Etymology
|
Like many historic places in the Great Lakes region, Mackinac Island's name derives from a Native American language. Native Americans in the Straits of Mackinac region likened the shape of the island to that of a turtle so they named it "Mitchimakinak" (Ojibwe: mishimikinaak) "Big Turtle". Andrew Blackbird, an official interpreter for the U.S. government and an Ottawa chief's son, said it was named after a tribe that had lived there. The French spelled it with their version of the original pronunciation: Michilimackinac. The British shortened it to the present name: "Mackinac." Michillimackinac is also spelled as Mishinimakinago, Mishima'kinung, Mi-shi-ne-macki naw-go, Missilimakinak, Teiodondoraghie. The Menominee traditionally lived in a large territory of 10 million acres extending from Wisconsin to the Upper Peninsula of Michigan. Historic references include one by Father Frederic Baraga, a Slovenian missionary priest in Michigan, who in his 1878 dictionary wrote: Mishinimakinago; pl.-g.--This name is given to some strange Indians (according to the sayings of the Otchipwes [Ojibwe]), who are rowing through the woods, and who are sometimes heard shooting, but never seen. And from this word, the name of the village of Mackinac, or Michillimackinac, is derived. Maehkaenah is the Menominee word for turtle. In his 1952 The Indian Tribes of North America, John Reed Swanton recorded under the "Wisconsin" section: "Menominee," a band named "Misi'nimak Kimiko Wini'niwuk, 'Michilimackinac People,' near the old fort at Mackinac, Mich." In an early written history of Mackinac Island (1887) by Andrew Blackbird, the Odawa historian, he describes that a small independent tribe called "Mi-shi-ne-macki naw-go" once occupied Mackinac Island. They became confederated with the Ottawa from Ottawa Island (now Manitoulin Island) situated north of Lake Huron. One winter the Mi-shi-ne-macki naw-go on Mackinac Island were almost entirely annihilated by the Seneca people from New York, who were part of the Iroquois Confederacy. Only two of the local natives escaped by hiding in one of the natural caves at the island. To commemorate the losses of this allied tribe, the Ottawa named what is now Mackinac Island, as "Mi-shi-ne-macki-nong." In 1895 Fort Mackinac's John R. Bailey, M. D. published his history, entitled Mackinac formerly Michilimackinac, describing some of the first recorded presence on Mackinac of French traders. They arrived in 1654 with a large party of Huron and Ottawa heading to Three Rivers; another visitor was an adventurer making a canoe voyage in 1665.
Q: What did this do for him
A: Like many historic places in the Great Lakes region, Mackinac Island's name derives from a Native American language.
|
C_826d488f214d44f4a796bb50c7d6f8b4_1_q#1
|
What did this lead him to do
| 0y
| 2x
|
{
"texts": [
"Andrew Blackbird, an official interpreter for the U.S. government and an Ottawa chief's son, said it was named after a tribe that had lived there."
],
"answer_starts": [
291
]
}
|
{
"text": "Andrew Blackbird, an official interpreter for the U.S. government and an Ottawa chief's son, said it was named after a tribe that had lived there.",
"answer_start": 291
}
|
C_826d488f214d44f4a796bb50c7d6f8b4_1
|
Mackinac Island
|
Mackinac Island ( MAK-in-aw) is an island and resort area, covering 3.8 square miles (9.8 km2) in land area, in the U.S. state of Michigan. It is located in Lake Huron, at the eastern end of the Straits of Mackinac, between the state's Upper and Lower Peninsulas. The island was home to an Odawa settlement before European exploration began in the 17th century. It served a strategic position as a center on the commerce of the Great Lakes fur trade.
|
Etymology
|
Like many historic places in the Great Lakes region, Mackinac Island's name derives from a Native American language. Native Americans in the Straits of Mackinac region likened the shape of the island to that of a turtle so they named it "Mitchimakinak" (Ojibwe: mishimikinaak) "Big Turtle". Andrew Blackbird, an official interpreter for the U.S. government and an Ottawa chief's son, said it was named after a tribe that had lived there. The French spelled it with their version of the original pronunciation: Michilimackinac. The British shortened it to the present name: "Mackinac." Michillimackinac is also spelled as Mishinimakinago, Mishima'kinung, Mi-shi-ne-macki naw-go, Missilimakinak, Teiodondoraghie. The Menominee traditionally lived in a large territory of 10 million acres extending from Wisconsin to the Upper Peninsula of Michigan. Historic references include one by Father Frederic Baraga, a Slovenian missionary priest in Michigan, who in his 1878 dictionary wrote: Mishinimakinago; pl.-g.--This name is given to some strange Indians (according to the sayings of the Otchipwes [Ojibwe]), who are rowing through the woods, and who are sometimes heard shooting, but never seen. And from this word, the name of the village of Mackinac, or Michillimackinac, is derived. Maehkaenah is the Menominee word for turtle. In his 1952 The Indian Tribes of North America, John Reed Swanton recorded under the "Wisconsin" section: "Menominee," a band named "Misi'nimak Kimiko Wini'niwuk, 'Michilimackinac People,' near the old fort at Mackinac, Mich." In an early written history of Mackinac Island (1887) by Andrew Blackbird, the Odawa historian, he describes that a small independent tribe called "Mi-shi-ne-macki naw-go" once occupied Mackinac Island. They became confederated with the Ottawa from Ottawa Island (now Manitoulin Island) situated north of Lake Huron. One winter the Mi-shi-ne-macki naw-go on Mackinac Island were almost entirely annihilated by the Seneca people from New York, who were part of the Iroquois Confederacy. Only two of the local natives escaped by hiding in one of the natural caves at the island. To commemorate the losses of this allied tribe, the Ottawa named what is now Mackinac Island, as "Mi-shi-ne-macki-nong." In 1895 Fort Mackinac's John R. Bailey, M. D. published his history, entitled Mackinac formerly Michilimackinac, describing some of the first recorded presence on Mackinac of French traders. They arrived in 1654 with a large party of Huron and Ottawa heading to Three Rivers; another visitor was an adventurer making a canoe voyage in 1665.
Q: What did this do for him
A: Like many historic places in the Great Lakes region, Mackinac Island's name derives from a Native American language.
Q: What did this lead him to do
A: Andrew Blackbird, an official interpreter for the U.S. government and an Ottawa chief's son, said it was named after a tribe that had lived there.
|
C_826d488f214d44f4a796bb50c7d6f8b4_1_q#2
|
Who tried to destroy them
| 0y
| 2x
|
{
"texts": [
"The French spelled it with their version of the original pronunciation: Michilimackinac. The British shortened"
],
"answer_starts": [
438
]
}
|
{
"text": "The French spelled it with their version of the original pronunciation: Michilimackinac. The British shortened",
"answer_start": 438
}
|
C_826d488f214d44f4a796bb50c7d6f8b4_1
|
Mackinac Island
|
Mackinac Island ( MAK-in-aw) is an island and resort area, covering 3.8 square miles (9.8 km2) in land area, in the U.S. state of Michigan. It is located in Lake Huron, at the eastern end of the Straits of Mackinac, between the state's Upper and Lower Peninsulas. The island was home to an Odawa settlement before European exploration began in the 17th century. It served a strategic position as a center on the commerce of the Great Lakes fur trade.
|
Etymology
|
Like many historic places in the Great Lakes region, Mackinac Island's name derives from a Native American language. Native Americans in the Straits of Mackinac region likened the shape of the island to that of a turtle so they named it "Mitchimakinak" (Ojibwe: mishimikinaak) "Big Turtle". Andrew Blackbird, an official interpreter for the U.S. government and an Ottawa chief's son, said it was named after a tribe that had lived there. The French spelled it with their version of the original pronunciation: Michilimackinac. The British shortened it to the present name: "Mackinac." Michillimackinac is also spelled as Mishinimakinago, Mishima'kinung, Mi-shi-ne-macki naw-go, Missilimakinak, Teiodondoraghie. The Menominee traditionally lived in a large territory of 10 million acres extending from Wisconsin to the Upper Peninsula of Michigan. Historic references include one by Father Frederic Baraga, a Slovenian missionary priest in Michigan, who in his 1878 dictionary wrote: Mishinimakinago; pl.-g.--This name is given to some strange Indians (according to the sayings of the Otchipwes [Ojibwe]), who are rowing through the woods, and who are sometimes heard shooting, but never seen. And from this word, the name of the village of Mackinac, or Michillimackinac, is derived. Maehkaenah is the Menominee word for turtle. In his 1952 The Indian Tribes of North America, John Reed Swanton recorded under the "Wisconsin" section: "Menominee," a band named "Misi'nimak Kimiko Wini'niwuk, 'Michilimackinac People,' near the old fort at Mackinac, Mich." In an early written history of Mackinac Island (1887) by Andrew Blackbird, the Odawa historian, he describes that a small independent tribe called "Mi-shi-ne-macki naw-go" once occupied Mackinac Island. They became confederated with the Ottawa from Ottawa Island (now Manitoulin Island) situated north of Lake Huron. One winter the Mi-shi-ne-macki naw-go on Mackinac Island were almost entirely annihilated by the Seneca people from New York, who were part of the Iroquois Confederacy. Only two of the local natives escaped by hiding in one of the natural caves at the island. To commemorate the losses of this allied tribe, the Ottawa named what is now Mackinac Island, as "Mi-shi-ne-macki-nong." In 1895 Fort Mackinac's John R. Bailey, M. D. published his history, entitled Mackinac formerly Michilimackinac, describing some of the first recorded presence on Mackinac of French traders. They arrived in 1654 with a large party of Huron and Ottawa heading to Three Rivers; another visitor was an adventurer making a canoe voyage in 1665.
Q: What did this do for him
A: Like many historic places in the Great Lakes region, Mackinac Island's name derives from a Native American language.
Q: What did this lead him to do
A: Andrew Blackbird, an official interpreter for the U.S. government and an Ottawa chief's son, said it was named after a tribe that had lived there.
Q: Who tried to destroy them
A: The French spelled it with their version of the original pronunciation: Michilimackinac. The British shortened
|
C_826d488f214d44f4a796bb50c7d6f8b4_1_q#3
|
Why was this so terrible
| 0y
| 2x
|
{
"texts": [
"Michillimackinac is also spelled as Mishinimakinago, Mishima'kinung, Mi-shi-ne-macki naw-go, Missilimakinak, Teiodondoraghie."
],
"answer_starts": [
585
]
}
|
{
"text": "Michillimackinac is also spelled as Mishinimakinago, Mishima'kinung, Mi-shi-ne-macki naw-go, Missilimakinak, Teiodondoraghie.",
"answer_start": 585
}
|
C_826d488f214d44f4a796bb50c7d6f8b4_1
|
Mackinac Island
|
Mackinac Island ( MAK-in-aw) is an island and resort area, covering 3.8 square miles (9.8 km2) in land area, in the U.S. state of Michigan. It is located in Lake Huron, at the eastern end of the Straits of Mackinac, between the state's Upper and Lower Peninsulas. The island was home to an Odawa settlement before European exploration began in the 17th century. It served a strategic position as a center on the commerce of the Great Lakes fur trade.
|
Etymology
|
Like many historic places in the Great Lakes region, Mackinac Island's name derives from a Native American language. Native Americans in the Straits of Mackinac region likened the shape of the island to that of a turtle so they named it "Mitchimakinak" (Ojibwe: mishimikinaak) "Big Turtle". Andrew Blackbird, an official interpreter for the U.S. government and an Ottawa chief's son, said it was named after a tribe that had lived there. The French spelled it with their version of the original pronunciation: Michilimackinac. The British shortened it to the present name: "Mackinac." Michillimackinac is also spelled as Mishinimakinago, Mishima'kinung, Mi-shi-ne-macki naw-go, Missilimakinak, Teiodondoraghie. The Menominee traditionally lived in a large territory of 10 million acres extending from Wisconsin to the Upper Peninsula of Michigan. Historic references include one by Father Frederic Baraga, a Slovenian missionary priest in Michigan, who in his 1878 dictionary wrote: Mishinimakinago; pl.-g.--This name is given to some strange Indians (according to the sayings of the Otchipwes [Ojibwe]), who are rowing through the woods, and who are sometimes heard shooting, but never seen. And from this word, the name of the village of Mackinac, or Michillimackinac, is derived. Maehkaenah is the Menominee word for turtle. In his 1952 The Indian Tribes of North America, John Reed Swanton recorded under the "Wisconsin" section: "Menominee," a band named "Misi'nimak Kimiko Wini'niwuk, 'Michilimackinac People,' near the old fort at Mackinac, Mich." In an early written history of Mackinac Island (1887) by Andrew Blackbird, the Odawa historian, he describes that a small independent tribe called "Mi-shi-ne-macki naw-go" once occupied Mackinac Island. They became confederated with the Ottawa from Ottawa Island (now Manitoulin Island) situated north of Lake Huron. One winter the Mi-shi-ne-macki naw-go on Mackinac Island were almost entirely annihilated by the Seneca people from New York, who were part of the Iroquois Confederacy. Only two of the local natives escaped by hiding in one of the natural caves at the island. To commemorate the losses of this allied tribe, the Ottawa named what is now Mackinac Island, as "Mi-shi-ne-macki-nong." In 1895 Fort Mackinac's John R. Bailey, M. D. published his history, entitled Mackinac formerly Michilimackinac, describing some of the first recorded presence on Mackinac of French traders. They arrived in 1654 with a large party of Huron and Ottawa heading to Three Rivers; another visitor was an adventurer making a canoe voyage in 1665.
Q: What did this do for him
A: Like many historic places in the Great Lakes region, Mackinac Island's name derives from a Native American language.
Q: What did this lead him to do
A: Andrew Blackbird, an official interpreter for the U.S. government and an Ottawa chief's son, said it was named after a tribe that had lived there.
Q: Who tried to destroy them
A: The French spelled it with their version of the original pronunciation: Michilimackinac. The British shortened
Q: Why was this so terrible
A: Michillimackinac is also spelled as Mishinimakinago, Mishima'kinung, Mi-shi-ne-macki naw-go, Missilimakinak, Teiodondoraghie.
|
C_826d488f214d44f4a796bb50c7d6f8b4_1_q#4
|
What did this lead him to
| 0y
| 2x
|
{
"texts": [
"Menominee traditionally lived in a large territory of 10 million acres extending from Wisconsin to the Upper Peninsula of Michigan."
],
"answer_starts": [
716
]
}
|
{
"text": "Menominee traditionally lived in a large territory of 10 million acres extending from Wisconsin to the Upper Peninsula of Michigan.",
"answer_start": 716
}
|
C_826d488f214d44f4a796bb50c7d6f8b4_1
|
Mackinac Island
|
Mackinac Island ( MAK-in-aw) is an island and resort area, covering 3.8 square miles (9.8 km2) in land area, in the U.S. state of Michigan. It is located in Lake Huron, at the eastern end of the Straits of Mackinac, between the state's Upper and Lower Peninsulas. The island was home to an Odawa settlement before European exploration began in the 17th century. It served a strategic position as a center on the commerce of the Great Lakes fur trade.
|
Etymology
|
Like many historic places in the Great Lakes region, Mackinac Island's name derives from a Native American language. Native Americans in the Straits of Mackinac region likened the shape of the island to that of a turtle so they named it "Mitchimakinak" (Ojibwe: mishimikinaak) "Big Turtle". Andrew Blackbird, an official interpreter for the U.S. government and an Ottawa chief's son, said it was named after a tribe that had lived there. The French spelled it with their version of the original pronunciation: Michilimackinac. The British shortened it to the present name: "Mackinac." Michillimackinac is also spelled as Mishinimakinago, Mishima'kinung, Mi-shi-ne-macki naw-go, Missilimakinak, Teiodondoraghie. The Menominee traditionally lived in a large territory of 10 million acres extending from Wisconsin to the Upper Peninsula of Michigan. Historic references include one by Father Frederic Baraga, a Slovenian missionary priest in Michigan, who in his 1878 dictionary wrote: Mishinimakinago; pl.-g.--This name is given to some strange Indians (according to the sayings of the Otchipwes [Ojibwe]), who are rowing through the woods, and who are sometimes heard shooting, but never seen. And from this word, the name of the village of Mackinac, or Michillimackinac, is derived. Maehkaenah is the Menominee word for turtle. In his 1952 The Indian Tribes of North America, John Reed Swanton recorded under the "Wisconsin" section: "Menominee," a band named "Misi'nimak Kimiko Wini'niwuk, 'Michilimackinac People,' near the old fort at Mackinac, Mich." In an early written history of Mackinac Island (1887) by Andrew Blackbird, the Odawa historian, he describes that a small independent tribe called "Mi-shi-ne-macki naw-go" once occupied Mackinac Island. They became confederated with the Ottawa from Ottawa Island (now Manitoulin Island) situated north of Lake Huron. One winter the Mi-shi-ne-macki naw-go on Mackinac Island were almost entirely annihilated by the Seneca people from New York, who were part of the Iroquois Confederacy. Only two of the local natives escaped by hiding in one of the natural caves at the island. To commemorate the losses of this allied tribe, the Ottawa named what is now Mackinac Island, as "Mi-shi-ne-macki-nong." In 1895 Fort Mackinac's John R. Bailey, M. D. published his history, entitled Mackinac formerly Michilimackinac, describing some of the first recorded presence on Mackinac of French traders. They arrived in 1654 with a large party of Huron and Ottawa heading to Three Rivers; another visitor was an adventurer making a canoe voyage in 1665.
Q: What did this do for him
A: Like many historic places in the Great Lakes region, Mackinac Island's name derives from a Native American language.
Q: What did this lead him to do
A: Andrew Blackbird, an official interpreter for the U.S. government and an Ottawa chief's son, said it was named after a tribe that had lived there.
Q: Who tried to destroy them
A: The French spelled it with their version of the original pronunciation: Michilimackinac. The British shortened
Q: Why was this so terrible
A: Michillimackinac is also spelled as Mishinimakinago, Mishima'kinung, Mi-shi-ne-macki naw-go, Missilimakinak, Teiodondoraghie.
Q: What did this lead him to
A: Menominee traditionally lived in a large territory of 10 million acres extending from Wisconsin to the Upper Peninsula of Michigan.
|
C_826d488f214d44f4a796bb50c7d6f8b4_1_q#5
|
What did this do to him
| 0y
| 2x
|
{
"texts": [
"Historic references include one by Father Frederic Baraga, a Slovenian missionary priest in Michigan, who in his 1878 dictionary wrote:"
],
"answer_starts": [
848
]
}
|
{
"text": "Historic references include one by Father Frederic Baraga, a Slovenian missionary priest in Michigan, who in his 1878 dictionary wrote:",
"answer_start": 848
}
|
C_826d488f214d44f4a796bb50c7d6f8b4_1
|
Mackinac Island
|
Mackinac Island ( MAK-in-aw) is an island and resort area, covering 3.8 square miles (9.8 km2) in land area, in the U.S. state of Michigan. It is located in Lake Huron, at the eastern end of the Straits of Mackinac, between the state's Upper and Lower Peninsulas. The island was home to an Odawa settlement before European exploration began in the 17th century. It served a strategic position as a center on the commerce of the Great Lakes fur trade.
|
Etymology
|
Like many historic places in the Great Lakes region, Mackinac Island's name derives from a Native American language. Native Americans in the Straits of Mackinac region likened the shape of the island to that of a turtle so they named it "Mitchimakinak" (Ojibwe: mishimikinaak) "Big Turtle". Andrew Blackbird, an official interpreter for the U.S. government and an Ottawa chief's son, said it was named after a tribe that had lived there. The French spelled it with their version of the original pronunciation: Michilimackinac. The British shortened it to the present name: "Mackinac." Michillimackinac is also spelled as Mishinimakinago, Mishima'kinung, Mi-shi-ne-macki naw-go, Missilimakinak, Teiodondoraghie. The Menominee traditionally lived in a large territory of 10 million acres extending from Wisconsin to the Upper Peninsula of Michigan. Historic references include one by Father Frederic Baraga, a Slovenian missionary priest in Michigan, who in his 1878 dictionary wrote: Mishinimakinago; pl.-g.--This name is given to some strange Indians (according to the sayings of the Otchipwes [Ojibwe]), who are rowing through the woods, and who are sometimes heard shooting, but never seen. And from this word, the name of the village of Mackinac, or Michillimackinac, is derived. Maehkaenah is the Menominee word for turtle. In his 1952 The Indian Tribes of North America, John Reed Swanton recorded under the "Wisconsin" section: "Menominee," a band named "Misi'nimak Kimiko Wini'niwuk, 'Michilimackinac People,' near the old fort at Mackinac, Mich." In an early written history of Mackinac Island (1887) by Andrew Blackbird, the Odawa historian, he describes that a small independent tribe called "Mi-shi-ne-macki naw-go" once occupied Mackinac Island. They became confederated with the Ottawa from Ottawa Island (now Manitoulin Island) situated north of Lake Huron. One winter the Mi-shi-ne-macki naw-go on Mackinac Island were almost entirely annihilated by the Seneca people from New York, who were part of the Iroquois Confederacy. Only two of the local natives escaped by hiding in one of the natural caves at the island. To commemorate the losses of this allied tribe, the Ottawa named what is now Mackinac Island, as "Mi-shi-ne-macki-nong." In 1895 Fort Mackinac's John R. Bailey, M. D. published his history, entitled Mackinac formerly Michilimackinac, describing some of the first recorded presence on Mackinac of French traders. They arrived in 1654 with a large party of Huron and Ottawa heading to Three Rivers; another visitor was an adventurer making a canoe voyage in 1665.
Q: What did this do for him
A: Like many historic places in the Great Lakes region, Mackinac Island's name derives from a Native American language.
Q: What did this lead him to do
A: Andrew Blackbird, an official interpreter for the U.S. government and an Ottawa chief's son, said it was named after a tribe that had lived there.
Q: Who tried to destroy them
A: The French spelled it with their version of the original pronunciation: Michilimackinac. The British shortened
Q: Why was this so terrible
A: Michillimackinac is also spelled as Mishinimakinago, Mishima'kinung, Mi-shi-ne-macki naw-go, Missilimakinak, Teiodondoraghie.
Q: What did this lead him to
A: Menominee traditionally lived in a large territory of 10 million acres extending from Wisconsin to the Upper Peninsula of Michigan.
Q: What did this do to him
A: Historic references include one by Father Frederic Baraga, a Slovenian missionary priest in Michigan, who in his 1878 dictionary wrote:
|
C_826d488f214d44f4a796bb50c7d6f8b4_1_q#6
|
Why was this so bad
| 0y
| 2x
|
{
"texts": [
"Mishinimakinago; pl.-g.--This name is given to some strange Indians (according to the sayings of the Otchipwes [Ojibwe]),"
],
"answer_starts": [
985
]
}
|
{
"text": "Mishinimakinago; pl.-g.--This name is given to some strange Indians (according to the sayings of the Otchipwes [Ojibwe]),",
"answer_start": 985
}
|
C_826d488f214d44f4a796bb50c7d6f8b4_1
|
Mackinac Island
|
Mackinac Island ( MAK-in-aw) is an island and resort area, covering 3.8 square miles (9.8 km2) in land area, in the U.S. state of Michigan. It is located in Lake Huron, at the eastern end of the Straits of Mackinac, between the state's Upper and Lower Peninsulas. The island was home to an Odawa settlement before European exploration began in the 17th century. It served a strategic position as a center on the commerce of the Great Lakes fur trade.
|
Etymology
|
Like many historic places in the Great Lakes region, Mackinac Island's name derives from a Native American language. Native Americans in the Straits of Mackinac region likened the shape of the island to that of a turtle so they named it "Mitchimakinak" (Ojibwe: mishimikinaak) "Big Turtle". Andrew Blackbird, an official interpreter for the U.S. government and an Ottawa chief's son, said it was named after a tribe that had lived there. The French spelled it with their version of the original pronunciation: Michilimackinac. The British shortened it to the present name: "Mackinac." Michillimackinac is also spelled as Mishinimakinago, Mishima'kinung, Mi-shi-ne-macki naw-go, Missilimakinak, Teiodondoraghie. The Menominee traditionally lived in a large territory of 10 million acres extending from Wisconsin to the Upper Peninsula of Michigan. Historic references include one by Father Frederic Baraga, a Slovenian missionary priest in Michigan, who in his 1878 dictionary wrote: Mishinimakinago; pl.-g.--This name is given to some strange Indians (according to the sayings of the Otchipwes [Ojibwe]), who are rowing through the woods, and who are sometimes heard shooting, but never seen. And from this word, the name of the village of Mackinac, or Michillimackinac, is derived. Maehkaenah is the Menominee word for turtle. In his 1952 The Indian Tribes of North America, John Reed Swanton recorded under the "Wisconsin" section: "Menominee," a band named "Misi'nimak Kimiko Wini'niwuk, 'Michilimackinac People,' near the old fort at Mackinac, Mich." In an early written history of Mackinac Island (1887) by Andrew Blackbird, the Odawa historian, he describes that a small independent tribe called "Mi-shi-ne-macki naw-go" once occupied Mackinac Island. They became confederated with the Ottawa from Ottawa Island (now Manitoulin Island) situated north of Lake Huron. One winter the Mi-shi-ne-macki naw-go on Mackinac Island were almost entirely annihilated by the Seneca people from New York, who were part of the Iroquois Confederacy. Only two of the local natives escaped by hiding in one of the natural caves at the island. To commemorate the losses of this allied tribe, the Ottawa named what is now Mackinac Island, as "Mi-shi-ne-macki-nong." In 1895 Fort Mackinac's John R. Bailey, M. D. published his history, entitled Mackinac formerly Michilimackinac, describing some of the first recorded presence on Mackinac of French traders. They arrived in 1654 with a large party of Huron and Ottawa heading to Three Rivers; another visitor was an adventurer making a canoe voyage in 1665.
Q: What did this do for him
A: Like many historic places in the Great Lakes region, Mackinac Island's name derives from a Native American language.
Q: What did this lead him to do
A: Andrew Blackbird, an official interpreter for the U.S. government and an Ottawa chief's son, said it was named after a tribe that had lived there.
Q: Who tried to destroy them
A: The French spelled it with their version of the original pronunciation: Michilimackinac. The British shortened
Q: Why was this so terrible
A: Michillimackinac is also spelled as Mishinimakinago, Mishima'kinung, Mi-shi-ne-macki naw-go, Missilimakinak, Teiodondoraghie.
Q: What did this lead him to
A: Menominee traditionally lived in a large territory of 10 million acres extending from Wisconsin to the Upper Peninsula of Michigan.
Q: What did this do to him
A: Historic references include one by Father Frederic Baraga, a Slovenian missionary priest in Michigan, who in his 1878 dictionary wrote:
Q: Why was this so bad
A: Mishinimakinago; pl.-g.--This name is given to some strange Indians (according to the sayings of the Otchipwes [Ojibwe]),
|
C_826d488f214d44f4a796bb50c7d6f8b4_1_q#7
|
What did this do
| 0y
| 2x
|
{
"texts": [
"who are rowing through the woods, and who are sometimes heard shooting, but never seen."
],
"answer_starts": [
1107
]
}
|
{
"text": "who are rowing through the woods, and who are sometimes heard shooting, but never seen.",
"answer_start": 1107
}
|
C_826d488f214d44f4a796bb50c7d6f8b4_1
|
Mackinac Island
|
Mackinac Island ( MAK-in-aw) is an island and resort area, covering 3.8 square miles (9.8 km2) in land area, in the U.S. state of Michigan. It is located in Lake Huron, at the eastern end of the Straits of Mackinac, between the state's Upper and Lower Peninsulas. The island was home to an Odawa settlement before European exploration began in the 17th century. It served a strategic position as a center on the commerce of the Great Lakes fur trade.
|
Etymology
|
Like many historic places in the Great Lakes region, Mackinac Island's name derives from a Native American language. Native Americans in the Straits of Mackinac region likened the shape of the island to that of a turtle so they named it "Mitchimakinak" (Ojibwe: mishimikinaak) "Big Turtle". Andrew Blackbird, an official interpreter for the U.S. government and an Ottawa chief's son, said it was named after a tribe that had lived there. The French spelled it with their version of the original pronunciation: Michilimackinac. The British shortened it to the present name: "Mackinac." Michillimackinac is also spelled as Mishinimakinago, Mishima'kinung, Mi-shi-ne-macki naw-go, Missilimakinak, Teiodondoraghie. The Menominee traditionally lived in a large territory of 10 million acres extending from Wisconsin to the Upper Peninsula of Michigan. Historic references include one by Father Frederic Baraga, a Slovenian missionary priest in Michigan, who in his 1878 dictionary wrote: Mishinimakinago; pl.-g.--This name is given to some strange Indians (according to the sayings of the Otchipwes [Ojibwe]), who are rowing through the woods, and who are sometimes heard shooting, but never seen. And from this word, the name of the village of Mackinac, or Michillimackinac, is derived. Maehkaenah is the Menominee word for turtle. In his 1952 The Indian Tribes of North America, John Reed Swanton recorded under the "Wisconsin" section: "Menominee," a band named "Misi'nimak Kimiko Wini'niwuk, 'Michilimackinac People,' near the old fort at Mackinac, Mich." In an early written history of Mackinac Island (1887) by Andrew Blackbird, the Odawa historian, he describes that a small independent tribe called "Mi-shi-ne-macki naw-go" once occupied Mackinac Island. They became confederated with the Ottawa from Ottawa Island (now Manitoulin Island) situated north of Lake Huron. One winter the Mi-shi-ne-macki naw-go on Mackinac Island were almost entirely annihilated by the Seneca people from New York, who were part of the Iroquois Confederacy. Only two of the local natives escaped by hiding in one of the natural caves at the island. To commemorate the losses of this allied tribe, the Ottawa named what is now Mackinac Island, as "Mi-shi-ne-macki-nong." In 1895 Fort Mackinac's John R. Bailey, M. D. published his history, entitled Mackinac formerly Michilimackinac, describing some of the first recorded presence on Mackinac of French traders. They arrived in 1654 with a large party of Huron and Ottawa heading to Three Rivers; another visitor was an adventurer making a canoe voyage in 1665.
Q: What did this do for him
A: Like many historic places in the Great Lakes region, Mackinac Island's name derives from a Native American language.
Q: What did this lead him to do
A: Andrew Blackbird, an official interpreter for the U.S. government and an Ottawa chief's son, said it was named after a tribe that had lived there.
Q: Who tried to destroy them
A: The French spelled it with their version of the original pronunciation: Michilimackinac. The British shortened
Q: Why was this so terrible
A: Michillimackinac is also spelled as Mishinimakinago, Mishima'kinung, Mi-shi-ne-macki naw-go, Missilimakinak, Teiodondoraghie.
Q: What did this lead him to
A: Menominee traditionally lived in a large territory of 10 million acres extending from Wisconsin to the Upper Peninsula of Michigan.
Q: What did this do to him
A: Historic references include one by Father Frederic Baraga, a Slovenian missionary priest in Michigan, who in his 1878 dictionary wrote:
Q: Why was this so bad
A: Mishinimakinago; pl.-g.--This name is given to some strange Indians (according to the sayings of the Otchipwes [Ojibwe]),
Q: What did this do
A: who are rowing through the woods, and who are sometimes heard shooting, but never seen.
|
C_826d488f214d44f4a796bb50c7d6f8b4_1_q#8
|
What did this lead him to do
| 0y
| 2x
|
{
"texts": [
"And from this word, the name of the village of Mackinac, or Michillimackinac, is derived."
],
"answer_starts": [
1195
]
}
|
{
"text": "And from this word, the name of the village of Mackinac, or Michillimackinac, is derived.",
"answer_start": 1195
}
|
C_70757043f51f42d0bbea7205aa5d0e84_0
|
Linda Ronstadt
|
Linda Maria Ronstadt was born in 1946 in Tucson, Arizona, daughter to Gilbert Ronstadt (1911-1995), a prosperous machinery merchant who ran the F. Ronstadt Co., and Ruth Mary (Copeman) Ronstadt (1914-1982), a homemaker. Ronstadt was raised on the family's 10-acre (4 ha) ranch with her siblings Peter (who served as Tucson's Chief of Police for 10 years, 1981-1991), Michael J., and Gretchen (Suzy). The family was featured in Family Circle magazine in 1953. Linda's father came from a pioneering Arizona ranching family and was of German, English, and Mexican ancestry.
|
Early influences
|
Ronstadt's early family life was filled with music and tradition, which influenced the stylistic and musical choices she later made in her career. Growing up, she listened to many types of music, including Mexican music, which was sung by her entire family and was a staple in her childhood. Ronstadt has remarked that everything she has recorded on her own records - rock 'n' roll, jazz, rhythm and blues, gospel, opera, country, choral, and mariachi - is all music she heard her family sing in their living room, or heard played on the radio, by the age of 10. She credits her mother for her appreciation of Gilbert and Sullivan and her father for introducing her to the traditional pop and Great American Songbook repertoire that she would, in turn, help reintroduce to an entire generation. Early on, her singing style had been influenced by singers such as Lola Beltran and Edith Piaf; she has called their singing and rhythms "more like Greek music ... It's sort of like 6/8 time signature ... very hard driving and very intense." She also drew influence from country singer Hank Williams. She has said that "all girl singers" eventually "have to curtsy to Ella Fitzgerald and Billie Holiday". Of Maria Callas, Ronstadt says, "There's no one in her league. That's it. Period. I learn more ... about singing rock n roll from listening to Maria Callas records than I ever would from listening to pop music for a month of Sundays. ... She's the greatest chick singer ever." She admires Callas for her musicianship and her attempts to push 20th-century singing, particularly opera, back into the bel canto "natural style of singing". A self-described product of American radio of the 1950s and 1960s, Ronstadt is a fan of its eclectic and diverse music programming.
|
C_70757043f51f42d0bbea7205aa5d0e84_0_q#0
|
What was her earliest influence ?
| 0y
| 2x
|
{
"texts": [
"Growing up, she listened to many types of music, including Mexican music, which was sung by her entire family and was a staple in her childhood."
],
"answer_starts": [
147
]
}
|
{
"text": "Growing up, she listened to many types of music, including Mexican music, which was sung by her entire family and was a staple in her childhood.",
"answer_start": 147
}
|
C_70757043f51f42d0bbea7205aa5d0e84_0
|
Linda Ronstadt
|
Linda Maria Ronstadt was born in 1946 in Tucson, Arizona, daughter to Gilbert Ronstadt (1911-1995), a prosperous machinery merchant who ran the F. Ronstadt Co., and Ruth Mary (Copeman) Ronstadt (1914-1982), a homemaker. Ronstadt was raised on the family's 10-acre (4 ha) ranch with her siblings Peter (who served as Tucson's Chief of Police for 10 years, 1981-1991), Michael J., and Gretchen (Suzy). The family was featured in Family Circle magazine in 1953. Linda's father came from a pioneering Arizona ranching family and was of German, English, and Mexican ancestry.
|
Early influences
|
Ronstadt's early family life was filled with music and tradition, which influenced the stylistic and musical choices she later made in her career. Growing up, she listened to many types of music, including Mexican music, which was sung by her entire family and was a staple in her childhood. Ronstadt has remarked that everything she has recorded on her own records - rock 'n' roll, jazz, rhythm and blues, gospel, opera, country, choral, and mariachi - is all music she heard her family sing in their living room, or heard played on the radio, by the age of 10. She credits her mother for her appreciation of Gilbert and Sullivan and her father for introducing her to the traditional pop and Great American Songbook repertoire that she would, in turn, help reintroduce to an entire generation. Early on, her singing style had been influenced by singers such as Lola Beltran and Edith Piaf; she has called their singing and rhythms "more like Greek music ... It's sort of like 6/8 time signature ... very hard driving and very intense." She also drew influence from country singer Hank Williams. She has said that "all girl singers" eventually "have to curtsy to Ella Fitzgerald and Billie Holiday". Of Maria Callas, Ronstadt says, "There's no one in her league. That's it. Period. I learn more ... about singing rock n roll from listening to Maria Callas records than I ever would from listening to pop music for a month of Sundays. ... She's the greatest chick singer ever." She admires Callas for her musicianship and her attempts to push 20th-century singing, particularly opera, back into the bel canto "natural style of singing". A self-described product of American radio of the 1950s and 1960s, Ronstadt is a fan of its eclectic and diverse music programming.
Q: What was her earliest influence ?
