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|---|---|---|---|---|---|---|---|---|---|---|
C_cc47c7df2d994d02b905ef7002dc163a_0
|
Mr. Children
|
Mr. Children (misutachirudoren, Misuta Chirudoren), commonly referred to by their contracted nickname "Misu-Chiru" (misuchiru)) is a Japanese pop rock band formed in 1989 by Kazutoshi Sakurai, Kenichi Tahara, Keisuke Nakagawa, and Hideya Suzuki. They made their major debut in 1992. As a group, they are one of the best selling artists in Japan and one of the most successful Japanese rock artists, having sold over 50 million records and creating the "Mis-chil Phenomenon" (misuchiruXian Xiang ) in the mid-1990s in Japan. They held the record for the highest first week sales of a single in Japan for 15 years, with 1.2 million copies of their 10th single "Namonaki Uta" (Ming monakiShi ), have 30 consecutive number 1 singles, replaced Glay as the all-male band (with 3 or more members) to have the most number 1 albums on the Oricon charts, and won the Japan Record Award in 1994 for "Innocent World" and in 2004 for "Sign".
|
1998-2000
|
On February 11, 1998, they released their 14th single "Nishi e Higashi e" (nishiehigashie), theme song to the Japanese drama Kira kira Hikaru (kirakirahikaru). The group was still on hiatus during this time and made no live performances to promote the single and did not appear in the music video for the song. Finally on October 21, 1998, Mr. Children officially re-grouped and released their 15th single, "Owarinaki Tabi" (Zhong warinakiLu ) with the Japanese drama Naguru Onna (Ou ruNu ) using it as their theme song. The song remains a public favorite in voting polls, Oricon citing its inspirational lyrics as the reason. On January 13, 1999, "Hikari no Sasu Hou E" (Guang noShe suFang he), their 16th single, was released, followed by their seventh album, Discovery, on February 3, 1999. Sakurai compared his approach to the songwriting for the record to surfing: Eleven days later they began the Discovery Tour '99, from February 14 to July 12, where the group visited 16 cities and held 42 shows. During the tour, Mr. Children released their 17th single "I'll Be" on May 12, which was used in Shiseido's (Zi Sheng Tang ) Sea Breeze commercials. Though originally released on the Discovery album, the song was re-released as a single with a lighter beat. The single was not a success and became Mr. Children's lowest selling single since "Cross Road". During the Discovery Tour '99, an idea for a live album was brought up. It was released as a 500,000 copy limited edition on September 8, 1999 and called 1/42 (referring to one of the 42 shows in the tour). Most of the tracks were recorded on June 16, 1999 at the Makomanai ice arena, while the bonus track "Dakishimetai" was recorded at the Okinawa Ginowan-Shi seaside park. At the beginning of a new century "Kuchibue" (Kou Di ), released on January 13, 2000 became the group's 18th single. While "I'll Be" failed to be a success, "Kuchibue" proved to be a hit selling 724,070 copies. On August 9, 2000, their 19th single "Not Found" was also used as the theme song to the Japanese drama Bus Stop (basusutotsupu), followed a month later by their 9th original album Q on September 27, 2000. The band went to New York to record this album, where they re-recorded some of their old indie material and for the first time, producer Takeshi Kobayashi performed with the band on a recording. The cover for the album was shot bought Size, Inc. at the Bonneville Salt Flats in the United States. The album was not a favorite amongst fans for various reasons and became their first album since Atomic Heart to not sell over one million copies. 'Concert tour Q' started, visiting 13 cities and holding 35 concerts between October 15, 2000 and February 24, 2001.
|
C_cc47c7df2d994d02b905ef7002dc163a_0_q#0
|
What happened in 1998?
| 0y
| 2x
|
{
"texts": [
"On February 11, 1998, they released their 14th single \"Nishi e Higashi e\" (nishiehigashie),"
],
"answer_starts": [
0
]
}
|
{
"text": "On February 11, 1998, they released their 14th single \"Nishi e Higashi e\" (nishiehigashie),",
"answer_start": 0
}
|
C_cc47c7df2d994d02b905ef7002dc163a_0
|
Mr. Children
|
Mr. Children (misutachirudoren, Misuta Chirudoren), commonly referred to by their contracted nickname "Misu-Chiru" (misuchiru)) is a Japanese pop rock band formed in 1989 by Kazutoshi Sakurai, Kenichi Tahara, Keisuke Nakagawa, and Hideya Suzuki. They made their major debut in 1992. As a group, they are one of the best selling artists in Japan and one of the most successful Japanese rock artists, having sold over 50 million records and creating the "Mis-chil Phenomenon" (misuchiruXian Xiang ) in the mid-1990s in Japan. They held the record for the highest first week sales of a single in Japan for 15 years, with 1.2 million copies of their 10th single "Namonaki Uta" (Ming monakiShi ), have 30 consecutive number 1 singles, replaced Glay as the all-male band (with 3 or more members) to have the most number 1 albums on the Oricon charts, and won the Japan Record Award in 1994 for "Innocent World" and in 2004 for "Sign".
|
1998-2000
|
On February 11, 1998, they released their 14th single "Nishi e Higashi e" (nishiehigashie), theme song to the Japanese drama Kira kira Hikaru (kirakirahikaru). The group was still on hiatus during this time and made no live performances to promote the single and did not appear in the music video for the song. Finally on October 21, 1998, Mr. Children officially re-grouped and released their 15th single, "Owarinaki Tabi" (Zhong warinakiLu ) with the Japanese drama Naguru Onna (Ou ruNu ) using it as their theme song. The song remains a public favorite in voting polls, Oricon citing its inspirational lyrics as the reason. On January 13, 1999, "Hikari no Sasu Hou E" (Guang noShe suFang he), their 16th single, was released, followed by their seventh album, Discovery, on February 3, 1999. Sakurai compared his approach to the songwriting for the record to surfing: Eleven days later they began the Discovery Tour '99, from February 14 to July 12, where the group visited 16 cities and held 42 shows. During the tour, Mr. Children released their 17th single "I'll Be" on May 12, which was used in Shiseido's (Zi Sheng Tang ) Sea Breeze commercials. Though originally released on the Discovery album, the song was re-released as a single with a lighter beat. The single was not a success and became Mr. Children's lowest selling single since "Cross Road". During the Discovery Tour '99, an idea for a live album was brought up. It was released as a 500,000 copy limited edition on September 8, 1999 and called 1/42 (referring to one of the 42 shows in the tour). Most of the tracks were recorded on June 16, 1999 at the Makomanai ice arena, while the bonus track "Dakishimetai" was recorded at the Okinawa Ginowan-Shi seaside park. At the beginning of a new century "Kuchibue" (Kou Di ), released on January 13, 2000 became the group's 18th single. While "I'll Be" failed to be a success, "Kuchibue" proved to be a hit selling 724,070 copies. On August 9, 2000, their 19th single "Not Found" was also used as the theme song to the Japanese drama Bus Stop (basusutotsupu), followed a month later by their 9th original album Q on September 27, 2000. The band went to New York to record this album, where they re-recorded some of their old indie material and for the first time, producer Takeshi Kobayashi performed with the band on a recording. The cover for the album was shot bought Size, Inc. at the Bonneville Salt Flats in the United States. The album was not a favorite amongst fans for various reasons and became their first album since Atomic Heart to not sell over one million copies. 'Concert tour Q' started, visiting 13 cities and holding 35 concerts between October 15, 2000 and February 24, 2001.
Q: What happened in 1998?