A: Growing up, she listened to many types of music, including Mexican music, which was sung by her entire family and was a staple in her childhood.
|
C_70757043f51f42d0bbea7205aa5d0e84_0_q#1
|
Did she stick with the sound of her early influences?
| 0y
| 0y
|
{
"texts": [
"is all music she heard her family sing in their living room, or heard played on the radio, by the age of 10."
],
"answer_starts": [
455
]
}
|
{
"text": "is all music she heard her family sing in their living room, or heard played on the radio, by the age of 10.",
"answer_start": 455
}
|
C_70757043f51f42d0bbea7205aa5d0e84_0
|
Linda Ronstadt
|
Linda Maria Ronstadt was born in 1946 in Tucson, Arizona, daughter to Gilbert Ronstadt (1911-1995), a prosperous machinery merchant who ran the F. Ronstadt Co., and Ruth Mary (Copeman) Ronstadt (1914-1982), a homemaker. Ronstadt was raised on the family's 10-acre (4 ha) ranch with her siblings Peter (who served as Tucson's Chief of Police for 10 years, 1981-1991), Michael J., and Gretchen (Suzy). The family was featured in Family Circle magazine in 1953. Linda's father came from a pioneering Arizona ranching family and was of German, English, and Mexican ancestry.
|
Early influences
|
Ronstadt's early family life was filled with music and tradition, which influenced the stylistic and musical choices she later made in her career. Growing up, she listened to many types of music, including Mexican music, which was sung by her entire family and was a staple in her childhood. Ronstadt has remarked that everything she has recorded on her own records - rock 'n' roll, jazz, rhythm and blues, gospel, opera, country, choral, and mariachi - is all music she heard her family sing in their living room, or heard played on the radio, by the age of 10. She credits her mother for her appreciation of Gilbert and Sullivan and her father for introducing her to the traditional pop and Great American Songbook repertoire that she would, in turn, help reintroduce to an entire generation. Early on, her singing style had been influenced by singers such as Lola Beltran and Edith Piaf; she has called their singing and rhythms "more like Greek music ... It's sort of like 6/8 time signature ... very hard driving and very intense." She also drew influence from country singer Hank Williams. She has said that "all girl singers" eventually "have to curtsy to Ella Fitzgerald and Billie Holiday". Of Maria Callas, Ronstadt says, "There's no one in her league. That's it. Period. I learn more ... about singing rock n roll from listening to Maria Callas records than I ever would from listening to pop music for a month of Sundays. ... She's the greatest chick singer ever." She admires Callas for her musicianship and her attempts to push 20th-century singing, particularly opera, back into the bel canto "natural style of singing". A self-described product of American radio of the 1950s and 1960s, Ronstadt is a fan of its eclectic and diverse music programming.
Q: What was her earliest influence ?
A: Growing up, she listened to many types of music, including Mexican music, which was sung by her entire family and was a staple in her childhood.
Q: Did she stick with the sound of her early influences?
A: is all music she heard her family sing in their living room, or heard played on the radio, by the age of 10.
|
C_70757043f51f42d0bbea7205aa5d0e84_0_q#2
|
Was her family supportive of her career choice?
| 0y
| 2x
|
{
"texts": [
"She credits her mother for her appreciation of Gilbert and Sullivan and her father for introducing her to the traditional pop and Great American Songbook repertoire"
],
"answer_starts": [
564
]
}
|
{
"text": "She credits her mother for her appreciation of Gilbert and Sullivan and her father for introducing her to the traditional pop and Great American Songbook repertoire",
"answer_start": 564
}
|
C_70757043f51f42d0bbea7205aa5d0e84_0
|
Linda Ronstadt
|
Linda Maria Ronstadt was born in 1946 in Tucson, Arizona, daughter to Gilbert Ronstadt (1911-1995), a prosperous machinery merchant who ran the F. Ronstadt Co., and Ruth Mary (Copeman) Ronstadt (1914-1982), a homemaker. Ronstadt was raised on the family's 10-acre (4 ha) ranch with her siblings Peter (who served as Tucson's Chief of Police for 10 years, 1981-1991), Michael J., and Gretchen (Suzy). The family was featured in Family Circle magazine in 1953. Linda's father came from a pioneering Arizona ranching family and was of German, English, and Mexican ancestry.
|
Early influences
|
Ronstadt's early family life was filled with music and tradition, which influenced the stylistic and musical choices she later made in her career. Growing up, she listened to many types of music, including Mexican music, which was sung by her entire family and was a staple in her childhood. Ronstadt has remarked that everything she has recorded on her own records - rock 'n' roll, jazz, rhythm and blues, gospel, opera, country, choral, and mariachi - is all music she heard her family sing in their living room, or heard played on the radio, by the age of 10. She credits her mother for her appreciation of Gilbert and Sullivan and her father for introducing her to the traditional pop and Great American Songbook repertoire that she would, in turn, help reintroduce to an entire generation. Early on, her singing style had been influenced by singers such as Lola Beltran and Edith Piaf; she has called their singing and rhythms "more like Greek music ... It's sort of like 6/8 time signature ... very hard driving and very intense." She also drew influence from country singer Hank Williams. She has said that "all girl singers" eventually "have to curtsy to Ella Fitzgerald and Billie Holiday". Of Maria Callas, Ronstadt says, "There's no one in her league. That's it. Period. I learn more ... about singing rock n roll from listening to Maria Callas records than I ever would from listening to pop music for a month of Sundays. ... She's the greatest chick singer ever." She admires Callas for her musicianship and her attempts to push 20th-century singing, particularly opera, back into the bel canto "natural style of singing". A self-described product of American radio of the 1950s and 1960s, Ronstadt is a fan of its eclectic and diverse music programming.
Q: What was her earliest influence ?
A: Growing up, she listened to many types of music, including Mexican music, which was sung by her entire family and was a staple in her childhood.
Q: Did she stick with the sound of her early influences?
A: is all music she heard her family sing in their living room, or heard played on the radio, by the age of 10.
Q: Was her family supportive of her career choice?
A: She credits her mother for her appreciation of Gilbert and Sullivan and her father for introducing her to the traditional pop and Great American Songbook repertoire
|
C_70757043f51f42d0bbea7205aa5d0e84_0_q#3
|
Did she favor any style of music over others?
| 0y
| 2x
|
{
"texts": [
"Early on, her singing style had been influenced by singers such as Lola Beltran and Edith Piaf; she has called their singing and rhythms \"more like Greek music"
],
"answer_starts": [
797
]
}
|
{
"text": "Early on, her singing style had been influenced by singers such as Lola Beltran and Edith Piaf; she has called their singing and rhythms \"more like Greek music",
"answer_start": 797
}
|
C_70757043f51f42d0bbea7205aa5d0e84_0
|
Linda Ronstadt
|
Linda Maria Ronstadt was born in 1946 in Tucson, Arizona, daughter to Gilbert Ronstadt (1911-1995), a prosperous machinery merchant who ran the F. Ronstadt Co., and Ruth Mary (Copeman) Ronstadt (1914-1982), a homemaker. Ronstadt was raised on the family's 10-acre (4 ha) ranch with her siblings Peter (who served as Tucson's Chief of Police for 10 years, 1981-1991), Michael J., and Gretchen (Suzy). The family was featured in Family Circle magazine in 1953. Linda's father came from a pioneering Arizona ranching family and was of German, English, and Mexican ancestry.
|
Early influences
|
Ronstadt's early family life was filled with music and tradition, which influenced the stylistic and musical choices she later made in her career. Growing up, she listened to many types of music, including Mexican music, which was sung by her entire family and was a staple in her childhood. Ronstadt has remarked that everything she has recorded on her own records - rock 'n' roll, jazz, rhythm and blues, gospel, opera, country, choral, and mariachi - is all music she heard her family sing in their living room, or heard played on the radio, by the age of 10. She credits her mother for her appreciation of Gilbert and Sullivan and her father for introducing her to the traditional pop and Great American Songbook repertoire that she would, in turn, help reintroduce to an entire generation. Early on, her singing style had been influenced by singers such as Lola Beltran and Edith Piaf; she has called their singing and rhythms "more like Greek music ... It's sort of like 6/8 time signature ... very hard driving and very intense." She also drew influence from country singer Hank Williams. She has said that "all girl singers" eventually "have to curtsy to Ella Fitzgerald and Billie Holiday". Of Maria Callas, Ronstadt says, "There's no one in her league. That's it. Period. I learn more ... about singing rock n roll from listening to Maria Callas records than I ever would from listening to pop music for a month of Sundays. ... She's the greatest chick singer ever." She admires Callas for her musicianship and her attempts to push 20th-century singing, particularly opera, back into the bel canto "natural style of singing". A self-described product of American radio of the 1950s and 1960s, Ronstadt is a fan of its eclectic and diverse music programming.
Q: What was her earliest influence ?
A: Growing up, she listened to many types of music, including Mexican music, which was sung by her entire family and was a staple in her childhood.
Q: Did she stick with the sound of her early influences?
A: is all music she heard her family sing in their living room, or heard played on the radio, by the age of 10.
Q: Was her family supportive of her career choice?
A: She credits her mother for her appreciation of Gilbert and Sullivan and her father for introducing her to the traditional pop and Great American Songbook repertoire
Q: Did she favor any style of music over others?
A: Early on, her singing style had been influenced by singers such as Lola Beltran and Edith Piaf; she has called their singing and rhythms "more like Greek music
|
C_70757043f51f42d0bbea7205aa5d0e84_0_q#4
|
What were her country music influences?
| 0y
| 2x
|
{
"texts": [
"Hank Williams."
],
"answer_starts": [
1083
]
}
|
{
"text": "Hank Williams.",
"answer_start": 1083
}
|
C_70757043f51f42d0bbea7205aa5d0e84_1
|
Linda Ronstadt
|
Linda Maria Ronstadt was born in 1946 in Tucson, Arizona, daughter to Gilbert Ronstadt (1911-1995), a prosperous machinery merchant who ran the F. Ronstadt Co., and Ruth Mary (Copeman) Ronstadt (1914-1982), a homemaker. Ronstadt was raised on the family's 10-acre (4 ha) ranch with her siblings Peter (who served as Tucson's Chief of Police for 10 years, 1981-1991), Michael J., and Gretchen (Suzy). The family was featured in Family Circle magazine in 1953. Linda's father came from a pioneering Arizona ranching family and was of German, English, and Mexican ancestry.
|
Career summary
|
Establishing her professional career in the mid-1960s at the forefront of California's emerging folk rock and country rock movements - genres which defined post-1960s rock music - Ronstadt joined forces with Bobby Kimmel and Kenny Edwards and became the lead singer of a folk-rock trio, the Stone Poneys. Later, as a solo artist, she released Hand Sown ... Home Grown in 1969, which has been described as the first alternative country record by a female recording artist. Although fame eluded her during these years, Ronstadt actively toured with the Doors, Neil Young, Jackson Browne, and others, appeared numerous times on television shows, and began to contribute her singing to albums by other artists. With the release of chart-topping albums such as Heart Like a Wheel, Simple Dreams, and Living in the USA, Ronstadt became the first female "arena class" rock star. She set records as one of the top-grossing concert artists of the decade. Referred to as the "First Lady of Rock" and the "Queen of Rock", Ronstadt was voted the Top Female Pop Singer of the 1970s. Her rock-and-roll image was as famous as her music; she appeared six times on the cover of Rolling Stone and on the covers of Newsweek and Time. In the 1980s, Ronstadt went to Broadway and garnered a Tony nomination for her performance in The Pirates of Penzance, teamed with the composer Philip Glass, recorded traditional music, and collaborated with the conductor Nelson Riddle, an event at that time viewed as an original and unorthodox move for a rock-and-roll artist. This venture paid off, and Ronstadt remained one of the music industry's best-selling acts throughout the 1980s, with multi-platinum-selling albums such as What's New, Canciones de Mi Padre, and Cry Like a Rainstorm, Howl Like the Wind. She continued to tour, collaborate, and record celebrated albums, such as Winter Light and Hummin' to Myself, until her retirement in 2011. Most of Ronstadt's albums are certified gold, platinum, or multi-platinum. Having sold in excess of 100 million records worldwide and setting records as one of the top-grossing concert performers for over a decade, Ronstadt was the most successful female singer of the 1970s and stands as one of the most successful female recording artists in U.S. history. Ronstadt opened many doors for women in rock and roll and other musical genres by championing songwriters and musicians, pioneering her chart success onto the concert circuit, and being at the vanguard of many musical movements.
|
C_70757043f51f42d0bbea7205aa5d0e84_1_q#0
|
What did Linda Ronstadt do after the 1960s?
| 0y
| 1n
|
{
"texts": [
"Ronstadt joined forces with Bobby Kimmel and Kenny Edwards and became the lead singer of a folk-rock trio, the Stone Poneys."
],
"answer_starts": [
180
]
}
|
{
"text": "Ronstadt joined forces with Bobby Kimmel and Kenny Edwards and became the lead singer of a folk-rock trio, the Stone Poneys.",
"answer_start": 180
}
|
C_70757043f51f42d0bbea7205aa5d0e84_1
|
Linda Ronstadt
|
Linda Maria Ronstadt was born in 1946 in Tucson, Arizona, daughter to Gilbert Ronstadt (1911-1995), a prosperous machinery merchant who ran the F. Ronstadt Co., and Ruth Mary (Copeman) Ronstadt (1914-1982), a homemaker. Ronstadt was raised on the family's 10-acre (4 ha) ranch with her siblings Peter (who served as Tucson's Chief of Police for 10 years, 1981-1991), Michael J., and Gretchen (Suzy). The family was featured in Family Circle magazine in 1953. Linda's father came from a pioneering Arizona ranching family and was of German, English, and Mexican ancestry.
|
Career summary
|
Establishing her professional career in the mid-1960s at the forefront of California's emerging folk rock and country rock movements - genres which defined post-1960s rock music - Ronstadt joined forces with Bobby Kimmel and Kenny Edwards and became the lead singer of a folk-rock trio, the Stone Poneys. Later, as a solo artist, she released Hand Sown ... Home Grown in 1969, which has been described as the first alternative country record by a female recording artist. Although fame eluded her during these years, Ronstadt actively toured with the Doors, Neil Young, Jackson Browne, and others, appeared numerous times on television shows, and began to contribute her singing to albums by other artists. With the release of chart-topping albums such as Heart Like a Wheel, Simple Dreams, and Living in the USA, Ronstadt became the first female "arena class" rock star. She set records as one of the top-grossing concert artists of the decade. Referred to as the "First Lady of Rock" and the "Queen of Rock", Ronstadt was voted the Top Female Pop Singer of the 1970s. Her rock-and-roll image was as famous as her music; she appeared six times on the cover of Rolling Stone and on the covers of Newsweek and Time. In the 1980s, Ronstadt went to Broadway and garnered a Tony nomination for her performance in The Pirates of Penzance, teamed with the composer Philip Glass, recorded traditional music, and collaborated with the conductor Nelson Riddle, an event at that time viewed as an original and unorthodox move for a rock-and-roll artist. This venture paid off, and Ronstadt remained one of the music industry's best-selling acts throughout the 1980s, with multi-platinum-selling albums such as What's New, Canciones de Mi Padre, and Cry Like a Rainstorm, Howl Like the Wind. She continued to tour, collaborate, and record celebrated albums, such as Winter Light and Hummin' to Myself, until her retirement in 2011. Most of Ronstadt's albums are certified gold, platinum, or multi-platinum. Having sold in excess of 100 million records worldwide and setting records as one of the top-grossing concert performers for over a decade, Ronstadt was the most successful female singer of the 1970s and stands as one of the most successful female recording artists in U.S. history. Ronstadt opened many doors for women in rock and roll and other musical genres by championing songwriters and musicians, pioneering her chart success onto the concert circuit, and being at the vanguard of many musical movements.
Q: What did Linda Ronstadt do after the 1960s?
A: Ronstadt joined forces with Bobby Kimmel and Kenny Edwards and became the lead singer of a folk-rock trio, the Stone Poneys.
|
C_70757043f51f42d0bbea7205aa5d0e84_1_q#1
|
Was she with the trio a long time?
| 0y
| 1n
|
{
"texts": [
"as a solo artist, she released Hand Sown ... Home Grown in 1969,"
],
"answer_starts": [
312
]
}
|
{
"text": "as a solo artist, she released Hand Sown ... Home Grown in 1969,",
"answer_start": 312
}
|
C_70757043f51f42d0bbea7205aa5d0e84_1
|
Linda Ronstadt
|
Linda Maria Ronstadt was born in 1946 in Tucson, Arizona, daughter to Gilbert Ronstadt (1911-1995), a prosperous machinery merchant who ran the F. Ronstadt Co., and Ruth Mary (Copeman) Ronstadt (1914-1982), a homemaker. Ronstadt was raised on the family's 10-acre (4 ha) ranch with her siblings Peter (who served as Tucson's Chief of Police for 10 years, 1981-1991), Michael J., and Gretchen (Suzy). The family was featured in Family Circle magazine in 1953. Linda's father came from a pioneering Arizona ranching family and was of German, English, and Mexican ancestry.
|
Career summary
|
Establishing her professional career in the mid-1960s at the forefront of California's emerging folk rock and country rock movements - genres which defined post-1960s rock music - Ronstadt joined forces with Bobby Kimmel and Kenny Edwards and became the lead singer of a folk-rock trio, the Stone Poneys. Later, as a solo artist, she released Hand Sown ... Home Grown in 1969, which has been described as the first alternative country record by a female recording artist. Although fame eluded her during these years, Ronstadt actively toured with the Doors, Neil Young, Jackson Browne, and others, appeared numerous times on television shows, and began to contribute her singing to albums by other artists. With the release of chart-topping albums such as Heart Like a Wheel, Simple Dreams, and Living in the USA, Ronstadt became the first female "arena class" rock star. She set records as one of the top-grossing concert artists of the decade. Referred to as the "First Lady of Rock" and the "Queen of Rock", Ronstadt was voted the Top Female Pop Singer of the 1970s. Her rock-and-roll image was as famous as her music; she appeared six times on the cover of Rolling Stone and on the covers of Newsweek and Time. In the 1980s, Ronstadt went to Broadway and garnered a Tony nomination for her performance in The Pirates of Penzance, teamed with the composer Philip Glass, recorded traditional music, and collaborated with the conductor Nelson Riddle, an event at that time viewed as an original and unorthodox move for a rock-and-roll artist. This venture paid off, and Ronstadt remained one of the music industry's best-selling acts throughout the 1980s, with multi-platinum-selling albums such as What's New, Canciones de Mi Padre, and Cry Like a Rainstorm, Howl Like the Wind. She continued to tour, collaborate, and record celebrated albums, such as Winter Light and Hummin' to Myself, until her retirement in 2011. Most of Ronstadt's albums are certified gold, platinum, or multi-platinum. Having sold in excess of 100 million records worldwide and setting records as one of the top-grossing concert performers for over a decade, Ronstadt was the most successful female singer of the 1970s and stands as one of the most successful female recording artists in U.S. history. Ronstadt opened many doors for women in rock and roll and other musical genres by championing songwriters and musicians, pioneering her chart success onto the concert circuit, and being at the vanguard of many musical movements.
Q: What did Linda Ronstadt do after the 1960s?
A: Ronstadt joined forces with Bobby Kimmel and Kenny Edwards and became the lead singer of a folk-rock trio, the Stone Poneys.
Q: Was she with the trio a long time?
A: as a solo artist, she released Hand Sown ... Home Grown in 1969,
|
C_70757043f51f42d0bbea7205aa5d0e84_1_q#2
|
What did she do after 1969 with her career?
| 0y
| 1n
|
{
"texts": [
"Ronstadt actively toured with the Doors, Neil Young, Jackson Browne, and others, appeared numerous times on television shows, and began to contribute her singing to albums by other artists."
],
"answer_starts": [
517
]
}
|
{
"text": "Ronstadt actively toured with the Doors, Neil Young, Jackson Browne, and others, appeared numerous times on television shows, and began to contribute her singing to albums by other artists.",
"answer_start": 517
}
|
C_70757043f51f42d0bbea7205aa5d0e84_1
|
Linda Ronstadt
|
Linda Maria Ronstadt was born in 1946 in Tucson, Arizona, daughter to Gilbert Ronstadt (1911-1995), a prosperous machinery merchant who ran the F. Ronstadt Co., and Ruth Mary (Copeman) Ronstadt (1914-1982), a homemaker. Ronstadt was raised on the family's 10-acre (4 ha) ranch with her siblings Peter (who served as Tucson's Chief of Police for 10 years, 1981-1991), Michael J., and Gretchen (Suzy). The family was featured in Family Circle magazine in 1953. Linda's father came from a pioneering Arizona ranching family and was of German, English, and Mexican ancestry.
|
Career summary
|
Establishing her professional career in the mid-1960s at the forefront of California's emerging folk rock and country rock movements - genres which defined post-1960s rock music - Ronstadt joined forces with Bobby Kimmel and Kenny Edwards and became the lead singer of a folk-rock trio, the Stone Poneys. Later, as a solo artist, she released Hand Sown ... Home Grown in 1969, which has been described as the first alternative country record by a female recording artist. Although fame eluded her during these years, Ronstadt actively toured with the Doors, Neil Young, Jackson Browne, and others, appeared numerous times on television shows, and began to contribute her singing to albums by other artists. With the release of chart-topping albums such as Heart Like a Wheel, Simple Dreams, and Living in the USA, Ronstadt became the first female "arena class" rock star. She set records as one of the top-grossing concert artists of the decade. Referred to as the "First Lady of Rock" and the "Queen of Rock", Ronstadt was voted the Top Female Pop Singer of the 1970s. Her rock-and-roll image was as famous as her music; she appeared six times on the cover of Rolling Stone and on the covers of Newsweek and Time. In the 1980s, Ronstadt went to Broadway and garnered a Tony nomination for her performance in The Pirates of Penzance, teamed with the composer Philip Glass, recorded traditional music, and collaborated with the conductor Nelson Riddle, an event at that time viewed as an original and unorthodox move for a rock-and-roll artist. This venture paid off, and Ronstadt remained one of the music industry's best-selling acts throughout the 1980s, with multi-platinum-selling albums such as What's New, Canciones de Mi Padre, and Cry Like a Rainstorm, Howl Like the Wind. She continued to tour, collaborate, and record celebrated albums, such as Winter Light and Hummin' to Myself, until her retirement in 2011. Most of Ronstadt's albums are certified gold, platinum, or multi-platinum. Having sold in excess of 100 million records worldwide and setting records as one of the top-grossing concert performers for over a decade, Ronstadt was the most successful female singer of the 1970s and stands as one of the most successful female recording artists in U.S. history. Ronstadt opened many doors for women in rock and roll and other musical genres by championing songwriters and musicians, pioneering her chart success onto the concert circuit, and being at the vanguard of many musical movements.
Q: What did Linda Ronstadt do after the 1960s?
A: Ronstadt joined forces with Bobby Kimmel and Kenny Edwards and became the lead singer of a folk-rock trio, the Stone Poneys.
Q: Was she with the trio a long time?
A: as a solo artist, she released Hand Sown ... Home Grown in 1969,
Q: What did she do after 1969 with her career?
A: Ronstadt actively toured with the Doors, Neil Young, Jackson Browne, and others, appeared numerous times on television shows, and began to contribute her singing to albums by other artists.
|
C_70757043f51f42d0bbea7205aa5d0e84_1_q#3
|
What tv shows did she appear on?
| 0y
| 1n
|
{
"texts": [
"The Pirates of Penzance,"
],
"answer_starts": [
1311
]
}
|
{
"text": "The Pirates of Penzance,",
"answer_start": 1311
}
|
C_70757043f51f42d0bbea7205aa5d0e84_1
|
Linda Ronstadt
|
Linda Maria Ronstadt was born in 1946 in Tucson, Arizona, daughter to Gilbert Ronstadt (1911-1995), a prosperous machinery merchant who ran the F. Ronstadt Co., and Ruth Mary (Copeman) Ronstadt (1914-1982), a homemaker. Ronstadt was raised on the family's 10-acre (4 ha) ranch with her siblings Peter (who served as Tucson's Chief of Police for 10 years, 1981-1991), Michael J., and Gretchen (Suzy). The family was featured in Family Circle magazine in 1953. Linda's father came from a pioneering Arizona ranching family and was of German, English, and Mexican ancestry.
|
Career summary
|
Establishing her professional career in the mid-1960s at the forefront of California's emerging folk rock and country rock movements - genres which defined post-1960s rock music - Ronstadt joined forces with Bobby Kimmel and Kenny Edwards and became the lead singer of a folk-rock trio, the Stone Poneys. Later, as a solo artist, she released Hand Sown ... Home Grown in 1969, which has been described as the first alternative country record by a female recording artist. Although fame eluded her during these years, Ronstadt actively toured with the Doors, Neil Young, Jackson Browne, and others, appeared numerous times on television shows, and began to contribute her singing to albums by other artists. With the release of chart-topping albums such as Heart Like a Wheel, Simple Dreams, and Living in the USA, Ronstadt became the first female "arena class" rock star. She set records as one of the top-grossing concert artists of the decade. Referred to as the "First Lady of Rock" and the "Queen of Rock", Ronstadt was voted the Top Female Pop Singer of the 1970s. Her rock-and-roll image was as famous as her music; she appeared six times on the cover of Rolling Stone and on the covers of Newsweek and Time. In the 1980s, Ronstadt went to Broadway and garnered a Tony nomination for her performance in The Pirates of Penzance, teamed with the composer Philip Glass, recorded traditional music, and collaborated with the conductor Nelson Riddle, an event at that time viewed as an original and unorthodox move for a rock-and-roll artist. This venture paid off, and Ronstadt remained one of the music industry's best-selling acts throughout the 1980s, with multi-platinum-selling albums such as What's New, Canciones de Mi Padre, and Cry Like a Rainstorm, Howl Like the Wind. She continued to tour, collaborate, and record celebrated albums, such as Winter Light and Hummin' to Myself, until her retirement in 2011. Most of Ronstadt's albums are certified gold, platinum, or multi-platinum. Having sold in excess of 100 million records worldwide and setting records as one of the top-grossing concert performers for over a decade, Ronstadt was the most successful female singer of the 1970s and stands as one of the most successful female recording artists in U.S. history. Ronstadt opened many doors for women in rock and roll and other musical genres by championing songwriters and musicians, pioneering her chart success onto the concert circuit, and being at the vanguard of many musical movements.
Q: What did Linda Ronstadt do after the 1960s?
A: Ronstadt joined forces with Bobby Kimmel and Kenny Edwards and became the lead singer of a folk-rock trio, the Stone Poneys.
Q: Was she with the trio a long time?
A: as a solo artist, she released Hand Sown ... Home Grown in 1969,
Q: What did she do after 1969 with her career?
A: Ronstadt actively toured with the Doors, Neil Young, Jackson Browne, and others, appeared numerous times on television shows, and began to contribute her singing to albums by other artists.
Q: What tv shows did she appear on?
A: The Pirates of Penzance,
|
C_70757043f51f42d0bbea7205aa5d0e84_1_q#4
|
Did she sing with any other artists?
| 0y
| 1n
|
{
"texts": [
"Ronstadt actively toured with the Doors, Neil Young, Jackson Browne, and others,"
],
"answer_starts": [
517
]
}
|
{
"text": "Ronstadt actively toured with the Doors, Neil Young, Jackson Browne, and others,",
"answer_start": 517
}
|
C_e87bf3024ef84bcbaf1fc0aca35fc6a4_0
|
John O. Brennan
|
John Owen Brennan (born September 22, 1955) was the Director of the Central Intelligence Agency (CIA) from March 2013 to January 2017. He served as chief counterterrorism advisor to U.S. President Barack Obama; his title was Deputy National Security Advisor for Homeland Security and Counterterrorism, and Assistant to the President. His responsibilities included overseeing plans to protect the country from terrorism and respond to natural disasters, and he met with the President daily. Previously, he advised President Obama on foreign policy and intelligence issues during the 2008 presidential campaign and transition.
|
Counterterrorism advisor to President Obama
|
In late 2008, Brennan was reportedly the top choice to become the next Director of the CIA in the incoming Obama administration. However, Brennan withdrew his name from consideration because of opposition to his CIA service under President George W. Bush and past public statements he had made in support of enhanced interrogation and the transfer of terrorism suspects to countries where they might be tortured (extraordinary rendition). President Obama then appointed him to be his Deputy National Security Advisor for Homeland Security and Counterterrorism, the President's chief counterterrorism advisor and a position that did not require Senate confirmation. In August 2009, Brennan criticized some Bush-administration anti-terror policies, saying that waterboarding had threatened national security by increasing the recruitment of terrorists and decreasing the willingness of other nations to cooperate with the U.S. He also described the Obama administration's focus as being on "extremists" and not "jihadists". He said that using the second term, which means one who is struggling for a holy goal, gives "these murderers the religious legitimacy they desperately seek" and suggests the US is at war with the religion of Islam. In an early December 2009 interview with the Bergen Record, Brennan remarked, "the U.S. intelligence and law enforcement communities have to bat 1.000 every day. The terrorists are trying to be successful just once". At a press conference days after the failed Christmas Day bomb attack on Northwest Airlines Flight 253 by Umar Farouk Abdulmutallab, Brennan said U.S. intelligence agencies did not miss any signs that could have prevented the attempt but later said he had let the President down by underestimating a small group of Yemeni terrorists and not connecting them to the attempted bomber. Within two weeks after the incident, however, he produced a report highly critical of the performance of U.S. intelligence agencies, concluding that their focus on terrorist attempts aimed at U.S. soil was inadequate. In February 2010, he claimed on Meet the Press that he was tired of Republican lawmakers using national security issues as political footballs, and making allegations where they did not know the facts. Brennan was present in the Situation Room in May 2011 when the United States conducted the military operation that killed Osama bin Laden. He called President Obama's decision to go forward with the mission one of the "gutsiest calls of any president in memory." In the aftermath of the operation, Brennan said that the U.S. troops in the raid had been "met with a great deal of resistance," and bin Laden had used a woman as a human shield.
|
C_e87bf3024ef84bcbaf1fc0aca35fc6a4_0_q#0
|
What did Brennan do as an advisor to Obama?
| 0y
| 2x
|
{
"texts": [
"In late 2008, Brennan was reportedly the top choice to become the next Director of the CIA in the incoming Obama administration."
],
"answer_starts": [
0
]
}
|
{
"text": "In late 2008, Brennan was reportedly the top choice to become the next Director of the CIA in the incoming Obama administration.",
"answer_start": 0
}
|
C_e87bf3024ef84bcbaf1fc0aca35fc6a4_0
|
John O. Brennan
|
John Owen Brennan (born September 22, 1955) was the Director of the Central Intelligence Agency (CIA) from March 2013 to January 2017. He served as chief counterterrorism advisor to U.S. President Barack Obama; his title was Deputy National Security Advisor for Homeland Security and Counterterrorism, and Assistant to the President. His responsibilities included overseeing plans to protect the country from terrorism and respond to natural disasters, and he met with the President daily. Previously, he advised President Obama on foreign policy and intelligence issues during the 2008 presidential campaign and transition.
|
Counterterrorism advisor to President Obama
|
In late 2008, Brennan was reportedly the top choice to become the next Director of the CIA in the incoming Obama administration. However, Brennan withdrew his name from consideration because of opposition to his CIA service under President George W. Bush and past public statements he had made in support of enhanced interrogation and the transfer of terrorism suspects to countries where they might be tortured (extraordinary rendition). President Obama then appointed him to be his Deputy National Security Advisor for Homeland Security and Counterterrorism, the President's chief counterterrorism advisor and a position that did not require Senate confirmation. In August 2009, Brennan criticized some Bush-administration anti-terror policies, saying that waterboarding had threatened national security by increasing the recruitment of terrorists and decreasing the willingness of other nations to cooperate with the U.S. He also described the Obama administration's focus as being on "extremists" and not "jihadists". He said that using the second term, which means one who is struggling for a holy goal, gives "these murderers the religious legitimacy they desperately seek" and suggests the US is at war with the religion of Islam. In an early December 2009 interview with the Bergen Record, Brennan remarked, "the U.S. intelligence and law enforcement communities have to bat 1.000 every day. The terrorists are trying to be successful just once". At a press conference days after the failed Christmas Day bomb attack on Northwest Airlines Flight 253 by Umar Farouk Abdulmutallab, Brennan said U.S. intelligence agencies did not miss any signs that could have prevented the attempt but later said he had let the President down by underestimating a small group of Yemeni terrorists and not connecting them to the attempted bomber. Within two weeks after the incident, however, he produced a report highly critical of the performance of U.S. intelligence agencies, concluding that their focus on terrorist attempts aimed at U.S. soil was inadequate. In February 2010, he claimed on Meet the Press that he was tired of Republican lawmakers using national security issues as political footballs, and making allegations where they did not know the facts. Brennan was present in the Situation Room in May 2011 when the United States conducted the military operation that killed Osama bin Laden. He called President Obama's decision to go forward with the mission one of the "gutsiest calls of any president in memory." In the aftermath of the operation, Brennan said that the U.S. troops in the raid had been "met with a great deal of resistance," and bin Laden had used a woman as a human shield.
Q: What did Brennan do as an advisor to Obama?
A: In late 2008, Brennan was reportedly the top choice to become the next Director of the CIA in the incoming Obama administration.
|
C_e87bf3024ef84bcbaf1fc0aca35fc6a4_0_q#1
|
When did he begin in that position?
| 0y
| 2x
|
{
"texts": [
"President Obama then appointed him to be his Deputy National Security Advisor for Homeland Security and Counterterrorism,"
],
"answer_starts": [
439
]
}
|
{
"text": "President Obama then appointed him to be his Deputy National Security Advisor for Homeland Security and Counterterrorism,",
"answer_start": 439
}
|
C_e87bf3024ef84bcbaf1fc0aca35fc6a4_0
|
John O. Brennan
|
John Owen Brennan (born September 22, 1955) was the Director of the Central Intelligence Agency (CIA) from March 2013 to January 2017. He served as chief counterterrorism advisor to U.S. President Barack Obama; his title was Deputy National Security Advisor for Homeland Security and Counterterrorism, and Assistant to the President. His responsibilities included overseeing plans to protect the country from terrorism and respond to natural disasters, and he met with the President daily. Previously, he advised President Obama on foreign policy and intelligence issues during the 2008 presidential campaign and transition.
|
Counterterrorism advisor to President Obama
|
In late 2008, Brennan was reportedly the top choice to become the next Director of the CIA in the incoming Obama administration. However, Brennan withdrew his name from consideration because of opposition to his CIA service under President George W. Bush and past public statements he had made in support of enhanced interrogation and the transfer of terrorism suspects to countries where they might be tortured (extraordinary rendition). President Obama then appointed him to be his Deputy National Security Advisor for Homeland Security and Counterterrorism, the President's chief counterterrorism advisor and a position that did not require Senate confirmation. In August 2009, Brennan criticized some Bush-administration anti-terror policies, saying that waterboarding had threatened national security by increasing the recruitment of terrorists and decreasing the willingness of other nations to cooperate with the U.S. He also described the Obama administration's focus as being on "extremists" and not "jihadists". He said that using the second term, which means one who is struggling for a holy goal, gives "these murderers the religious legitimacy they desperately seek" and suggests the US is at war with the religion of Islam. In an early December 2009 interview with the Bergen Record, Brennan remarked, "the U.S. intelligence and law enforcement communities have to bat 1.000 every day. The terrorists are trying to be successful just once". At a press conference days after the failed Christmas Day bomb attack on Northwest Airlines Flight 253 by Umar Farouk Abdulmutallab, Brennan said U.S. intelligence agencies did not miss any signs that could have prevented the attempt but later said he had let the President down by underestimating a small group of Yemeni terrorists and not connecting them to the attempted bomber. Within two weeks after the incident, however, he produced a report highly critical of the performance of U.S. intelligence agencies, concluding that their focus on terrorist attempts aimed at U.S. soil was inadequate. In February 2010, he claimed on Meet the Press that he was tired of Republican lawmakers using national security issues as political footballs, and making allegations where they did not know the facts. Brennan was present in the Situation Room in May 2011 when the United States conducted the military operation that killed Osama bin Laden. He called President Obama's decision to go forward with the mission one of the "gutsiest calls of any president in memory." In the aftermath of the operation, Brennan said that the U.S. troops in the raid had been "met with a great deal of resistance," and bin Laden had used a woman as a human shield.
Q: What did Brennan do as an advisor to Obama?
A: In late 2008, Brennan was reportedly the top choice to become the next Director of the CIA in the incoming Obama administration.