A: On February 11, 1998, they released their 14th single "Nishi e Higashi e" (nishiehigashie),
|
C_cc47c7df2d994d02b905ef7002dc163a_0_q#1
|
Was the single a success?
| 1n
| 2x
|
{
"texts": [
"unknown"
],
"answer_starts": [
2715
]
}
|
{
"text": "unknown",
"answer_start": 2715
}
|
C_cc47c7df2d994d02b905ef7002dc163a_0
|
Mr. Children
|
Mr. Children (misutachirudoren, Misuta Chirudoren), commonly referred to by their contracted nickname "Misu-Chiru" (misuchiru)) is a Japanese pop rock band formed in 1989 by Kazutoshi Sakurai, Kenichi Tahara, Keisuke Nakagawa, and Hideya Suzuki. They made their major debut in 1992. As a group, they are one of the best selling artists in Japan and one of the most successful Japanese rock artists, having sold over 50 million records and creating the "Mis-chil Phenomenon" (misuchiruXian Xiang ) in the mid-1990s in Japan. They held the record for the highest first week sales of a single in Japan for 15 years, with 1.2 million copies of their 10th single "Namonaki Uta" (Ming monakiShi ), have 30 consecutive number 1 singles, replaced Glay as the all-male band (with 3 or more members) to have the most number 1 albums on the Oricon charts, and won the Japan Record Award in 1994 for "Innocent World" and in 2004 for "Sign".
|
1998-2000
|
On February 11, 1998, they released their 14th single "Nishi e Higashi e" (nishiehigashie), theme song to the Japanese drama Kira kira Hikaru (kirakirahikaru). The group was still on hiatus during this time and made no live performances to promote the single and did not appear in the music video for the song. Finally on October 21, 1998, Mr. Children officially re-grouped and released their 15th single, "Owarinaki Tabi" (Zhong warinakiLu ) with the Japanese drama Naguru Onna (Ou ruNu ) using it as their theme song. The song remains a public favorite in voting polls, Oricon citing its inspirational lyrics as the reason. On January 13, 1999, "Hikari no Sasu Hou E" (Guang noShe suFang he), their 16th single, was released, followed by their seventh album, Discovery, on February 3, 1999. Sakurai compared his approach to the songwriting for the record to surfing: Eleven days later they began the Discovery Tour '99, from February 14 to July 12, where the group visited 16 cities and held 42 shows. During the tour, Mr. Children released their 17th single "I'll Be" on May 12, which was used in Shiseido's (Zi Sheng Tang ) Sea Breeze commercials. Though originally released on the Discovery album, the song was re-released as a single with a lighter beat. The single was not a success and became Mr. Children's lowest selling single since "Cross Road". During the Discovery Tour '99, an idea for a live album was brought up. It was released as a 500,000 copy limited edition on September 8, 1999 and called 1/42 (referring to one of the 42 shows in the tour). Most of the tracks were recorded on June 16, 1999 at the Makomanai ice arena, while the bonus track "Dakishimetai" was recorded at the Okinawa Ginowan-Shi seaside park. At the beginning of a new century "Kuchibue" (Kou Di ), released on January 13, 2000 became the group's 18th single. While "I'll Be" failed to be a success, "Kuchibue" proved to be a hit selling 724,070 copies. On August 9, 2000, their 19th single "Not Found" was also used as the theme song to the Japanese drama Bus Stop (basusutotsupu), followed a month later by their 9th original album Q on September 27, 2000. The band went to New York to record this album, where they re-recorded some of their old indie material and for the first time, producer Takeshi Kobayashi performed with the band on a recording. The cover for the album was shot bought Size, Inc. at the Bonneville Salt Flats in the United States. The album was not a favorite amongst fans for various reasons and became their first album since Atomic Heart to not sell over one million copies. 'Concert tour Q' started, visiting 13 cities and holding 35 concerts between October 15, 2000 and February 24, 2001.
Q: What happened in 1998?
A: On February 11, 1998, they released their 14th single "Nishi e Higashi e" (nishiehigashie),
Q: Was the single a success?
A: unknown
|
C_cc47c7df2d994d02b905ef7002dc163a_0_q#2
|
What happened in 1999?
| 0y
| 2x
|
{
"texts": [
"On January 13, 1999, \"Hikari no Sasu Hou E\" (Guang noShe suFang he), their 16th single, was released, followed by their seventh album, Discovery, on February 3, 1999."
],
"answer_starts": [
628
]
}
|
{
"text": "On January 13, 1999, \"Hikari no Sasu Hou E\" (Guang noShe suFang he), their 16th single, was released, followed by their seventh album, Discovery, on February 3, 1999.",
"answer_start": 628
}
|
C_cc47c7df2d994d02b905ef7002dc163a_0
|
Mr. Children
|
Mr. Children (misutachirudoren, Misuta Chirudoren), commonly referred to by their contracted nickname "Misu-Chiru" (misuchiru)) is a Japanese pop rock band formed in 1989 by Kazutoshi Sakurai, Kenichi Tahara, Keisuke Nakagawa, and Hideya Suzuki. They made their major debut in 1992. As a group, they are one of the best selling artists in Japan and one of the most successful Japanese rock artists, having sold over 50 million records and creating the "Mis-chil Phenomenon" (misuchiruXian Xiang ) in the mid-1990s in Japan. They held the record for the highest first week sales of a single in Japan for 15 years, with 1.2 million copies of their 10th single "Namonaki Uta" (Ming monakiShi ), have 30 consecutive number 1 singles, replaced Glay as the all-male band (with 3 or more members) to have the most number 1 albums on the Oricon charts, and won the Japan Record Award in 1994 for "Innocent World" and in 2004 for "Sign".
|
1998-2000
|
On February 11, 1998, they released their 14th single "Nishi e Higashi e" (nishiehigashie), theme song to the Japanese drama Kira kira Hikaru (kirakirahikaru). The group was still on hiatus during this time and made no live performances to promote the single and did not appear in the music video for the song. Finally on October 21, 1998, Mr. Children officially re-grouped and released their 15th single, "Owarinaki Tabi" (Zhong warinakiLu ) with the Japanese drama Naguru Onna (Ou ruNu ) using it as their theme song. The song remains a public favorite in voting polls, Oricon citing its inspirational lyrics as the reason. On January 13, 1999, "Hikari no Sasu Hou E" (Guang noShe suFang he), their 16th single, was released, followed by their seventh album, Discovery, on February 3, 1999. Sakurai compared his approach to the songwriting for the record to surfing: Eleven days later they began the Discovery Tour '99, from February 14 to July 12, where the group visited 16 cities and held 42 shows. During the tour, Mr. Children released their 17th single "I'll Be" on May 12, which was used in Shiseido's (Zi Sheng Tang ) Sea Breeze commercials. Though originally released on the Discovery album, the song was re-released as a single with a lighter beat. The single was not a success and became Mr. Children's lowest selling single since "Cross Road". During the Discovery Tour '99, an idea for a live album was brought up. It was released as a 500,000 copy limited edition on September 8, 1999 and called 1/42 (referring to one of the 42 shows in the tour). Most of the tracks were recorded on June 16, 1999 at the Makomanai ice arena, while the bonus track "Dakishimetai" was recorded at the Okinawa Ginowan-Shi seaside park. At the beginning of a new century "Kuchibue" (Kou Di ), released on January 13, 2000 became the group's 18th single. While "I'll Be" failed to be a success, "Kuchibue" proved to be a hit selling 724,070 copies. On August 9, 2000, their 19th single "Not Found" was also used as the theme song to the Japanese drama Bus Stop (basusutotsupu), followed a month later by their 9th original album Q on September 27, 2000. The band went to New York to record this album, where they re-recorded some of their old indie material and for the first time, producer Takeshi Kobayashi performed with the band on a recording. The cover for the album was shot bought Size, Inc. at the Bonneville Salt Flats in the United States. The album was not a favorite amongst fans for various reasons and became their first album since Atomic Heart to not sell over one million copies. 'Concert tour Q' started, visiting 13 cities and holding 35 concerts between October 15, 2000 and February 24, 2001.
Q: What happened in 1998?
A: On February 11, 1998, they released their 14th single "Nishi e Higashi e" (nishiehigashie),
Q: Was the single a success?
A: unknown
Q: What happened in 1999?
A: On January 13, 1999, "Hikari no Sasu Hou E" (Guang noShe suFang he), their 16th single, was released, followed by their seventh album, Discovery, on February 3, 1999.
|
C_cc47c7df2d994d02b905ef7002dc163a_0_q#3
|
Did they win any awards?
| 1n
| 2x
|
{
"texts": [
"unknown"
],
"answer_starts": [
2715
]
}
|
{
"text": "unknown",
"answer_start": 2715
}
|
C_cc47c7df2d994d02b905ef7002dc163a_0
|
Mr. Children
|
Mr. Children (misutachirudoren, Misuta Chirudoren), commonly referred to by their contracted nickname "Misu-Chiru" (misuchiru)) is a Japanese pop rock band formed in 1989 by Kazutoshi Sakurai, Kenichi Tahara, Keisuke Nakagawa, and Hideya Suzuki. They made their major debut in 1992. As a group, they are one of the best selling artists in Japan and one of the most successful Japanese rock artists, having sold over 50 million records and creating the "Mis-chil Phenomenon" (misuchiruXian Xiang ) in the mid-1990s in Japan. They held the record for the highest first week sales of a single in Japan for 15 years, with 1.2 million copies of their 10th single "Namonaki Uta" (Ming monakiShi ), have 30 consecutive number 1 singles, replaced Glay as the all-male band (with 3 or more members) to have the most number 1 albums on the Oricon charts, and won the Japan Record Award in 1994 for "Innocent World" and in 2004 for "Sign".
|
1998-2000
|
On February 11, 1998, they released their 14th single "Nishi e Higashi e" (nishiehigashie), theme song to the Japanese drama Kira kira Hikaru (kirakirahikaru). The group was still on hiatus during this time and made no live performances to promote the single and did not appear in the music video for the song. Finally on October 21, 1998, Mr. Children officially re-grouped and released their 15th single, "Owarinaki Tabi" (Zhong warinakiLu ) with the Japanese drama Naguru Onna (Ou ruNu ) using it as their theme song. The song remains a public favorite in voting polls, Oricon citing its inspirational lyrics as the reason. On January 13, 1999, "Hikari no Sasu Hou E" (Guang noShe suFang he), their 16th single, was released, followed by their seventh album, Discovery, on February 3, 1999. Sakurai compared his approach to the songwriting for the record to surfing: Eleven days later they began the Discovery Tour '99, from February 14 to July 12, where the group visited 16 cities and held 42 shows. During the tour, Mr. Children released their 17th single "I'll Be" on May 12, which was used in Shiseido's (Zi Sheng Tang ) Sea Breeze commercials. Though originally released on the Discovery album, the song was re-released as a single with a lighter beat. The single was not a success and became Mr. Children's lowest selling single since "Cross Road". During the Discovery Tour '99, an idea for a live album was brought up. It was released as a 500,000 copy limited edition on September 8, 1999 and called 1/42 (referring to one of the 42 shows in the tour). Most of the tracks were recorded on June 16, 1999 at the Makomanai ice arena, while the bonus track "Dakishimetai" was recorded at the Okinawa Ginowan-Shi seaside park. At the beginning of a new century "Kuchibue" (Kou Di ), released on January 13, 2000 became the group's 18th single. While "I'll Be" failed to be a success, "Kuchibue" proved to be a hit selling 724,070 copies. On August 9, 2000, their 19th single "Not Found" was also used as the theme song to the Japanese drama Bus Stop (basusutotsupu), followed a month later by their 9th original album Q on September 27, 2000. The band went to New York to record this album, where they re-recorded some of their old indie material and for the first time, producer Takeshi Kobayashi performed with the band on a recording. The cover for the album was shot bought Size, Inc. at the Bonneville Salt Flats in the United States. The album was not a favorite amongst fans for various reasons and became their first album since Atomic Heart to not sell over one million copies. 'Concert tour Q' started, visiting 13 cities and holding 35 concerts between October 15, 2000 and February 24, 2001.
Q: What happened in 1998?
A: On February 11, 1998, they released their 14th single "Nishi e Higashi e" (nishiehigashie),
Q: Was the single a success?
A: unknown
Q: What happened in 1999?
A: On January 13, 1999, "Hikari no Sasu Hou E" (Guang noShe suFang he), their 16th single, was released, followed by their seventh album, Discovery, on February 3, 1999.
Q: Did they win any awards?
A: unknown
|
C_cc47c7df2d994d02b905ef7002dc163a_0_q#4
|
Are there any other interesting aspects about this article?
| 0y
| 2x
|
{
"texts": [
"During the Discovery Tour '99, an idea for a live album was brought up."
],
"answer_starts": [
1361
]
}
|
{
"text": "During the Discovery Tour '99, an idea for a live album was brought up.",
"answer_start": 1361
}
|
C_cc47c7df2d994d02b905ef7002dc163a_1
|
Mr. Children
|
Mr. Children (misutachirudoren, Misuta Chirudoren), commonly referred to by their contracted nickname "Misu-Chiru" (misuchiru)) is a Japanese pop rock band formed in 1989 by Kazutoshi Sakurai, Kenichi Tahara, Keisuke Nakagawa, and Hideya Suzuki. They made their major debut in 1992. As a group, they are one of the best selling artists in Japan and one of the most successful Japanese rock artists, having sold over 50 million records and creating the "Mis-chil Phenomenon" (misuchiruXian Xiang ) in the mid-1990s in Japan. They held the record for the highest first week sales of a single in Japan for 15 years, with 1.2 million copies of their 10th single "Namonaki Uta" (Ming monakiShi ), have 30 consecutive number 1 singles, replaced Glay as the all-male band (with 3 or more members) to have the most number 1 albums on the Oricon charts, and won the Japan Record Award in 1994 for "Innocent World" and in 2004 for "Sign".
|
1995-1997
|
In 1995, the second half of the Atomic Heart tour started, lasting from January 1 to February 2. Mr. Children also became involved in charity work, doing a collaboration song with Keisuke Kuwata of Southern All Stars. The single "Kiseki no hoshi" (Qi Ji noDi Qiu ) was used as the theme song for the Act Against AIDS campaign, was produced by Mr. Children and written by Kuwata. To promote the single and the campaign, they held a one-month tour from April 18 until May 14, entitled Live UFO '95 Rock Opera "Acoustic Revolution with Orchestra" Kiseki no hoshi (Live UFO '95 Rock Opera "Acoustic Revolution with Orchestra" Qi Ji noDi Qiu ), where the group did cover songs of many English speaking artists such as The Rolling Stones and Bob Dylan. During the tour the group was also filming a documentary/concert movie called Es ~Mr. Children in Film~. It was released in theaters on June 6, 1995, preceded by the group's eight single "Es (Theme of Es)" on May 10, to promote the movie. Two months later the group held an open air tour titled -Hounen Mansaku- Natsu matsuri tour Sora [ku:] (-Hounen Mansaku- Xia Ji ri1995 Kong [ku:]) from July 16 to September 10, during which the ninth single, "See-Saw Game (Yukan na Koi no Uta)" (shisogemu ~ Yong Gan naLian noGe ~ ) was released on August 10. On February 6, 1996 Mr. Children's tenth single "Namonaki Uta" (Ming monakiShi ) was released, to promote the Japanese drama Pure (piyua) and also for Daio Paper's Elleair (erieru) commercial. The single went on to become Japan's highest first week selling single of all time (which was later broken by idol group AKB48) and is currently Japan's eighth highest selling drama tie-in single. The success of the single was also a surprise for Sakurai, who admitted to spending very little time writing the song. Two months later, on April 5, 1996 the group's eleventh single "Hana (Memento Mori)" (Hua -Memento-Mori-) was released, followed by their fifth original album Shinkai (Shen Hai ) on June 24 and their twelfth single "Machine Gun o Buppanase (Mr. Children Bootleg)" (mashinganwobutsuFang se -Mr.Children Bootleg-), on August 8. To close the year, the Regress or Progress Tour started and lasted from August 24, 1996 to March 28, 1997. The group visited 14 cities and held 55 concerts. Mr. Children's 13th single, "Everything (It's You)", was released on February 5, 1997, with the title track used as the theme song to the Japanese drama Koi no Bakansu (Lian nobakansu). A month later, on March 5 Bolero, Mr. Children's sixth album was released. Soon after, rumors started of the group disbanding. Sakurai's reply: "The band will dissolve only when we have no more talent and have relationship problems with each other." Yet the group then decided to take some time off. Nakagawa and Suzuki start a side project band called Hayashi Hideo, and joined by Kenji Fujii from My Little Lover and Sawao Yamanaka from The Pillows, went on a club tour.
|
C_cc47c7df2d994d02b905ef7002dc163a_1_q#0
|
What happened in 1995?
| 0y
| 2x
|
{
"texts": [
"In 1995, the second half of the Atomic Heart tour started, lasting from January 1 to February 2."