Q: When did he begin in that position?
A: President Obama then appointed him to be his Deputy National Security Advisor for Homeland Security and Counterterrorism,
|
C_e87bf3024ef84bcbaf1fc0aca35fc6a4_0_q#2
|
What else did he do?
| 0y
| 2x
|
{
"texts": [
"In August 2009, Brennan criticized some Bush-administration anti-terror policies, saying that waterboarding had threatened national security by increasing the recruitment of terrorists"
],
"answer_starts": [
666
]
}
|
{
"text": "In August 2009, Brennan criticized some Bush-administration anti-terror policies, saying that waterboarding had threatened national security by increasing the recruitment of terrorists",
"answer_start": 666
}
|
C_e87bf3024ef84bcbaf1fc0aca35fc6a4_0
|
John O. Brennan
|
John Owen Brennan (born September 22, 1955) was the Director of the Central Intelligence Agency (CIA) from March 2013 to January 2017. He served as chief counterterrorism advisor to U.S. President Barack Obama; his title was Deputy National Security Advisor for Homeland Security and Counterterrorism, and Assistant to the President. His responsibilities included overseeing plans to protect the country from terrorism and respond to natural disasters, and he met with the President daily. Previously, he advised President Obama on foreign policy and intelligence issues during the 2008 presidential campaign and transition.
|
Counterterrorism advisor to President Obama
|
In late 2008, Brennan was reportedly the top choice to become the next Director of the CIA in the incoming Obama administration. However, Brennan withdrew his name from consideration because of opposition to his CIA service under President George W. Bush and past public statements he had made in support of enhanced interrogation and the transfer of terrorism suspects to countries where they might be tortured (extraordinary rendition). President Obama then appointed him to be his Deputy National Security Advisor for Homeland Security and Counterterrorism, the President's chief counterterrorism advisor and a position that did not require Senate confirmation. In August 2009, Brennan criticized some Bush-administration anti-terror policies, saying that waterboarding had threatened national security by increasing the recruitment of terrorists and decreasing the willingness of other nations to cooperate with the U.S. He also described the Obama administration's focus as being on "extremists" and not "jihadists". He said that using the second term, which means one who is struggling for a holy goal, gives "these murderers the religious legitimacy they desperately seek" and suggests the US is at war with the religion of Islam. In an early December 2009 interview with the Bergen Record, Brennan remarked, "the U.S. intelligence and law enforcement communities have to bat 1.000 every day. The terrorists are trying to be successful just once". At a press conference days after the failed Christmas Day bomb attack on Northwest Airlines Flight 253 by Umar Farouk Abdulmutallab, Brennan said U.S. intelligence agencies did not miss any signs that could have prevented the attempt but later said he had let the President down by underestimating a small group of Yemeni terrorists and not connecting them to the attempted bomber. Within two weeks after the incident, however, he produced a report highly critical of the performance of U.S. intelligence agencies, concluding that their focus on terrorist attempts aimed at U.S. soil was inadequate. In February 2010, he claimed on Meet the Press that he was tired of Republican lawmakers using national security issues as political footballs, and making allegations where they did not know the facts. Brennan was present in the Situation Room in May 2011 when the United States conducted the military operation that killed Osama bin Laden. He called President Obama's decision to go forward with the mission one of the "gutsiest calls of any president in memory." In the aftermath of the operation, Brennan said that the U.S. troops in the raid had been "met with a great deal of resistance," and bin Laden had used a woman as a human shield.
Q: What did Brennan do as an advisor to Obama?
A: In late 2008, Brennan was reportedly the top choice to become the next Director of the CIA in the incoming Obama administration.
Q: When did he begin in that position?
A: President Obama then appointed him to be his Deputy National Security Advisor for Homeland Security and Counterterrorism,
Q: What else did he do?
A: In August 2009, Brennan criticized some Bush-administration anti-terror policies, saying that waterboarding had threatened national security by increasing the recruitment of terrorists
|
C_e87bf3024ef84bcbaf1fc0aca35fc6a4_0_q#3
|
Did he have any notable moments under Obama?
| 0y
| 0y
|
{
"texts": [
"Brennan was present in the Situation Room in May 2011 when the United States conducted the military operation that killed Osama bin Laden."
],
"answer_starts": [
2260
]
}
|
{
"text": "Brennan was present in the Situation Room in May 2011 when the United States conducted the military operation that killed Osama bin Laden.",
"answer_start": 2260
}
|
C_e87bf3024ef84bcbaf1fc0aca35fc6a4_0
|
John O. Brennan
|
John Owen Brennan (born September 22, 1955) was the Director of the Central Intelligence Agency (CIA) from March 2013 to January 2017. He served as chief counterterrorism advisor to U.S. President Barack Obama; his title was Deputy National Security Advisor for Homeland Security and Counterterrorism, and Assistant to the President. His responsibilities included overseeing plans to protect the country from terrorism and respond to natural disasters, and he met with the President daily. Previously, he advised President Obama on foreign policy and intelligence issues during the 2008 presidential campaign and transition.
|
Counterterrorism advisor to President Obama
|
In late 2008, Brennan was reportedly the top choice to become the next Director of the CIA in the incoming Obama administration. However, Brennan withdrew his name from consideration because of opposition to his CIA service under President George W. Bush and past public statements he had made in support of enhanced interrogation and the transfer of terrorism suspects to countries where they might be tortured (extraordinary rendition). President Obama then appointed him to be his Deputy National Security Advisor for Homeland Security and Counterterrorism, the President's chief counterterrorism advisor and a position that did not require Senate confirmation. In August 2009, Brennan criticized some Bush-administration anti-terror policies, saying that waterboarding had threatened national security by increasing the recruitment of terrorists and decreasing the willingness of other nations to cooperate with the U.S. He also described the Obama administration's focus as being on "extremists" and not "jihadists". He said that using the second term, which means one who is struggling for a holy goal, gives "these murderers the religious legitimacy they desperately seek" and suggests the US is at war with the religion of Islam. In an early December 2009 interview with the Bergen Record, Brennan remarked, "the U.S. intelligence and law enforcement communities have to bat 1.000 every day. The terrorists are trying to be successful just once". At a press conference days after the failed Christmas Day bomb attack on Northwest Airlines Flight 253 by Umar Farouk Abdulmutallab, Brennan said U.S. intelligence agencies did not miss any signs that could have prevented the attempt but later said he had let the President down by underestimating a small group of Yemeni terrorists and not connecting them to the attempted bomber. Within two weeks after the incident, however, he produced a report highly critical of the performance of U.S. intelligence agencies, concluding that their focus on terrorist attempts aimed at U.S. soil was inadequate. In February 2010, he claimed on Meet the Press that he was tired of Republican lawmakers using national security issues as political footballs, and making allegations where they did not know the facts. Brennan was present in the Situation Room in May 2011 when the United States conducted the military operation that killed Osama bin Laden. He called President Obama's decision to go forward with the mission one of the "gutsiest calls of any president in memory." In the aftermath of the operation, Brennan said that the U.S. troops in the raid had been "met with a great deal of resistance," and bin Laden had used a woman as a human shield.
Q: What did Brennan do as an advisor to Obama?
A: In late 2008, Brennan was reportedly the top choice to become the next Director of the CIA in the incoming Obama administration.
Q: When did he begin in that position?
A: President Obama then appointed him to be his Deputy National Security Advisor for Homeland Security and Counterterrorism,
Q: What else did he do?
A: In August 2009, Brennan criticized some Bush-administration anti-terror policies, saying that waterboarding had threatened national security by increasing the recruitment of terrorists
Q: Did he have any notable moments under Obama?
A: Brennan was present in the Situation Room in May 2011 when the United States conducted the military operation that killed Osama bin Laden.
|
C_e87bf3024ef84bcbaf1fc0aca35fc6a4_0_q#4
|
What else is significant?
| 0y
| 2x
|
{
"texts": [
"In an early December 2009 interview with the Bergen Record, Brennan remarked, \"the U.S. intelligence and law enforcement communities have to bat 1.000 every day."
],
"answer_starts": [
1240
]
}
|
{
"text": "In an early December 2009 interview with the Bergen Record, Brennan remarked, \"the U.S. intelligence and law enforcement communities have to bat 1.000 every day.",
"answer_start": 1240
}
|
C_e87bf3024ef84bcbaf1fc0aca35fc6a4_0
|
John O. Brennan
|
John Owen Brennan (born September 22, 1955) was the Director of the Central Intelligence Agency (CIA) from March 2013 to January 2017. He served as chief counterterrorism advisor to U.S. President Barack Obama; his title was Deputy National Security Advisor for Homeland Security and Counterterrorism, and Assistant to the President. His responsibilities included overseeing plans to protect the country from terrorism and respond to natural disasters, and he met with the President daily. Previously, he advised President Obama on foreign policy and intelligence issues during the 2008 presidential campaign and transition.
|
Counterterrorism advisor to President Obama
|
In late 2008, Brennan was reportedly the top choice to become the next Director of the CIA in the incoming Obama administration. However, Brennan withdrew his name from consideration because of opposition to his CIA service under President George W. Bush and past public statements he had made in support of enhanced interrogation and the transfer of terrorism suspects to countries where they might be tortured (extraordinary rendition). President Obama then appointed him to be his Deputy National Security Advisor for Homeland Security and Counterterrorism, the President's chief counterterrorism advisor and a position that did not require Senate confirmation. In August 2009, Brennan criticized some Bush-administration anti-terror policies, saying that waterboarding had threatened national security by increasing the recruitment of terrorists and decreasing the willingness of other nations to cooperate with the U.S. He also described the Obama administration's focus as being on "extremists" and not "jihadists". He said that using the second term, which means one who is struggling for a holy goal, gives "these murderers the religious legitimacy they desperately seek" and suggests the US is at war with the religion of Islam. In an early December 2009 interview with the Bergen Record, Brennan remarked, "the U.S. intelligence and law enforcement communities have to bat 1.000 every day. The terrorists are trying to be successful just once". At a press conference days after the failed Christmas Day bomb attack on Northwest Airlines Flight 253 by Umar Farouk Abdulmutallab, Brennan said U.S. intelligence agencies did not miss any signs that could have prevented the attempt but later said he had let the President down by underestimating a small group of Yemeni terrorists and not connecting them to the attempted bomber. Within two weeks after the incident, however, he produced a report highly critical of the performance of U.S. intelligence agencies, concluding that their focus on terrorist attempts aimed at U.S. soil was inadequate. In February 2010, he claimed on Meet the Press that he was tired of Republican lawmakers using national security issues as political footballs, and making allegations where they did not know the facts. Brennan was present in the Situation Room in May 2011 when the United States conducted the military operation that killed Osama bin Laden. He called President Obama's decision to go forward with the mission one of the "gutsiest calls of any president in memory." In the aftermath of the operation, Brennan said that the U.S. troops in the raid had been "met with a great deal of resistance," and bin Laden had used a woman as a human shield.
Q: What did Brennan do as an advisor to Obama?
A: In late 2008, Brennan was reportedly the top choice to become the next Director of the CIA in the incoming Obama administration.
Q: When did he begin in that position?
A: President Obama then appointed him to be his Deputy National Security Advisor for Homeland Security and Counterterrorism,
Q: What else did he do?
A: In August 2009, Brennan criticized some Bush-administration anti-terror policies, saying that waterboarding had threatened national security by increasing the recruitment of terrorists
Q: Did he have any notable moments under Obama?
A: Brennan was present in the Situation Room in May 2011 when the United States conducted the military operation that killed Osama bin Laden.
Q: What else is significant?
A: In an early December 2009 interview with the Bergen Record, Brennan remarked, "the U.S. intelligence and law enforcement communities have to bat 1.000 every day.
|
C_e87bf3024ef84bcbaf1fc0aca35fc6a4_0_q#5
|
What is the result of this?
| 0y
| 2x
|
{
"texts": [
"The terrorists are trying to be successful just once\"."
],
"answer_starts": [
1402
]
}
|
{
"text": "The terrorists are trying to be successful just once\".",
"answer_start": 1402
}
|
C_e87bf3024ef84bcbaf1fc0aca35fc6a4_1
|
John O. Brennan
|
John Owen Brennan (born September 22, 1955) was the Director of the Central Intelligence Agency (CIA) from March 2013 to January 2017. He served as chief counterterrorism advisor to U.S. President Barack Obama; his title was Deputy National Security Advisor for Homeland Security and Counterterrorism, and Assistant to the President. His responsibilities included overseeing plans to protect the country from terrorism and respond to natural disasters, and he met with the President daily. Previously, he advised President Obama on foreign policy and intelligence issues during the 2008 presidential campaign and transition.
|
Career highlights
|
Brennan began his CIA career as an analyst and spent 25 years with the agency. He was a daily intelligence briefer for President Bill Clinton. In 1996, he was CIA station chief in Riyadh, Saudi Arabia when the Khobar Towers bombing killed 19 U.S. servicemen. In 1999, he was appointed chief of staff to George Tenet, then-Director of the CIA. Brennan became deputy executive director of the CIA in March 2001. He was director of the newly created Terrorist Threat Integration Center from 2003 to 2004, an office that sifted through and compiled information for President Bush's daily top secret intelligence briefings and employed the services of analysts from a dozen U.S. agencies and entities. One of the controversies in his career involves the distribution of intelligence to the Bush White House that helped lead to an "Orange Terror Alert", in late 2003. The intelligence, which purported to list terror targets, was highly controversial within the CIA and was later discredited. An Obama administration official does not dispute that Brennan distributed the intelligence during the Bush era but said Brennan passed it along because that was his job. His last post within the Intelligence Community was as director of the National Counterterrorism Center in 2004 and 2005, which incorporated information on terrorist activities across U.S. agencies. Brennan then left government service for a few years, becoming Chairman of the Intelligence and National Security Alliance (INSA) and the CEO of The Analysis Corporation (TAC). He continued to lead TAC after its acquisition by Global Strategies Group in 2007 and its growth as the Global Intelligence Solutions division of Global's North American technology business GTEC, before returning to government service with the Obama administration as Homeland Security Advisor on January 20, 2009. On January 7, 2013, Brennan was nominated by President Barack Obama to be director of the Central Intelligence Agency. In September 2017, Brennan was named a Distinguished Non-Resident Scholar at The University of Texas at Austin, where he also acts as a Senior Advisor to the University's Intelligence Studies Project.
|
C_e87bf3024ef84bcbaf1fc0aca35fc6a4_1_q#0
|
What were his career highlights?
| 0y
| 2x
|
{
"texts": [
"Brennan began his CIA career as an analyst and spent 25 years with the agency."
],
"answer_starts": [
0
]
}
|
{
"text": "Brennan began his CIA career as an analyst and spent 25 years with the agency.",
"answer_start": 0
}
|
C_e87bf3024ef84bcbaf1fc0aca35fc6a4_1
|
John O. Brennan
|
John Owen Brennan (born September 22, 1955) was the Director of the Central Intelligence Agency (CIA) from March 2013 to January 2017. He served as chief counterterrorism advisor to U.S. President Barack Obama; his title was Deputy National Security Advisor for Homeland Security and Counterterrorism, and Assistant to the President. His responsibilities included overseeing plans to protect the country from terrorism and respond to natural disasters, and he met with the President daily. Previously, he advised President Obama on foreign policy and intelligence issues during the 2008 presidential campaign and transition.
|
Career highlights
|
Brennan began his CIA career as an analyst and spent 25 years with the agency. He was a daily intelligence briefer for President Bill Clinton. In 1996, he was CIA station chief in Riyadh, Saudi Arabia when the Khobar Towers bombing killed 19 U.S. servicemen. In 1999, he was appointed chief of staff to George Tenet, then-Director of the CIA. Brennan became deputy executive director of the CIA in March 2001. He was director of the newly created Terrorist Threat Integration Center from 2003 to 2004, an office that sifted through and compiled information for President Bush's daily top secret intelligence briefings and employed the services of analysts from a dozen U.S. agencies and entities. One of the controversies in his career involves the distribution of intelligence to the Bush White House that helped lead to an "Orange Terror Alert", in late 2003. The intelligence, which purported to list terror targets, was highly controversial within the CIA and was later discredited. An Obama administration official does not dispute that Brennan distributed the intelligence during the Bush era but said Brennan passed it along because that was his job. His last post within the Intelligence Community was as director of the National Counterterrorism Center in 2004 and 2005, which incorporated information on terrorist activities across U.S. agencies. Brennan then left government service for a few years, becoming Chairman of the Intelligence and National Security Alliance (INSA) and the CEO of The Analysis Corporation (TAC). He continued to lead TAC after its acquisition by Global Strategies Group in 2007 and its growth as the Global Intelligence Solutions division of Global's North American technology business GTEC, before returning to government service with the Obama administration as Homeland Security Advisor on January 20, 2009. On January 7, 2013, Brennan was nominated by President Barack Obama to be director of the Central Intelligence Agency. In September 2017, Brennan was named a Distinguished Non-Resident Scholar at The University of Texas at Austin, where he also acts as a Senior Advisor to the University's Intelligence Studies Project.
Q: What were his career highlights?
A: Brennan began his CIA career as an analyst and spent 25 years with the agency.
|
C_e87bf3024ef84bcbaf1fc0aca35fc6a4_1_q#1
|
What is notable about his time at the CIA?
| 2m
| 2x
|
{
"texts": [
"He was a daily intelligence briefer for President Bill Clinton."
],
"answer_starts": [
79
]
}
|
{
"text": "He was a daily intelligence briefer for President Bill Clinton.",
"answer_start": 79
}
|
C_e87bf3024ef84bcbaf1fc0aca35fc6a4_1
|
John O. Brennan
|
John Owen Brennan (born September 22, 1955) was the Director of the Central Intelligence Agency (CIA) from March 2013 to January 2017. He served as chief counterterrorism advisor to U.S. President Barack Obama; his title was Deputy National Security Advisor for Homeland Security and Counterterrorism, and Assistant to the President. His responsibilities included overseeing plans to protect the country from terrorism and respond to natural disasters, and he met with the President daily. Previously, he advised President Obama on foreign policy and intelligence issues during the 2008 presidential campaign and transition.
|
Career highlights
|
Brennan began his CIA career as an analyst and spent 25 years with the agency. He was a daily intelligence briefer for President Bill Clinton. In 1996, he was CIA station chief in Riyadh, Saudi Arabia when the Khobar Towers bombing killed 19 U.S. servicemen. In 1999, he was appointed chief of staff to George Tenet, then-Director of the CIA. Brennan became deputy executive director of the CIA in March 2001. He was director of the newly created Terrorist Threat Integration Center from 2003 to 2004, an office that sifted through and compiled information for President Bush's daily top secret intelligence briefings and employed the services of analysts from a dozen U.S. agencies and entities. One of the controversies in his career involves the distribution of intelligence to the Bush White House that helped lead to an "Orange Terror Alert", in late 2003. The intelligence, which purported to list terror targets, was highly controversial within the CIA and was later discredited. An Obama administration official does not dispute that Brennan distributed the intelligence during the Bush era but said Brennan passed it along because that was his job. His last post within the Intelligence Community was as director of the National Counterterrorism Center in 2004 and 2005, which incorporated information on terrorist activities across U.S. agencies. Brennan then left government service for a few years, becoming Chairman of the Intelligence and National Security Alliance (INSA) and the CEO of The Analysis Corporation (TAC). He continued to lead TAC after its acquisition by Global Strategies Group in 2007 and its growth as the Global Intelligence Solutions division of Global's North American technology business GTEC, before returning to government service with the Obama administration as Homeland Security Advisor on January 20, 2009. On January 7, 2013, Brennan was nominated by President Barack Obama to be director of the Central Intelligence Agency. In September 2017, Brennan was named a Distinguished Non-Resident Scholar at The University of Texas at Austin, where he also acts as a Senior Advisor to the University's Intelligence Studies Project.
Q: What were his career highlights?
A: Brennan began his CIA career as an analyst and spent 25 years with the agency.
Q: What is notable about his time at the CIA?
A: He was a daily intelligence briefer for President Bill Clinton.
|
C_e87bf3024ef84bcbaf1fc0aca35fc6a4_1_q#2
|
What did he do under President Bush?
| 2m
| 2x
|
{
"texts": [
"He was director of the newly created Terrorist Threat Integration Center from 2003 to 2004,"
],
"answer_starts": [
410
]
}
|
{
"text": "He was director of the newly created Terrorist Threat Integration Center from 2003 to 2004,",
"answer_start": 410
}
|
C_e87bf3024ef84bcbaf1fc0aca35fc6a4_1
|
John O. Brennan
|
John Owen Brennan (born September 22, 1955) was the Director of the Central Intelligence Agency (CIA) from March 2013 to January 2017. He served as chief counterterrorism advisor to U.S. President Barack Obama; his title was Deputy National Security Advisor for Homeland Security and Counterterrorism, and Assistant to the President. His responsibilities included overseeing plans to protect the country from terrorism and respond to natural disasters, and he met with the President daily. Previously, he advised President Obama on foreign policy and intelligence issues during the 2008 presidential campaign and transition.
|
Career highlights
|
Brennan began his CIA career as an analyst and spent 25 years with the agency. He was a daily intelligence briefer for President Bill Clinton. In 1996, he was CIA station chief in Riyadh, Saudi Arabia when the Khobar Towers bombing killed 19 U.S. servicemen. In 1999, he was appointed chief of staff to George Tenet, then-Director of the CIA. Brennan became deputy executive director of the CIA in March 2001. He was director of the newly created Terrorist Threat Integration Center from 2003 to 2004, an office that sifted through and compiled information for President Bush's daily top secret intelligence briefings and employed the services of analysts from a dozen U.S. agencies and entities. One of the controversies in his career involves the distribution of intelligence to the Bush White House that helped lead to an "Orange Terror Alert", in late 2003. The intelligence, which purported to list terror targets, was highly controversial within the CIA and was later discredited. An Obama administration official does not dispute that Brennan distributed the intelligence during the Bush era but said Brennan passed it along because that was his job. His last post within the Intelligence Community was as director of the National Counterterrorism Center in 2004 and 2005, which incorporated information on terrorist activities across U.S. agencies. Brennan then left government service for a few years, becoming Chairman of the Intelligence and National Security Alliance (INSA) and the CEO of The Analysis Corporation (TAC). He continued to lead TAC after its acquisition by Global Strategies Group in 2007 and its growth as the Global Intelligence Solutions division of Global's North American technology business GTEC, before returning to government service with the Obama administration as Homeland Security Advisor on January 20, 2009. On January 7, 2013, Brennan was nominated by President Barack Obama to be director of the Central Intelligence Agency. In September 2017, Brennan was named a Distinguished Non-Resident Scholar at The University of Texas at Austin, where he also acts as a Senior Advisor to the University's Intelligence Studies Project.
Q: What were his career highlights?
A: Brennan began his CIA career as an analyst and spent 25 years with the agency.
Q: What is notable about his time at the CIA?
A: He was a daily intelligence briefer for President Bill Clinton.
Q: What did he do under President Bush?
A: He was director of the newly created Terrorist Threat Integration Center from 2003 to 2004,
|
C_e87bf3024ef84bcbaf1fc0aca35fc6a4_1_q#3
|
What was his job in this position?
| 2m
| 2x
|
{
"texts": [
"an office that sifted through and compiled information for President Bush's daily top secret intelligence briefings and employed the services of analysts"
],
"answer_starts": [
502
]
}
|
{
"text": "an office that sifted through and compiled information for President Bush's daily top secret intelligence briefings and employed the services of analysts",
"answer_start": 502
}
|
C_e87bf3024ef84bcbaf1fc0aca35fc6a4_1
|
John O. Brennan
|
John Owen Brennan (born September 22, 1955) was the Director of the Central Intelligence Agency (CIA) from March 2013 to January 2017. He served as chief counterterrorism advisor to U.S. President Barack Obama; his title was Deputy National Security Advisor for Homeland Security and Counterterrorism, and Assistant to the President. His responsibilities included overseeing plans to protect the country from terrorism and respond to natural disasters, and he met with the President daily. Previously, he advised President Obama on foreign policy and intelligence issues during the 2008 presidential campaign and transition.
|
Career highlights
|
Brennan began his CIA career as an analyst and spent 25 years with the agency. He was a daily intelligence briefer for President Bill Clinton. In 1996, he was CIA station chief in Riyadh, Saudi Arabia when the Khobar Towers bombing killed 19 U.S. servicemen. In 1999, he was appointed chief of staff to George Tenet, then-Director of the CIA. Brennan became deputy executive director of the CIA in March 2001. He was director of the newly created Terrorist Threat Integration Center from 2003 to 2004, an office that sifted through and compiled information for President Bush's daily top secret intelligence briefings and employed the services of analysts from a dozen U.S. agencies and entities. One of the controversies in his career involves the distribution of intelligence to the Bush White House that helped lead to an "Orange Terror Alert", in late 2003. The intelligence, which purported to list terror targets, was highly controversial within the CIA and was later discredited. An Obama administration official does not dispute that Brennan distributed the intelligence during the Bush era but said Brennan passed it along because that was his job. His last post within the Intelligence Community was as director of the National Counterterrorism Center in 2004 and 2005, which incorporated information on terrorist activities across U.S. agencies. Brennan then left government service for a few years, becoming Chairman of the Intelligence and National Security Alliance (INSA) and the CEO of The Analysis Corporation (TAC). He continued to lead TAC after its acquisition by Global Strategies Group in 2007 and its growth as the Global Intelligence Solutions division of Global's North American technology business GTEC, before returning to government service with the Obama administration as Homeland Security Advisor on January 20, 2009. On January 7, 2013, Brennan was nominated by President Barack Obama to be director of the Central Intelligence Agency. In September 2017, Brennan was named a Distinguished Non-Resident Scholar at The University of Texas at Austin, where he also acts as a Senior Advisor to the University's Intelligence Studies Project.
Q: What were his career highlights?
A: Brennan began his CIA career as an analyst and spent 25 years with the agency.
Q: What is notable about his time at the CIA?
A: He was a daily intelligence briefer for President Bill Clinton.
Q: What did he do under President Bush?
A: He was director of the newly created Terrorist Threat Integration Center from 2003 to 2004,
Q: What was his job in this position?
A: an office that sifted through and compiled information for President Bush's daily top secret intelligence briefings and employed the services of analysts
|
C_e87bf3024ef84bcbaf1fc0aca35fc6a4_1_q#4
|
What else has he done in his career?
| 2m
| 2x
|
{
"texts": [
"One of the controversies in his career involves the distribution of intelligence to the Bush White House that helped lead to an \"Orange Terror Alert\","
],
"answer_starts": [
697
]
}
|
{
"text": "One of the controversies in his career involves the distribution of intelligence to the Bush White House that helped lead to an \"Orange Terror Alert\",",
"answer_start": 697
}
|
C_e87bf3024ef84bcbaf1fc0aca35fc6a4_1
|
John O. Brennan
|
John Owen Brennan (born September 22, 1955) was the Director of the Central Intelligence Agency (CIA) from March 2013 to January 2017. He served as chief counterterrorism advisor to U.S. President Barack Obama; his title was Deputy National Security Advisor for Homeland Security and Counterterrorism, and Assistant to the President. His responsibilities included overseeing plans to protect the country from terrorism and respond to natural disasters, and he met with the President daily. Previously, he advised President Obama on foreign policy and intelligence issues during the 2008 presidential campaign and transition.
|
Career highlights
|
Brennan began his CIA career as an analyst and spent 25 years with the agency. He was a daily intelligence briefer for President Bill Clinton. In 1996, he was CIA station chief in Riyadh, Saudi Arabia when the Khobar Towers bombing killed 19 U.S. servicemen. In 1999, he was appointed chief of staff to George Tenet, then-Director of the CIA. Brennan became deputy executive director of the CIA in March 2001. He was director of the newly created Terrorist Threat Integration Center from 2003 to 2004, an office that sifted through and compiled information for President Bush's daily top secret intelligence briefings and employed the services of analysts from a dozen U.S. agencies and entities. One of the controversies in his career involves the distribution of intelligence to the Bush White House that helped lead to an "Orange Terror Alert", in late 2003. The intelligence, which purported to list terror targets, was highly controversial within the CIA and was later discredited. An Obama administration official does not dispute that Brennan distributed the intelligence during the Bush era but said Brennan passed it along because that was his job. His last post within the Intelligence Community was as director of the National Counterterrorism Center in 2004 and 2005, which incorporated information on terrorist activities across U.S. agencies. Brennan then left government service for a few years, becoming Chairman of the Intelligence and National Security Alliance (INSA) and the CEO of The Analysis Corporation (TAC). He continued to lead TAC after its acquisition by Global Strategies Group in 2007 and its growth as the Global Intelligence Solutions division of Global's North American technology business GTEC, before returning to government service with the Obama administration as Homeland Security Advisor on January 20, 2009. On January 7, 2013, Brennan was nominated by President Barack Obama to be director of the Central Intelligence Agency. In September 2017, Brennan was named a Distinguished Non-Resident Scholar at The University of Texas at Austin, where he also acts as a Senior Advisor to the University's Intelligence Studies Project.
Q: What were his career highlights?
A: Brennan began his CIA career as an analyst and spent 25 years with the agency.
Q: What is notable about his time at the CIA?
A: He was a daily intelligence briefer for President Bill Clinton.
Q: What did he do under President Bush?
A: He was director of the newly created Terrorist Threat Integration Center from 2003 to 2004,
Q: What was his job in this position?
A: an office that sifted through and compiled information for President Bush's daily top secret intelligence briefings and employed the services of analysts
Q: What else has he done in his career?
A: One of the controversies in his career involves the distribution of intelligence to the Bush White House that helped lead to an "Orange Terror Alert",
|
C_e87bf3024ef84bcbaf1fc0aca35fc6a4_1_q#5
|
What intelligence that was distributed?
| 0y
| 2x
|
{
"texts": [
"The intelligence, which purported to list terror targets, was highly controversial within the CIA and was later discredited."
],
"answer_starts": [
862
]
}
|
{
"text": "The intelligence, which purported to list terror targets, was highly controversial within the CIA and was later discredited.",
"answer_start": 862
}
|
C_246bb626bd9b4cc6a6ccb3cef92dc9f2_1
|
Rem Koolhaas
|
Remment Lucas "Rem" Koolhaas (Dutch pronunciation: [rem ko:lha:s]; born 17 November 1944) is a Dutch architect, architectural theorist, urbanist and Professor in Practice of Architecture and Urban Design at the Graduate School of Design at Harvard University. Koolhaas studied at the Architectural Association School of Architecture in London and at Cornell University in Ithaca, New York. Koolhaas is the founding partner of OMA, and of its research-oriented counterpart AMO based in Rotterdam, the Netherlands. In 2005, he co-founded Volume Magazine together with Mark Wigley and Ole Bouman.
|
Project on the city
|
Koolhaas's next landmark publications were a product of his position as professor at Harvard University, in the Design school's "Project on the City"; firstly the 720-page Mutations, followed by The Harvard Design School Guide to Shopping (2002) and The Great Leap Forward (2002). All three books involved Koolhaas's students analysing what others would regard as "non-cities", sprawling conglomerates such as Lagos in Nigeria, west Africa, which the authors argue are highly functional despite a lack of infrastructure. The authors also examine the influence of shopping habits and the recent rapid growth of cities in China. Critics of the books have criticised Koolhaas for being cynical - as if Western capitalism and globalization demolish all cultural identity - highlighted in the notion expounded in the books that "In the end, there will be little else for us to do but shop". However, such cynicism can alternatively be read as a "realism" about the transformation of cultural life, where airports and even museums (due to finance problems) rely just as much on operating gift shops. When it comes to transforming these observations into practice, Koolhaas mobilizes what he regards as the omnipotent forces of urbanism into unique design forms and connections organised along the lines of present-day society. Koolhaas continuously incorporates his observations of the contemporary city within his design activities: calling such a condition the 'culture of congestion'. Again, shopping is examined for "intellectual comfort", whilst the unregulated taste and densification of Chinese cities is analysed according to "performance", a criterion involving variables with debatable credibility: density, newness, shape, size, money etc. For example, in his design for the new CCTV headquarters in Beijing (2009), Koolhaas did not opt for the stereotypical skyscraper, often used to symbolise and landmark such government enterprises, but instead designed a series of volumes which not only tie together the numerous departments onto the nebulous site, but also introduced routes (again, the concept of cross-programming) for the general public through the site, allowing them some degree of access to the production procedure. Through his ruthlessly raw approach, Koolhaas hopes to extract the architect from the anxiety of a dead profession and resurrect a contemporary interpretation of the sublime, however fleeting it may be. In 2003, Content, a 544-page magazine-style book designed by &&& Creative and published by Koolhaas, gives an overview of the last decade of OMA projects including his designs for the Prada shops, the Seattle Public Library, a plan to save Cambridge from Harvard by rechanneling the Charles River, Lagos' future as Earth's third-biggest city, as well as interviews with Martha Stewart and Robert Venturi and Denise Scott Brown.
|
C_246bb626bd9b4cc6a6ccb3cef92dc9f2_1_q#0
|
What was the project on the city?
| 2m
| 2x
|
{
"texts": [
"a product of his position as professor at Harvard University,"
],
"answer_starts": [
43
]
}
|
{
"text": "a product of his position as professor at Harvard University,",
"answer_start": 43
}
|
C_246bb626bd9b4cc6a6ccb3cef92dc9f2_1
|
Rem Koolhaas
|
Remment Lucas "Rem" Koolhaas (Dutch pronunciation: [rem ko:lha:s]; born 17 November 1944) is a Dutch architect, architectural theorist, urbanist and Professor in Practice of Architecture and Urban Design at the Graduate School of Design at Harvard University. Koolhaas studied at the Architectural Association School of Architecture in London and at Cornell University in Ithaca, New York. Koolhaas is the founding partner of OMA, and of its research-oriented counterpart AMO based in Rotterdam, the Netherlands. In 2005, he co-founded Volume Magazine together with Mark Wigley and Ole Bouman.
|
Project on the city
|
Koolhaas's next landmark publications were a product of his position as professor at Harvard University, in the Design school's "Project on the City"; firstly the 720-page Mutations, followed by The Harvard Design School Guide to Shopping (2002) and The Great Leap Forward (2002). All three books involved Koolhaas's students analysing what others would regard as "non-cities", sprawling conglomerates such as Lagos in Nigeria, west Africa, which the authors argue are highly functional despite a lack of infrastructure. The authors also examine the influence of shopping habits and the recent rapid growth of cities in China. Critics of the books have criticised Koolhaas for being cynical - as if Western capitalism and globalization demolish all cultural identity - highlighted in the notion expounded in the books that "In the end, there will be little else for us to do but shop". However, such cynicism can alternatively be read as a "realism" about the transformation of cultural life, where airports and even museums (due to finance problems) rely just as much on operating gift shops. When it comes to transforming these observations into practice, Koolhaas mobilizes what he regards as the omnipotent forces of urbanism into unique design forms and connections organised along the lines of present-day society. Koolhaas continuously incorporates his observations of the contemporary city within his design activities: calling such a condition the 'culture of congestion'. Again, shopping is examined for "intellectual comfort", whilst the unregulated taste and densification of Chinese cities is analysed according to "performance", a criterion involving variables with debatable credibility: density, newness, shape, size, money etc. For example, in his design for the new CCTV headquarters in Beijing (2009), Koolhaas did not opt for the stereotypical skyscraper, often used to symbolise and landmark such government enterprises, but instead designed a series of volumes which not only tie together the numerous departments onto the nebulous site, but also introduced routes (again, the concept of cross-programming) for the general public through the site, allowing them some degree of access to the production procedure. Through his ruthlessly raw approach, Koolhaas hopes to extract the architect from the anxiety of a dead profession and resurrect a contemporary interpretation of the sublime, however fleeting it may be. In 2003, Content, a 544-page magazine-style book designed by &&& Creative and published by Koolhaas, gives an overview of the last decade of OMA projects including his designs for the Prada shops, the Seattle Public Library, a plan to save Cambridge from Harvard by rechanneling the Charles River, Lagos' future as Earth's third-biggest city, as well as interviews with Martha Stewart and Robert Venturi and Denise Scott Brown.
Q: What was the project on the city?
A: a product of his position as professor at Harvard University,
|
C_246bb626bd9b4cc6a6ccb3cef92dc9f2_1_q#1
|
What did it entail?
| 2m
| 2x
|
{
"texts": [
"students analysing what others would regard as \"non-cities\","
],
"answer_starts": [
317
]
}
|
{
"text": "students analysing what others would regard as \"non-cities\",",
"answer_start": 317
}
|
C_246bb626bd9b4cc6a6ccb3cef92dc9f2_1
|
Rem Koolhaas
|
Remment Lucas "Rem" Koolhaas (Dutch pronunciation: [rem ko:lha:s]; born 17 November 1944) is a Dutch architect, architectural theorist, urbanist and Professor in Practice of Architecture and Urban Design at the Graduate School of Design at Harvard University. Koolhaas studied at the Architectural Association School of Architecture in London and at Cornell University in Ithaca, New York. Koolhaas is the founding partner of OMA, and of its research-oriented counterpart AMO based in Rotterdam, the Netherlands. In 2005, he co-founded Volume Magazine together with Mark Wigley and Ole Bouman.
|
Project on the city
|
Koolhaas's next landmark publications were a product of his position as professor at Harvard University, in the Design school's "Project on the City"; firstly the 720-page Mutations, followed by The Harvard Design School Guide to Shopping (2002) and The Great Leap Forward (2002). All three books involved Koolhaas's students analysing what others would regard as "non-cities", sprawling conglomerates such as Lagos in Nigeria, west Africa, which the authors argue are highly functional despite a lack of infrastructure. The authors also examine the influence of shopping habits and the recent rapid growth of cities in China. Critics of the books have criticised Koolhaas for being cynical - as if Western capitalism and globalization demolish all cultural identity - highlighted in the notion expounded in the books that "In the end, there will be little else for us to do but shop". However, such cynicism can alternatively be read as a "realism" about the transformation of cultural life, where airports and even museums (due to finance problems) rely just as much on operating gift shops. When it comes to transforming these observations into practice, Koolhaas mobilizes what he regards as the omnipotent forces of urbanism into unique design forms and connections organised along the lines of present-day society. Koolhaas continuously incorporates his observations of the contemporary city within his design activities: calling such a condition the 'culture of congestion'. Again, shopping is examined for "intellectual comfort", whilst the unregulated taste and densification of Chinese cities is analysed according to "performance", a criterion involving variables with debatable credibility: density, newness, shape, size, money etc. For example, in his design for the new CCTV headquarters in Beijing (2009), Koolhaas did not opt for the stereotypical skyscraper, often used to symbolise and landmark such government enterprises, but instead designed a series of volumes which not only tie together the numerous departments onto the nebulous site, but also introduced routes (again, the concept of cross-programming) for the general public through the site, allowing them some degree of access to the production procedure. Through his ruthlessly raw approach, Koolhaas hopes to extract the architect from the anxiety of a dead profession and resurrect a contemporary interpretation of the sublime, however fleeting it may be. In 2003, Content, a 544-page magazine-style book designed by &&& Creative and published by Koolhaas, gives an overview of the last decade of OMA projects including his designs for the Prada shops, the Seattle Public Library, a plan to save Cambridge from Harvard by rechanneling the Charles River, Lagos' future as Earth's third-biggest city, as well as interviews with Martha Stewart and Robert Venturi and Denise Scott Brown.
Q: What was the project on the city?
A: a product of his position as professor at Harvard University,
Q: What did it entail?
A: students analysing what others would regard as "non-cities",
|
C_246bb626bd9b4cc6a6ccb3cef92dc9f2_1_q#2
|
What do you mean by non-city?
| 0y
| 2x
|
{
"texts": [
"highly functional despite a lack of infrastructure."
],
"answer_starts": [
469
]
}
|
{
"text": "highly functional despite a lack of infrastructure.",
"answer_start": 469
}
|
C_246bb626bd9b4cc6a6ccb3cef92dc9f2_1
|
Rem Koolhaas
|
Remment Lucas "Rem" Koolhaas (Dutch pronunciation: [rem ko:lha:s]; born 17 November 1944) is a Dutch architect, architectural theorist, urbanist and Professor in Practice of Architecture and Urban Design at the Graduate School of Design at Harvard University. Koolhaas studied at the Architectural Association School of Architecture in London and at Cornell University in Ithaca, New York. Koolhaas is the founding partner of OMA, and of its research-oriented counterpart AMO based in Rotterdam, the Netherlands. In 2005, he co-founded Volume Magazine together with Mark Wigley and Ole Bouman.
|
Project on the city
|
Koolhaas's next landmark publications were a product of his position as professor at Harvard University, in the Design school's "Project on the City"; firstly the 720-page Mutations, followed by The Harvard Design School Guide to Shopping (2002) and The Great Leap Forward (2002). All three books involved Koolhaas's students analysing what others would regard as "non-cities", sprawling conglomerates such as Lagos in Nigeria, west Africa, which the authors argue are highly functional despite a lack of infrastructure. The authors also examine the influence of shopping habits and the recent rapid growth of cities in China. Critics of the books have criticised Koolhaas for being cynical - as if Western capitalism and globalization demolish all cultural identity - highlighted in the notion expounded in the books that "In the end, there will be little else for us to do but shop". However, such cynicism can alternatively be read as a "realism" about the transformation of cultural life, where airports and even museums (due to finance problems) rely just as much on operating gift shops. When it comes to transforming these observations into practice, Koolhaas mobilizes what he regards as the omnipotent forces of urbanism into unique design forms and connections organised along the lines of present-day society. Koolhaas continuously incorporates his observations of the contemporary city within his design activities: calling such a condition the 'culture of congestion'. Again, shopping is examined for "intellectual comfort", whilst the unregulated taste and densification of Chinese cities is analysed according to "performance", a criterion involving variables with debatable credibility: density, newness, shape, size, money etc. For example, in his design for the new CCTV headquarters in Beijing (2009), Koolhaas did not opt for the stereotypical skyscraper, often used to symbolise and landmark such government enterprises, but instead designed a series of volumes which not only tie together the numerous departments onto the nebulous site, but also introduced routes (again, the concept of cross-programming) for the general public through the site, allowing them some degree of access to the production procedure. Through his ruthlessly raw approach, Koolhaas hopes to extract the architect from the anxiety of a dead profession and resurrect a contemporary interpretation of the sublime, however fleeting it may be. In 2003, Content, a 544-page magazine-style book designed by &&& Creative and published by Koolhaas, gives an overview of the last decade of OMA projects including his designs for the Prada shops, the Seattle Public Library, a plan to save Cambridge from Harvard by rechanneling the Charles River, Lagos' future as Earth's third-biggest city, as well as interviews with Martha Stewart and Robert Venturi and Denise Scott Brown.
Q: What was the project on the city?
A: a product of his position as professor at Harvard University,
Q: What did it entail?
A: students analysing what others would regard as "non-cities",
Q: What do you mean by non-city?
A: highly functional despite a lack of infrastructure.
|
C_246bb626bd9b4cc6a6ccb3cef92dc9f2_1_q#3
|
Did it have to meet certain requirements?
| 1n
| 2x
|
{
"texts": [
"unknown"
],
"answer_starts": [
2868
]
}
|
{
"text": "unknown",
"answer_start": 2868
}
|
C_246bb626bd9b4cc6a6ccb3cef92dc9f2_1
|
Rem Koolhaas
|
Remment Lucas "Rem" Koolhaas (Dutch pronunciation: [rem ko:lha:s]; born 17 November 1944) is a Dutch architect, architectural theorist, urbanist and Professor in Practice of Architecture and Urban Design at the Graduate School of Design at Harvard University. Koolhaas studied at the Architectural Association School of Architecture in London and at Cornell University in Ithaca, New York. Koolhaas is the founding partner of OMA, and of its research-oriented counterpart AMO based in Rotterdam, the Netherlands. In 2005, he co-founded Volume Magazine together with Mark Wigley and Ole Bouman.
|
Project on the city
|
Koolhaas's next landmark publications were a product of his position as professor at Harvard University, in the Design school's "Project on the City"; firstly the 720-page Mutations, followed by The Harvard Design School Guide to Shopping (2002) and The Great Leap Forward (2002). All three books involved Koolhaas's students analysing what others would regard as "non-cities", sprawling conglomerates such as Lagos in Nigeria, west Africa, which the authors argue are highly functional despite a lack of infrastructure. The authors also examine the influence of shopping habits and the recent rapid growth of cities in China. Critics of the books have criticised Koolhaas for being cynical - as if Western capitalism and globalization demolish all cultural identity - highlighted in the notion expounded in the books that "In the end, there will be little else for us to do but shop". However, such cynicism can alternatively be read as a "realism" about the transformation of cultural life, where airports and even museums (due to finance problems) rely just as much on operating gift shops. When it comes to transforming these observations into practice, Koolhaas mobilizes what he regards as the omnipotent forces of urbanism into unique design forms and connections organised along the lines of present-day society. Koolhaas continuously incorporates his observations of the contemporary city within his design activities: calling such a condition the 'culture of congestion'. Again, shopping is examined for "intellectual comfort", whilst the unregulated taste and densification of Chinese cities is analysed according to "performance", a criterion involving variables with debatable credibility: density, newness, shape, size, money etc. For example, in his design for the new CCTV headquarters in Beijing (2009), Koolhaas did not opt for the stereotypical skyscraper, often used to symbolise and landmark such government enterprises, but instead designed a series of volumes which not only tie together the numerous departments onto the nebulous site, but also introduced routes (again, the concept of cross-programming) for the general public through the site, allowing them some degree of access to the production procedure. Through his ruthlessly raw approach, Koolhaas hopes to extract the architect from the anxiety of a dead profession and resurrect a contemporary interpretation of the sublime, however fleeting it may be. In 2003, Content, a 544-page magazine-style book designed by &&& Creative and published by Koolhaas, gives an overview of the last decade of OMA projects including his designs for the Prada shops, the Seattle Public Library, a plan to save Cambridge from Harvard by rechanneling the Charles River, Lagos' future as Earth's third-biggest city, as well as interviews with Martha Stewart and Robert Venturi and Denise Scott Brown.
Q: What was the project on the city?
A: a product of his position as professor at Harvard University,
Q: What did it entail?
A: students analysing what others would regard as "non-cities",
Q: What do you mean by non-city?
A: highly functional despite a lack of infrastructure.
Q: Did it have to meet certain requirements?
A: unknown
|
C_246bb626bd9b4cc6a6ccb3cef92dc9f2_1_q#4
|
Are there any other interesting aspects about this article?
| 2m
| 2x
|
{
"texts": [
"Koolhaas mobilizes what he regards as the omnipotent forces of urbanism into unique design forms"
],
"answer_starts": [
1159
]
}
|
{
"text": "Koolhaas mobilizes what he regards as the omnipotent forces of urbanism into unique design forms",
"answer_start": 1159
}
|
C_246bb626bd9b4cc6a6ccb3cef92dc9f2_1
|
Rem Koolhaas
|
Remment Lucas "Rem" Koolhaas (Dutch pronunciation: [rem ko:lha:s]; born 17 November 1944) is a Dutch architect, architectural theorist, urbanist and Professor in Practice of Architecture and Urban Design at the Graduate School of Design at Harvard University. Koolhaas studied at the Architectural Association School of Architecture in London and at Cornell University in Ithaca, New York. Koolhaas is the founding partner of OMA, and of its research-oriented counterpart AMO based in Rotterdam, the Netherlands. In 2005, he co-founded Volume Magazine together with Mark Wigley and Ole Bouman.
|
Project on the city
|
Koolhaas's next landmark publications were a product of his position as professor at Harvard University, in the Design school's "Project on the City"; firstly the 720-page Mutations, followed by The Harvard Design School Guide to Shopping (2002) and The Great Leap Forward (2002). All three books involved Koolhaas's students analysing what others would regard as "non-cities", sprawling conglomerates such as Lagos in Nigeria, west Africa, which the authors argue are highly functional despite a lack of infrastructure. The authors also examine the influence of shopping habits and the recent rapid growth of cities in China. Critics of the books have criticised Koolhaas for being cynical - as if Western capitalism and globalization demolish all cultural identity - highlighted in the notion expounded in the books that "In the end, there will be little else for us to do but shop". However, such cynicism can alternatively be read as a "realism" about the transformation of cultural life, where airports and even museums (due to finance problems) rely just as much on operating gift shops. When it comes to transforming these observations into practice, Koolhaas mobilizes what he regards as the omnipotent forces of urbanism into unique design forms and connections organised along the lines of present-day society. Koolhaas continuously incorporates his observations of the contemporary city within his design activities: calling such a condition the 'culture of congestion'. Again, shopping is examined for "intellectual comfort", whilst the unregulated taste and densification of Chinese cities is analysed according to "performance", a criterion involving variables with debatable credibility: density, newness, shape, size, money etc. For example, in his design for the new CCTV headquarters in Beijing (2009), Koolhaas did not opt for the stereotypical skyscraper, often used to symbolise and landmark such government enterprises, but instead designed a series of volumes which not only tie together the numerous departments onto the nebulous site, but also introduced routes (again, the concept of cross-programming) for the general public through the site, allowing them some degree of access to the production procedure. Through his ruthlessly raw approach, Koolhaas hopes to extract the architect from the anxiety of a dead profession and resurrect a contemporary interpretation of the sublime, however fleeting it may be. In 2003, Content, a 544-page magazine-style book designed by &&& Creative and published by Koolhaas, gives an overview of the last decade of OMA projects including his designs for the Prada shops, the Seattle Public Library, a plan to save Cambridge from Harvard by rechanneling the Charles River, Lagos' future as Earth's third-biggest city, as well as interviews with Martha Stewart and Robert Venturi and Denise Scott Brown.
Q: What was the project on the city?
A: a product of his position as professor at Harvard University,
Q: What did it entail?
A: students analysing what others would regard as "non-cities",
Q: What do you mean by non-city?
A: highly functional despite a lack of infrastructure.
Q: Did it have to meet certain requirements?
A: unknown
Q: Are there any other interesting aspects about this article?
A: Koolhaas mobilizes what he regards as the omnipotent forces of urbanism into unique design forms
|
C_246bb626bd9b4cc6a6ccb3cef92dc9f2_1_q#5
|
What omnipotent forces?
| 1n
| 2x
|
{
"texts": [
"unknown"
],
"answer_starts": [
2868
]
}
|
{
"text": "unknown",
"answer_start": 2868
}
|
C_246bb626bd9b4cc6a6ccb3cef92dc9f2_0
|
Rem Koolhaas
|
Remment Lucas "Rem" Koolhaas (Dutch pronunciation: [rem ko:lha:s]; born 17 November 1944) is a Dutch architect, architectural theorist, urbanist and Professor in Practice of Architecture and Urban Design at the Graduate School of Design at Harvard University. Koolhaas studied at the Architectural Association School of Architecture in London and at Cornell University in Ithaca, New York. Koolhaas is the founding partner of OMA, and of its research-oriented counterpart AMO based in Rotterdam, the Netherlands. In 2005, he co-founded Volume Magazine together with Mark Wigley and Ole Bouman.
|
European Flag proposal
|
Following the signing of Treaties of Nice in May 2001, which made Brussels the de facto capital of the European Union, the then President of the European Commission, Romano Prodi and the Belgian Prime Minister Guy Verhofstadt invited Koolhaas to discuss the necessities and requirements of a European capital. During these talks and as an impetus for further discussion, Koolhaas and his think-tank AMO - an independent part of OMA - suggested the development of a visual language. This idea inspired a series of drawings and drafts, including the "Barcode". The barcode seeks to unite the flags of the EU member countries into a single, colourful symbol. In the current European flag, there is a fixed number of stars. In the barcode however, new Member States of the EU can be added without space constraints. Originally, the barcode displayed 15 EU countries. In 2004, the symbol was adapted to include the ten new Member States. Since the time of the first drafts of the barcode it has very rarely been officially used by commercial or political institutions. During the Austrian EU Presidency 2006, it was officially used for the first time. The logo was used for the EU information campaign, but was very negatively criticized. In addition to the initial uproar caused by the Estonian flag stripes being displayed incorrectly, the proposed flag failed to achieve its main objective as a symbol. Critics pointed the lack of capability to relate the signified (the mental concept, the European Union) with the signifier (the physical image, the stripes) as the major problem, as well as the presented justification for the order in which the color stripes were displayed (as every country in the EU should be regarded as equal in importance and priority).
|
C_246bb626bd9b4cc6a6ccb3cef92dc9f2_0_q#0
|
what was proposed about the European Flag?
| 0y
| 2x
|
{
"texts": [
"The barcode seeks to unite the flags of the EU member countries into a single, colourful symbol."
],
"answer_starts": [
560
]
}
|
{
"text": "The barcode seeks to unite the flags of the EU member countries into a single, colourful symbol.",
"answer_start": 560
}
|
C_246bb626bd9b4cc6a6ccb3cef92dc9f2_0
|
Rem Koolhaas
|
Remment Lucas "Rem" Koolhaas (Dutch pronunciation: [rem ko:lha:s]; born 17 November 1944) is a Dutch architect, architectural theorist, urbanist and Professor in Practice of Architecture and Urban Design at the Graduate School of Design at Harvard University. Koolhaas studied at the Architectural Association School of Architecture in London and at Cornell University in Ithaca, New York. Koolhaas is the founding partner of OMA, and of its research-oriented counterpart AMO based in Rotterdam, the Netherlands. In 2005, he co-founded Volume Magazine together with Mark Wigley and Ole Bouman.
|
European Flag proposal
|
Following the signing of Treaties of Nice in May 2001, which made Brussels the de facto capital of the European Union, the then President of the European Commission, Romano Prodi and the Belgian Prime Minister Guy Verhofstadt invited Koolhaas to discuss the necessities and requirements of a European capital. During these talks and as an impetus for further discussion, Koolhaas and his think-tank AMO - an independent part of OMA - suggested the development of a visual language. This idea inspired a series of drawings and drafts, including the "Barcode". The barcode seeks to unite the flags of the EU member countries into a single, colourful symbol. In the current European flag, there is a fixed number of stars. In the barcode however, new Member States of the EU can be added without space constraints. Originally, the barcode displayed 15 EU countries. In 2004, the symbol was adapted to include the ten new Member States. Since the time of the first drafts of the barcode it has very rarely been officially used by commercial or political institutions. During the Austrian EU Presidency 2006, it was officially used for the first time. The logo was used for the EU information campaign, but was very negatively criticized. In addition to the initial uproar caused by the Estonian flag stripes being displayed incorrectly, the proposed flag failed to achieve its main objective as a symbol. Critics pointed the lack of capability to relate the signified (the mental concept, the European Union) with the signifier (the physical image, the stripes) as the major problem, as well as the presented justification for the order in which the color stripes were displayed (as every country in the EU should be regarded as equal in importance and priority).
Q: what was proposed about the European Flag?
A: The barcode seeks to unite the flags of the EU member countries into a single, colourful symbol.
|
C_246bb626bd9b4cc6a6ccb3cef92dc9f2_0_q#1
|
what kind of symbol?
| 1n
| 2x
|
{
"texts": [
"unknown"
],
"answer_starts": [
1762
]
}
|
{
"text": "unknown",
"answer_start": 1762
}
|
C_246bb626bd9b4cc6a6ccb3cef92dc9f2_0
|
Rem Koolhaas
|
Remment Lucas "Rem" Koolhaas (Dutch pronunciation: [rem ko:lha:s]; born 17 November 1944) is a Dutch architect, architectural theorist, urbanist and Professor in Practice of Architecture and Urban Design at the Graduate School of Design at Harvard University. Koolhaas studied at the Architectural Association School of Architecture in London and at Cornell University in Ithaca, New York. Koolhaas is the founding partner of OMA, and of its research-oriented counterpart AMO based in Rotterdam, the Netherlands. In 2005, he co-founded Volume Magazine together with Mark Wigley and Ole Bouman.
|
European Flag proposal
|
Following the signing of Treaties of Nice in May 2001, which made Brussels the de facto capital of the European Union, the then President of the European Commission, Romano Prodi and the Belgian Prime Minister Guy Verhofstadt invited Koolhaas to discuss the necessities and requirements of a European capital. During these talks and as an impetus for further discussion, Koolhaas and his think-tank AMO - an independent part of OMA - suggested the development of a visual language. This idea inspired a series of drawings and drafts, including the "Barcode". The barcode seeks to unite the flags of the EU member countries into a single, colourful symbol. In the current European flag, there is a fixed number of stars. In the barcode however, new Member States of the EU can be added without space constraints. Originally, the barcode displayed 15 EU countries. In 2004, the symbol was adapted to include the ten new Member States. Since the time of the first drafts of the barcode it has very rarely been officially used by commercial or political institutions. During the Austrian EU Presidency 2006, it was officially used for the first time. The logo was used for the EU information campaign, but was very negatively criticized. In addition to the initial uproar caused by the Estonian flag stripes being displayed incorrectly, the proposed flag failed to achieve its main objective as a symbol. Critics pointed the lack of capability to relate the signified (the mental concept, the European Union) with the signifier (the physical image, the stripes) as the major problem, as well as the presented justification for the order in which the color stripes were displayed (as every country in the EU should be regarded as equal in importance and priority).
Q: what was proposed about the European Flag?
A: The barcode seeks to unite the flags of the EU member countries into a single, colourful symbol.
Q: what kind of symbol?
A: unknown
|
C_246bb626bd9b4cc6a6ccb3cef92dc9f2_0_q#2
|
why did they decide to unite the flags?
| 2m
| 2x
|
{
"texts": [
"Koolhaas and his think-tank AMO - an independent part of OMA - suggested the development of a visual language."
],
"answer_starts": [
372
]
}
|
{
"text": "Koolhaas and his think-tank AMO - an independent part of OMA - suggested the development of a visual language.",
"answer_start": 372
}
|
C_246bb626bd9b4cc6a6ccb3cef92dc9f2_0
|
Rem Koolhaas
|
Remment Lucas "Rem" Koolhaas (Dutch pronunciation: [rem ko:lha:s]; born 17 November 1944) is a Dutch architect, architectural theorist, urbanist and Professor in Practice of Architecture and Urban Design at the Graduate School of Design at Harvard University. Koolhaas studied at the Architectural Association School of Architecture in London and at Cornell University in Ithaca, New York. Koolhaas is the founding partner of OMA, and of its research-oriented counterpart AMO based in Rotterdam, the Netherlands. In 2005, he co-founded Volume Magazine together with Mark Wigley and Ole Bouman.
|
European Flag proposal
|
Following the signing of Treaties of Nice in May 2001, which made Brussels the de facto capital of the European Union, the then President of the European Commission, Romano Prodi and the Belgian Prime Minister Guy Verhofstadt invited Koolhaas to discuss the necessities and requirements of a European capital. During these talks and as an impetus for further discussion, Koolhaas and his think-tank AMO - an independent part of OMA - suggested the development of a visual language. This idea inspired a series of drawings and drafts, including the "Barcode". The barcode seeks to unite the flags of the EU member countries into a single, colourful symbol. In the current European flag, there is a fixed number of stars. In the barcode however, new Member States of the EU can be added without space constraints. Originally, the barcode displayed 15 EU countries. In 2004, the symbol was adapted to include the ten new Member States. Since the time of the first drafts of the barcode it has very rarely been officially used by commercial or political institutions. During the Austrian EU Presidency 2006, it was officially used for the first time. The logo was used for the EU information campaign, but was very negatively criticized. In addition to the initial uproar caused by the Estonian flag stripes being displayed incorrectly, the proposed flag failed to achieve its main objective as a symbol. Critics pointed the lack of capability to relate the signified (the mental concept, the European Union) with the signifier (the physical image, the stripes) as the major problem, as well as the presented justification for the order in which the color stripes were displayed (as every country in the EU should be regarded as equal in importance and priority).
Q: what was proposed about the European Flag?
A: The barcode seeks to unite the flags of the EU member countries into a single, colourful symbol.
Q: what kind of symbol?
A: unknown
Q: why did they decide to unite the flags?
A: Koolhaas and his think-tank AMO - an independent part of OMA - suggested the development of a visual language.
|
C_246bb626bd9b4cc6a6ccb3cef92dc9f2_0_q#3
|
was there any opposition to doing this?
| 0y
| 0y
|
{
"texts": [
"The logo was used for the EU information campaign, but was very negatively criticized."
],
"answer_starts": [
1149
]
}
|
{
"text": "The logo was used for the EU information campaign, but was very negatively criticized.",
"answer_start": 1149
}
|
C_246bb626bd9b4cc6a6ccb3cef92dc9f2_0
|
Rem Koolhaas
|
Remment Lucas "Rem" Koolhaas (Dutch pronunciation: [rem ko:lha:s]; born 17 November 1944) is a Dutch architect, architectural theorist, urbanist and Professor in Practice of Architecture and Urban Design at the Graduate School of Design at Harvard University. Koolhaas studied at the Architectural Association School of Architecture in London and at Cornell University in Ithaca, New York. Koolhaas is the founding partner of OMA, and of its research-oriented counterpart AMO based in Rotterdam, the Netherlands. In 2005, he co-founded Volume Magazine together with Mark Wigley and Ole Bouman.
|
European Flag proposal
|
Following the signing of Treaties of Nice in May 2001, which made Brussels the de facto capital of the European Union, the then President of the European Commission, Romano Prodi and the Belgian Prime Minister Guy Verhofstadt invited Koolhaas to discuss the necessities and requirements of a European capital. During these talks and as an impetus for further discussion, Koolhaas and his think-tank AMO - an independent part of OMA - suggested the development of a visual language. This idea inspired a series of drawings and drafts, including the "Barcode". The barcode seeks to unite the flags of the EU member countries into a single, colourful symbol. In the current European flag, there is a fixed number of stars. In the barcode however, new Member States of the EU can be added without space constraints. Originally, the barcode displayed 15 EU countries. In 2004, the symbol was adapted to include the ten new Member States. Since the time of the first drafts of the barcode it has very rarely been officially used by commercial or political institutions. During the Austrian EU Presidency 2006, it was officially used for the first time. The logo was used for the EU information campaign, but was very negatively criticized. In addition to the initial uproar caused by the Estonian flag stripes being displayed incorrectly, the proposed flag failed to achieve its main objective as a symbol. Critics pointed the lack of capability to relate the signified (the mental concept, the European Union) with the signifier (the physical image, the stripes) as the major problem, as well as the presented justification for the order in which the color stripes were displayed (as every country in the EU should be regarded as equal in importance and priority).
Q: what was proposed about the European Flag?
A: The barcode seeks to unite the flags of the EU member countries into a single, colourful symbol.
Q: what kind of symbol?
A: unknown
Q: why did they decide to unite the flags?
A: Koolhaas and his think-tank AMO - an independent part of OMA - suggested the development of a visual language.
Q: was there any opposition to doing this?
A: The logo was used for the EU information campaign, but was very negatively criticized.
|
C_246bb626bd9b4cc6a6ccb3cef92dc9f2_0_q#4
|
was the proposal successful?
| 0y
| 0y
|
{
"texts": [
"The logo was used for the EU information campaign,"
],
"answer_starts": [
1149
]
}
|
{
"text": "The logo was used for the EU information campaign,",
"answer_start": 1149
}
|
C_246bb626bd9b4cc6a6ccb3cef92dc9f2_0
|
Rem Koolhaas
|
Remment Lucas "Rem" Koolhaas (Dutch pronunciation: [rem ko:lha:s]; born 17 November 1944) is a Dutch architect, architectural theorist, urbanist and Professor in Practice of Architecture and Urban Design at the Graduate School of Design at Harvard University. Koolhaas studied at the Architectural Association School of Architecture in London and at Cornell University in Ithaca, New York. Koolhaas is the founding partner of OMA, and of its research-oriented counterpart AMO based in Rotterdam, the Netherlands. In 2005, he co-founded Volume Magazine together with Mark Wigley and Ole Bouman.
|
European Flag proposal
|
Following the signing of Treaties of Nice in May 2001, which made Brussels the de facto capital of the European Union, the then President of the European Commission, Romano Prodi and the Belgian Prime Minister Guy Verhofstadt invited Koolhaas to discuss the necessities and requirements of a European capital. During these talks and as an impetus for further discussion, Koolhaas and his think-tank AMO - an independent part of OMA - suggested the development of a visual language. This idea inspired a series of drawings and drafts, including the "Barcode". The barcode seeks to unite the flags of the EU member countries into a single, colourful symbol. In the current European flag, there is a fixed number of stars. In the barcode however, new Member States of the EU can be added without space constraints. Originally, the barcode displayed 15 EU countries. In 2004, the symbol was adapted to include the ten new Member States. Since the time of the first drafts of the barcode it has very rarely been officially used by commercial or political institutions. During the Austrian EU Presidency 2006, it was officially used for the first time. The logo was used for the EU information campaign, but was very negatively criticized. In addition to the initial uproar caused by the Estonian flag stripes being displayed incorrectly, the proposed flag failed to achieve its main objective as a symbol. Critics pointed the lack of capability to relate the signified (the mental concept, the European Union) with the signifier (the physical image, the stripes) as the major problem, as well as the presented justification for the order in which the color stripes were displayed (as every country in the EU should be regarded as equal in importance and priority).
Q: what was proposed about the European Flag?
A: The barcode seeks to unite the flags of the EU member countries into a single, colourful symbol.
Q: what kind of symbol?
A: unknown
Q: why did they decide to unite the flags?
A: Koolhaas and his think-tank AMO - an independent part of OMA - suggested the development of a visual language.
Q: was there any opposition to doing this?
A: The logo was used for the EU information campaign, but was very negatively criticized.
Q: was the proposal successful?
A: The logo was used for the EU information campaign,
|
C_246bb626bd9b4cc6a6ccb3cef92dc9f2_0_q#5
|
when did all this happen?
| 2m
| 2x
|
{
"texts": [
"Following the signing of Treaties of Nice in May 2001,"
],
"answer_starts": [
0
]
}
|
{
"text": "Following the signing of Treaties of Nice in May 2001,",
"answer_start": 0
}
|
C_f4eb0541abd946cf8672e851bc8ab558_1
|
Koko B. Ware
|
James Ware (born June 20, 1957), better known by his ring name Koko B. Ware is a retired American professional wrestler who made his professional wrestling debut in 1978. He rose in popularity during the mid 1980s, while appearing in the World Wrestling Federation, where he was initially a strong mid-carder before he eventually became a jobber to the stars. Ware came to the ring with a blue-and-yellow macaw named Frankie, and would flap his arms like a bird while dancing before and after his matches. Before joining the WWF, Ware worked as a part of several tag teams, first with Bobby Eaton in Memphis and then later on with Norvell Austin as one half of the P.Y.T. Express in several promotions.
|
Early years (1978 - 1986)
|
Koko spent his early days in the sport in the Mid-South, Georgia and other NWA territories. Early in his career, Koko Ware (as he was then known) did not find great success, learning the ropes and paying his dues both in Jerry Jarrett's Continental Wrestling Association and Nick Gulas' territory in the south. It was not until late in 1980 that Koko's fortune changed when he participated in a battle royal to crown the first ever Mid-American Television Champion. The crowd favorite was Jimmy Valiant, who Koko accidentally knocked into Danny Davis and eliminated Valiant. Moments later, Koko dumped Davis to the floor and won his first title. After the match, Jimmy Valiant returned to the ring and beat Koko down. Koko's feud with Jimmy Valiant was quickly expanded to include the heel Tojo Yamamoto and Koko ally Tommy Rich. When Dutch Mantel returned to the CWA in early 1981 he quickly defeated Koko for the TV title making Koko's first run with the gold a short one. Koko floundered until September 1981 when he was chosen to referee a Southern Heavyweight Championship title match between Jerry Lawler and "The Dream Machine". Ware unfairly counted Lawler out to give the Dream Machine the victory, a decision that did not sit well with Lawler nor the fans in Memphis. Koko quickly aligned himself with manager Jimmy Hart and his First Family and changed his name to Sweet Brown Sugar. Sugar never got the best of Lawler but did taste tag-team success alongside Steve Keirn and then with Bobby Eaton. Eaton & Sugar won the AWA Southern Tag Team Championship.
|
C_f4eb0541abd946cf8672e851bc8ab558_1_q#0
|
How did Koko B. Ware get started?
| 0y
| 2x
|
{
"texts": [
"his early days in the sport in the Mid-South, Georgia and other NWA territories."
],
"answer_starts": [
11
]
}
|
{
"text": "his early days in the sport in the Mid-South, Georgia and other NWA territories.",
"answer_start": 11
}
|
C_f4eb0541abd946cf8672e851bc8ab558_1
|
Koko B. Ware
|
James Ware (born June 20, 1957), better known by his ring name Koko B. Ware is a retired American professional wrestler who made his professional wrestling debut in 1978. He rose in popularity during the mid 1980s, while appearing in the World Wrestling Federation, where he was initially a strong mid-carder before he eventually became a jobber to the stars. Ware came to the ring with a blue-and-yellow macaw named Frankie, and would flap his arms like a bird while dancing before and after his matches. Before joining the WWF, Ware worked as a part of several tag teams, first with Bobby Eaton in Memphis and then later on with Norvell Austin as one half of the P.Y.T. Express in several promotions.
|
Early years (1978 - 1986)
|
Koko spent his early days in the sport in the Mid-South, Georgia and other NWA territories. Early in his career, Koko Ware (as he was then known) did not find great success, learning the ropes and paying his dues both in Jerry Jarrett's Continental Wrestling Association and Nick Gulas' territory in the south. It was not until late in 1980 that Koko's fortune changed when he participated in a battle royal to crown the first ever Mid-American Television Champion. The crowd favorite was Jimmy Valiant, who Koko accidentally knocked into Danny Davis and eliminated Valiant. Moments later, Koko dumped Davis to the floor and won his first title. After the match, Jimmy Valiant returned to the ring and beat Koko down. Koko's feud with Jimmy Valiant was quickly expanded to include the heel Tojo Yamamoto and Koko ally Tommy Rich. When Dutch Mantel returned to the CWA in early 1981 he quickly defeated Koko for the TV title making Koko's first run with the gold a short one. Koko floundered until September 1981 when he was chosen to referee a Southern Heavyweight Championship title match between Jerry Lawler and "The Dream Machine". Ware unfairly counted Lawler out to give the Dream Machine the victory, a decision that did not sit well with Lawler nor the fans in Memphis. Koko quickly aligned himself with manager Jimmy Hart and his First Family and changed his name to Sweet Brown Sugar. Sugar never got the best of Lawler but did taste tag-team success alongside Steve Keirn and then with Bobby Eaton. Eaton & Sugar won the AWA Southern Tag Team Championship.
Q: How did Koko B. Ware get started?
A: his early days in the sport in the Mid-South, Georgia and other NWA territories.
|
C_f4eb0541abd946cf8672e851bc8ab558_1_q#1
|
How did he fare against his opponents?
| 0y
| 2x
|
{
"texts": [
"he participated in a battle royal to crown the first ever Mid-American Television Champion. The crowd favorite was Jimmy Valiant,"
],
"answer_starts": [
375
]
}
|
{
"text": "he participated in a battle royal to crown the first ever Mid-American Television Champion. The crowd favorite was Jimmy Valiant,",
"answer_start": 375
}
|
C_f4eb0541abd946cf8672e851bc8ab558_1
|
Koko B. Ware
|
James Ware (born June 20, 1957), better known by his ring name Koko B. Ware is a retired American professional wrestler who made his professional wrestling debut in 1978. He rose in popularity during the mid 1980s, while appearing in the World Wrestling Federation, where he was initially a strong mid-carder before he eventually became a jobber to the stars. Ware came to the ring with a blue-and-yellow macaw named Frankie, and would flap his arms like a bird while dancing before and after his matches. Before joining the WWF, Ware worked as a part of several tag teams, first with Bobby Eaton in Memphis and then later on with Norvell Austin as one half of the P.Y.T. Express in several promotions.
|
Early years (1978 - 1986)
|
Koko spent his early days in the sport in the Mid-South, Georgia and other NWA territories. Early in his career, Koko Ware (as he was then known) did not find great success, learning the ropes and paying his dues both in Jerry Jarrett's Continental Wrestling Association and Nick Gulas' territory in the south. It was not until late in 1980 that Koko's fortune changed when he participated in a battle royal to crown the first ever Mid-American Television Champion. The crowd favorite was Jimmy Valiant, who Koko accidentally knocked into Danny Davis and eliminated Valiant. Moments later, Koko dumped Davis to the floor and won his first title. After the match, Jimmy Valiant returned to the ring and beat Koko down. Koko's feud with Jimmy Valiant was quickly expanded to include the heel Tojo Yamamoto and Koko ally Tommy Rich. When Dutch Mantel returned to the CWA in early 1981 he quickly defeated Koko for the TV title making Koko's first run with the gold a short one. Koko floundered until September 1981 when he was chosen to referee a Southern Heavyweight Championship title match between Jerry Lawler and "The Dream Machine". Ware unfairly counted Lawler out to give the Dream Machine the victory, a decision that did not sit well with Lawler nor the fans in Memphis. Koko quickly aligned himself with manager Jimmy Hart and his First Family and changed his name to Sweet Brown Sugar. Sugar never got the best of Lawler but did taste tag-team success alongside Steve Keirn and then with Bobby Eaton. Eaton & Sugar won the AWA Southern Tag Team Championship.