],
"answer_starts": [
0
]
}
|
{
"text": "In 1995, the second half of the Atomic Heart tour started, lasting from January 1 to February 2.",
"answer_start": 0
}
|
C_cc47c7df2d994d02b905ef7002dc163a_1
|
Mr. Children
|
Mr. Children (misutachirudoren, Misuta Chirudoren), commonly referred to by their contracted nickname "Misu-Chiru" (misuchiru)) is a Japanese pop rock band formed in 1989 by Kazutoshi Sakurai, Kenichi Tahara, Keisuke Nakagawa, and Hideya Suzuki. They made their major debut in 1992. As a group, they are one of the best selling artists in Japan and one of the most successful Japanese rock artists, having sold over 50 million records and creating the "Mis-chil Phenomenon" (misuchiruXian Xiang ) in the mid-1990s in Japan. They held the record for the highest first week sales of a single in Japan for 15 years, with 1.2 million copies of their 10th single "Namonaki Uta" (Ming monakiShi ), have 30 consecutive number 1 singles, replaced Glay as the all-male band (with 3 or more members) to have the most number 1 albums on the Oricon charts, and won the Japan Record Award in 1994 for "Innocent World" and in 2004 for "Sign".
|
1995-1997
|
In 1995, the second half of the Atomic Heart tour started, lasting from January 1 to February 2. Mr. Children also became involved in charity work, doing a collaboration song with Keisuke Kuwata of Southern All Stars. The single "Kiseki no hoshi" (Qi Ji noDi Qiu ) was used as the theme song for the Act Against AIDS campaign, was produced by Mr. Children and written by Kuwata. To promote the single and the campaign, they held a one-month tour from April 18 until May 14, entitled Live UFO '95 Rock Opera "Acoustic Revolution with Orchestra" Kiseki no hoshi (Live UFO '95 Rock Opera "Acoustic Revolution with Orchestra" Qi Ji noDi Qiu ), where the group did cover songs of many English speaking artists such as The Rolling Stones and Bob Dylan. During the tour the group was also filming a documentary/concert movie called Es ~Mr. Children in Film~. It was released in theaters on June 6, 1995, preceded by the group's eight single "Es (Theme of Es)" on May 10, to promote the movie. Two months later the group held an open air tour titled -Hounen Mansaku- Natsu matsuri tour Sora [ku:] (-Hounen Mansaku- Xia Ji ri1995 Kong [ku:]) from July 16 to September 10, during which the ninth single, "See-Saw Game (Yukan na Koi no Uta)" (shisogemu ~ Yong Gan naLian noGe ~ ) was released on August 10. On February 6, 1996 Mr. Children's tenth single "Namonaki Uta" (Ming monakiShi ) was released, to promote the Japanese drama Pure (piyua) and also for Daio Paper's Elleair (erieru) commercial. The single went on to become Japan's highest first week selling single of all time (which was later broken by idol group AKB48) and is currently Japan's eighth highest selling drama tie-in single. The success of the single was also a surprise for Sakurai, who admitted to spending very little time writing the song. Two months later, on April 5, 1996 the group's eleventh single "Hana (Memento Mori)" (Hua -Memento-Mori-) was released, followed by their fifth original album Shinkai (Shen Hai ) on June 24 and their twelfth single "Machine Gun o Buppanase (Mr. Children Bootleg)" (mashinganwobutsuFang se -Mr.Children Bootleg-), on August 8. To close the year, the Regress or Progress Tour started and lasted from August 24, 1996 to March 28, 1997. The group visited 14 cities and held 55 concerts. Mr. Children's 13th single, "Everything (It's You)", was released on February 5, 1997, with the title track used as the theme song to the Japanese drama Koi no Bakansu (Lian nobakansu). A month later, on March 5 Bolero, Mr. Children's sixth album was released. Soon after, rumors started of the group disbanding. Sakurai's reply: "The band will dissolve only when we have no more talent and have relationship problems with each other." Yet the group then decided to take some time off. Nakagawa and Suzuki start a side project band called Hayashi Hideo, and joined by Kenji Fujii from My Little Lover and Sawao Yamanaka from The Pillows, went on a club tour.
Q: What happened in 1995?
A: In 1995, the second half of the Atomic Heart tour started, lasting from January 1 to February 2.
|
C_cc47c7df2d994d02b905ef7002dc163a_1_q#1
|
was the tour successful?
| 0y
| 0y
|
{
"texts": [
"Two months later the group held an open air tour titled -Hounen Mansaku- Natsu matsuri tour Sora [ku:] (-Hounen Mansaku- Xia Ji ri1995 Kong [ku:])"
],
"answer_starts": [
986
]
}
|
{
"text": "Two months later the group held an open air tour titled -Hounen Mansaku- Natsu matsuri tour Sora [ku:] (-Hounen Mansaku- Xia Ji ri1995 Kong [ku:])",
"answer_start": 986
}
|
C_cc47c7df2d994d02b905ef7002dc163a_1
|
Mr. Children
|
Mr. Children (misutachirudoren, Misuta Chirudoren), commonly referred to by their contracted nickname "Misu-Chiru" (misuchiru)) is a Japanese pop rock band formed in 1989 by Kazutoshi Sakurai, Kenichi Tahara, Keisuke Nakagawa, and Hideya Suzuki. They made their major debut in 1992. As a group, they are one of the best selling artists in Japan and one of the most successful Japanese rock artists, having sold over 50 million records and creating the "Mis-chil Phenomenon" (misuchiruXian Xiang ) in the mid-1990s in Japan. They held the record for the highest first week sales of a single in Japan for 15 years, with 1.2 million copies of their 10th single "Namonaki Uta" (Ming monakiShi ), have 30 consecutive number 1 singles, replaced Glay as the all-male band (with 3 or more members) to have the most number 1 albums on the Oricon charts, and won the Japan Record Award in 1994 for "Innocent World" and in 2004 for "Sign".
|
1995-1997
|
In 1995, the second half of the Atomic Heart tour started, lasting from January 1 to February 2. Mr. Children also became involved in charity work, doing a collaboration song with Keisuke Kuwata of Southern All Stars. The single "Kiseki no hoshi" (Qi Ji noDi Qiu ) was used as the theme song for the Act Against AIDS campaign, was produced by Mr. Children and written by Kuwata. To promote the single and the campaign, they held a one-month tour from April 18 until May 14, entitled Live UFO '95 Rock Opera "Acoustic Revolution with Orchestra" Kiseki no hoshi (Live UFO '95 Rock Opera "Acoustic Revolution with Orchestra" Qi Ji noDi Qiu ), where the group did cover songs of many English speaking artists such as The Rolling Stones and Bob Dylan. During the tour the group was also filming a documentary/concert movie called Es ~Mr. Children in Film~. It was released in theaters on June 6, 1995, preceded by the group's eight single "Es (Theme of Es)" on May 10, to promote the movie. Two months later the group held an open air tour titled -Hounen Mansaku- Natsu matsuri tour Sora [ku:] (-Hounen Mansaku- Xia Ji ri1995 Kong [ku:]) from July 16 to September 10, during which the ninth single, "See-Saw Game (Yukan na Koi no Uta)" (shisogemu ~ Yong Gan naLian noGe ~ ) was released on August 10. On February 6, 1996 Mr. Children's tenth single "Namonaki Uta" (Ming monakiShi ) was released, to promote the Japanese drama Pure (piyua) and also for Daio Paper's Elleair (erieru) commercial. The single went on to become Japan's highest first week selling single of all time (which was later broken by idol group AKB48) and is currently Japan's eighth highest selling drama tie-in single. The success of the single was also a surprise for Sakurai, who admitted to spending very little time writing the song. Two months later, on April 5, 1996 the group's eleventh single "Hana (Memento Mori)" (Hua -Memento-Mori-) was released, followed by their fifth original album Shinkai (Shen Hai ) on June 24 and their twelfth single "Machine Gun o Buppanase (Mr. Children Bootleg)" (mashinganwobutsuFang se -Mr.Children Bootleg-), on August 8. To close the year, the Regress or Progress Tour started and lasted from August 24, 1996 to March 28, 1997. The group visited 14 cities and held 55 concerts. Mr. Children's 13th single, "Everything (It's You)", was released on February 5, 1997, with the title track used as the theme song to the Japanese drama Koi no Bakansu (Lian nobakansu). A month later, on March 5 Bolero, Mr. Children's sixth album was released. Soon after, rumors started of the group disbanding. Sakurai's reply: "The band will dissolve only when we have no more talent and have relationship problems with each other." Yet the group then decided to take some time off. Nakagawa and Suzuki start a side project band called Hayashi Hideo, and joined by Kenji Fujii from My Little Lover and Sawao Yamanaka from The Pillows, went on a club tour.
Q: What happened in 1995?
A: In 1995, the second half of the Atomic Heart tour started, lasting from January 1 to February 2.
Q: was the tour successful?
A: Two months later the group held an open air tour titled -Hounen Mansaku- Natsu matsuri tour Sora [ku:] (-Hounen Mansaku- Xia Ji ri1995 Kong [ku:])
|
C_cc47c7df2d994d02b905ef7002dc163a_1_q#2
|
did they produce any albums?
| 0y
| 0y
|
{
"texts": [
"Mr. Children's 13th single, \"Everything (It's You)\", was released on February 5, 1997, with the title track used as the theme song to the Japanese drama Koi no Bakansu"
],
"answer_starts": [
2291
]
}
|
{
"text": "Mr. Children's 13th single, \"Everything (It's You)\", was released on February 5, 1997, with the title track used as the theme song to the Japanese drama Koi no Bakansu",
"answer_start": 2291
}
|
C_cc47c7df2d994d02b905ef7002dc163a_1
|
Mr. Children
|
Mr. Children (misutachirudoren, Misuta Chirudoren), commonly referred to by their contracted nickname "Misu-Chiru" (misuchiru)) is a Japanese pop rock band formed in 1989 by Kazutoshi Sakurai, Kenichi Tahara, Keisuke Nakagawa, and Hideya Suzuki. They made their major debut in 1992. As a group, they are one of the best selling artists in Japan and one of the most successful Japanese rock artists, having sold over 50 million records and creating the "Mis-chil Phenomenon" (misuchiruXian Xiang ) in the mid-1990s in Japan. They held the record for the highest first week sales of a single in Japan for 15 years, with 1.2 million copies of their 10th single "Namonaki Uta" (Ming monakiShi ), have 30 consecutive number 1 singles, replaced Glay as the all-male band (with 3 or more members) to have the most number 1 albums on the Oricon charts, and won the Japan Record Award in 1994 for "Innocent World" and in 2004 for "Sign".
|
1995-1997
|
In 1995, the second half of the Atomic Heart tour started, lasting from January 1 to February 2. Mr. Children also became involved in charity work, doing a collaboration song with Keisuke Kuwata of Southern All Stars. The single "Kiseki no hoshi" (Qi Ji noDi Qiu ) was used as the theme song for the Act Against AIDS campaign, was produced by Mr. Children and written by Kuwata. To promote the single and the campaign, they held a one-month tour from April 18 until May 14, entitled Live UFO '95 Rock Opera "Acoustic Revolution with Orchestra" Kiseki no hoshi (Live UFO '95 Rock Opera "Acoustic Revolution with Orchestra" Qi Ji noDi Qiu ), where the group did cover songs of many English speaking artists such as The Rolling Stones and Bob Dylan. During the tour the group was also filming a documentary/concert movie called Es ~Mr. Children in Film~. It was released in theaters on June 6, 1995, preceded by the group's eight single "Es (Theme of Es)" on May 10, to promote the movie. Two months later the group held an open air tour titled -Hounen Mansaku- Natsu matsuri tour Sora [ku:] (-Hounen Mansaku- Xia Ji ri1995 Kong [ku:]) from July 16 to September 10, during which the ninth single, "See-Saw Game (Yukan na Koi no Uta)" (shisogemu ~ Yong Gan naLian noGe ~ ) was released on August 10. On February 6, 1996 Mr. Children's tenth single "Namonaki Uta" (Ming monakiShi ) was released, to promote the Japanese drama Pure (piyua) and also for Daio Paper's Elleair (erieru) commercial. The single went on to become Japan's highest first week selling single of all time (which was later broken by idol group AKB48) and is currently Japan's eighth highest selling drama tie-in single. The success of the single was also a surprise for Sakurai, who admitted to spending very little time writing the song. Two months later, on April 5, 1996 the group's eleventh single "Hana (Memento Mori)" (Hua -Memento-Mori-) was released, followed by their fifth original album Shinkai (Shen Hai ) on June 24 and their twelfth single "Machine Gun o Buppanase (Mr. Children Bootleg)" (mashinganwobutsuFang se -Mr.Children Bootleg-), on August 8. To close the year, the Regress or Progress Tour started and lasted from August 24, 1996 to March 28, 1997. The group visited 14 cities and held 55 concerts. Mr. Children's 13th single, "Everything (It's You)", was released on February 5, 1997, with the title track used as the theme song to the Japanese drama Koi no Bakansu (Lian nobakansu). A month later, on March 5 Bolero, Mr. Children's sixth album was released. Soon after, rumors started of the group disbanding. Sakurai's reply: "The band will dissolve only when we have no more talent and have relationship problems with each other." Yet the group then decided to take some time off. Nakagawa and Suzuki start a side project band called Hayashi Hideo, and joined by Kenji Fujii from My Little Lover and Sawao Yamanaka from The Pillows, went on a club tour.
Q: What happened in 1995?
A: In 1995, the second half of the Atomic Heart tour started, lasting from January 1 to February 2.
Q: was the tour successful?
A: Two months later the group held an open air tour titled -Hounen Mansaku- Natsu matsuri tour Sora [ku:] (-Hounen Mansaku- Xia Ji ri1995 Kong [ku:])
Q: did they produce any albums?
A: Mr. Children's 13th single, "Everything (It's You)", was released on February 5, 1997, with the title track used as the theme song to the Japanese drama Koi no Bakansu
|
C_cc47c7df2d994d02b905ef7002dc163a_1_q#3
|
was it successful?
| 1n
| 1n
|
{
"texts": [
"Mr. Children's sixth album was released. Soon after, rumors started of the group disbanding."
],
"answer_starts": [
2511
]
}
|
{
"text": "Mr. Children's sixth album was released. Soon after, rumors started of the group disbanding.",
"answer_start": 2511
}
|
C_cc47c7df2d994d02b905ef7002dc163a_1
|
Mr. Children
|
Mr. Children (misutachirudoren, Misuta Chirudoren), commonly referred to by their contracted nickname "Misu-Chiru" (misuchiru)) is a Japanese pop rock band formed in 1989 by Kazutoshi Sakurai, Kenichi Tahara, Keisuke Nakagawa, and Hideya Suzuki. They made their major debut in 1992. As a group, they are one of the best selling artists in Japan and one of the most successful Japanese rock artists, having sold over 50 million records and creating the "Mis-chil Phenomenon" (misuchiruXian Xiang ) in the mid-1990s in Japan. They held the record for the highest first week sales of a single in Japan for 15 years, with 1.2 million copies of their 10th single "Namonaki Uta" (Ming monakiShi ), have 30 consecutive number 1 singles, replaced Glay as the all-male band (with 3 or more members) to have the most number 1 albums on the Oricon charts, and won the Japan Record Award in 1994 for "Innocent World" and in 2004 for "Sign".
|
1995-1997
|
In 1995, the second half of the Atomic Heart tour started, lasting from January 1 to February 2. Mr. Children also became involved in charity work, doing a collaboration song with Keisuke Kuwata of Southern All Stars. The single "Kiseki no hoshi" (Qi Ji noDi Qiu ) was used as the theme song for the Act Against AIDS campaign, was produced by Mr. Children and written by Kuwata. To promote the single and the campaign, they held a one-month tour from April 18 until May 14, entitled Live UFO '95 Rock Opera "Acoustic Revolution with Orchestra" Kiseki no hoshi (Live UFO '95 Rock Opera "Acoustic Revolution with Orchestra" Qi Ji noDi Qiu ), where the group did cover songs of many English speaking artists such as The Rolling Stones and Bob Dylan. During the tour the group was also filming a documentary/concert movie called Es ~Mr. Children in Film~. It was released in theaters on June 6, 1995, preceded by the group's eight single "Es (Theme of Es)" on May 10, to promote the movie. Two months later the group held an open air tour titled -Hounen Mansaku- Natsu matsuri tour Sora [ku:] (-Hounen Mansaku- Xia Ji ri1995 Kong [ku:]) from July 16 to September 10, during which the ninth single, "See-Saw Game (Yukan na Koi no Uta)" (shisogemu ~ Yong Gan naLian noGe ~ ) was released on August 10. On February 6, 1996 Mr. Children's tenth single "Namonaki Uta" (Ming monakiShi ) was released, to promote the Japanese drama Pure (piyua) and also for Daio Paper's Elleair (erieru) commercial. The single went on to become Japan's highest first week selling single of all time (which was later broken by idol group AKB48) and is currently Japan's eighth highest selling drama tie-in single. The success of the single was also a surprise for Sakurai, who admitted to spending very little time writing the song. Two months later, on April 5, 1996 the group's eleventh single "Hana (Memento Mori)" (Hua -Memento-Mori-) was released, followed by their fifth original album Shinkai (Shen Hai ) on June 24 and their twelfth single "Machine Gun o Buppanase (Mr. Children Bootleg)" (mashinganwobutsuFang se -Mr.Children Bootleg-), on August 8. To close the year, the Regress or Progress Tour started and lasted from August 24, 1996 to March 28, 1997. The group visited 14 cities and held 55 concerts. Mr. Children's 13th single, "Everything (It's You)", was released on February 5, 1997, with the title track used as the theme song to the Japanese drama Koi no Bakansu (Lian nobakansu). A month later, on March 5 Bolero, Mr. Children's sixth album was released. Soon after, rumors started of the group disbanding. Sakurai's reply: "The band will dissolve only when we have no more talent and have relationship problems with each other." Yet the group then decided to take some time off. Nakagawa and Suzuki start a side project band called Hayashi Hideo, and joined by Kenji Fujii from My Little Lover and Sawao Yamanaka from The Pillows, went on a club tour.