Q: How did Koko B. Ware get started?
A: his early days in the sport in the Mid-South, Georgia and other NWA territories.
Q: How did he fare against his opponents?
A: he participated in a battle royal to crown the first ever Mid-American Television Champion. The crowd favorite was Jimmy Valiant,
|
C_f4eb0541abd946cf8672e851bc8ab558_1_q#2
|
Are there any other interesting aspects about this article?
| 0y
| 0y
|
{
"texts": [
") did not find great success, learning the ropes and paying his dues both in Jerry Jarrett's Continental Wrestling Association and Nick Gulas' territory in the south."
],
"answer_starts": [
144
]
}
|
{
"text": ") did not find great success, learning the ropes and paying his dues both in Jerry Jarrett's Continental Wrestling Association and Nick Gulas' territory in the south.",
"answer_start": 144
}
|
C_f4eb0541abd946cf8672e851bc8ab558_1
|
Koko B. Ware
|
James Ware (born June 20, 1957), better known by his ring name Koko B. Ware is a retired American professional wrestler who made his professional wrestling debut in 1978. He rose in popularity during the mid 1980s, while appearing in the World Wrestling Federation, where he was initially a strong mid-carder before he eventually became a jobber to the stars. Ware came to the ring with a blue-and-yellow macaw named Frankie, and would flap his arms like a bird while dancing before and after his matches. Before joining the WWF, Ware worked as a part of several tag teams, first with Bobby Eaton in Memphis and then later on with Norvell Austin as one half of the P.Y.T. Express in several promotions.
|
Early years (1978 - 1986)
|
Koko spent his early days in the sport in the Mid-South, Georgia and other NWA territories. Early in his career, Koko Ware (as he was then known) did not find great success, learning the ropes and paying his dues both in Jerry Jarrett's Continental Wrestling Association and Nick Gulas' territory in the south. It was not until late in 1980 that Koko's fortune changed when he participated in a battle royal to crown the first ever Mid-American Television Champion. The crowd favorite was Jimmy Valiant, who Koko accidentally knocked into Danny Davis and eliminated Valiant. Moments later, Koko dumped Davis to the floor and won his first title. After the match, Jimmy Valiant returned to the ring and beat Koko down. Koko's feud with Jimmy Valiant was quickly expanded to include the heel Tojo Yamamoto and Koko ally Tommy Rich. When Dutch Mantel returned to the CWA in early 1981 he quickly defeated Koko for the TV title making Koko's first run with the gold a short one. Koko floundered until September 1981 when he was chosen to referee a Southern Heavyweight Championship title match between Jerry Lawler and "The Dream Machine". Ware unfairly counted Lawler out to give the Dream Machine the victory, a decision that did not sit well with Lawler nor the fans in Memphis. Koko quickly aligned himself with manager Jimmy Hart and his First Family and changed his name to Sweet Brown Sugar. Sugar never got the best of Lawler but did taste tag-team success alongside Steve Keirn and then with Bobby Eaton. Eaton & Sugar won the AWA Southern Tag Team Championship.
Q: How did Koko B. Ware get started?
A: his early days in the sport in the Mid-South, Georgia and other NWA territories.
Q: How did he fare against his opponents?
A: he participated in a battle royal to crown the first ever Mid-American Television Champion. The crowd favorite was Jimmy Valiant,
Q: Are there any other interesting aspects about this article?
A: ) did not find great success, learning the ropes and paying his dues both in Jerry Jarrett's Continental Wrestling Association and Nick Gulas' territory in the south.
|
C_f4eb0541abd946cf8672e851bc8ab558_1_q#3
|
When did Koko B. Ware's big break come?
| 2m
| 2x
|
{
"texts": [
"It was not until late in 1980 that Koko's fortune changed when he participated in a battle royal to crown the first ever Mid-American Television Champion."
],
"answer_starts": [
312
]
}
|
{
"text": "It was not until late in 1980 that Koko's fortune changed when he participated in a battle royal to crown the first ever Mid-American Television Champion.",
"answer_start": 312
}
|
C_f4eb0541abd946cf8672e851bc8ab558_1
|
Koko B. Ware
|
James Ware (born June 20, 1957), better known by his ring name Koko B. Ware is a retired American professional wrestler who made his professional wrestling debut in 1978. He rose in popularity during the mid 1980s, while appearing in the World Wrestling Federation, where he was initially a strong mid-carder before he eventually became a jobber to the stars. Ware came to the ring with a blue-and-yellow macaw named Frankie, and would flap his arms like a bird while dancing before and after his matches. Before joining the WWF, Ware worked as a part of several tag teams, first with Bobby Eaton in Memphis and then later on with Norvell Austin as one half of the P.Y.T. Express in several promotions.
|
Early years (1978 - 1986)
|
Koko spent his early days in the sport in the Mid-South, Georgia and other NWA territories. Early in his career, Koko Ware (as he was then known) did not find great success, learning the ropes and paying his dues both in Jerry Jarrett's Continental Wrestling Association and Nick Gulas' territory in the south. It was not until late in 1980 that Koko's fortune changed when he participated in a battle royal to crown the first ever Mid-American Television Champion. The crowd favorite was Jimmy Valiant, who Koko accidentally knocked into Danny Davis and eliminated Valiant. Moments later, Koko dumped Davis to the floor and won his first title. After the match, Jimmy Valiant returned to the ring and beat Koko down. Koko's feud with Jimmy Valiant was quickly expanded to include the heel Tojo Yamamoto and Koko ally Tommy Rich. When Dutch Mantel returned to the CWA in early 1981 he quickly defeated Koko for the TV title making Koko's first run with the gold a short one. Koko floundered until September 1981 when he was chosen to referee a Southern Heavyweight Championship title match between Jerry Lawler and "The Dream Machine". Ware unfairly counted Lawler out to give the Dream Machine the victory, a decision that did not sit well with Lawler nor the fans in Memphis. Koko quickly aligned himself with manager Jimmy Hart and his First Family and changed his name to Sweet Brown Sugar. Sugar never got the best of Lawler but did taste tag-team success alongside Steve Keirn and then with Bobby Eaton. Eaton & Sugar won the AWA Southern Tag Team Championship.
Q: How did Koko B. Ware get started?
A: his early days in the sport in the Mid-South, Georgia and other NWA territories.
Q: How did he fare against his opponents?
A: he participated in a battle royal to crown the first ever Mid-American Television Champion. The crowd favorite was Jimmy Valiant,
Q: Are there any other interesting aspects about this article?
A: ) did not find great success, learning the ropes and paying his dues both in Jerry Jarrett's Continental Wrestling Association and Nick Gulas' territory in the south.
Q: When did Koko B. Ware's big break come?
A: It was not until late in 1980 that Koko's fortune changed when he participated in a battle royal to crown the first ever Mid-American Television Champion.
|
C_f4eb0541abd946cf8672e851bc8ab558_1_q#4
|
Who were the opponents that he beat?
| 0y
| 2x
|
{
"texts": [
"Danny Davis"
],
"answer_starts": [
540
]
}
|
{
"text": "Danny Davis",
"answer_start": 540
}
|
C_f4eb0541abd946cf8672e851bc8ab558_1
|
Koko B. Ware
|
James Ware (born June 20, 1957), better known by his ring name Koko B. Ware is a retired American professional wrestler who made his professional wrestling debut in 1978. He rose in popularity during the mid 1980s, while appearing in the World Wrestling Federation, where he was initially a strong mid-carder before he eventually became a jobber to the stars. Ware came to the ring with a blue-and-yellow macaw named Frankie, and would flap his arms like a bird while dancing before and after his matches. Before joining the WWF, Ware worked as a part of several tag teams, first with Bobby Eaton in Memphis and then later on with Norvell Austin as one half of the P.Y.T. Express in several promotions.
|
Early years (1978 - 1986)
|
Koko spent his early days in the sport in the Mid-South, Georgia and other NWA territories. Early in his career, Koko Ware (as he was then known) did not find great success, learning the ropes and paying his dues both in Jerry Jarrett's Continental Wrestling Association and Nick Gulas' territory in the south. It was not until late in 1980 that Koko's fortune changed when he participated in a battle royal to crown the first ever Mid-American Television Champion. The crowd favorite was Jimmy Valiant, who Koko accidentally knocked into Danny Davis and eliminated Valiant. Moments later, Koko dumped Davis to the floor and won his first title. After the match, Jimmy Valiant returned to the ring and beat Koko down. Koko's feud with Jimmy Valiant was quickly expanded to include the heel Tojo Yamamoto and Koko ally Tommy Rich. When Dutch Mantel returned to the CWA in early 1981 he quickly defeated Koko for the TV title making Koko's first run with the gold a short one. Koko floundered until September 1981 when he was chosen to referee a Southern Heavyweight Championship title match between Jerry Lawler and "The Dream Machine". Ware unfairly counted Lawler out to give the Dream Machine the victory, a decision that did not sit well with Lawler nor the fans in Memphis. Koko quickly aligned himself with manager Jimmy Hart and his First Family and changed his name to Sweet Brown Sugar. Sugar never got the best of Lawler but did taste tag-team success alongside Steve Keirn and then with Bobby Eaton. Eaton & Sugar won the AWA Southern Tag Team Championship.
Q: How did Koko B. Ware get started?
A: his early days in the sport in the Mid-South, Georgia and other NWA territories.
Q: How did he fare against his opponents?
A: he participated in a battle royal to crown the first ever Mid-American Television Champion. The crowd favorite was Jimmy Valiant,
Q: Are there any other interesting aspects about this article?
A: ) did not find great success, learning the ropes and paying his dues both in Jerry Jarrett's Continental Wrestling Association and Nick Gulas' territory in the south.
Q: When did Koko B. Ware's big break come?
A: It was not until late in 1980 that Koko's fortune changed when he participated in a battle royal to crown the first ever Mid-American Television Champion.
Q: Who were the opponents that he beat?
A: Danny Davis
|
C_f4eb0541abd946cf8672e851bc8ab558_1_q#5
|
What is Koko B. Ware famous for?
| 0y
| 2x
|
{
"texts": [
"Koko floundered until September 1981 when he was chosen to referee a Southern Heavyweight Championship title match between Jerry Lawler and \"The Dream Machine\"."
],
"answer_starts": [
977
]
}
|
{
"text": "Koko floundered until September 1981 when he was chosen to referee a Southern Heavyweight Championship title match between Jerry Lawler and \"The Dream Machine\".",
"answer_start": 977
}
|
C_f4eb0541abd946cf8672e851bc8ab558_1
|
Koko B. Ware
|
James Ware (born June 20, 1957), better known by his ring name Koko B. Ware is a retired American professional wrestler who made his professional wrestling debut in 1978. He rose in popularity during the mid 1980s, while appearing in the World Wrestling Federation, where he was initially a strong mid-carder before he eventually became a jobber to the stars. Ware came to the ring with a blue-and-yellow macaw named Frankie, and would flap his arms like a bird while dancing before and after his matches. Before joining the WWF, Ware worked as a part of several tag teams, first with Bobby Eaton in Memphis and then later on with Norvell Austin as one half of the P.Y.T. Express in several promotions.
|
Early years (1978 - 1986)
|
Koko spent his early days in the sport in the Mid-South, Georgia and other NWA territories. Early in his career, Koko Ware (as he was then known) did not find great success, learning the ropes and paying his dues both in Jerry Jarrett's Continental Wrestling Association and Nick Gulas' territory in the south. It was not until late in 1980 that Koko's fortune changed when he participated in a battle royal to crown the first ever Mid-American Television Champion. The crowd favorite was Jimmy Valiant, who Koko accidentally knocked into Danny Davis and eliminated Valiant. Moments later, Koko dumped Davis to the floor and won his first title. After the match, Jimmy Valiant returned to the ring and beat Koko down. Koko's feud with Jimmy Valiant was quickly expanded to include the heel Tojo Yamamoto and Koko ally Tommy Rich. When Dutch Mantel returned to the CWA in early 1981 he quickly defeated Koko for the TV title making Koko's first run with the gold a short one. Koko floundered until September 1981 when he was chosen to referee a Southern Heavyweight Championship title match between Jerry Lawler and "The Dream Machine". Ware unfairly counted Lawler out to give the Dream Machine the victory, a decision that did not sit well with Lawler nor the fans in Memphis. Koko quickly aligned himself with manager Jimmy Hart and his First Family and changed his name to Sweet Brown Sugar. Sugar never got the best of Lawler but did taste tag-team success alongside Steve Keirn and then with Bobby Eaton. Eaton & Sugar won the AWA Southern Tag Team Championship.
Q: How did Koko B. Ware get started?
A: his early days in the sport in the Mid-South, Georgia and other NWA territories.
Q: How did he fare against his opponents?
A: he participated in a battle royal to crown the first ever Mid-American Television Champion. The crowd favorite was Jimmy Valiant,
Q: Are there any other interesting aspects about this article?
A: ) did not find great success, learning the ropes and paying his dues both in Jerry Jarrett's Continental Wrestling Association and Nick Gulas' territory in the south.
Q: When did Koko B. Ware's big break come?
A: It was not until late in 1980 that Koko's fortune changed when he participated in a battle royal to crown the first ever Mid-American Television Champion.
Q: Who were the opponents that he beat?
A: Danny Davis
Q: What is Koko B. Ware famous for?
A: Koko floundered until September 1981 when he was chosen to referee a Southern Heavyweight Championship title match between Jerry Lawler and "The Dream Machine".
|
C_f4eb0541abd946cf8672e851bc8ab558_1_q#6
|
How did he do as a referee?
| 0y
| 2x
|
{
"texts": [
"Ware unfairly counted Lawler out to give the Dream Machine the victory, a decision that did not sit well with Lawler nor the fans in Memphis."
],
"answer_starts": [
1138
]
}
|
{
"text": "Ware unfairly counted Lawler out to give the Dream Machine the victory, a decision that did not sit well with Lawler nor the fans in Memphis.",
"answer_start": 1138
}
|
C_f4eb0541abd946cf8672e851bc8ab558_1
|
Koko B. Ware
|
James Ware (born June 20, 1957), better known by his ring name Koko B. Ware is a retired American professional wrestler who made his professional wrestling debut in 1978. He rose in popularity during the mid 1980s, while appearing in the World Wrestling Federation, where he was initially a strong mid-carder before he eventually became a jobber to the stars. Ware came to the ring with a blue-and-yellow macaw named Frankie, and would flap his arms like a bird while dancing before and after his matches. Before joining the WWF, Ware worked as a part of several tag teams, first with Bobby Eaton in Memphis and then later on with Norvell Austin as one half of the P.Y.T. Express in several promotions.
|
Early years (1978 - 1986)
|
Koko spent his early days in the sport in the Mid-South, Georgia and other NWA territories. Early in his career, Koko Ware (as he was then known) did not find great success, learning the ropes and paying his dues both in Jerry Jarrett's Continental Wrestling Association and Nick Gulas' territory in the south. It was not until late in 1980 that Koko's fortune changed when he participated in a battle royal to crown the first ever Mid-American Television Champion. The crowd favorite was Jimmy Valiant, who Koko accidentally knocked into Danny Davis and eliminated Valiant. Moments later, Koko dumped Davis to the floor and won his first title. After the match, Jimmy Valiant returned to the ring and beat Koko down. Koko's feud with Jimmy Valiant was quickly expanded to include the heel Tojo Yamamoto and Koko ally Tommy Rich. When Dutch Mantel returned to the CWA in early 1981 he quickly defeated Koko for the TV title making Koko's first run with the gold a short one. Koko floundered until September 1981 when he was chosen to referee a Southern Heavyweight Championship title match between Jerry Lawler and "The Dream Machine". Ware unfairly counted Lawler out to give the Dream Machine the victory, a decision that did not sit well with Lawler nor the fans in Memphis. Koko quickly aligned himself with manager Jimmy Hart and his First Family and changed his name to Sweet Brown Sugar. Sugar never got the best of Lawler but did taste tag-team success alongside Steve Keirn and then with Bobby Eaton. Eaton & Sugar won the AWA Southern Tag Team Championship.
Q: How did Koko B. Ware get started?
A: his early days in the sport in the Mid-South, Georgia and other NWA territories.
Q: How did he fare against his opponents?
A: he participated in a battle royal to crown the first ever Mid-American Television Champion. The crowd favorite was Jimmy Valiant,
Q: Are there any other interesting aspects about this article?
A: ) did not find great success, learning the ropes and paying his dues both in Jerry Jarrett's Continental Wrestling Association and Nick Gulas' territory in the south.
Q: When did Koko B. Ware's big break come?
A: It was not until late in 1980 that Koko's fortune changed when he participated in a battle royal to crown the first ever Mid-American Television Champion.
Q: Who were the opponents that he beat?
A: Danny Davis
Q: What is Koko B. Ware famous for?
A: Koko floundered until September 1981 when he was chosen to referee a Southern Heavyweight Championship title match between Jerry Lawler and "The Dream Machine".
Q: How did he do as a referee?
A: Ware unfairly counted Lawler out to give the Dream Machine the victory, a decision that did not sit well with Lawler nor the fans in Memphis.
|
C_f4eb0541abd946cf8672e851bc8ab558_1_q#7
|
Was Koko ever a referee again?
| 1n
| 2x
|
{
"texts": [
"unknown"
],
"answer_starts": [
1570
]
}
|
{
"text": "unknown",
"answer_start": 1570
}
|
C_f4eb0541abd946cf8672e851bc8ab558_1
|
Koko B. Ware
|
James Ware (born June 20, 1957), better known by his ring name Koko B. Ware is a retired American professional wrestler who made his professional wrestling debut in 1978. He rose in popularity during the mid 1980s, while appearing in the World Wrestling Federation, where he was initially a strong mid-carder before he eventually became a jobber to the stars. Ware came to the ring with a blue-and-yellow macaw named Frankie, and would flap his arms like a bird while dancing before and after his matches. Before joining the WWF, Ware worked as a part of several tag teams, first with Bobby Eaton in Memphis and then later on with Norvell Austin as one half of the P.Y.T. Express in several promotions.
|
Early years (1978 - 1986)
|
Koko spent his early days in the sport in the Mid-South, Georgia and other NWA territories. Early in his career, Koko Ware (as he was then known) did not find great success, learning the ropes and paying his dues both in Jerry Jarrett's Continental Wrestling Association and Nick Gulas' territory in the south. It was not until late in 1980 that Koko's fortune changed when he participated in a battle royal to crown the first ever Mid-American Television Champion. The crowd favorite was Jimmy Valiant, who Koko accidentally knocked into Danny Davis and eliminated Valiant. Moments later, Koko dumped Davis to the floor and won his first title. After the match, Jimmy Valiant returned to the ring and beat Koko down. Koko's feud with Jimmy Valiant was quickly expanded to include the heel Tojo Yamamoto and Koko ally Tommy Rich. When Dutch Mantel returned to the CWA in early 1981 he quickly defeated Koko for the TV title making Koko's first run with the gold a short one. Koko floundered until September 1981 when he was chosen to referee a Southern Heavyweight Championship title match between Jerry Lawler and "The Dream Machine". Ware unfairly counted Lawler out to give the Dream Machine the victory, a decision that did not sit well with Lawler nor the fans in Memphis. Koko quickly aligned himself with manager Jimmy Hart and his First Family and changed his name to Sweet Brown Sugar. Sugar never got the best of Lawler but did taste tag-team success alongside Steve Keirn and then with Bobby Eaton. Eaton & Sugar won the AWA Southern Tag Team Championship.
Q: How did Koko B. Ware get started?
A: his early days in the sport in the Mid-South, Georgia and other NWA territories.
Q: How did he fare against his opponents?
A: he participated in a battle royal to crown the first ever Mid-American Television Champion. The crowd favorite was Jimmy Valiant,
Q: Are there any other interesting aspects about this article?
A: ) did not find great success, learning the ropes and paying his dues both in Jerry Jarrett's Continental Wrestling Association and Nick Gulas' territory in the south.
Q: When did Koko B. Ware's big break come?
A: It was not until late in 1980 that Koko's fortune changed when he participated in a battle royal to crown the first ever Mid-American Television Champion.
Q: Who were the opponents that he beat?
A: Danny Davis
Q: What is Koko B. Ware famous for?
A: Koko floundered until September 1981 when he was chosen to referee a Southern Heavyweight Championship title match between Jerry Lawler and "The Dream Machine".
Q: How did he do as a referee?
A: Ware unfairly counted Lawler out to give the Dream Machine the victory, a decision that did not sit well with Lawler nor the fans in Memphis.
Q: Was Koko ever a referee again?
A: unknown
|
C_f4eb0541abd946cf8672e851bc8ab558_1_q#8
|
What else can you tell me about Koko?
| 0y
| 2x
|
{
"texts": [
"Koko floundered until September 1981"
],
"answer_starts": [
977
]
}
|
{
"text": "Koko floundered until September 1981",
"answer_start": 977
}
|
C_f4eb0541abd946cf8672e851bc8ab558_0
|
Koko B. Ware
|
James Ware (born June 20, 1957), better known by his ring name Koko B. Ware is a retired American professional wrestler who made his professional wrestling debut in 1978. He rose in popularity during the mid 1980s, while appearing in the World Wrestling Federation, where he was initially a strong mid-carder before he eventually became a jobber to the stars. Ware came to the ring with a blue-and-yellow macaw named Frankie, and would flap his arms like a bird while dancing before and after his matches. Before joining the WWF, Ware worked as a part of several tag teams, first with Bobby Eaton in Memphis and then later on with Norvell Austin as one half of the P.Y.T. Express in several promotions.
|
Pretty Young Things
|
Bobby Eaton later turned face, he teamed with "Stagger Lee" for a series of matches. During a tag-team tournament in 1983, the masked Stagger Lee teamed up with fellow face Norvell Austin to take on "Fargo's Fabulous Ones" (Tommy Rich and "Hot Stuff" Eddie Gilbert). During the course of the match Stagger Lee's mask was removed to reveal the man beneath it, prompting a heel turn for Ware. Austin and Ware became a regular tag team dubbed the Pretty Young Things or ("the PYT Express"). The two men soon began wearing red leather jackets, and each had a single white glove on, in an obvious imitation of Michael Jackson to further enhance their "pretty boy" image. The team defeated Elijah Akeem and Kareem Mohammad for the AWA Southern Tag Team Championship in February 1984; almost two weeks later, Akeem and Mohammad regained the title. The PYT Express remained in Memphis for a period of time after this before moving on to other promotions such as Mid-South Wrestling, World Class Championship Wrestling in Texas and Championship Wrestling from Florida. On February 26, 1985 Austin and Ware defeated Jay and Mark Youngblood to win the NWA Florida United States Tag Team Championship. Two weeks later on March 5, 1985 the team re-lost the title to the Youngbloods. After dropping the gold in Florida, the Pretty Young Things returned to the federation that first put them together, the Continental Wrestling Association. There, they won the AWA Southern Tag Team title twice, both times from The Fabulous Ones (Steve Keirn and Stan Lane) as they feuded with the top face team of the promotion. After the PYT's disbanded, Koko moved on to Bill Watts' Mid-South/UWF territory, where he started calling himself Koko B. Ware. Ware's persona was that of a face who entered the ring to the theme of Morris Day's "The Bird", doing an arm-flapping dance.
|
C_f4eb0541abd946cf8672e851bc8ab558_0_q#0
|
How did Pretty Young Things start?
| 0y
| 2x
|
{
"texts": [
"Austin and Ware became a regular tag team dubbed the Pretty Young Things or (\"the PYT Express\")."
],
"answer_starts": [
391
]
}
|
{
"text": "Austin and Ware became a regular tag team dubbed the Pretty Young Things or (\"the PYT Express\").",
"answer_start": 391
}
|
C_f4eb0541abd946cf8672e851bc8ab558_0
|
Koko B. Ware
|
James Ware (born June 20, 1957), better known by his ring name Koko B. Ware is a retired American professional wrestler who made his professional wrestling debut in 1978. He rose in popularity during the mid 1980s, while appearing in the World Wrestling Federation, where he was initially a strong mid-carder before he eventually became a jobber to the stars. Ware came to the ring with a blue-and-yellow macaw named Frankie, and would flap his arms like a bird while dancing before and after his matches. Before joining the WWF, Ware worked as a part of several tag teams, first with Bobby Eaton in Memphis and then later on with Norvell Austin as one half of the P.Y.T. Express in several promotions.
|
Pretty Young Things
|
Bobby Eaton later turned face, he teamed with "Stagger Lee" for a series of matches. During a tag-team tournament in 1983, the masked Stagger Lee teamed up with fellow face Norvell Austin to take on "Fargo's Fabulous Ones" (Tommy Rich and "Hot Stuff" Eddie Gilbert). During the course of the match Stagger Lee's mask was removed to reveal the man beneath it, prompting a heel turn for Ware. Austin and Ware became a regular tag team dubbed the Pretty Young Things or ("the PYT Express"). The two men soon began wearing red leather jackets, and each had a single white glove on, in an obvious imitation of Michael Jackson to further enhance their "pretty boy" image. The team defeated Elijah Akeem and Kareem Mohammad for the AWA Southern Tag Team Championship in February 1984; almost two weeks later, Akeem and Mohammad regained the title. The PYT Express remained in Memphis for a period of time after this before moving on to other promotions such as Mid-South Wrestling, World Class Championship Wrestling in Texas and Championship Wrestling from Florida. On February 26, 1985 Austin and Ware defeated Jay and Mark Youngblood to win the NWA Florida United States Tag Team Championship. Two weeks later on March 5, 1985 the team re-lost the title to the Youngbloods. After dropping the gold in Florida, the Pretty Young Things returned to the federation that first put them together, the Continental Wrestling Association. There, they won the AWA Southern Tag Team title twice, both times from The Fabulous Ones (Steve Keirn and Stan Lane) as they feuded with the top face team of the promotion. After the PYT's disbanded, Koko moved on to Bill Watts' Mid-South/UWF territory, where he started calling himself Koko B. Ware. Ware's persona was that of a face who entered the ring to the theme of Morris Day's "The Bird", doing an arm-flapping dance.
Q: How did Pretty Young Things start?
A: Austin and Ware became a regular tag team dubbed the Pretty Young Things or ("the PYT Express").
|
C_f4eb0541abd946cf8672e851bc8ab558_0_q#1
|
When did they start Pretty Young Things?
| 2m
| 2x
|
{
"texts": [
"During a tag-team tournament in 1983,"
],
"answer_starts": [
85
]
}
|
{
"text": "During a tag-team tournament in 1983,",
"answer_start": 85
}
|
C_f4eb0541abd946cf8672e851bc8ab558_0
|
Koko B. Ware
|
James Ware (born June 20, 1957), better known by his ring name Koko B. Ware is a retired American professional wrestler who made his professional wrestling debut in 1978. He rose in popularity during the mid 1980s, while appearing in the World Wrestling Federation, where he was initially a strong mid-carder before he eventually became a jobber to the stars. Ware came to the ring with a blue-and-yellow macaw named Frankie, and would flap his arms like a bird while dancing before and after his matches. Before joining the WWF, Ware worked as a part of several tag teams, first with Bobby Eaton in Memphis and then later on with Norvell Austin as one half of the P.Y.T. Express in several promotions.
|
Pretty Young Things
|
Bobby Eaton later turned face, he teamed with "Stagger Lee" for a series of matches. During a tag-team tournament in 1983, the masked Stagger Lee teamed up with fellow face Norvell Austin to take on "Fargo's Fabulous Ones" (Tommy Rich and "Hot Stuff" Eddie Gilbert). During the course of the match Stagger Lee's mask was removed to reveal the man beneath it, prompting a heel turn for Ware. Austin and Ware became a regular tag team dubbed the Pretty Young Things or ("the PYT Express"). The two men soon began wearing red leather jackets, and each had a single white glove on, in an obvious imitation of Michael Jackson to further enhance their "pretty boy" image. The team defeated Elijah Akeem and Kareem Mohammad for the AWA Southern Tag Team Championship in February 1984; almost two weeks later, Akeem and Mohammad regained the title. The PYT Express remained in Memphis for a period of time after this before moving on to other promotions such as Mid-South Wrestling, World Class Championship Wrestling in Texas and Championship Wrestling from Florida. On February 26, 1985 Austin and Ware defeated Jay and Mark Youngblood to win the NWA Florida United States Tag Team Championship. Two weeks later on March 5, 1985 the team re-lost the title to the Youngbloods. After dropping the gold in Florida, the Pretty Young Things returned to the federation that first put them together, the Continental Wrestling Association. There, they won the AWA Southern Tag Team title twice, both times from The Fabulous Ones (Steve Keirn and Stan Lane) as they feuded with the top face team of the promotion. After the PYT's disbanded, Koko moved on to Bill Watts' Mid-South/UWF territory, where he started calling himself Koko B. Ware. Ware's persona was that of a face who entered the ring to the theme of Morris Day's "The Bird", doing an arm-flapping dance.
Q: How did Pretty Young Things start?
A: Austin and Ware became a regular tag team dubbed the Pretty Young Things or ("the PYT Express").
Q: When did they start Pretty Young Things?
A: During a tag-team tournament in 1983,
|
C_f4eb0541abd946cf8672e851bc8ab558_0_q#2
|
How popular was Pretty Young Things?
| 2m
| 2x
|
{
"texts": [
"The PYT Express remained in Memphis for a period of time"
],
"answer_starts": [
842
]
}
|
{
"text": "The PYT Express remained in Memphis for a period of time",
"answer_start": 842
}
|
C_f4eb0541abd946cf8672e851bc8ab558_0
|
Koko B. Ware
|
James Ware (born June 20, 1957), better known by his ring name Koko B. Ware is a retired American professional wrestler who made his professional wrestling debut in 1978. He rose in popularity during the mid 1980s, while appearing in the World Wrestling Federation, where he was initially a strong mid-carder before he eventually became a jobber to the stars. Ware came to the ring with a blue-and-yellow macaw named Frankie, and would flap his arms like a bird while dancing before and after his matches. Before joining the WWF, Ware worked as a part of several tag teams, first with Bobby Eaton in Memphis and then later on with Norvell Austin as one half of the P.Y.T. Express in several promotions.
|
Pretty Young Things
|
Bobby Eaton later turned face, he teamed with "Stagger Lee" for a series of matches. During a tag-team tournament in 1983, the masked Stagger Lee teamed up with fellow face Norvell Austin to take on "Fargo's Fabulous Ones" (Tommy Rich and "Hot Stuff" Eddie Gilbert). During the course of the match Stagger Lee's mask was removed to reveal the man beneath it, prompting a heel turn for Ware. Austin and Ware became a regular tag team dubbed the Pretty Young Things or ("the PYT Express"). The two men soon began wearing red leather jackets, and each had a single white glove on, in an obvious imitation of Michael Jackson to further enhance their "pretty boy" image. The team defeated Elijah Akeem and Kareem Mohammad for the AWA Southern Tag Team Championship in February 1984; almost two weeks later, Akeem and Mohammad regained the title. The PYT Express remained in Memphis for a period of time after this before moving on to other promotions such as Mid-South Wrestling, World Class Championship Wrestling in Texas and Championship Wrestling from Florida. On February 26, 1985 Austin and Ware defeated Jay and Mark Youngblood to win the NWA Florida United States Tag Team Championship. Two weeks later on March 5, 1985 the team re-lost the title to the Youngbloods. After dropping the gold in Florida, the Pretty Young Things returned to the federation that first put them together, the Continental Wrestling Association. There, they won the AWA Southern Tag Team title twice, both times from The Fabulous Ones (Steve Keirn and Stan Lane) as they feuded with the top face team of the promotion. After the PYT's disbanded, Koko moved on to Bill Watts' Mid-South/UWF territory, where he started calling himself Koko B. Ware. Ware's persona was that of a face who entered the ring to the theme of Morris Day's "The Bird", doing an arm-flapping dance.
Q: How did Pretty Young Things start?
A: Austin and Ware became a regular tag team dubbed the Pretty Young Things or ("the PYT Express").
Q: When did they start Pretty Young Things?
A: During a tag-team tournament in 1983,
Q: How popular was Pretty Young Things?
A: The PYT Express remained in Memphis for a period of time
|
C_f4eb0541abd946cf8672e851bc8ab558_0_q#3
|
Where did they go after being in Memphis?
| 2m
| 2x
|
{
"texts": [
"After dropping the gold in Florida, the Pretty Young Things returned to the federation that first put them together, the Continental Wrestling Association."
],
"answer_starts": [
1271
]
}
|
{
"text": "After dropping the gold in Florida, the Pretty Young Things returned to the federation that first put them together, the Continental Wrestling Association.",
"answer_start": 1271
}
|
C_f4eb0541abd946cf8672e851bc8ab558_0
|
Koko B. Ware
|
James Ware (born June 20, 1957), better known by his ring name Koko B. Ware is a retired American professional wrestler who made his professional wrestling debut in 1978. He rose in popularity during the mid 1980s, while appearing in the World Wrestling Federation, where he was initially a strong mid-carder before he eventually became a jobber to the stars. Ware came to the ring with a blue-and-yellow macaw named Frankie, and would flap his arms like a bird while dancing before and after his matches. Before joining the WWF, Ware worked as a part of several tag teams, first with Bobby Eaton in Memphis and then later on with Norvell Austin as one half of the P.Y.T. Express in several promotions.
|
Pretty Young Things
|
Bobby Eaton later turned face, he teamed with "Stagger Lee" for a series of matches. During a tag-team tournament in 1983, the masked Stagger Lee teamed up with fellow face Norvell Austin to take on "Fargo's Fabulous Ones" (Tommy Rich and "Hot Stuff" Eddie Gilbert). During the course of the match Stagger Lee's mask was removed to reveal the man beneath it, prompting a heel turn for Ware. Austin and Ware became a regular tag team dubbed the Pretty Young Things or ("the PYT Express"). The two men soon began wearing red leather jackets, and each had a single white glove on, in an obvious imitation of Michael Jackson to further enhance their "pretty boy" image. The team defeated Elijah Akeem and Kareem Mohammad for the AWA Southern Tag Team Championship in February 1984; almost two weeks later, Akeem and Mohammad regained the title. The PYT Express remained in Memphis for a period of time after this before moving on to other promotions such as Mid-South Wrestling, World Class Championship Wrestling in Texas and Championship Wrestling from Florida. On February 26, 1985 Austin and Ware defeated Jay and Mark Youngblood to win the NWA Florida United States Tag Team Championship. Two weeks later on March 5, 1985 the team re-lost the title to the Youngbloods. After dropping the gold in Florida, the Pretty Young Things returned to the federation that first put them together, the Continental Wrestling Association. There, they won the AWA Southern Tag Team title twice, both times from The Fabulous Ones (Steve Keirn and Stan Lane) as they feuded with the top face team of the promotion. After the PYT's disbanded, Koko moved on to Bill Watts' Mid-South/UWF territory, where he started calling himself Koko B. Ware. Ware's persona was that of a face who entered the ring to the theme of Morris Day's "The Bird", doing an arm-flapping dance.
Q: How did Pretty Young Things start?
A: Austin and Ware became a regular tag team dubbed the Pretty Young Things or ("the PYT Express").
Q: When did they start Pretty Young Things?
A: During a tag-team tournament in 1983,
Q: How popular was Pretty Young Things?
A: The PYT Express remained in Memphis for a period of time
Q: Where did they go after being in Memphis?