Q: What happened in 1995?
A: In 1995, the second half of the Atomic Heart tour started, lasting from January 1 to February 2.
Q: was the tour successful?
A: Two months later the group held an open air tour titled -Hounen Mansaku- Natsu matsuri tour Sora [ku:] (-Hounen Mansaku- Xia Ji ri1995 Kong [ku:])
Q: did they produce any albums?
A: Mr. Children's 13th single, "Everything (It's You)", was released on February 5, 1997, with the title track used as the theme song to the Japanese drama Koi no Bakansu
Q: was it successful?
A: Mr. Children's sixth album was released. Soon after, rumors started of the group disbanding.
|
C_cc47c7df2d994d02b905ef7002dc163a_1_q#4
|
did they produce anything else?
| 0y
| 0y
|
{
"texts": [
"On February 6, 1996 Mr. Children's tenth single \"Namonaki Uta\" (Ming monakiShi ) was released, to promote the Japanese drama Pure ("
],
"answer_starts": [
1297
]
}
|
{
"text": "On February 6, 1996 Mr. Children's tenth single \"Namonaki Uta\" (Ming monakiShi ) was released, to promote the Japanese drama Pure (",
"answer_start": 1297
}
|
C_41b3dde16fb04b6abc6ce7cc478fd6cf_1
|
Soo Wincci
|
Dr. Soo Wincci (Chinese: Su Ying Zhi ; pinyin: Su Yingzhi) is an award-winning Malaysian singer, recording artist, actress, composer, celebrity chef, host, model, beauty queen, PhD holder and also an entrepreneur. Soo was crowned Miss World Malaysia 2008 and represented Malaysia in the Miss World 2008 beauty pageant. In 2013, She was selected by Hollywood's Independence Critics as the world Top 100 most beautiful women in the world.
|
2013-2015(All Rounder Artist From Malaysia Towards International Asia Platform In Taiwan
|
In 2013, she was selected by Hollywood's Independence Critics as the world Top 100 most beautiful women in the world. In 2014, Soo founded her own talent management company, Beyond Artistes. In 2014, she completed the 4th place for Master Chef All Stars Malaysia. In the same year, she released her 2nd international Chinese album in Taiwan. All the songs feature on chart of KKBox Taiwan and also other charts in Taiwan and Malaysia. The same year she played as the historical role of Hang Li Po in the tele movie titled "Takhta". The same year, she won awards for her Chinese songs. In 2015, she won the "Media Choice Award" in Malaysia's most prestige Chinese music award (PWH). She was selected as the Top 10 Chinese actor and actress for NTV7. She also acted as the main lead for the drama "The Injustice Stranger". She held her first solo concert Inwinccible at Plenary Hall, KLCC, showcasing her talents in singing, languages and also dangerous stunts. She invested RM500,000 of her own money for the concert after several sponsors pulled out due to a video she posted in August, where she urged the Malaysian Prime Minister, Datuk Seri Najib Razak to resign. In end of 2015, her drama titled "Injustice Stranger" garnered the highest rating drama of the year while winning all 5 out of 5 online voting awards which includes Most Popular Actress, Most Popular Actors, Most Popular On Screen Couple, Most Popular Drama Song and Most Popular Drama.
|
C_41b3dde16fb04b6abc6ce7cc478fd6cf_1_q#0
|
What is the International Asia Platform?
| 1n
| 2x
|
{
"texts": [
"unknown"
],
"answer_starts": [
1457
]
}
|
{
"text": "unknown",
"answer_start": 1457
}
|
C_41b3dde16fb04b6abc6ce7cc478fd6cf_1
|
Soo Wincci
|
Dr. Soo Wincci (Chinese: Su Ying Zhi ; pinyin: Su Yingzhi) is an award-winning Malaysian singer, recording artist, actress, composer, celebrity chef, host, model, beauty queen, PhD holder and also an entrepreneur. Soo was crowned Miss World Malaysia 2008 and represented Malaysia in the Miss World 2008 beauty pageant. In 2013, She was selected by Hollywood's Independence Critics as the world Top 100 most beautiful women in the world.
|
2013-2015(All Rounder Artist From Malaysia Towards International Asia Platform In Taiwan
|
In 2013, she was selected by Hollywood's Independence Critics as the world Top 100 most beautiful women in the world. In 2014, Soo founded her own talent management company, Beyond Artistes. In 2014, she completed the 4th place for Master Chef All Stars Malaysia. In the same year, she released her 2nd international Chinese album in Taiwan. All the songs feature on chart of KKBox Taiwan and also other charts in Taiwan and Malaysia. The same year she played as the historical role of Hang Li Po in the tele movie titled "Takhta". The same year, she won awards for her Chinese songs. In 2015, she won the "Media Choice Award" in Malaysia's most prestige Chinese music award (PWH). She was selected as the Top 10 Chinese actor and actress for NTV7. She also acted as the main lead for the drama "The Injustice Stranger". She held her first solo concert Inwinccible at Plenary Hall, KLCC, showcasing her talents in singing, languages and also dangerous stunts. She invested RM500,000 of her own money for the concert after several sponsors pulled out due to a video she posted in August, where she urged the Malaysian Prime Minister, Datuk Seri Najib Razak to resign. In end of 2015, her drama titled "Injustice Stranger" garnered the highest rating drama of the year while winning all 5 out of 5 online voting awards which includes Most Popular Actress, Most Popular Actors, Most Popular On Screen Couple, Most Popular Drama Song and Most Popular Drama.
Q: What is the International Asia Platform?
A: unknown
|
C_41b3dde16fb04b6abc6ce7cc478fd6cf_1_q#1
|
Was she in other pageants?
| 1n
| 2x
|
{
"texts": [
"In 2013, she was selected by Hollywood's Independence Critics as the world Top 100 most beautiful women"
],
"answer_starts": [
0
]
}
|
{
"text": "In 2013, she was selected by Hollywood's Independence Critics as the world Top 100 most beautiful women",
"answer_start": 0
}
|
C_41b3dde16fb04b6abc6ce7cc478fd6cf_1
|
Soo Wincci
|
Dr. Soo Wincci (Chinese: Su Ying Zhi ; pinyin: Su Yingzhi) is an award-winning Malaysian singer, recording artist, actress, composer, celebrity chef, host, model, beauty queen, PhD holder and also an entrepreneur. Soo was crowned Miss World Malaysia 2008 and represented Malaysia in the Miss World 2008 beauty pageant. In 2013, She was selected by Hollywood's Independence Critics as the world Top 100 most beautiful women in the world.
|
2013-2015(All Rounder Artist From Malaysia Towards International Asia Platform In Taiwan
|
In 2013, she was selected by Hollywood's Independence Critics as the world Top 100 most beautiful women in the world. In 2014, Soo founded her own talent management company, Beyond Artistes. In 2014, she completed the 4th place for Master Chef All Stars Malaysia. In the same year, she released her 2nd international Chinese album in Taiwan. All the songs feature on chart of KKBox Taiwan and also other charts in Taiwan and Malaysia. The same year she played as the historical role of Hang Li Po in the tele movie titled "Takhta". The same year, she won awards for her Chinese songs. In 2015, she won the "Media Choice Award" in Malaysia's most prestige Chinese music award (PWH). She was selected as the Top 10 Chinese actor and actress for NTV7. She also acted as the main lead for the drama "The Injustice Stranger". She held her first solo concert Inwinccible at Plenary Hall, KLCC, showcasing her talents in singing, languages and also dangerous stunts. She invested RM500,000 of her own money for the concert after several sponsors pulled out due to a video she posted in August, where she urged the Malaysian Prime Minister, Datuk Seri Najib Razak to resign. In end of 2015, her drama titled "Injustice Stranger" garnered the highest rating drama of the year while winning all 5 out of 5 online voting awards which includes Most Popular Actress, Most Popular Actors, Most Popular On Screen Couple, Most Popular Drama Song and Most Popular Drama.
Q: What is the International Asia Platform?
A: unknown
Q: Was she in other pageants?
A: In 2013, she was selected by Hollywood's Independence Critics as the world Top 100 most beautiful women
|
C_41b3dde16fb04b6abc6ce7cc478fd6cf_1_q#2
|
What was her scandal?
| 2m
| 2x
|
{
"texts": [
"She invested RM500,000 of her own money for the concert after several sponsors pulled out due to a video she posted in August,"
],
"answer_starts": [
962
]
}
|
{
"text": "She invested RM500,000 of her own money for the concert after several sponsors pulled out due to a video she posted in August,",
"answer_start": 962
}
|
C_41b3dde16fb04b6abc6ce7cc478fd6cf_1
|
Soo Wincci
|
Dr. Soo Wincci (Chinese: Su Ying Zhi ; pinyin: Su Yingzhi) is an award-winning Malaysian singer, recording artist, actress, composer, celebrity chef, host, model, beauty queen, PhD holder and also an entrepreneur. Soo was crowned Miss World Malaysia 2008 and represented Malaysia in the Miss World 2008 beauty pageant. In 2013, She was selected by Hollywood's Independence Critics as the world Top 100 most beautiful women in the world.
|
2013-2015(All Rounder Artist From Malaysia Towards International Asia Platform In Taiwan
|
In 2013, she was selected by Hollywood's Independence Critics as the world Top 100 most beautiful women in the world. In 2014, Soo founded her own talent management company, Beyond Artistes. In 2014, she completed the 4th place for Master Chef All Stars Malaysia. In the same year, she released her 2nd international Chinese album in Taiwan. All the songs feature on chart of KKBox Taiwan and also other charts in Taiwan and Malaysia. The same year she played as the historical role of Hang Li Po in the tele movie titled "Takhta". The same year, she won awards for her Chinese songs. In 2015, she won the "Media Choice Award" in Malaysia's most prestige Chinese music award (PWH). She was selected as the Top 10 Chinese actor and actress for NTV7. She also acted as the main lead for the drama "The Injustice Stranger". She held her first solo concert Inwinccible at Plenary Hall, KLCC, showcasing her talents in singing, languages and also dangerous stunts. She invested RM500,000 of her own money for the concert after several sponsors pulled out due to a video she posted in August, where she urged the Malaysian Prime Minister, Datuk Seri Najib Razak to resign. In end of 2015, her drama titled "Injustice Stranger" garnered the highest rating drama of the year while winning all 5 out of 5 online voting awards which includes Most Popular Actress, Most Popular Actors, Most Popular On Screen Couple, Most Popular Drama Song and Most Popular Drama.
Q: What is the International Asia Platform?
A: unknown
Q: Was she in other pageants?
A: In 2013, she was selected by Hollywood's Independence Critics as the world Top 100 most beautiful women
Q: What was her scandal?
A: She invested RM500,000 of her own money for the concert after several sponsors pulled out due to a video she posted in August,
|
C_41b3dde16fb04b6abc6ce7cc478fd6cf_1_q#3
|
What was the video she posted?
| 1n
| 2x
|
{
"texts": [
"she urged the Malaysian Prime Minister, Datuk Seri Najib Razak to resign."
],
"answer_starts": [
1095
]
}
|
{
"text": "she urged the Malaysian Prime Minister, Datuk Seri Najib Razak to resign.",
"answer_start": 1095
}
|
C_4598c4492aef4f269f626d07006018e2_1
|
Tony Orlando
|
Michael Anthony Orlando Cassavitis (born April 3, 1944), known professionally as Tony Orlando, is an American singer, songwriter, producer, music executive, and actor, best known as the lead singer of the group Tony Orlando and Dawn in the 1970s. Orlando formed the doowop group The Five Gents in 1959 at the age of 15, with whom he recorded demos, and got the attention of music publisher and producer Don Kirshner. Kirshner hired him to songwrite at 1650 Broadway, Manhattan as part New York's thriving Brill Building songwriting community, along with other songwriters Carole King, Neil Sedaka, Toni Wine, Barry Mann, Cynthia Weil, Bobby Darin, Connie Francis, and Tom and Jerry, who didn't make it in the office until they later changed their name to Simon and Garfunkel. Orlando was also hired to sing on songwriter demos, and singles released with Orlando as a solo artist began to hit the charts in the US and the UK beginning in 1961 with "Halfway to Paradise" and "Bless You" when he was 16.
|
Early life and career
|
Tony Orlando was born Michael Anthony Orlando Cassavitis on April 3, 1944, the son of a Greek father and a Puerto Rican mother. He spent his earliest years in Hell's Kitchen, New York. In his teenage years, the family moved to Union City, New Jersey and later Hasbrouck Heights, New Jersey. Orlando's musical career started with The Five Gents, a doo-wop group he formed in 1959 at age 15, with whom he recorded demo tapes. He got the attention of music publisher and producer Don Kirshner, who hired him to songwrite in an office across from New York's Brill Building, along with Carole King, Neil Sedaka, Toni Wine, Barry Mann, Bobby Darin, Connie Francis, and Tom and Jerry, who didn't make it in the office until they changed their name to Simon and Garfunkel. Kirshner also hired Orlando to record songwriter demos as a solo artist, and his first success came at the age of 16 when he charted in the US and UK with the hits "Bless You" and "Halfway To Paradise." He also appeared at the Brooklyn Paramount Theater with DJ Murray the K. Orlando also had four records that "Bubbled Under" the Hot 100: "Chills" in 1962, "Shirley" and "I'll Be There" in 1963, and "I Was A Boy (When You Needed A Man)" as by Billy Shields in April 1969. Gerry Goffin and Jack Keller wrote a doo-wop version of Stephen Foster's song "Beautiful Dreamer" for Orlando. Released as a single in 1962, the song was picked up by the Beatles who included it in their set lists on the Beatles Winter 1963 Helen Shapiro Tour; a recorded version was released on their 2013 album On Air - Live at the BBC Volume 2. New Colony Six recorded an Orlando composition, "I'm Just Waitin' (Anticipatin' For Her To Show Up)", which charted locally in Chicago and "Bubbled Under" the Hot 100 in July 1967. That year, Clive Davis hired Orlando as general manager of Columbia Records publishing subsidiary April-Blackwood Music. By the late 1960s, Orlando had worked his way up to vice president of a larger publishing company, CBS Music, where he signed, co-wrote with and produced Barry Manilow (under the name "Featherbed") and worked with James Taylor, the Grateful Dead, Laura Nyro and other artists. In the summer of 1969 he recorded with the studio group Wind and had a #28 hit that year with "Make Believe" on producer Bo Gentry's Life Records. Orlando was experiencing success, primarily as a music executive, and Davis pretended not to notice when Orlando accepted a $3,000 advance and sang lead vocals on a song called "Candida" as a favor for two producer friends. If the record failed, Orlando didn't want it to affect his reputation, so he used a pseudonym: Dawn.
|
C_4598c4492aef4f269f626d07006018e2_1_q#0
|
Where was Tony Orlando born?
| 0y
| 2x
|
{
"texts": [
"He spent his earliest years in Hell's Kitchen, New York."