A: After dropping the gold in Florida, the Pretty Young Things returned to the federation that first put them together, the Continental Wrestling Association.
|
C_f4eb0541abd946cf8672e851bc8ab558_0_q#4
|
Is there anything else interesting with The Pretty Young Things?
| 2m
| 0y
|
{
"texts": [
"they won the AWA Southern Tag Team title twice, both times from The Fabulous Ones ("
],
"answer_starts": [
1434
]
}
|
{
"text": "they won the AWA Southern Tag Team title twice, both times from The Fabulous Ones (",
"answer_start": 1434
}
|
C_f4eb0541abd946cf8672e851bc8ab558_0
|
Koko B. Ware
|
James Ware (born June 20, 1957), better known by his ring name Koko B. Ware is a retired American professional wrestler who made his professional wrestling debut in 1978. He rose in popularity during the mid 1980s, while appearing in the World Wrestling Federation, where he was initially a strong mid-carder before he eventually became a jobber to the stars. Ware came to the ring with a blue-and-yellow macaw named Frankie, and would flap his arms like a bird while dancing before and after his matches. Before joining the WWF, Ware worked as a part of several tag teams, first with Bobby Eaton in Memphis and then later on with Norvell Austin as one half of the P.Y.T. Express in several promotions.
|
Pretty Young Things
|
Bobby Eaton later turned face, he teamed with "Stagger Lee" for a series of matches. During a tag-team tournament in 1983, the masked Stagger Lee teamed up with fellow face Norvell Austin to take on "Fargo's Fabulous Ones" (Tommy Rich and "Hot Stuff" Eddie Gilbert). During the course of the match Stagger Lee's mask was removed to reveal the man beneath it, prompting a heel turn for Ware. Austin and Ware became a regular tag team dubbed the Pretty Young Things or ("the PYT Express"). The two men soon began wearing red leather jackets, and each had a single white glove on, in an obvious imitation of Michael Jackson to further enhance their "pretty boy" image. The team defeated Elijah Akeem and Kareem Mohammad for the AWA Southern Tag Team Championship in February 1984; almost two weeks later, Akeem and Mohammad regained the title. The PYT Express remained in Memphis for a period of time after this before moving on to other promotions such as Mid-South Wrestling, World Class Championship Wrestling in Texas and Championship Wrestling from Florida. On February 26, 1985 Austin and Ware defeated Jay and Mark Youngblood to win the NWA Florida United States Tag Team Championship. Two weeks later on March 5, 1985 the team re-lost the title to the Youngbloods. After dropping the gold in Florida, the Pretty Young Things returned to the federation that first put them together, the Continental Wrestling Association. There, they won the AWA Southern Tag Team title twice, both times from The Fabulous Ones (Steve Keirn and Stan Lane) as they feuded with the top face team of the promotion. After the PYT's disbanded, Koko moved on to Bill Watts' Mid-South/UWF territory, where he started calling himself Koko B. Ware. Ware's persona was that of a face who entered the ring to the theme of Morris Day's "The Bird", doing an arm-flapping dance.
Q: How did Pretty Young Things start?
A: Austin and Ware became a regular tag team dubbed the Pretty Young Things or ("the PYT Express").
Q: When did they start Pretty Young Things?
A: During a tag-team tournament in 1983,
Q: How popular was Pretty Young Things?
A: The PYT Express remained in Memphis for a period of time
Q: Where did they go after being in Memphis?
A: After dropping the gold in Florida, the Pretty Young Things returned to the federation that first put them together, the Continental Wrestling Association.
Q: Is there anything else interesting with The Pretty Young Things?
A: they won the AWA Southern Tag Team title twice, both times from The Fabulous Ones (
|
C_f4eb0541abd946cf8672e851bc8ab558_0_q#5
|
Who did they lose against?
| 2m
| 2x
|
{
"texts": [
"on March 5, 1985 the team re-lost the title to the Youngbloods."
],
"answer_starts": [
1207
]
}
|
{
"text": "on March 5, 1985 the team re-lost the title to the Youngbloods.",
"answer_start": 1207
}
|
C_f4eb0541abd946cf8672e851bc8ab558_0
|
Koko B. Ware
|
James Ware (born June 20, 1957), better known by his ring name Koko B. Ware is a retired American professional wrestler who made his professional wrestling debut in 1978. He rose in popularity during the mid 1980s, while appearing in the World Wrestling Federation, where he was initially a strong mid-carder before he eventually became a jobber to the stars. Ware came to the ring with a blue-and-yellow macaw named Frankie, and would flap his arms like a bird while dancing before and after his matches. Before joining the WWF, Ware worked as a part of several tag teams, first with Bobby Eaton in Memphis and then later on with Norvell Austin as one half of the P.Y.T. Express in several promotions.
|
Pretty Young Things
|
Bobby Eaton later turned face, he teamed with "Stagger Lee" for a series of matches. During a tag-team tournament in 1983, the masked Stagger Lee teamed up with fellow face Norvell Austin to take on "Fargo's Fabulous Ones" (Tommy Rich and "Hot Stuff" Eddie Gilbert). During the course of the match Stagger Lee's mask was removed to reveal the man beneath it, prompting a heel turn for Ware. Austin and Ware became a regular tag team dubbed the Pretty Young Things or ("the PYT Express"). The two men soon began wearing red leather jackets, and each had a single white glove on, in an obvious imitation of Michael Jackson to further enhance their "pretty boy" image. The team defeated Elijah Akeem and Kareem Mohammad for the AWA Southern Tag Team Championship in February 1984; almost two weeks later, Akeem and Mohammad regained the title. The PYT Express remained in Memphis for a period of time after this before moving on to other promotions such as Mid-South Wrestling, World Class Championship Wrestling in Texas and Championship Wrestling from Florida. On February 26, 1985 Austin and Ware defeated Jay and Mark Youngblood to win the NWA Florida United States Tag Team Championship. Two weeks later on March 5, 1985 the team re-lost the title to the Youngbloods. After dropping the gold in Florida, the Pretty Young Things returned to the federation that first put them together, the Continental Wrestling Association. There, they won the AWA Southern Tag Team title twice, both times from The Fabulous Ones (Steve Keirn and Stan Lane) as they feuded with the top face team of the promotion. After the PYT's disbanded, Koko moved on to Bill Watts' Mid-South/UWF territory, where he started calling himself Koko B. Ware. Ware's persona was that of a face who entered the ring to the theme of Morris Day's "The Bird", doing an arm-flapping dance.
Q: How did Pretty Young Things start?
A: Austin and Ware became a regular tag team dubbed the Pretty Young Things or ("the PYT Express").
Q: When did they start Pretty Young Things?
A: During a tag-team tournament in 1983,
Q: How popular was Pretty Young Things?
A: The PYT Express remained in Memphis for a period of time
Q: Where did they go after being in Memphis?
A: After dropping the gold in Florida, the Pretty Young Things returned to the federation that first put them together, the Continental Wrestling Association.
Q: Is there anything else interesting with The Pretty Young Things?
A: they won the AWA Southern Tag Team title twice, both times from The Fabulous Ones (
Q: Who did they lose against?
A: on March 5, 1985 the team re-lost the title to the Youngbloods.
|
C_f4eb0541abd946cf8672e851bc8ab558_0_q#6
|
Where did Pretty Young Things end up?
| 2m
| 2x
|
{
"texts": [
"the PYT's disbanded,"
],
"answer_starts": [
1607
]
}
|
{
"text": "the PYT's disbanded,",
"answer_start": 1607
}
|
C_f4eb0541abd946cf8672e851bc8ab558_0
|
Koko B. Ware
|
James Ware (born June 20, 1957), better known by his ring name Koko B. Ware is a retired American professional wrestler who made his professional wrestling debut in 1978. He rose in popularity during the mid 1980s, while appearing in the World Wrestling Federation, where he was initially a strong mid-carder before he eventually became a jobber to the stars. Ware came to the ring with a blue-and-yellow macaw named Frankie, and would flap his arms like a bird while dancing before and after his matches. Before joining the WWF, Ware worked as a part of several tag teams, first with Bobby Eaton in Memphis and then later on with Norvell Austin as one half of the P.Y.T. Express in several promotions.
|
Pretty Young Things
|
Bobby Eaton later turned face, he teamed with "Stagger Lee" for a series of matches. During a tag-team tournament in 1983, the masked Stagger Lee teamed up with fellow face Norvell Austin to take on "Fargo's Fabulous Ones" (Tommy Rich and "Hot Stuff" Eddie Gilbert). During the course of the match Stagger Lee's mask was removed to reveal the man beneath it, prompting a heel turn for Ware. Austin and Ware became a regular tag team dubbed the Pretty Young Things or ("the PYT Express"). The two men soon began wearing red leather jackets, and each had a single white glove on, in an obvious imitation of Michael Jackson to further enhance their "pretty boy" image. The team defeated Elijah Akeem and Kareem Mohammad for the AWA Southern Tag Team Championship in February 1984; almost two weeks later, Akeem and Mohammad regained the title. The PYT Express remained in Memphis for a period of time after this before moving on to other promotions such as Mid-South Wrestling, World Class Championship Wrestling in Texas and Championship Wrestling from Florida. On February 26, 1985 Austin and Ware defeated Jay and Mark Youngblood to win the NWA Florida United States Tag Team Championship. Two weeks later on March 5, 1985 the team re-lost the title to the Youngbloods. After dropping the gold in Florida, the Pretty Young Things returned to the federation that first put them together, the Continental Wrestling Association. There, they won the AWA Southern Tag Team title twice, both times from The Fabulous Ones (Steve Keirn and Stan Lane) as they feuded with the top face team of the promotion. After the PYT's disbanded, Koko moved on to Bill Watts' Mid-South/UWF territory, where he started calling himself Koko B. Ware. Ware's persona was that of a face who entered the ring to the theme of Morris Day's "The Bird", doing an arm-flapping dance.
Q: How did Pretty Young Things start?
A: Austin and Ware became a regular tag team dubbed the Pretty Young Things or ("the PYT Express").
Q: When did they start Pretty Young Things?
A: During a tag-team tournament in 1983,
Q: How popular was Pretty Young Things?
A: The PYT Express remained in Memphis for a period of time
Q: Where did they go after being in Memphis?
A: After dropping the gold in Florida, the Pretty Young Things returned to the federation that first put them together, the Continental Wrestling Association.
Q: Is there anything else interesting with The Pretty Young Things?
A: they won the AWA Southern Tag Team title twice, both times from The Fabulous Ones (
Q: Who did they lose against?
A: on March 5, 1985 the team re-lost the title to the Youngbloods.
Q: Where did Pretty Young Things end up?
A: the PYT's disbanded,
|
C_f4eb0541abd946cf8672e851bc8ab558_0_q#7
|
When did they disband?
| 2m
| 2x
|
{
"texts": [
"unknown"
],
"answer_starts": [
1854
]
}
|
{
"text": "unknown",
"answer_start": 1854
}
|
C_f4eb0541abd946cf8672e851bc8ab558_0
|
Koko B. Ware
|
James Ware (born June 20, 1957), better known by his ring name Koko B. Ware is a retired American professional wrestler who made his professional wrestling debut in 1978. He rose in popularity during the mid 1980s, while appearing in the World Wrestling Federation, where he was initially a strong mid-carder before he eventually became a jobber to the stars. Ware came to the ring with a blue-and-yellow macaw named Frankie, and would flap his arms like a bird while dancing before and after his matches. Before joining the WWF, Ware worked as a part of several tag teams, first with Bobby Eaton in Memphis and then later on with Norvell Austin as one half of the P.Y.T. Express in several promotions.
|
Pretty Young Things
|
Bobby Eaton later turned face, he teamed with "Stagger Lee" for a series of matches. During a tag-team tournament in 1983, the masked Stagger Lee teamed up with fellow face Norvell Austin to take on "Fargo's Fabulous Ones" (Tommy Rich and "Hot Stuff" Eddie Gilbert). During the course of the match Stagger Lee's mask was removed to reveal the man beneath it, prompting a heel turn for Ware. Austin and Ware became a regular tag team dubbed the Pretty Young Things or ("the PYT Express"). The two men soon began wearing red leather jackets, and each had a single white glove on, in an obvious imitation of Michael Jackson to further enhance their "pretty boy" image. The team defeated Elijah Akeem and Kareem Mohammad for the AWA Southern Tag Team Championship in February 1984; almost two weeks later, Akeem and Mohammad regained the title. The PYT Express remained in Memphis for a period of time after this before moving on to other promotions such as Mid-South Wrestling, World Class Championship Wrestling in Texas and Championship Wrestling from Florida. On February 26, 1985 Austin and Ware defeated Jay and Mark Youngblood to win the NWA Florida United States Tag Team Championship. Two weeks later on March 5, 1985 the team re-lost the title to the Youngbloods. After dropping the gold in Florida, the Pretty Young Things returned to the federation that first put them together, the Continental Wrestling Association. There, they won the AWA Southern Tag Team title twice, both times from The Fabulous Ones (Steve Keirn and Stan Lane) as they feuded with the top face team of the promotion. After the PYT's disbanded, Koko moved on to Bill Watts' Mid-South/UWF territory, where he started calling himself Koko B. Ware. Ware's persona was that of a face who entered the ring to the theme of Morris Day's "The Bird", doing an arm-flapping dance.
Q: How did Pretty Young Things start?
A: Austin and Ware became a regular tag team dubbed the Pretty Young Things or ("the PYT Express").
Q: When did they start Pretty Young Things?
A: During a tag-team tournament in 1983,
Q: How popular was Pretty Young Things?
A: The PYT Express remained in Memphis for a period of time
Q: Where did they go after being in Memphis?
A: After dropping the gold in Florida, the Pretty Young Things returned to the federation that first put them together, the Continental Wrestling Association.
Q: Is there anything else interesting with The Pretty Young Things?
A: they won the AWA Southern Tag Team title twice, both times from The Fabulous Ones (
Q: Who did they lose against?
A: on March 5, 1985 the team re-lost the title to the Youngbloods.
Q: Where did Pretty Young Things end up?
A: the PYT's disbanded,
Q: When did they disband?
A: unknown
|
C_f4eb0541abd946cf8672e851bc8ab558_0_q#8
|
Why did the disband?
| 2m
| 2x
|
{
"texts": [
"unknown"
],
"answer_starts": [
1854
]
}
|
{
"text": "unknown",
"answer_start": 1854
}
|
C_aa0aed859ca9464fa61c689aa189a45c_1
|
Betty Boop
|
Betty Boop is an animated cartoon character created by Max Fleischer, with help from animators including Grim Natwick. She originally appeared in the Talkartoon and Betty Boop film series, which were produced by Fleischer Studios and released by Paramount Pictures. She has also been featured in comic strips and mass merchandising. A caricature of a Jazz Age flapper, Betty Boop was described in a 1934 court case as: "combin[ing] in appearance the childish with the sophisticated--a large round baby face with big eyes and a nose like a button, framed in a somewhat careful coiffure, with a very small body of which perhaps the leading characteristic is the most self-confident little bust imaginable".
|
Origins
|
Betty Boop made her first appearance on August 9, 1930, in the cartoon Dizzy Dishes, the seventh installment in Fleischer's Talkartoon series. Although Clara Bow is often given as being the model for Boop, she actually began as a caricature of singer Helen Kane. The character was originally created as an anthropomorphic French poodle. Betty Boop appeared as a supporting character in ten cartoons as a flapper girl with more heart than brains. In individual cartoons, she was called "Nancy Lee" or "Nan McGrew"--derived from the 1930 Helen Kane film Dangerous Nan McGrew--usually serving as a girlfriend to studio star, Bimbo. Within a year, Betty made the transition from an incidental human-canine breed to a completely human female character. While much credit has been given to Grim Natwick for her creation, her transformation into the cute cartoon girl was due to the work of Berny Wolf, Otto Feuer, Seymour Kneitel, "Doc" Crandall, Willard Bowsky, and James "Shamus" Culhane. By the release of Any Rags Betty Boop was forever established as a human character. Her floppy poodle ears became hoop earrings, and her black poodle nose became a girl's button-like nose. Betty's voice was first performed by Margie Hines, and was later performed by several different voice actresses, including Kate Wright, Bonnie Poe, Ann Rothschild (also known as Little Ann Little), and most notably, Mae Questel. Questel, who began voicing Betty Boop in Bimbo's Silly Scandals (1931), and continued with the role until 1938, returning 50 years later in Disney's Who Framed Roger Rabbit. Today, Betty is voiced by Tress MacNeille, Sandy Fox and Cindy Robinson in commercials. Although it has been assumed that Betty's first name was established in the 1931 Screen Songs cartoon, Betty Co-ed, this "Betty" is an entirely different character. Even though the song may have led to Betty's eventual christening, any reference to Betty Co-ed as a Betty Boop vehicle is incorrect although the official Betty Boop website describes the titular character as a "prototype" of Betty. There are at least 12 Screen Songs cartoons that featured Betty Boop or a similar character. Betty appeared in the first "Color Classic" cartoon Poor Cinderella, her only theatrical color appearance in 1934. In the film, she was depicted with red hair as opposed to her typical black hair. Betty also made a cameo appearance in the feature film Who Framed Roger Rabbit (1988), in which she appeared in her traditional black and white and was voiced by Mae Questel. Betty Boop was the star of the Talkartoons by 1932 and was given her own series that same year, beginning with Stopping the Show. From that point on, she was crowned "The Queen of the Animated Screen". The series was popular throughout the 1930s, lasting until 1939.
|
C_aa0aed859ca9464fa61c689aa189a45c_1_q#0
|
Where we trace betty's origin?
| 0y
| 2x
|
{
"texts": [
"Betty Boop made her first appearance on August 9, 1930, in the cartoon Dizzy Dishes,"
],
"answer_starts": [
0
]
}
|
{
"text": "Betty Boop made her first appearance on August 9, 1930, in the cartoon Dizzy Dishes,",
"answer_start": 0
}
|
C_aa0aed859ca9464fa61c689aa189a45c_1
|
Betty Boop
|
Betty Boop is an animated cartoon character created by Max Fleischer, with help from animators including Grim Natwick. She originally appeared in the Talkartoon and Betty Boop film series, which were produced by Fleischer Studios and released by Paramount Pictures. She has also been featured in comic strips and mass merchandising. A caricature of a Jazz Age flapper, Betty Boop was described in a 1934 court case as: "combin[ing] in appearance the childish with the sophisticated--a large round baby face with big eyes and a nose like a button, framed in a somewhat careful coiffure, with a very small body of which perhaps the leading characteristic is the most self-confident little bust imaginable".
|
Origins
|
Betty Boop made her first appearance on August 9, 1930, in the cartoon Dizzy Dishes, the seventh installment in Fleischer's Talkartoon series. Although Clara Bow is often given as being the model for Boop, she actually began as a caricature of singer Helen Kane. The character was originally created as an anthropomorphic French poodle. Betty Boop appeared as a supporting character in ten cartoons as a flapper girl with more heart than brains. In individual cartoons, she was called "Nancy Lee" or "Nan McGrew"--derived from the 1930 Helen Kane film Dangerous Nan McGrew--usually serving as a girlfriend to studio star, Bimbo. Within a year, Betty made the transition from an incidental human-canine breed to a completely human female character. While much credit has been given to Grim Natwick for her creation, her transformation into the cute cartoon girl was due to the work of Berny Wolf, Otto Feuer, Seymour Kneitel, "Doc" Crandall, Willard Bowsky, and James "Shamus" Culhane. By the release of Any Rags Betty Boop was forever established as a human character. Her floppy poodle ears became hoop earrings, and her black poodle nose became a girl's button-like nose. Betty's voice was first performed by Margie Hines, and was later performed by several different voice actresses, including Kate Wright, Bonnie Poe, Ann Rothschild (also known as Little Ann Little), and most notably, Mae Questel. Questel, who began voicing Betty Boop in Bimbo's Silly Scandals (1931), and continued with the role until 1938, returning 50 years later in Disney's Who Framed Roger Rabbit. Today, Betty is voiced by Tress MacNeille, Sandy Fox and Cindy Robinson in commercials. Although it has been assumed that Betty's first name was established in the 1931 Screen Songs cartoon, Betty Co-ed, this "Betty" is an entirely different character. Even though the song may have led to Betty's eventual christening, any reference to Betty Co-ed as a Betty Boop vehicle is incorrect although the official Betty Boop website describes the titular character as a "prototype" of Betty. There are at least 12 Screen Songs cartoons that featured Betty Boop or a similar character. Betty appeared in the first "Color Classic" cartoon Poor Cinderella, her only theatrical color appearance in 1934. In the film, she was depicted with red hair as opposed to her typical black hair. Betty also made a cameo appearance in the feature film Who Framed Roger Rabbit (1988), in which she appeared in her traditional black and white and was voiced by Mae Questel. Betty Boop was the star of the Talkartoons by 1932 and was given her own series that same year, beginning with Stopping the Show. From that point on, she was crowned "The Queen of the Animated Screen". The series was popular throughout the 1930s, lasting until 1939.
Q: Where we trace betty's origin?
A: Betty Boop made her first appearance on August 9, 1930, in the cartoon Dizzy Dishes,
|
C_aa0aed859ca9464fa61c689aa189a45c_1_q#1
|
Who was the originator?
| 0y
| 2x
|
{
"texts": [
"Although Clara Bow is often given as being the model for Boop, she actually began as a caricature of singer Helen Kane."
],
"answer_starts": [
143
]
}
|
{
"text": "Although Clara Bow is often given as being the model for Boop, she actually began as a caricature of singer Helen Kane.",
"answer_start": 143
}
|
C_aa0aed859ca9464fa61c689aa189a45c_1
|
Betty Boop
|
Betty Boop is an animated cartoon character created by Max Fleischer, with help from animators including Grim Natwick. She originally appeared in the Talkartoon and Betty Boop film series, which were produced by Fleischer Studios and released by Paramount Pictures. She has also been featured in comic strips and mass merchandising. A caricature of a Jazz Age flapper, Betty Boop was described in a 1934 court case as: "combin[ing] in appearance the childish with the sophisticated--a large round baby face with big eyes and a nose like a button, framed in a somewhat careful coiffure, with a very small body of which perhaps the leading characteristic is the most self-confident little bust imaginable".
|
Origins
|
Betty Boop made her first appearance on August 9, 1930, in the cartoon Dizzy Dishes, the seventh installment in Fleischer's Talkartoon series. Although Clara Bow is often given as being the model for Boop, she actually began as a caricature of singer Helen Kane. The character was originally created as an anthropomorphic French poodle. Betty Boop appeared as a supporting character in ten cartoons as a flapper girl with more heart than brains. In individual cartoons, she was called "Nancy Lee" or "Nan McGrew"--derived from the 1930 Helen Kane film Dangerous Nan McGrew--usually serving as a girlfriend to studio star, Bimbo. Within a year, Betty made the transition from an incidental human-canine breed to a completely human female character. While much credit has been given to Grim Natwick for her creation, her transformation into the cute cartoon girl was due to the work of Berny Wolf, Otto Feuer, Seymour Kneitel, "Doc" Crandall, Willard Bowsky, and James "Shamus" Culhane. By the release of Any Rags Betty Boop was forever established as a human character. Her floppy poodle ears became hoop earrings, and her black poodle nose became a girl's button-like nose. Betty's voice was first performed by Margie Hines, and was later performed by several different voice actresses, including Kate Wright, Bonnie Poe, Ann Rothschild (also known as Little Ann Little), and most notably, Mae Questel. Questel, who began voicing Betty Boop in Bimbo's Silly Scandals (1931), and continued with the role until 1938, returning 50 years later in Disney's Who Framed Roger Rabbit. Today, Betty is voiced by Tress MacNeille, Sandy Fox and Cindy Robinson in commercials. Although it has been assumed that Betty's first name was established in the 1931 Screen Songs cartoon, Betty Co-ed, this "Betty" is an entirely different character. Even though the song may have led to Betty's eventual christening, any reference to Betty Co-ed as a Betty Boop vehicle is incorrect although the official Betty Boop website describes the titular character as a "prototype" of Betty. There are at least 12 Screen Songs cartoons that featured Betty Boop or a similar character. Betty appeared in the first "Color Classic" cartoon Poor Cinderella, her only theatrical color appearance in 1934. In the film, she was depicted with red hair as opposed to her typical black hair. Betty also made a cameo appearance in the feature film Who Framed Roger Rabbit (1988), in which she appeared in her traditional black and white and was voiced by Mae Questel. Betty Boop was the star of the Talkartoons by 1932 and was given her own series that same year, beginning with Stopping the Show. From that point on, she was crowned "The Queen of the Animated Screen". The series was popular throughout the 1930s, lasting until 1939.
Q: Where we trace betty's origin?
A: Betty Boop made her first appearance on August 9, 1930, in the cartoon Dizzy Dishes,
Q: Who was the originator?
A: Although Clara Bow is often given as being the model for Boop, she actually began as a caricature of singer Helen Kane.
|
C_aa0aed859ca9464fa61c689aa189a45c_1_q#2
|
Who else helped progress betty?
| 1n
| 2x
|
{
"texts": [
"her transformation into the cute cartoon girl was due to the work of Berny Wolf, Otto Feuer, Seymour Kneitel, \"Doc\" Crandall, Willard Bowsky, and James \"Shamus\" Culhane."
],
"answer_starts": [
816
]
}
|
{
"text": "her transformation into the cute cartoon girl was due to the work of Berny Wolf, Otto Feuer, Seymour Kneitel, \"Doc\" Crandall, Willard Bowsky, and James \"Shamus\" Culhane.",
"answer_start": 816
}
|
C_aa0aed859ca9464fa61c689aa189a45c_1
|
Betty Boop
|
Betty Boop is an animated cartoon character created by Max Fleischer, with help from animators including Grim Natwick. She originally appeared in the Talkartoon and Betty Boop film series, which were produced by Fleischer Studios and released by Paramount Pictures. She has also been featured in comic strips and mass merchandising. A caricature of a Jazz Age flapper, Betty Boop was described in a 1934 court case as: "combin[ing] in appearance the childish with the sophisticated--a large round baby face with big eyes and a nose like a button, framed in a somewhat careful coiffure, with a very small body of which perhaps the leading characteristic is the most self-confident little bust imaginable".
|
Origins
|
Betty Boop made her first appearance on August 9, 1930, in the cartoon Dizzy Dishes, the seventh installment in Fleischer's Talkartoon series. Although Clara Bow is often given as being the model for Boop, she actually began as a caricature of singer Helen Kane. The character was originally created as an anthropomorphic French poodle. Betty Boop appeared as a supporting character in ten cartoons as a flapper girl with more heart than brains. In individual cartoons, she was called "Nancy Lee" or "Nan McGrew"--derived from the 1930 Helen Kane film Dangerous Nan McGrew--usually serving as a girlfriend to studio star, Bimbo. Within a year, Betty made the transition from an incidental human-canine breed to a completely human female character. While much credit has been given to Grim Natwick for her creation, her transformation into the cute cartoon girl was due to the work of Berny Wolf, Otto Feuer, Seymour Kneitel, "Doc" Crandall, Willard Bowsky, and James "Shamus" Culhane. By the release of Any Rags Betty Boop was forever established as a human character. Her floppy poodle ears became hoop earrings, and her black poodle nose became a girl's button-like nose. Betty's voice was first performed by Margie Hines, and was later performed by several different voice actresses, including Kate Wright, Bonnie Poe, Ann Rothschild (also known as Little Ann Little), and most notably, Mae Questel. Questel, who began voicing Betty Boop in Bimbo's Silly Scandals (1931), and continued with the role until 1938, returning 50 years later in Disney's Who Framed Roger Rabbit. Today, Betty is voiced by Tress MacNeille, Sandy Fox and Cindy Robinson in commercials. Although it has been assumed that Betty's first name was established in the 1931 Screen Songs cartoon, Betty Co-ed, this "Betty" is an entirely different character. Even though the song may have led to Betty's eventual christening, any reference to Betty Co-ed as a Betty Boop vehicle is incorrect although the official Betty Boop website describes the titular character as a "prototype" of Betty. There are at least 12 Screen Songs cartoons that featured Betty Boop or a similar character. Betty appeared in the first "Color Classic" cartoon Poor Cinderella, her only theatrical color appearance in 1934. In the film, she was depicted with red hair as opposed to her typical black hair. Betty also made a cameo appearance in the feature film Who Framed Roger Rabbit (1988), in which she appeared in her traditional black and white and was voiced by Mae Questel. Betty Boop was the star of the Talkartoons by 1932 and was given her own series that same year, beginning with Stopping the Show. From that point on, she was crowned "The Queen of the Animated Screen". The series was popular throughout the 1930s, lasting until 1939.
Q: Where we trace betty's origin?
A: Betty Boop made her first appearance on August 9, 1930, in the cartoon Dizzy Dishes,
Q: Who was the originator?
A: Although Clara Bow is often given as being the model for Boop, she actually began as a caricature of singer Helen Kane.
Q: Who else helped progress betty?
A: her transformation into the cute cartoon girl was due to the work of Berny Wolf, Otto Feuer, Seymour Kneitel, "Doc" Crandall, Willard Bowsky, and James "Shamus" Culhane.
|
C_aa0aed859ca9464fa61c689aa189a45c_1_q#3
|
How betty fared with other characters?
| 0y
| 2x
|
{
"texts": [
"Betty Boop appeared as a supporting character in ten cartoons as a flapper girl with more heart than brains."
],
"answer_starts": [
337
]
}
|
{
"text": "Betty Boop appeared as a supporting character in ten cartoons as a flapper girl with more heart than brains.",
"answer_start": 337
}
|
C_aa0aed859ca9464fa61c689aa189a45c_1
|
Betty Boop
|
Betty Boop is an animated cartoon character created by Max Fleischer, with help from animators including Grim Natwick. She originally appeared in the Talkartoon and Betty Boop film series, which were produced by Fleischer Studios and released by Paramount Pictures. She has also been featured in comic strips and mass merchandising. A caricature of a Jazz Age flapper, Betty Boop was described in a 1934 court case as: "combin[ing] in appearance the childish with the sophisticated--a large round baby face with big eyes and a nose like a button, framed in a somewhat careful coiffure, with a very small body of which perhaps the leading characteristic is the most self-confident little bust imaginable".
|
Origins
|
Betty Boop made her first appearance on August 9, 1930, in the cartoon Dizzy Dishes, the seventh installment in Fleischer's Talkartoon series. Although Clara Bow is often given as being the model for Boop, she actually began as a caricature of singer Helen Kane. The character was originally created as an anthropomorphic French poodle. Betty Boop appeared as a supporting character in ten cartoons as a flapper girl with more heart than brains. In individual cartoons, she was called "Nancy Lee" or "Nan McGrew"--derived from the 1930 Helen Kane film Dangerous Nan McGrew--usually serving as a girlfriend to studio star, Bimbo. Within a year, Betty made the transition from an incidental human-canine breed to a completely human female character. While much credit has been given to Grim Natwick for her creation, her transformation into the cute cartoon girl was due to the work of Berny Wolf, Otto Feuer, Seymour Kneitel, "Doc" Crandall, Willard Bowsky, and James "Shamus" Culhane. By the release of Any Rags Betty Boop was forever established as a human character. Her floppy poodle ears became hoop earrings, and her black poodle nose became a girl's button-like nose. Betty's voice was first performed by Margie Hines, and was later performed by several different voice actresses, including Kate Wright, Bonnie Poe, Ann Rothschild (also known as Little Ann Little), and most notably, Mae Questel. Questel, who began voicing Betty Boop in Bimbo's Silly Scandals (1931), and continued with the role until 1938, returning 50 years later in Disney's Who Framed Roger Rabbit. Today, Betty is voiced by Tress MacNeille, Sandy Fox and Cindy Robinson in commercials. Although it has been assumed that Betty's first name was established in the 1931 Screen Songs cartoon, Betty Co-ed, this "Betty" is an entirely different character. Even though the song may have led to Betty's eventual christening, any reference to Betty Co-ed as a Betty Boop vehicle is incorrect although the official Betty Boop website describes the titular character as a "prototype" of Betty. There are at least 12 Screen Songs cartoons that featured Betty Boop or a similar character. Betty appeared in the first "Color Classic" cartoon Poor Cinderella, her only theatrical color appearance in 1934. In the film, she was depicted with red hair as opposed to her typical black hair. Betty also made a cameo appearance in the feature film Who Framed Roger Rabbit (1988), in which she appeared in her traditional black and white and was voiced by Mae Questel. Betty Boop was the star of the Talkartoons by 1932 and was given her own series that same year, beginning with Stopping the Show. From that point on, she was crowned "The Queen of the Animated Screen". The series was popular throughout the 1930s, lasting until 1939.
Q: Where we trace betty's origin?
A: Betty Boop made her first appearance on August 9, 1930, in the cartoon Dizzy Dishes,
Q: Who was the originator?
A: Although Clara Bow is often given as being the model for Boop, she actually began as a caricature of singer Helen Kane.
Q: Who else helped progress betty?
A: her transformation into the cute cartoon girl was due to the work of Berny Wolf, Otto Feuer, Seymour Kneitel, "Doc" Crandall, Willard Bowsky, and James "Shamus" Culhane.
Q: How betty fared with other characters?
A: Betty Boop appeared as a supporting character in ten cartoons as a flapper girl with more heart than brains.
|
C_aa0aed859ca9464fa61c689aa189a45c_1_q#4
|
Any example of success in those characters?
| 2m
| 0y
|
{
"texts": [
"Within a year, Betty made the transition from an incidental human-canine breed to a completely human female character."
],
"answer_starts": [
630
]
}
|
{
"text": "Within a year, Betty made the transition from an incidental human-canine breed to a completely human female character.",
"answer_start": 630
}
|
C_aa0aed859ca9464fa61c689aa189a45c_1
|
Betty Boop
|
Betty Boop is an animated cartoon character created by Max Fleischer, with help from animators including Grim Natwick. She originally appeared in the Talkartoon and Betty Boop film series, which were produced by Fleischer Studios and released by Paramount Pictures. She has also been featured in comic strips and mass merchandising. A caricature of a Jazz Age flapper, Betty Boop was described in a 1934 court case as: "combin[ing] in appearance the childish with the sophisticated--a large round baby face with big eyes and a nose like a button, framed in a somewhat careful coiffure, with a very small body of which perhaps the leading characteristic is the most self-confident little bust imaginable".
|
Origins
|
Betty Boop made her first appearance on August 9, 1930, in the cartoon Dizzy Dishes, the seventh installment in Fleischer's Talkartoon series. Although Clara Bow is often given as being the model for Boop, she actually began as a caricature of singer Helen Kane. The character was originally created as an anthropomorphic French poodle. Betty Boop appeared as a supporting character in ten cartoons as a flapper girl with more heart than brains. In individual cartoons, she was called "Nancy Lee" or "Nan McGrew"--derived from the 1930 Helen Kane film Dangerous Nan McGrew--usually serving as a girlfriend to studio star, Bimbo. Within a year, Betty made the transition from an incidental human-canine breed to a completely human female character. While much credit has been given to Grim Natwick for her creation, her transformation into the cute cartoon girl was due to the work of Berny Wolf, Otto Feuer, Seymour Kneitel, "Doc" Crandall, Willard Bowsky, and James "Shamus" Culhane. By the release of Any Rags Betty Boop was forever established as a human character. Her floppy poodle ears became hoop earrings, and her black poodle nose became a girl's button-like nose. Betty's voice was first performed by Margie Hines, and was later performed by several different voice actresses, including Kate Wright, Bonnie Poe, Ann Rothschild (also known as Little Ann Little), and most notably, Mae Questel. Questel, who began voicing Betty Boop in Bimbo's Silly Scandals (1931), and continued with the role until 1938, returning 50 years later in Disney's Who Framed Roger Rabbit. Today, Betty is voiced by Tress MacNeille, Sandy Fox and Cindy Robinson in commercials. Although it has been assumed that Betty's first name was established in the 1931 Screen Songs cartoon, Betty Co-ed, this "Betty" is an entirely different character. Even though the song may have led to Betty's eventual christening, any reference to Betty Co-ed as a Betty Boop vehicle is incorrect although the official Betty Boop website describes the titular character as a "prototype" of Betty. There are at least 12 Screen Songs cartoons that featured Betty Boop or a similar character. Betty appeared in the first "Color Classic" cartoon Poor Cinderella, her only theatrical color appearance in 1934. In the film, she was depicted with red hair as opposed to her typical black hair. Betty also made a cameo appearance in the feature film Who Framed Roger Rabbit (1988), in which she appeared in her traditional black and white and was voiced by Mae Questel. Betty Boop was the star of the Talkartoons by 1932 and was given her own series that same year, beginning with Stopping the Show. From that point on, she was crowned "The Queen of the Animated Screen". The series was popular throughout the 1930s, lasting until 1939.
Q: Where we trace betty's origin?
A: Betty Boop made her first appearance on August 9, 1930, in the cartoon Dizzy Dishes,
Q: Who was the originator?
A: Although Clara Bow is often given as being the model for Boop, she actually began as a caricature of singer Helen Kane.
Q: Who else helped progress betty?
A: her transformation into the cute cartoon girl was due to the work of Berny Wolf, Otto Feuer, Seymour Kneitel, "Doc" Crandall, Willard Bowsky, and James "Shamus" Culhane.
Q: How betty fared with other characters?
A: Betty Boop appeared as a supporting character in ten cartoons as a flapper girl with more heart than brains.
Q: Any example of success in those characters?
A: Within a year, Betty made the transition from an incidental human-canine breed to a completely human female character.
|
C_aa0aed859ca9464fa61c689aa189a45c_1_q#5
|
Did betty morph more?
| 1n
| 0y
|
{
"texts": [
"Her floppy poodle ears became hoop earrings, and her black poodle nose became a girl's button-like nose."
],
"answer_starts": [
1070
]
}
|
{
"text": "Her floppy poodle ears became hoop earrings, and her black poodle nose became a girl's button-like nose.",
"answer_start": 1070
}
|
C_aa0aed859ca9464fa61c689aa189a45c_1
|
Betty Boop
|
Betty Boop is an animated cartoon character created by Max Fleischer, with help from animators including Grim Natwick. She originally appeared in the Talkartoon and Betty Boop film series, which were produced by Fleischer Studios and released by Paramount Pictures. She has also been featured in comic strips and mass merchandising. A caricature of a Jazz Age flapper, Betty Boop was described in a 1934 court case as: "combin[ing] in appearance the childish with the sophisticated--a large round baby face with big eyes and a nose like a button, framed in a somewhat careful coiffure, with a very small body of which perhaps the leading characteristic is the most self-confident little bust imaginable".
|
Origins
|
Betty Boop made her first appearance on August 9, 1930, in the cartoon Dizzy Dishes, the seventh installment in Fleischer's Talkartoon series. Although Clara Bow is often given as being the model for Boop, she actually began as a caricature of singer Helen Kane. The character was originally created as an anthropomorphic French poodle. Betty Boop appeared as a supporting character in ten cartoons as a flapper girl with more heart than brains. In individual cartoons, she was called "Nancy Lee" or "Nan McGrew"--derived from the 1930 Helen Kane film Dangerous Nan McGrew--usually serving as a girlfriend to studio star, Bimbo. Within a year, Betty made the transition from an incidental human-canine breed to a completely human female character. While much credit has been given to Grim Natwick for her creation, her transformation into the cute cartoon girl was due to the work of Berny Wolf, Otto Feuer, Seymour Kneitel, "Doc" Crandall, Willard Bowsky, and James "Shamus" Culhane. By the release of Any Rags Betty Boop was forever established as a human character. Her floppy poodle ears became hoop earrings, and her black poodle nose became a girl's button-like nose. Betty's voice was first performed by Margie Hines, and was later performed by several different voice actresses, including Kate Wright, Bonnie Poe, Ann Rothschild (also known as Little Ann Little), and most notably, Mae Questel. Questel, who began voicing Betty Boop in Bimbo's Silly Scandals (1931), and continued with the role until 1938, returning 50 years later in Disney's Who Framed Roger Rabbit. Today, Betty is voiced by Tress MacNeille, Sandy Fox and Cindy Robinson in commercials. Although it has been assumed that Betty's first name was established in the 1931 Screen Songs cartoon, Betty Co-ed, this "Betty" is an entirely different character. Even though the song may have led to Betty's eventual christening, any reference to Betty Co-ed as a Betty Boop vehicle is incorrect although the official Betty Boop website describes the titular character as a "prototype" of Betty. There are at least 12 Screen Songs cartoons that featured Betty Boop or a similar character. Betty appeared in the first "Color Classic" cartoon Poor Cinderella, her only theatrical color appearance in 1934. In the film, she was depicted with red hair as opposed to her typical black hair. Betty also made a cameo appearance in the feature film Who Framed Roger Rabbit (1988), in which she appeared in her traditional black and white and was voiced by Mae Questel. Betty Boop was the star of the Talkartoons by 1932 and was given her own series that same year, beginning with Stopping the Show. From that point on, she was crowned "The Queen of the Animated Screen". The series was popular throughout the 1930s, lasting until 1939.
Q: Where we trace betty's origin?
A: Betty Boop made her first appearance on August 9, 1930, in the cartoon Dizzy Dishes,
Q: Who was the originator?
A: Although Clara Bow is often given as being the model for Boop, she actually began as a caricature of singer Helen Kane.
Q: Who else helped progress betty?
A: her transformation into the cute cartoon girl was due to the work of Berny Wolf, Otto Feuer, Seymour Kneitel, "Doc" Crandall, Willard Bowsky, and James "Shamus" Culhane.
Q: How betty fared with other characters?
A: Betty Boop appeared as a supporting character in ten cartoons as a flapper girl with more heart than brains.
Q: Any example of success in those characters?
A: Within a year, Betty made the transition from an incidental human-canine breed to a completely human female character.
Q: Did betty morph more?
A: Her floppy poodle ears became hoop earrings, and her black poodle nose became a girl's button-like nose.
|
C_aa0aed859ca9464fa61c689aa189a45c_1_q#6
|
How betty was portrayed in the press or elsewhere?
| 1n
| 2x
|
{
"texts": [
"she was crowned \"The Queen of the Animated Screen\"."
],
"answer_starts": [
2682
]
}
|
{
"text": "she was crowned \"The Queen of the Animated Screen\".",
"answer_start": 2682
}
|
C_aa0aed859ca9464fa61c689aa189a45c_1
|
Betty Boop
|
Betty Boop is an animated cartoon character created by Max Fleischer, with help from animators including Grim Natwick. She originally appeared in the Talkartoon and Betty Boop film series, which were produced by Fleischer Studios and released by Paramount Pictures. She has also been featured in comic strips and mass merchandising. A caricature of a Jazz Age flapper, Betty Boop was described in a 1934 court case as: "combin[ing] in appearance the childish with the sophisticated--a large round baby face with big eyes and a nose like a button, framed in a somewhat careful coiffure, with a very small body of which perhaps the leading characteristic is the most self-confident little bust imaginable".
|
Origins
|
Betty Boop made her first appearance on August 9, 1930, in the cartoon Dizzy Dishes, the seventh installment in Fleischer's Talkartoon series. Although Clara Bow is often given as being the model for Boop, she actually began as a caricature of singer Helen Kane. The character was originally created as an anthropomorphic French poodle. Betty Boop appeared as a supporting character in ten cartoons as a flapper girl with more heart than brains. In individual cartoons, she was called "Nancy Lee" or "Nan McGrew"--derived from the 1930 Helen Kane film Dangerous Nan McGrew--usually serving as a girlfriend to studio star, Bimbo. Within a year, Betty made the transition from an incidental human-canine breed to a completely human female character. While much credit has been given to Grim Natwick for her creation, her transformation into the cute cartoon girl was due to the work of Berny Wolf, Otto Feuer, Seymour Kneitel, "Doc" Crandall, Willard Bowsky, and James "Shamus" Culhane. By the release of Any Rags Betty Boop was forever established as a human character. Her floppy poodle ears became hoop earrings, and her black poodle nose became a girl's button-like nose. Betty's voice was first performed by Margie Hines, and was later performed by several different voice actresses, including Kate Wright, Bonnie Poe, Ann Rothschild (also known as Little Ann Little), and most notably, Mae Questel. Questel, who began voicing Betty Boop in Bimbo's Silly Scandals (1931), and continued with the role until 1938, returning 50 years later in Disney's Who Framed Roger Rabbit. Today, Betty is voiced by Tress MacNeille, Sandy Fox and Cindy Robinson in commercials. Although it has been assumed that Betty's first name was established in the 1931 Screen Songs cartoon, Betty Co-ed, this "Betty" is an entirely different character. Even though the song may have led to Betty's eventual christening, any reference to Betty Co-ed as a Betty Boop vehicle is incorrect although the official Betty Boop website describes the titular character as a "prototype" of Betty. There are at least 12 Screen Songs cartoons that featured Betty Boop or a similar character. Betty appeared in the first "Color Classic" cartoon Poor Cinderella, her only theatrical color appearance in 1934. In the film, she was depicted with red hair as opposed to her typical black hair. Betty also made a cameo appearance in the feature film Who Framed Roger Rabbit (1988), in which she appeared in her traditional black and white and was voiced by Mae Questel. Betty Boop was the star of the Talkartoons by 1932 and was given her own series that same year, beginning with Stopping the Show. From that point on, she was crowned "The Queen of the Animated Screen". The series was popular throughout the 1930s, lasting until 1939.
Q: Where we trace betty's origin?
A: Betty Boop made her first appearance on August 9, 1930, in the cartoon Dizzy Dishes,
Q: Who was the originator?
A: Although Clara Bow is often given as being the model for Boop, she actually began as a caricature of singer Helen Kane.
Q: Who else helped progress betty?
A: her transformation into the cute cartoon girl was due to the work of Berny Wolf, Otto Feuer, Seymour Kneitel, "Doc" Crandall, Willard Bowsky, and James "Shamus" Culhane.
Q: How betty fared with other characters?
A: Betty Boop appeared as a supporting character in ten cartoons as a flapper girl with more heart than brains.
Q: Any example of success in those characters?
A: Within a year, Betty made the transition from an incidental human-canine breed to a completely human female character.
Q: Did betty morph more?
A: Her floppy poodle ears became hoop earrings, and her black poodle nose became a girl's button-like nose.
Q: How betty was portrayed in the press or elsewhere?
A: she was crowned "The Queen of the Animated Screen".
|
C_aa0aed859ca9464fa61c689aa189a45c_1_q#7
|
Did she receive other titles?
| 1n
| 2x
|
{
"texts": [
"unknown"
],
"answer_starts": [
2799
]
}
|
{
"text": "unknown",
"answer_start": 2799
}
|
C_aa0aed859ca9464fa61c689aa189a45c_1
|
Betty Boop
|
Betty Boop is an animated cartoon character created by Max Fleischer, with help from animators including Grim Natwick. She originally appeared in the Talkartoon and Betty Boop film series, which were produced by Fleischer Studios and released by Paramount Pictures. She has also been featured in comic strips and mass merchandising. A caricature of a Jazz Age flapper, Betty Boop was described in a 1934 court case as: "combin[ing] in appearance the childish with the sophisticated--a large round baby face with big eyes and a nose like a button, framed in a somewhat careful coiffure, with a very small body of which perhaps the leading characteristic is the most self-confident little bust imaginable".
|
Origins
|
Betty Boop made her first appearance on August 9, 1930, in the cartoon Dizzy Dishes, the seventh installment in Fleischer's Talkartoon series. Although Clara Bow is often given as being the model for Boop, she actually began as a caricature of singer Helen Kane. The character was originally created as an anthropomorphic French poodle. Betty Boop appeared as a supporting character in ten cartoons as a flapper girl with more heart than brains. In individual cartoons, she was called "Nancy Lee" or "Nan McGrew"--derived from the 1930 Helen Kane film Dangerous Nan McGrew--usually serving as a girlfriend to studio star, Bimbo. Within a year, Betty made the transition from an incidental human-canine breed to a completely human female character. While much credit has been given to Grim Natwick for her creation, her transformation into the cute cartoon girl was due to the work of Berny Wolf, Otto Feuer, Seymour Kneitel, "Doc" Crandall, Willard Bowsky, and James "Shamus" Culhane. By the release of Any Rags Betty Boop was forever established as a human character. Her floppy poodle ears became hoop earrings, and her black poodle nose became a girl's button-like nose. Betty's voice was first performed by Margie Hines, and was later performed by several different voice actresses, including Kate Wright, Bonnie Poe, Ann Rothschild (also known as Little Ann Little), and most notably, Mae Questel. Questel, who began voicing Betty Boop in Bimbo's Silly Scandals (1931), and continued with the role until 1938, returning 50 years later in Disney's Who Framed Roger Rabbit. Today, Betty is voiced by Tress MacNeille, Sandy Fox and Cindy Robinson in commercials. Although it has been assumed that Betty's first name was established in the 1931 Screen Songs cartoon, Betty Co-ed, this "Betty" is an entirely different character. Even though the song may have led to Betty's eventual christening, any reference to Betty Co-ed as a Betty Boop vehicle is incorrect although the official Betty Boop website describes the titular character as a "prototype" of Betty. There are at least 12 Screen Songs cartoons that featured Betty Boop or a similar character. Betty appeared in the first "Color Classic" cartoon Poor Cinderella, her only theatrical color appearance in 1934. In the film, she was depicted with red hair as opposed to her typical black hair. Betty also made a cameo appearance in the feature film Who Framed Roger Rabbit (1988), in which she appeared in her traditional black and white and was voiced by Mae Questel. Betty Boop was the star of the Talkartoons by 1932 and was given her own series that same year, beginning with Stopping the Show. From that point on, she was crowned "The Queen of the Animated Screen". The series was popular throughout the 1930s, lasting until 1939.
Q: Where we trace betty's origin?
A: Betty Boop made her first appearance on August 9, 1930, in the cartoon Dizzy Dishes,
Q: Who was the originator?
A: Although Clara Bow is often given as being the model for Boop, she actually began as a caricature of singer Helen Kane.
Q: Who else helped progress betty?
A: her transformation into the cute cartoon girl was due to the work of Berny Wolf, Otto Feuer, Seymour Kneitel, "Doc" Crandall, Willard Bowsky, and James "Shamus" Culhane.
Q: How betty fared with other characters?
A: Betty Boop appeared as a supporting character in ten cartoons as a flapper girl with more heart than brains.
Q: Any example of success in those characters?
A: Within a year, Betty made the transition from an incidental human-canine breed to a completely human female character.
Q: Did betty morph more?
A: Her floppy poodle ears became hoop earrings, and her black poodle nose became a girl's button-like nose.
Q: How betty was portrayed in the press or elsewhere?
A: she was crowned "The Queen of the Animated Screen".
Q: Did she receive other titles?
A: unknown
|
C_aa0aed859ca9464fa61c689aa189a45c_1_q#8
|
Are there any other interesting aspects about this article?
| 2m
| 0y
|
{
"texts": [
"Betty Boop was the star of the Talkartoons by 1932 and was given her own series that same year,"
],
"answer_starts": [
2532
]
}
|
{
"text": "Betty Boop was the star of the Talkartoons by 1932 and was given her own series that same year,",
"answer_start": 2532
}
|
C_aa0aed859ca9464fa61c689aa189a45c_0
|
Betty Boop
|
Betty Boop is an animated cartoon character created by Max Fleischer, with help from animators including Grim Natwick. She originally appeared in the Talkartoon and Betty Boop film series, which were produced by Fleischer Studios and released by Paramount Pictures. She has also been featured in comic strips and mass merchandising. A caricature of a Jazz Age flapper, Betty Boop was described in a 1934 court case as: "combin[ing] in appearance the childish with the sophisticated--a large round baby face with big eyes and a nose like a button, framed in a somewhat careful coiffure, with a very small body of which perhaps the leading characteristic is the most self-confident little bust imaginable".
|
Under the Production Code
|
Betty Boop's best appearances are considered to be in her first three years due to her "Jazz Baby" character and innocent sexuality, which was aimed at adults. However, the content of her films was affected by the National Legion of Decency and the Production Code of 1934. The Production Code of 1934 imposed guidelines on the Motion Picture Industry and placed specific restrictions on the content films could reference with sexual innuendos. This greatly affected the Betty Boop cartoons. No longer a carefree flapper from the date the code went into effect on July 1, 1934, Betty became a spinster housewife or a career girl who wore a fuller dress or skirt. Additionally, as time progressed, the curls in her hair gradually decreased. She also eventually stopped wearing her gold bracelets and hoop earrings, and she became more mature and wiser in personality, compared to her earlier years. Right from the start, Joseph Breen, the new head film censor, had numerous complaints. The Breen Office ordered the removal of the suggestive introduction which had started the cartoons because Betty Boop's winks and shaking hips were deemed "suggestive of immorality". For a few entries, Betty was given a new human boyfriend named Freddie, who was introduced in She Wronged Him Right (1934). Next, Betty was teamed with a puppy named Pudgy, beginning with Betty Boop's Little Pal (1934). The following year saw the addition of the eccentric inventor Grampy, who debuted in Betty Boop and Grampy (1935). While these cartoons were tame compared to her earlier appearances, their self-conscious wholesomeness was aimed at a more juvenile audience, which contributed to the decline of the series. Much of the decline was due to the lessening of Betty's role in the cartoons in favor of her co-stars. This was a similar problem experienced during the same period with Walt Disney's Mickey Mouse, who was becoming eclipsed by the popularity of his co-stars Donald Duck, Goofy, and Pluto, not to mention Fleischer's biggest success, Popeye. Since she was largely a musical novelty character, the animators attempted to keep Betty's cartoons interesting by pairing her with popular comic strip characters such as Henry, The Little King and Little Jimmy, hoping to create an additional spin-off series with her pairing with Popeye in 1933. However, none of these films generated a new series. When the flapper/jazz era that Betty represented had been replaced by the big bands of the swing era, Fleischer Studios made an attempt to develop a replacement character in this style in the 1938 Betty Boop cartoon Betty Boop and Sally Swing, but it was not a success. The last Betty Boop cartoons were released in 1939, and a few made attempts to bring Betty into the swing era. In her last appearance, Rhythm on the Reservation (1939). Betty drives an open convertible, labeled "Betty Boop's Swing Band", through a Native American reservation, where she introduces the people to swing music and creates a "Swinging Sioux Band". The Betty Boop cartoon series officially ended with Yip Yip Yippy (1939). While "Yip Yip Yippy" appears at the end of the Betty Boop series, it is only a one-shot about a "Drug Store" mail-order cowboy "wannabe" without Betty. "Yip Yip Yipee" was written mainly to fill the release schedule and fulfill the contract.
|
C_aa0aed859ca9464fa61c689aa189a45c_0_q#0
|
What happened under the production code?
| 0y
| 2x
|
{
"texts": [
"the content of her films was affected by the National Legion of Decency and the Production Code of 1934."
],
"answer_starts": [
169
]
}
|
{
"text": "the content of her films was affected by the National Legion of Decency and the Production Code of 1934.",
"answer_start": 169
}
|
C_aa0aed859ca9464fa61c689aa189a45c_0
|
Betty Boop
|
Betty Boop is an animated cartoon character created by Max Fleischer, with help from animators including Grim Natwick. She originally appeared in the Talkartoon and Betty Boop film series, which were produced by Fleischer Studios and released by Paramount Pictures. She has also been featured in comic strips and mass merchandising. A caricature of a Jazz Age flapper, Betty Boop was described in a 1934 court case as: "combin[ing] in appearance the childish with the sophisticated--a large round baby face with big eyes and a nose like a button, framed in a somewhat careful coiffure, with a very small body of which perhaps the leading characteristic is the most self-confident little bust imaginable".
|
Under the Production Code
|
Betty Boop's best appearances are considered to be in her first three years due to her "Jazz Baby" character and innocent sexuality, which was aimed at adults. However, the content of her films was affected by the National Legion of Decency and the Production Code of 1934. The Production Code of 1934 imposed guidelines on the Motion Picture Industry and placed specific restrictions on the content films could reference with sexual innuendos. This greatly affected the Betty Boop cartoons. No longer a carefree flapper from the date the code went into effect on July 1, 1934, Betty became a spinster housewife or a career girl who wore a fuller dress or skirt. Additionally, as time progressed, the curls in her hair gradually decreased. She also eventually stopped wearing her gold bracelets and hoop earrings, and she became more mature and wiser in personality, compared to her earlier years. Right from the start, Joseph Breen, the new head film censor, had numerous complaints. The Breen Office ordered the removal of the suggestive introduction which had started the cartoons because Betty Boop's winks and shaking hips were deemed "suggestive of immorality". For a few entries, Betty was given a new human boyfriend named Freddie, who was introduced in She Wronged Him Right (1934). Next, Betty was teamed with a puppy named Pudgy, beginning with Betty Boop's Little Pal (1934). The following year saw the addition of the eccentric inventor Grampy, who debuted in Betty Boop and Grampy (1935). While these cartoons were tame compared to her earlier appearances, their self-conscious wholesomeness was aimed at a more juvenile audience, which contributed to the decline of the series. Much of the decline was due to the lessening of Betty's role in the cartoons in favor of her co-stars. This was a similar problem experienced during the same period with Walt Disney's Mickey Mouse, who was becoming eclipsed by the popularity of his co-stars Donald Duck, Goofy, and Pluto, not to mention Fleischer's biggest success, Popeye. Since she was largely a musical novelty character, the animators attempted to keep Betty's cartoons interesting by pairing her with popular comic strip characters such as Henry, The Little King and Little Jimmy, hoping to create an additional spin-off series with her pairing with Popeye in 1933. However, none of these films generated a new series. When the flapper/jazz era that Betty represented had been replaced by the big bands of the swing era, Fleischer Studios made an attempt to develop a replacement character in this style in the 1938 Betty Boop cartoon Betty Boop and Sally Swing, but it was not a success. The last Betty Boop cartoons were released in 1939, and a few made attempts to bring Betty into the swing era. In her last appearance, Rhythm on the Reservation (1939). Betty drives an open convertible, labeled "Betty Boop's Swing Band", through a Native American reservation, where she introduces the people to swing music and creates a "Swinging Sioux Band". The Betty Boop cartoon series officially ended with Yip Yip Yippy (1939). While "Yip Yip Yippy" appears at the end of the Betty Boop series, it is only a one-shot about a "Drug Store" mail-order cowboy "wannabe" without Betty. "Yip Yip Yipee" was written mainly to fill the release schedule and fulfill the contract.
Q: What happened under the production code?
A: the content of her films was affected by the National Legion of Decency and the Production Code of 1934.
|
C_aa0aed859ca9464fa61c689aa189a45c_0_q#1
|
How was it affected?
| 0y
| 2x
|
{
"texts": [
"The Production Code of 1934 imposed guidelines on the Motion Picture Industry and placed specific restrictions"
],
"answer_starts": [
274
]
}
|
{
"text": "The Production Code of 1934 imposed guidelines on the Motion Picture Industry and placed specific restrictions",
"answer_start": 274
}
|
C_aa0aed859ca9464fa61c689aa189a45c_0
|
Betty Boop
|
Betty Boop is an animated cartoon character created by Max Fleischer, with help from animators including Grim Natwick. She originally appeared in the Talkartoon and Betty Boop film series, which were produced by Fleischer Studios and released by Paramount Pictures. She has also been featured in comic strips and mass merchandising. A caricature of a Jazz Age flapper, Betty Boop was described in a 1934 court case as: "combin[ing] in appearance the childish with the sophisticated--a large round baby face with big eyes and a nose like a button, framed in a somewhat careful coiffure, with a very small body of which perhaps the leading characteristic is the most self-confident little bust imaginable".
|
Under the Production Code
|
Betty Boop's best appearances are considered to be in her first three years due to her "Jazz Baby" character and innocent sexuality, which was aimed at adults. However, the content of her films was affected by the National Legion of Decency and the Production Code of 1934. The Production Code of 1934 imposed guidelines on the Motion Picture Industry and placed specific restrictions on the content films could reference with sexual innuendos. This greatly affected the Betty Boop cartoons. No longer a carefree flapper from the date the code went into effect on July 1, 1934, Betty became a spinster housewife or a career girl who wore a fuller dress or skirt. Additionally, as time progressed, the curls in her hair gradually decreased. She also eventually stopped wearing her gold bracelets and hoop earrings, and she became more mature and wiser in personality, compared to her earlier years. Right from the start, Joseph Breen, the new head film censor, had numerous complaints. The Breen Office ordered the removal of the suggestive introduction which had started the cartoons because Betty Boop's winks and shaking hips were deemed "suggestive of immorality". For a few entries, Betty was given a new human boyfriend named Freddie, who was introduced in She Wronged Him Right (1934). Next, Betty was teamed with a puppy named Pudgy, beginning with Betty Boop's Little Pal (1934). The following year saw the addition of the eccentric inventor Grampy, who debuted in Betty Boop and Grampy (1935). While these cartoons were tame compared to her earlier appearances, their self-conscious wholesomeness was aimed at a more juvenile audience, which contributed to the decline of the series. Much of the decline was due to the lessening of Betty's role in the cartoons in favor of her co-stars. This was a similar problem experienced during the same period with Walt Disney's Mickey Mouse, who was becoming eclipsed by the popularity of his co-stars Donald Duck, Goofy, and Pluto, not to mention Fleischer's biggest success, Popeye. Since she was largely a musical novelty character, the animators attempted to keep Betty's cartoons interesting by pairing her with popular comic strip characters such as Henry, The Little King and Little Jimmy, hoping to create an additional spin-off series with her pairing with Popeye in 1933. However, none of these films generated a new series. When the flapper/jazz era that Betty represented had been replaced by the big bands of the swing era, Fleischer Studios made an attempt to develop a replacement character in this style in the 1938 Betty Boop cartoon Betty Boop and Sally Swing, but it was not a success. The last Betty Boop cartoons were released in 1939, and a few made attempts to bring Betty into the swing era. In her last appearance, Rhythm on the Reservation (1939). Betty drives an open convertible, labeled "Betty Boop's Swing Band", through a Native American reservation, where she introduces the people to swing music and creates a "Swinging Sioux Band". The Betty Boop cartoon series officially ended with Yip Yip Yippy (1939). While "Yip Yip Yippy" appears at the end of the Betty Boop series, it is only a one-shot about a "Drug Store" mail-order cowboy "wannabe" without Betty. "Yip Yip Yipee" was written mainly to fill the release schedule and fulfill the contract.
Q: What happened under the production code?
A: the content of her films was affected by the National Legion of Decency and the Production Code of 1934.
Q: How was it affected?
A: The Production Code of 1934 imposed guidelines on the Motion Picture Industry and placed specific restrictions
|
C_aa0aed859ca9464fa61c689aa189a45c_0_q#2
|
What were the restrictions?
| 0y
| 2x
|
{
"texts": [
"the content films could reference with sexual innuendos."
],
"answer_starts": [
388
]
}
|
{
"text": "the content films could reference with sexual innuendos.",
"answer_start": 388
}
|
C_aa0aed859ca9464fa61c689aa189a45c_0
|
Betty Boop
|
Betty Boop is an animated cartoon character created by Max Fleischer, with help from animators including Grim Natwick. She originally appeared in the Talkartoon and Betty Boop film series, which were produced by Fleischer Studios and released by Paramount Pictures. She has also been featured in comic strips and mass merchandising. A caricature of a Jazz Age flapper, Betty Boop was described in a 1934 court case as: "combin[ing] in appearance the childish with the sophisticated--a large round baby face with big eyes and a nose like a button, framed in a somewhat careful coiffure, with a very small body of which perhaps the leading characteristic is the most self-confident little bust imaginable".
|
Under the Production Code
|
Betty Boop's best appearances are considered to be in her first three years due to her "Jazz Baby" character and innocent sexuality, which was aimed at adults. However, the content of her films was affected by the National Legion of Decency and the Production Code of 1934. The Production Code of 1934 imposed guidelines on the Motion Picture Industry and placed specific restrictions on the content films could reference with sexual innuendos. This greatly affected the Betty Boop cartoons. No longer a carefree flapper from the date the code went into effect on July 1, 1934, Betty became a spinster housewife or a career girl who wore a fuller dress or skirt. Additionally, as time progressed, the curls in her hair gradually decreased. She also eventually stopped wearing her gold bracelets and hoop earrings, and she became more mature and wiser in personality, compared to her earlier years. Right from the start, Joseph Breen, the new head film censor, had numerous complaints. The Breen Office ordered the removal of the suggestive introduction which had started the cartoons because Betty Boop's winks and shaking hips were deemed "suggestive of immorality". For a few entries, Betty was given a new human boyfriend named Freddie, who was introduced in She Wronged Him Right (1934). Next, Betty was teamed with a puppy named Pudgy, beginning with Betty Boop's Little Pal (1934). The following year saw the addition of the eccentric inventor Grampy, who debuted in Betty Boop and Grampy (1935). While these cartoons were tame compared to her earlier appearances, their self-conscious wholesomeness was aimed at a more juvenile audience, which contributed to the decline of the series. Much of the decline was due to the lessening of Betty's role in the cartoons in favor of her co-stars. This was a similar problem experienced during the same period with Walt Disney's Mickey Mouse, who was becoming eclipsed by the popularity of his co-stars Donald Duck, Goofy, and Pluto, not to mention Fleischer's biggest success, Popeye. Since she was largely a musical novelty character, the animators attempted to keep Betty's cartoons interesting by pairing her with popular comic strip characters such as Henry, The Little King and Little Jimmy, hoping to create an additional spin-off series with her pairing with Popeye in 1933. However, none of these films generated a new series. When the flapper/jazz era that Betty represented had been replaced by the big bands of the swing era, Fleischer Studios made an attempt to develop a replacement character in this style in the 1938 Betty Boop cartoon Betty Boop and Sally Swing, but it was not a success. The last Betty Boop cartoons were released in 1939, and a few made attempts to bring Betty into the swing era. In her last appearance, Rhythm on the Reservation (1939). Betty drives an open convertible, labeled "Betty Boop's Swing Band", through a Native American reservation, where she introduces the people to swing music and creates a "Swinging Sioux Band". The Betty Boop cartoon series officially ended with Yip Yip Yippy (1939). While "Yip Yip Yippy" appears at the end of the Betty Boop series, it is only a one-shot about a "Drug Store" mail-order cowboy "wannabe" without Betty. "Yip Yip Yipee" was written mainly to fill the release schedule and fulfill the contract.
Q: What happened under the production code?
A: the content of her films was affected by the National Legion of Decency and the Production Code of 1934.
Q: How was it affected?
A: The Production Code of 1934 imposed guidelines on the Motion Picture Industry and placed specific restrictions
Q: What were the restrictions?
A: the content films could reference with sexual innuendos.
|
C_aa0aed859ca9464fa61c689aa189a45c_0_q#3
|
So it censored betty boop?
| 2m
| 2x
|
{
"texts": [
"date the code went into effect on July 1, 1934,"
],
"answer_starts": [
531
]
}
|
{
"text": "date the code went into effect on July 1, 1934,",
"answer_start": 531
}
|
C_aa0aed859ca9464fa61c689aa189a45c_0
|
Betty Boop
|
Betty Boop is an animated cartoon character created by Max Fleischer, with help from animators including Grim Natwick. She originally appeared in the Talkartoon and Betty Boop film series, which were produced by Fleischer Studios and released by Paramount Pictures. She has also been featured in comic strips and mass merchandising. A caricature of a Jazz Age flapper, Betty Boop was described in a 1934 court case as: "combin[ing] in appearance the childish with the sophisticated--a large round baby face with big eyes and a nose like a button, framed in a somewhat careful coiffure, with a very small body of which perhaps the leading characteristic is the most self-confident little bust imaginable".
|
Under the Production Code
|
Betty Boop's best appearances are considered to be in her first three years due to her "Jazz Baby" character and innocent sexuality, which was aimed at adults. However, the content of her films was affected by the National Legion of Decency and the Production Code of 1934. The Production Code of 1934 imposed guidelines on the Motion Picture Industry and placed specific restrictions on the content films could reference with sexual innuendos. This greatly affected the Betty Boop cartoons. No longer a carefree flapper from the date the code went into effect on July 1, 1934, Betty became a spinster housewife or a career girl who wore a fuller dress or skirt. Additionally, as time progressed, the curls in her hair gradually decreased. She also eventually stopped wearing her gold bracelets and hoop earrings, and she became more mature and wiser in personality, compared to her earlier years. Right from the start, Joseph Breen, the new head film censor, had numerous complaints. The Breen Office ordered the removal of the suggestive introduction which had started the cartoons because Betty Boop's winks and shaking hips were deemed "suggestive of immorality". For a few entries, Betty was given a new human boyfriend named Freddie, who was introduced in She Wronged Him Right (1934). Next, Betty was teamed with a puppy named Pudgy, beginning with Betty Boop's Little Pal (1934). The following year saw the addition of the eccentric inventor Grampy, who debuted in Betty Boop and Grampy (1935). While these cartoons were tame compared to her earlier appearances, their self-conscious wholesomeness was aimed at a more juvenile audience, which contributed to the decline of the series. Much of the decline was due to the lessening of Betty's role in the cartoons in favor of her co-stars. This was a similar problem experienced during the same period with Walt Disney's Mickey Mouse, who was becoming eclipsed by the popularity of his co-stars Donald Duck, Goofy, and Pluto, not to mention Fleischer's biggest success, Popeye. Since she was largely a musical novelty character, the animators attempted to keep Betty's cartoons interesting by pairing her with popular comic strip characters such as Henry, The Little King and Little Jimmy, hoping to create an additional spin-off series with her pairing with Popeye in 1933. However, none of these films generated a new series. When the flapper/jazz era that Betty represented had been replaced by the big bands of the swing era, Fleischer Studios made an attempt to develop a replacement character in this style in the 1938 Betty Boop cartoon Betty Boop and Sally Swing, but it was not a success. The last Betty Boop cartoons were released in 1939, and a few made attempts to bring Betty into the swing era. In her last appearance, Rhythm on the Reservation (1939). Betty drives an open convertible, labeled "Betty Boop's Swing Band", through a Native American reservation, where she introduces the people to swing music and creates a "Swinging Sioux Band". The Betty Boop cartoon series officially ended with Yip Yip Yippy (1939). While "Yip Yip Yippy" appears at the end of the Betty Boop series, it is only a one-shot about a "Drug Store" mail-order cowboy "wannabe" without Betty. "Yip Yip Yipee" was written mainly to fill the release schedule and fulfill the contract.
Q: What happened under the production code?
A: the content of her films was affected by the National Legion of Decency and the Production Code of 1934.
Q: How was it affected?
A: The Production Code of 1934 imposed guidelines on the Motion Picture Industry and placed specific restrictions
Q: What were the restrictions?
A: the content films could reference with sexual innuendos.
Q: So it censored betty boop?
A: date the code went into effect on July 1, 1934,
|
C_aa0aed859ca9464fa61c689aa189a45c_0_q#4
|
Did the show go downhill after the changes?
| 1n
| 2x
|
{
"texts": [
"Betty became a spinster housewife or a career girl who wore a fuller dress or skirt."
],
"answer_starts": [
579
]
}
|
{
"text": "Betty became a spinster housewife or a career girl who wore a fuller dress or skirt.",
"answer_start": 579
}
|
C_aa0aed859ca9464fa61c689aa189a45c_0
|
Betty Boop
|
Betty Boop is an animated cartoon character created by Max Fleischer, with help from animators including Grim Natwick. She originally appeared in the Talkartoon and Betty Boop film series, which were produced by Fleischer Studios and released by Paramount Pictures. She has also been featured in comic strips and mass merchandising. A caricature of a Jazz Age flapper, Betty Boop was described in a 1934 court case as: "combin[ing] in appearance the childish with the sophisticated--a large round baby face with big eyes and a nose like a button, framed in a somewhat careful coiffure, with a very small body of which perhaps the leading characteristic is the most self-confident little bust imaginable".
|
Under the Production Code
|
Betty Boop's best appearances are considered to be in her first three years due to her "Jazz Baby" character and innocent sexuality, which was aimed at adults. However, the content of her films was affected by the National Legion of Decency and the Production Code of 1934. The Production Code of 1934 imposed guidelines on the Motion Picture Industry and placed specific restrictions on the content films could reference with sexual innuendos. This greatly affected the Betty Boop cartoons. No longer a carefree flapper from the date the code went into effect on July 1, 1934, Betty became a spinster housewife or a career girl who wore a fuller dress or skirt. Additionally, as time progressed, the curls in her hair gradually decreased. She also eventually stopped wearing her gold bracelets and hoop earrings, and she became more mature and wiser in personality, compared to her earlier years. Right from the start, Joseph Breen, the new head film censor, had numerous complaints. The Breen Office ordered the removal of the suggestive introduction which had started the cartoons because Betty Boop's winks and shaking hips were deemed "suggestive of immorality". For a few entries, Betty was given a new human boyfriend named Freddie, who was introduced in She Wronged Him Right (1934). Next, Betty was teamed with a puppy named Pudgy, beginning with Betty Boop's Little Pal (1934). The following year saw the addition of the eccentric inventor Grampy, who debuted in Betty Boop and Grampy (1935). While these cartoons were tame compared to her earlier appearances, their self-conscious wholesomeness was aimed at a more juvenile audience, which contributed to the decline of the series. Much of the decline was due to the lessening of Betty's role in the cartoons in favor of her co-stars. This was a similar problem experienced during the same period with Walt Disney's Mickey Mouse, who was becoming eclipsed by the popularity of his co-stars Donald Duck, Goofy, and Pluto, not to mention Fleischer's biggest success, Popeye. Since she was largely a musical novelty character, the animators attempted to keep Betty's cartoons interesting by pairing her with popular comic strip characters such as Henry, The Little King and Little Jimmy, hoping to create an additional spin-off series with her pairing with Popeye in 1933. However, none of these films generated a new series. When the flapper/jazz era that Betty represented had been replaced by the big bands of the swing era, Fleischer Studios made an attempt to develop a replacement character in this style in the 1938 Betty Boop cartoon Betty Boop and Sally Swing, but it was not a success. The last Betty Boop cartoons were released in 1939, and a few made attempts to bring Betty into the swing era. In her last appearance, Rhythm on the Reservation (1939). Betty drives an open convertible, labeled "Betty Boop's Swing Band", through a Native American reservation, where she introduces the people to swing music and creates a "Swinging Sioux Band". The Betty Boop cartoon series officially ended with Yip Yip Yippy (1939). While "Yip Yip Yippy" appears at the end of the Betty Boop series, it is only a one-shot about a "Drug Store" mail-order cowboy "wannabe" without Betty. "Yip Yip Yipee" was written mainly to fill the release schedule and fulfill the contract.
Q: What happened under the production code?
A: the content of her films was affected by the National Legion of Decency and the Production Code of 1934.
Q: How was it affected?
A: The Production Code of 1934 imposed guidelines on the Motion Picture Industry and placed specific restrictions
Q: What were the restrictions?
A: the content films could reference with sexual innuendos.
Q: So it censored betty boop?
A: date the code went into effect on July 1, 1934,
Q: Did the show go downhill after the changes?
A: Betty became a spinster housewife or a career girl who wore a fuller dress or skirt.
|
C_aa0aed859ca9464fa61c689aa189a45c_0_q#5
|
Are there any other interesting aspects about this article?
| 0y
| 2x
|
{
"texts": [
"While these cartoons were tame compared to her earlier appearances, their self-conscious wholesomeness was aimed at a more juvenile audience,"
],
"answer_starts": [
1505
]
}
|
{
"text": "While these cartoons were tame compared to her earlier appearances, their self-conscious wholesomeness was aimed at a more juvenile audience,",
"answer_start": 1505
}
|
C_aa0aed859ca9464fa61c689aa189a45c_0
|
Betty Boop
|
Betty Boop is an animated cartoon character created by Max Fleischer, with help from animators including Grim Natwick. She originally appeared in the Talkartoon and Betty Boop film series, which were produced by Fleischer Studios and released by Paramount Pictures. She has also been featured in comic strips and mass merchandising. A caricature of a Jazz Age flapper, Betty Boop was described in a 1934 court case as: "combin[ing] in appearance the childish with the sophisticated--a large round baby face with big eyes and a nose like a button, framed in a somewhat careful coiffure, with a very small body of which perhaps the leading characteristic is the most self-confident little bust imaginable".
|
Under the Production Code
|
Betty Boop's best appearances are considered to be in her first three years due to her "Jazz Baby" character and innocent sexuality, which was aimed at adults. However, the content of her films was affected by the National Legion of Decency and the Production Code of 1934. The Production Code of 1934 imposed guidelines on the Motion Picture Industry and placed specific restrictions on the content films could reference with sexual innuendos. This greatly affected the Betty Boop cartoons. No longer a carefree flapper from the date the code went into effect on July 1, 1934, Betty became a spinster housewife or a career girl who wore a fuller dress or skirt. Additionally, as time progressed, the curls in her hair gradually decreased. She also eventually stopped wearing her gold bracelets and hoop earrings, and she became more mature and wiser in personality, compared to her earlier years. Right from the start, Joseph Breen, the new head film censor, had numerous complaints. The Breen Office ordered the removal of the suggestive introduction which had started the cartoons because Betty Boop's winks and shaking hips were deemed "suggestive of immorality". For a few entries, Betty was given a new human boyfriend named Freddie, who was introduced in She Wronged Him Right (1934). Next, Betty was teamed with a puppy named Pudgy, beginning with Betty Boop's Little Pal (1934). The following year saw the addition of the eccentric inventor Grampy, who debuted in Betty Boop and Grampy (1935). While these cartoons were tame compared to her earlier appearances, their self-conscious wholesomeness was aimed at a more juvenile audience, which contributed to the decline of the series. Much of the decline was due to the lessening of Betty's role in the cartoons in favor of her co-stars. This was a similar problem experienced during the same period with Walt Disney's Mickey Mouse, who was becoming eclipsed by the popularity of his co-stars Donald Duck, Goofy, and Pluto, not to mention Fleischer's biggest success, Popeye. Since she was largely a musical novelty character, the animators attempted to keep Betty's cartoons interesting by pairing her with popular comic strip characters such as Henry, The Little King and Little Jimmy, hoping to create an additional spin-off series with her pairing with Popeye in 1933. However, none of these films generated a new series. When the flapper/jazz era that Betty represented had been replaced by the big bands of the swing era, Fleischer Studios made an attempt to develop a replacement character in this style in the 1938 Betty Boop cartoon Betty Boop and Sally Swing, but it was not a success. The last Betty Boop cartoons were released in 1939, and a few made attempts to bring Betty into the swing era. In her last appearance, Rhythm on the Reservation (1939). Betty drives an open convertible, labeled "Betty Boop's Swing Band", through a Native American reservation, where she introduces the people to swing music and creates a "Swinging Sioux Band". The Betty Boop cartoon series officially ended with Yip Yip Yippy (1939). While "Yip Yip Yippy" appears at the end of the Betty Boop series, it is only a one-shot about a "Drug Store" mail-order cowboy "wannabe" without Betty. "Yip Yip Yipee" was written mainly to fill the release schedule and fulfill the contract.
Q: What happened under the production code?
A: the content of her films was affected by the National Legion of Decency and the Production Code of 1934.
Q: How was it affected?
A: The Production Code of 1934 imposed guidelines on the Motion Picture Industry and placed specific restrictions
Q: What were the restrictions?
A: the content films could reference with sexual innuendos.
Q: So it censored betty boop?
A: date the code went into effect on July 1, 1934,
Q: Did the show go downhill after the changes?
A: Betty became a spinster housewife or a career girl who wore a fuller dress or skirt.
Q: Are there any other interesting aspects about this article?
A: While these cartoons were tame compared to her earlier appearances, their self-conscious wholesomeness was aimed at a more juvenile audience,
|
C_aa0aed859ca9464fa61c689aa189a45c_0_q#6
|
Did people like it?
| 0y
| 1n
|
{
"texts": [
"which contributed to the decline of the series."
],
"answer_starts": [
1647
]
}
|
{
"text": "which contributed to the decline of the series.",
"answer_start": 1647
}
|
C_aa0aed859ca9464fa61c689aa189a45c_0
|
Betty Boop
|
Betty Boop is an animated cartoon character created by Max Fleischer, with help from animators including Grim Natwick. She originally appeared in the Talkartoon and Betty Boop film series, which were produced by Fleischer Studios and released by Paramount Pictures. She has also been featured in comic strips and mass merchandising. A caricature of a Jazz Age flapper, Betty Boop was described in a 1934 court case as: "combin[ing] in appearance the childish with the sophisticated--a large round baby face with big eyes and a nose like a button, framed in a somewhat careful coiffure, with a very small body of which perhaps the leading characteristic is the most self-confident little bust imaginable".
|
Under the Production Code
|
Betty Boop's best appearances are considered to be in her first three years due to her "Jazz Baby" character and innocent sexuality, which was aimed at adults. However, the content of her films was affected by the National Legion of Decency and the Production Code of 1934. The Production Code of 1934 imposed guidelines on the Motion Picture Industry and placed specific restrictions on the content films could reference with sexual innuendos. This greatly affected the Betty Boop cartoons. No longer a carefree flapper from the date the code went into effect on July 1, 1934, Betty became a spinster housewife or a career girl who wore a fuller dress or skirt. Additionally, as time progressed, the curls in her hair gradually decreased. She also eventually stopped wearing her gold bracelets and hoop earrings, and she became more mature and wiser in personality, compared to her earlier years. Right from the start, Joseph Breen, the new head film censor, had numerous complaints. The Breen Office ordered the removal of the suggestive introduction which had started the cartoons because Betty Boop's winks and shaking hips were deemed "suggestive of immorality". For a few entries, Betty was given a new human boyfriend named Freddie, who was introduced in She Wronged Him Right (1934). Next, Betty was teamed with a puppy named Pudgy, beginning with Betty Boop's Little Pal (1934). The following year saw the addition of the eccentric inventor Grampy, who debuted in Betty Boop and Grampy (1935). While these cartoons were tame compared to her earlier appearances, their self-conscious wholesomeness was aimed at a more juvenile audience, which contributed to the decline of the series. Much of the decline was due to the lessening of Betty's role in the cartoons in favor of her co-stars. This was a similar problem experienced during the same period with Walt Disney's Mickey Mouse, who was becoming eclipsed by the popularity of his co-stars Donald Duck, Goofy, and Pluto, not to mention Fleischer's biggest success, Popeye. Since she was largely a musical novelty character, the animators attempted to keep Betty's cartoons interesting by pairing her with popular comic strip characters such as Henry, The Little King and Little Jimmy, hoping to create an additional spin-off series with her pairing with Popeye in 1933. However, none of these films generated a new series. When the flapper/jazz era that Betty represented had been replaced by the big bands of the swing era, Fleischer Studios made an attempt to develop a replacement character in this style in the 1938 Betty Boop cartoon Betty Boop and Sally Swing, but it was not a success. The last Betty Boop cartoons were released in 1939, and a few made attempts to bring Betty into the swing era. In her last appearance, Rhythm on the Reservation (1939). Betty drives an open convertible, labeled "Betty Boop's Swing Band", through a Native American reservation, where she introduces the people to swing music and creates a "Swinging Sioux Band". The Betty Boop cartoon series officially ended with Yip Yip Yippy (1939). While "Yip Yip Yippy" appears at the end of the Betty Boop series, it is only a one-shot about a "Drug Store" mail-order cowboy "wannabe" without Betty. "Yip Yip Yipee" was written mainly to fill the release schedule and fulfill the contract.
Q: What happened under the production code?
A: the content of her films was affected by the National Legion of Decency and the Production Code of 1934.
Q: How was it affected?
A: The Production Code of 1934 imposed guidelines on the Motion Picture Industry and placed specific restrictions
Q: What were the restrictions?
A: the content films could reference with sexual innuendos.
Q: So it censored betty boop?
A: date the code went into effect on July 1, 1934,
Q: Did the show go downhill after the changes?
A: Betty became a spinster housewife or a career girl who wore a fuller dress or skirt.
Q: Are there any other interesting aspects about this article?
A: While these cartoons were tame compared to her earlier appearances, their self-conscious wholesomeness was aimed at a more juvenile audience,
Q: Did people like it?
A: which contributed to the decline of the series.
|
C_aa0aed859ca9464fa61c689aa189a45c_0_q#7
|
So basically the production code ruined the show?
| 0y
| 0y
|
{
"texts": [
"Much of the decline was due to the lessening of Betty's role in the cartoons in favor of her co-stars."
],
"answer_starts": [
1695
]
}
|
{
"text": "Much of the decline was due to the lessening of Betty's role in the cartoons in favor of her co-stars.",
"answer_start": 1695
}
|
C_af1c1547fa00480faf781beadf707721_1
|
The Tragically Hip
|
The Tragically Hip, often referred to simply as The Hip, are a Canadian rock band from Kingston, Ontario, currently consisting of guitarist Paul Langlois, guitarist Rob Baker (known as Bobby Baker until 1994), bassist Gord Sinclair, and drummer Johnny Fay. They have released 14 studio albums, two live albums, one EP, and 54 singles. Nine of their albums have reached No. 1 on the Canadian charts. They have received numerous Canadian music awards, including 16 Juno Awards.
|
1998-2003
|
In 1998, the band released their seventh full-length album, Phantom Power, which produced five singles. It won the 1999 Juno Awards for Best Rock Album and Best Album Design. A single from the album, "Bobcaygeon", won the Juno Award for Single of the Year in 2000. The album has been certified platinum three times over in Canada. In February 1999, the Hip played the very first concert at the brand new Air Canada Centre in Toronto, Ontario. In July 1999, the band was part of the lineup for the Woodstock '99 festival in Rome, New York 2000 saw the release of Music @ Work. It won the 2001 Juno Award for Best Rock Album. The album featured back-up vocals from Julie Doiron on a number of tracks, and reached No. 1 on the Canadian Billboard Charts. In 2002, In Violet Light, recorded by Hugh Padgham and Terry Manning at Compass Point Studios in the Bahamas was released, along with three singles from the album. It became certified platinum in Canada. Later that year, the Hip made a cameo appearance in the Paul Gross film Men with Brooms, playing a curling team from their hometown of Kingston. Two of their songs, "Poets" and "Throwing Off Glass", were also featured on the film's soundtrack. On October 10, 2002, the Tragically Hip performed two songs, "It's a Good Life If You Don't Weaken" and "Poets", as part of a command performance for Queen Elizabeth II. In 2003, the band recorded a cover of "Black Day in July", a song about the 1967 12th Street Riot in Detroit, on Beautiful: A Tribute to Gordon Lightfoot.
|
C_af1c1547fa00480faf781beadf707721_1_q#0
|
When was the band formed?
| 1n
| 2x
|
{
"texts": [
"unknown"
],
"answer_starts": [
1528
]
}
|
{
"text": "unknown",
"answer_start": 1528
}
|
C_af1c1547fa00480faf781beadf707721_1
|
The Tragically Hip
|
The Tragically Hip, often referred to simply as The Hip, are a Canadian rock band from Kingston, Ontario, currently consisting of guitarist Paul Langlois, guitarist Rob Baker (known as Bobby Baker until 1994), bassist Gord Sinclair, and drummer Johnny Fay. They have released 14 studio albums, two live albums, one EP, and 54 singles. Nine of their albums have reached No. 1 on the Canadian charts. They have received numerous Canadian music awards, including 16 Juno Awards.
|
1998-2003
|
In 1998, the band released their seventh full-length album, Phantom Power, which produced five singles. It won the 1999 Juno Awards for Best Rock Album and Best Album Design. A single from the album, "Bobcaygeon", won the Juno Award for Single of the Year in 2000. The album has been certified platinum three times over in Canada. In February 1999, the Hip played the very first concert at the brand new Air Canada Centre in Toronto, Ontario. In July 1999, the band was part of the lineup for the Woodstock '99 festival in Rome, New York 2000 saw the release of Music @ Work. It won the 2001 Juno Award for Best Rock Album. The album featured back-up vocals from Julie Doiron on a number of tracks, and reached No. 1 on the Canadian Billboard Charts. In 2002, In Violet Light, recorded by Hugh Padgham and Terry Manning at Compass Point Studios in the Bahamas was released, along with three singles from the album. It became certified platinum in Canada. Later that year, the Hip made a cameo appearance in the Paul Gross film Men with Brooms, playing a curling team from their hometown of Kingston. Two of their songs, "Poets" and "Throwing Off Glass", were also featured on the film's soundtrack. On October 10, 2002, the Tragically Hip performed two songs, "It's a Good Life If You Don't Weaken" and "Poets", as part of a command performance for Queen Elizabeth II. In 2003, the band recorded a cover of "Black Day in July", a song about the 1967 12th Street Riot in Detroit, on Beautiful: A Tribute to Gordon Lightfoot.
Q: When was the band formed?
A: unknown
|
C_af1c1547fa00480faf781beadf707721_1_q#1
|
What cities in Canada did they perform in?
| 0y
| 2x
|
{
"texts": [
"the Hip played the very first concert at the brand new Air Canada Centre in Toronto, Ontario."
],
"answer_starts": [
350
]
}
|
{
"text": "the Hip played the very first concert at the brand new Air Canada Centre in Toronto, Ontario.",
"answer_start": 350
}
|
C_af1c1547fa00480faf781beadf707721_1
|
The Tragically Hip
|
The Tragically Hip, often referred to simply as The Hip, are a Canadian rock band from Kingston, Ontario, currently consisting of guitarist Paul Langlois, guitarist Rob Baker (known as Bobby Baker until 1994), bassist Gord Sinclair, and drummer Johnny Fay. They have released 14 studio albums, two live albums, one EP, and 54 singles. Nine of their albums have reached No. 1 on the Canadian charts. They have received numerous Canadian music awards, including 16 Juno Awards.
|
1998-2003
|
In 1998, the band released their seventh full-length album, Phantom Power, which produced five singles. It won the 1999 Juno Awards for Best Rock Album and Best Album Design. A single from the album, "Bobcaygeon", won the Juno Award for Single of the Year in 2000. The album has been certified platinum three times over in Canada. In February 1999, the Hip played the very first concert at the brand new Air Canada Centre in Toronto, Ontario. In July 1999, the band was part of the lineup for the Woodstock '99 festival in Rome, New York 2000 saw the release of Music @ Work. It won the 2001 Juno Award for Best Rock Album. The album featured back-up vocals from Julie Doiron on a number of tracks, and reached No. 1 on the Canadian Billboard Charts. In 2002, In Violet Light, recorded by Hugh Padgham and Terry Manning at Compass Point Studios in the Bahamas was released, along with three singles from the album. It became certified platinum in Canada. Later that year, the Hip made a cameo appearance in the Paul Gross film Men with Brooms, playing a curling team from their hometown of Kingston. Two of their songs, "Poets" and "Throwing Off Glass", were also featured on the film's soundtrack. On October 10, 2002, the Tragically Hip performed two songs, "It's a Good Life If You Don't Weaken" and "Poets", as part of a command performance for Queen Elizabeth II. In 2003, the band recorded a cover of "Black Day in July", a song about the 1967 12th Street Riot in Detroit, on Beautiful: A Tribute to Gordon Lightfoot.
Q: When was the band formed?
A: unknown
Q: What cities in Canada did they perform in?
A: the Hip played the very first concert at the brand new Air Canada Centre in Toronto, Ontario.
|
C_af1c1547fa00480faf781beadf707721_1_q#2
|
What other cities did they play in?
| 2m
| 2x
|
{
"texts": [
"Bahamas"
],
"answer_starts": [
855
]
}
|
{
"text": "Bahamas",
"answer_start": 855
}
|
C_af1c1547fa00480faf781beadf707721_1
|
The Tragically Hip
|
The Tragically Hip, often referred to simply as The Hip, are a Canadian rock band from Kingston, Ontario, currently consisting of guitarist Paul Langlois, guitarist Rob Baker (known as Bobby Baker until 1994), bassist Gord Sinclair, and drummer Johnny Fay. They have released 14 studio albums, two live albums, one EP, and 54 singles. Nine of their albums have reached No. 1 on the Canadian charts. They have received numerous Canadian music awards, including 16 Juno Awards.
|
1998-2003
|
In 1998, the band released their seventh full-length album, Phantom Power, which produced five singles. It won the 1999 Juno Awards for Best Rock Album and Best Album Design. A single from the album, "Bobcaygeon", won the Juno Award for Single of the Year in 2000. The album has been certified platinum three times over in Canada. In February 1999, the Hip played the very first concert at the brand new Air Canada Centre in Toronto, Ontario. In July 1999, the band was part of the lineup for the Woodstock '99 festival in Rome, New York 2000 saw the release of Music @ Work. It won the 2001 Juno Award for Best Rock Album. The album featured back-up vocals from Julie Doiron on a number of tracks, and reached No. 1 on the Canadian Billboard Charts. In 2002, In Violet Light, recorded by Hugh Padgham and Terry Manning at Compass Point Studios in the Bahamas was released, along with three singles from the album. It became certified platinum in Canada. Later that year, the Hip made a cameo appearance in the Paul Gross film Men with Brooms, playing a curling team from their hometown of Kingston. Two of their songs, "Poets" and "Throwing Off Glass", were also featured on the film's soundtrack. On October 10, 2002, the Tragically Hip performed two songs, "It's a Good Life If You Don't Weaken" and "Poets", as part of a command performance for Queen Elizabeth II. In 2003, the band recorded a cover of "Black Day in July", a song about the 1967 12th Street Riot in Detroit, on Beautiful: A Tribute to Gordon Lightfoot.
Q: When was the band formed?
A: unknown
Q: What cities in Canada did they perform in?
A: the Hip played the very first concert at the brand new Air Canada Centre in Toronto, Ontario.
Q: What other cities did they play in?
A: Bahamas
|
C_af1c1547fa00480faf781beadf707721_1_q#3
|
What were the names of the band mates?
| 1n
| 2x
|
{
"texts": [
"unknown"
],
"answer_starts": [
1528
]
}
|
{
"text": "unknown",
"answer_start": 1528
}
|
C_af1c1547fa00480faf781beadf707721_1
|
The Tragically Hip
|
The Tragically Hip, often referred to simply as The Hip, are a Canadian rock band from Kingston, Ontario, currently consisting of guitarist Paul Langlois, guitarist Rob Baker (known as Bobby Baker until 1994), bassist Gord Sinclair, and drummer Johnny Fay. They have released 14 studio albums, two live albums, one EP, and 54 singles. Nine of their albums have reached No. 1 on the Canadian charts. They have received numerous Canadian music awards, including 16 Juno Awards.
|
1998-2003
|
In 1998, the band released their seventh full-length album, Phantom Power, which produced five singles. It won the 1999 Juno Awards for Best Rock Album and Best Album Design. A single from the album, "Bobcaygeon", won the Juno Award for Single of the Year in 2000. The album has been certified platinum three times over in Canada. In February 1999, the Hip played the very first concert at the brand new Air Canada Centre in Toronto, Ontario. In July 1999, the band was part of the lineup for the Woodstock '99 festival in Rome, New York 2000 saw the release of Music @ Work. It won the 2001 Juno Award for Best Rock Album. The album featured back-up vocals from Julie Doiron on a number of tracks, and reached No. 1 on the Canadian Billboard Charts. In 2002, In Violet Light, recorded by Hugh Padgham and Terry Manning at Compass Point Studios in the Bahamas was released, along with three singles from the album. It became certified platinum in Canada. Later that year, the Hip made a cameo appearance in the Paul Gross film Men with Brooms, playing a curling team from their hometown of Kingston. Two of their songs, "Poets" and "Throwing Off Glass", were also featured on the film's soundtrack. On October 10, 2002, the Tragically Hip performed two songs, "It's a Good Life If You Don't Weaken" and "Poets", as part of a command performance for Queen Elizabeth II. In 2003, the band recorded a cover of "Black Day in July", a song about the 1967 12th Street Riot in Detroit, on Beautiful: A Tribute to Gordon Lightfoot.
Q: When was the band formed?
A: unknown
Q: What cities in Canada did they perform in?
A: the Hip played the very first concert at the brand new Air Canada Centre in Toronto, Ontario.
Q: What other cities did they play in?
A: Bahamas
Q: What were the names of the band mates?
A: unknown
|
C_af1c1547fa00480faf781beadf707721_1_q#4
|
Anything else interesting about them?
| 0y
| 0y
|
{
"texts": [
"In 2003, the band recorded a cover of \"Black Day in July\", a song about the 1967 12th Street Riot in Detroit,"
],
"answer_starts": [
1373
]
}
|
{
"text": "In 2003, the band recorded a cover of \"Black Day in July\", a song about the 1967 12th Street Riot in Detroit,",
"answer_start": 1373
}
|
C_af1c1547fa00480faf781beadf707721_1
|
The Tragically Hip
|
The Tragically Hip, often referred to simply as The Hip, are a Canadian rock band from Kingston, Ontario, currently consisting of guitarist Paul Langlois, guitarist Rob Baker (known as Bobby Baker until 1994), bassist Gord Sinclair, and drummer Johnny Fay. They have released 14 studio albums, two live albums, one EP, and 54 singles. Nine of their albums have reached No. 1 on the Canadian charts. They have received numerous Canadian music awards, including 16 Juno Awards.
|
1998-2003
|
In 1998, the band released their seventh full-length album, Phantom Power, which produced five singles. It won the 1999 Juno Awards for Best Rock Album and Best Album Design. A single from the album, "Bobcaygeon", won the Juno Award for Single of the Year in 2000. The album has been certified platinum three times over in Canada. In February 1999, the Hip played the very first concert at the brand new Air Canada Centre in Toronto, Ontario. In July 1999, the band was part of the lineup for the Woodstock '99 festival in Rome, New York 2000 saw the release of Music @ Work. It won the 2001 Juno Award for Best Rock Album. The album featured back-up vocals from Julie Doiron on a number of tracks, and reached No. 1 on the Canadian Billboard Charts. In 2002, In Violet Light, recorded by Hugh Padgham and Terry Manning at Compass Point Studios in the Bahamas was released, along with three singles from the album. It became certified platinum in Canada. Later that year, the Hip made a cameo appearance in the Paul Gross film Men with Brooms, playing a curling team from their hometown of Kingston. Two of their songs, "Poets" and "Throwing Off Glass", were also featured on the film's soundtrack. On October 10, 2002, the Tragically Hip performed two songs, "It's a Good Life If You Don't Weaken" and "Poets", as part of a command performance for Queen Elizabeth II. In 2003, the band recorded a cover of "Black Day in July", a song about the 1967 12th Street Riot in Detroit, on Beautiful: A Tribute to Gordon Lightfoot.
Q: When was the band formed?
A: unknown
Q: What cities in Canada did they perform in?
A: the Hip played the very first concert at the brand new Air Canada Centre in Toronto, Ontario.
Q: What other cities did they play in?
A: Bahamas
Q: What were the names of the band mates?
A: unknown
Q: Anything else interesting about them?
A: In 2003, the band recorded a cover of "Black Day in July", a song about the 1967 12th Street Riot in Detroit,
|
C_af1c1547fa00480faf781beadf707721_1_q#5
|
Why did they care about the riot?
| 1n
| 2x
|
{
"texts": [
"unknown"
],
"answer_starts": [
1528
]
}
|
{
"text": "unknown",
"answer_start": 1528
}
|
C_af1c1547fa00480faf781beadf707721_0
|
The Tragically Hip
|
The Tragically Hip, often referred to simply as The Hip, are a Canadian rock band from Kingston, Ontario, currently consisting of guitarist Paul Langlois, guitarist Rob Baker (known as Bobby Baker until 1994), bassist Gord Sinclair, and drummer Johnny Fay. They have released 14 studio albums, two live albums, one EP, and 54 singles. Nine of their albums have reached No. 1 on the Canadian charts. They have received numerous Canadian music awards, including 16 Juno Awards.
|
2009-2015
|
In 2009, the band again worked with producer Bob Rock, and We Are the Same was released in North America on April 7, 2009. It produced three singles. To promote We Are the Same, the band invited The Hour's George Stroumboulopoulos for a live interview at The Bathouse Recording Studio in Bath, Ontario (where most of the album was recorded), and they played seven new songs as well as unique versions of five other songs. The interview and performance were broadcast live in more than eighty theatres across Canada. On January 22, 2010, the band performed "Fiddler's Green" at the "Canada for Haiti" telethon to aid earthquake victims in that country. This was broadcast nationally on all three of Canada's main networks (CBC, Global, and CTV). On May 12, 2012, a 90-second clip of the song "At Transformation", the first single from the band's new album, premiered during Hockey Night in Canada. The full song premiered on Toronto radio station CFNY-FM (102.1 The Edge) on May 16. The song was released to radio stations on May 17 and was officially released on iTunes on May 18. Band member Johnny Fay revealed that the title for the album is Now for Plan A. The second single, "Streets Ahead," was released on August 24. The album (their 12th studio album), produced by Gavin Brown, was released on October 2, 2012. The band played several live "Nashville" style shows that week at the Supermarket bar in Kensington market to promote the release of this record. On the evening of October 2, they played a full set to a packed bar with a live webcast through tdsmultimedia to livestream, and an audio simulcast on Sirius XM. The Tragically Hip re-entered their studio in July 2014 to begin work on a new album. The following October, Fully Completely was re-released as a remastered deluxe edition, including two bonus tracks, a vinyl edition and a recording of a live show. To celebrate and promote the re-release, the band toured Canada and the United States from January to October 2015.
|
C_af1c1547fa00480faf781beadf707721_0_q#0
|
How many albums did they release in this time?
| 0y
| 2x
|
{
"texts": [
"We Are the Same was released in North America on April 7, 2009."
],
"answer_starts": [
59
]
}
|
{
"text": "We Are the Same was released in North America on April 7, 2009.",
"answer_start": 59
}
|
C_af1c1547fa00480faf781beadf707721_0
|
The Tragically Hip
|
The Tragically Hip, often referred to simply as The Hip, are a Canadian rock band from Kingston, Ontario, currently consisting of guitarist Paul Langlois, guitarist Rob Baker (known as Bobby Baker until 1994), bassist Gord Sinclair, and drummer Johnny Fay. They have released 14 studio albums, two live albums, one EP, and 54 singles. Nine of their albums have reached No. 1 on the Canadian charts. They have received numerous Canadian music awards, including 16 Juno Awards.
|
2009-2015
|
In 2009, the band again worked with producer Bob Rock, and We Are the Same was released in North America on April 7, 2009. It produced three singles. To promote We Are the Same, the band invited The Hour's George Stroumboulopoulos for a live interview at The Bathouse Recording Studio in Bath, Ontario (where most of the album was recorded), and they played seven new songs as well as unique versions of five other songs. The interview and performance were broadcast live in more than eighty theatres across Canada. On January 22, 2010, the band performed "Fiddler's Green" at the "Canada for Haiti" telethon to aid earthquake victims in that country. This was broadcast nationally on all three of Canada's main networks (CBC, Global, and CTV). On May 12, 2012, a 90-second clip of the song "At Transformation", the first single from the band's new album, premiered during Hockey Night in Canada. The full song premiered on Toronto radio station CFNY-FM (102.1 The Edge) on May 16. The song was released to radio stations on May 17 and was officially released on iTunes on May 18. Band member Johnny Fay revealed that the title for the album is Now for Plan A. The second single, "Streets Ahead," was released on August 24. The album (their 12th studio album), produced by Gavin Brown, was released on October 2, 2012. The band played several live "Nashville" style shows that week at the Supermarket bar in Kensington market to promote the release of this record. On the evening of October 2, they played a full set to a packed bar with a live webcast through tdsmultimedia to livestream, and an audio simulcast on Sirius XM. The Tragically Hip re-entered their studio in July 2014 to begin work on a new album. The following October, Fully Completely was re-released as a remastered deluxe edition, including two bonus tracks, a vinyl edition and a recording of a live show. To celebrate and promote the re-release, the band toured Canada and the United States from January to October 2015.
Q: How many albums did they release in this time?
A: We Are the Same was released in North America on April 7, 2009.
|
C_af1c1547fa00480faf781beadf707721_0_q#1
|
What that the only one released in 2009
| 1n
| 2x
|
{
"texts": [
"It produced three singles."
],
"answer_starts": [
123
]
}
|
{
"text": "It produced three singles.",
"answer_start": 123
}
|
C_af1c1547fa00480faf781beadf707721_0
|
The Tragically Hip
|
The Tragically Hip, often referred to simply as The Hip, are a Canadian rock band from Kingston, Ontario, currently consisting of guitarist Paul Langlois, guitarist Rob Baker (known as Bobby Baker until 1994), bassist Gord Sinclair, and drummer Johnny Fay. They have released 14 studio albums, two live albums, one EP, and 54 singles. Nine of their albums have reached No. 1 on the Canadian charts. They have received numerous Canadian music awards, including 16 Juno Awards.
|
2009-2015
|
In 2009, the band again worked with producer Bob Rock, and We Are the Same was released in North America on April 7, 2009. It produced three singles. To promote We Are the Same, the band invited The Hour's George Stroumboulopoulos for a live interview at The Bathouse Recording Studio in Bath, Ontario (where most of the album was recorded), and they played seven new songs as well as unique versions of five other songs. The interview and performance were broadcast live in more than eighty theatres across Canada. On January 22, 2010, the band performed "Fiddler's Green" at the "Canada for Haiti" telethon to aid earthquake victims in that country. This was broadcast nationally on all three of Canada's main networks (CBC, Global, and CTV). On May 12, 2012, a 90-second clip of the song "At Transformation", the first single from the band's new album, premiered during Hockey Night in Canada. The full song premiered on Toronto radio station CFNY-FM (102.1 The Edge) on May 16. The song was released to radio stations on May 17 and was officially released on iTunes on May 18. Band member Johnny Fay revealed that the title for the album is Now for Plan A. The second single, "Streets Ahead," was released on August 24. The album (their 12th studio album), produced by Gavin Brown, was released on October 2, 2012. The band played several live "Nashville" style shows that week at the Supermarket bar in Kensington market to promote the release of this record. On the evening of October 2, they played a full set to a packed bar with a live webcast through tdsmultimedia to livestream, and an audio simulcast on Sirius XM. The Tragically Hip re-entered their studio in July 2014 to begin work on a new album. The following October, Fully Completely was re-released as a remastered deluxe edition, including two bonus tracks, a vinyl edition and a recording of a live show. To celebrate and promote the re-release, the band toured Canada and the United States from January to October 2015.
Q: How many albums did they release in this time?
A: We Are the Same was released in North America on April 7, 2009.
Q: What that the only one released in 2009
A: It produced three singles.
|
C_af1c1547fa00480faf781beadf707721_0_q#2
|
What other albums did the release later on
| 2m
| 2x
|
{
"texts": [
"The following October, Fully Completely was re-released as a remastered deluxe edition,"
],
"answer_starts": [
1716
]
}
|
{
"text": "The following October, Fully Completely was re-released as a remastered deluxe edition,",
"answer_start": 1716
}
|
C_af1c1547fa00480faf781beadf707721_0
|
The Tragically Hip
|
The Tragically Hip, often referred to simply as The Hip, are a Canadian rock band from Kingston, Ontario, currently consisting of guitarist Paul Langlois, guitarist Rob Baker (known as Bobby Baker until 1994), bassist Gord Sinclair, and drummer Johnny Fay. They have released 14 studio albums, two live albums, one EP, and 54 singles. Nine of their albums have reached No. 1 on the Canadian charts. They have received numerous Canadian music awards, including 16 Juno Awards.
|
2009-2015
|
In 2009, the band again worked with producer Bob Rock, and We Are the Same was released in North America on April 7, 2009. It produced three singles. To promote We Are the Same, the band invited The Hour's George Stroumboulopoulos for a live interview at The Bathouse Recording Studio in Bath, Ontario (where most of the album was recorded), and they played seven new songs as well as unique versions of five other songs. The interview and performance were broadcast live in more than eighty theatres across Canada. On January 22, 2010, the band performed "Fiddler's Green" at the "Canada for Haiti" telethon to aid earthquake victims in that country. This was broadcast nationally on all three of Canada's main networks (CBC, Global, and CTV). On May 12, 2012, a 90-second clip of the song "At Transformation", the first single from the band's new album, premiered during Hockey Night in Canada. The full song premiered on Toronto radio station CFNY-FM (102.1 The Edge) on May 16. The song was released to radio stations on May 17 and was officially released on iTunes on May 18. Band member Johnny Fay revealed that the title for the album is Now for Plan A. The second single, "Streets Ahead," was released on August 24. The album (their 12th studio album), produced by Gavin Brown, was released on October 2, 2012. The band played several live "Nashville" style shows that week at the Supermarket bar in Kensington market to promote the release of this record. On the evening of October 2, they played a full set to a packed bar with a live webcast through tdsmultimedia to livestream, and an audio simulcast on Sirius XM. The Tragically Hip re-entered their studio in July 2014 to begin work on a new album. The following October, Fully Completely was re-released as a remastered deluxe edition, including two bonus tracks, a vinyl edition and a recording of a live show. To celebrate and promote the re-release, the band toured Canada and the United States from January to October 2015.
Q: How many albums did they release in this time?
A: We Are the Same was released in North America on April 7, 2009.
Q: What that the only one released in 2009
A: It produced three singles.
Q: What other albums did the release later on
A: The following October, Fully Completely was re-released as a remastered deluxe edition,
|
C_af1c1547fa00480faf781beadf707721_0_q#3
|
Did they win any awards for their music
| 1n
| 2x
|
{
"texts": [
"unknown"
],
"answer_starts": [
1996
]
}
|
{
"text": "unknown",
"answer_start": 1996
}
|
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