],
"answer_starts": [
128
]
}
|
{
"text": "He spent his earliest years in Hell's Kitchen, New York.",
"answer_start": 128
}
|
C_4598c4492aef4f269f626d07006018e2_1
|
Tony Orlando
|
Michael Anthony Orlando Cassavitis (born April 3, 1944), known professionally as Tony Orlando, is an American singer, songwriter, producer, music executive, and actor, best known as the lead singer of the group Tony Orlando and Dawn in the 1970s. Orlando formed the doowop group The Five Gents in 1959 at the age of 15, with whom he recorded demos, and got the attention of music publisher and producer Don Kirshner. Kirshner hired him to songwrite at 1650 Broadway, Manhattan as part New York's thriving Brill Building songwriting community, along with other songwriters Carole King, Neil Sedaka, Toni Wine, Barry Mann, Cynthia Weil, Bobby Darin, Connie Francis, and Tom and Jerry, who didn't make it in the office until they later changed their name to Simon and Garfunkel. Orlando was also hired to sing on songwriter demos, and singles released with Orlando as a solo artist began to hit the charts in the US and the UK beginning in 1961 with "Halfway to Paradise" and "Bless You" when he was 16.
|
Early life and career
|
Tony Orlando was born Michael Anthony Orlando Cassavitis on April 3, 1944, the son of a Greek father and a Puerto Rican mother. He spent his earliest years in Hell's Kitchen, New York. In his teenage years, the family moved to Union City, New Jersey and later Hasbrouck Heights, New Jersey. Orlando's musical career started with The Five Gents, a doo-wop group he formed in 1959 at age 15, with whom he recorded demo tapes. He got the attention of music publisher and producer Don Kirshner, who hired him to songwrite in an office across from New York's Brill Building, along with Carole King, Neil Sedaka, Toni Wine, Barry Mann, Bobby Darin, Connie Francis, and Tom and Jerry, who didn't make it in the office until they changed their name to Simon and Garfunkel. Kirshner also hired Orlando to record songwriter demos as a solo artist, and his first success came at the age of 16 when he charted in the US and UK with the hits "Bless You" and "Halfway To Paradise." He also appeared at the Brooklyn Paramount Theater with DJ Murray the K. Orlando also had four records that "Bubbled Under" the Hot 100: "Chills" in 1962, "Shirley" and "I'll Be There" in 1963, and "I Was A Boy (When You Needed A Man)" as by Billy Shields in April 1969. Gerry Goffin and Jack Keller wrote a doo-wop version of Stephen Foster's song "Beautiful Dreamer" for Orlando. Released as a single in 1962, the song was picked up by the Beatles who included it in their set lists on the Beatles Winter 1963 Helen Shapiro Tour; a recorded version was released on their 2013 album On Air - Live at the BBC Volume 2. New Colony Six recorded an Orlando composition, "I'm Just Waitin' (Anticipatin' For Her To Show Up)", which charted locally in Chicago and "Bubbled Under" the Hot 100 in July 1967. That year, Clive Davis hired Orlando as general manager of Columbia Records publishing subsidiary April-Blackwood Music. By the late 1960s, Orlando had worked his way up to vice president of a larger publishing company, CBS Music, where he signed, co-wrote with and produced Barry Manilow (under the name "Featherbed") and worked with James Taylor, the Grateful Dead, Laura Nyro and other artists. In the summer of 1969 he recorded with the studio group Wind and had a #28 hit that year with "Make Believe" on producer Bo Gentry's Life Records. Orlando was experiencing success, primarily as a music executive, and Davis pretended not to notice when Orlando accepted a $3,000 advance and sang lead vocals on a song called "Candida" as a favor for two producer friends. If the record failed, Orlando didn't want it to affect his reputation, so he used a pseudonym: Dawn.
Q: Where was Tony Orlando born?
A: He spent his earliest years in Hell's Kitchen, New York.
|
C_4598c4492aef4f269f626d07006018e2_1_q#1
|
Where did he live later?
| 0y
| 2x
|
{
"texts": [
"In his teenage years, the family moved to Union City, New Jersey and later Hasbrouck Heights, New Jersey."
],
"answer_starts": [
185
]
}
|
{
"text": "In his teenage years, the family moved to Union City, New Jersey and later Hasbrouck Heights, New Jersey.",
"answer_start": 185
}
|
C_4598c4492aef4f269f626d07006018e2_1
|
Tony Orlando
|
Michael Anthony Orlando Cassavitis (born April 3, 1944), known professionally as Tony Orlando, is an American singer, songwriter, producer, music executive, and actor, best known as the lead singer of the group Tony Orlando and Dawn in the 1970s. Orlando formed the doowop group The Five Gents in 1959 at the age of 15, with whom he recorded demos, and got the attention of music publisher and producer Don Kirshner. Kirshner hired him to songwrite at 1650 Broadway, Manhattan as part New York's thriving Brill Building songwriting community, along with other songwriters Carole King, Neil Sedaka, Toni Wine, Barry Mann, Cynthia Weil, Bobby Darin, Connie Francis, and Tom and Jerry, who didn't make it in the office until they later changed their name to Simon and Garfunkel. Orlando was also hired to sing on songwriter demos, and singles released with Orlando as a solo artist began to hit the charts in the US and the UK beginning in 1961 with "Halfway to Paradise" and "Bless You" when he was 16.
|
Early life and career
|
Tony Orlando was born Michael Anthony Orlando Cassavitis on April 3, 1944, the son of a Greek father and a Puerto Rican mother. He spent his earliest years in Hell's Kitchen, New York. In his teenage years, the family moved to Union City, New Jersey and later Hasbrouck Heights, New Jersey. Orlando's musical career started with The Five Gents, a doo-wop group he formed in 1959 at age 15, with whom he recorded demo tapes. He got the attention of music publisher and producer Don Kirshner, who hired him to songwrite in an office across from New York's Brill Building, along with Carole King, Neil Sedaka, Toni Wine, Barry Mann, Bobby Darin, Connie Francis, and Tom and Jerry, who didn't make it in the office until they changed their name to Simon and Garfunkel. Kirshner also hired Orlando to record songwriter demos as a solo artist, and his first success came at the age of 16 when he charted in the US and UK with the hits "Bless You" and "Halfway To Paradise." He also appeared at the Brooklyn Paramount Theater with DJ Murray the K. Orlando also had four records that "Bubbled Under" the Hot 100: "Chills" in 1962, "Shirley" and "I'll Be There" in 1963, and "I Was A Boy (When You Needed A Man)" as by Billy Shields in April 1969. Gerry Goffin and Jack Keller wrote a doo-wop version of Stephen Foster's song "Beautiful Dreamer" for Orlando. Released as a single in 1962, the song was picked up by the Beatles who included it in their set lists on the Beatles Winter 1963 Helen Shapiro Tour; a recorded version was released on their 2013 album On Air - Live at the BBC Volume 2. New Colony Six recorded an Orlando composition, "I'm Just Waitin' (Anticipatin' For Her To Show Up)", which charted locally in Chicago and "Bubbled Under" the Hot 100 in July 1967. That year, Clive Davis hired Orlando as general manager of Columbia Records publishing subsidiary April-Blackwood Music. By the late 1960s, Orlando had worked his way up to vice president of a larger publishing company, CBS Music, where he signed, co-wrote with and produced Barry Manilow (under the name "Featherbed") and worked with James Taylor, the Grateful Dead, Laura Nyro and other artists. In the summer of 1969 he recorded with the studio group Wind and had a #28 hit that year with "Make Believe" on producer Bo Gentry's Life Records. Orlando was experiencing success, primarily as a music executive, and Davis pretended not to notice when Orlando accepted a $3,000 advance and sang lead vocals on a song called "Candida" as a favor for two producer friends. If the record failed, Orlando didn't want it to affect his reputation, so he used a pseudonym: Dawn.
Q: Where was Tony Orlando born?
A: He spent his earliest years in Hell's Kitchen, New York.
Q: Where did he live later?
A: In his teenage years, the family moved to Union City, New Jersey and later Hasbrouck Heights, New Jersey.
|
C_4598c4492aef4f269f626d07006018e2_1_q#2
|
Who was his father?
| 0y
| 2x
|
{
"texts": [
"the son of a Greek father"
],
"answer_starts": [
75
]
}
|
{
"text": "the son of a Greek father",
"answer_start": 75
}
|
C_4598c4492aef4f269f626d07006018e2_1
|
Tony Orlando
|
Michael Anthony Orlando Cassavitis (born April 3, 1944), known professionally as Tony Orlando, is an American singer, songwriter, producer, music executive, and actor, best known as the lead singer of the group Tony Orlando and Dawn in the 1970s. Orlando formed the doowop group The Five Gents in 1959 at the age of 15, with whom he recorded demos, and got the attention of music publisher and producer Don Kirshner. Kirshner hired him to songwrite at 1650 Broadway, Manhattan as part New York's thriving Brill Building songwriting community, along with other songwriters Carole King, Neil Sedaka, Toni Wine, Barry Mann, Cynthia Weil, Bobby Darin, Connie Francis, and Tom and Jerry, who didn't make it in the office until they later changed their name to Simon and Garfunkel. Orlando was also hired to sing on songwriter demos, and singles released with Orlando as a solo artist began to hit the charts in the US and the UK beginning in 1961 with "Halfway to Paradise" and "Bless You" when he was 16.
|
Early life and career
|
Tony Orlando was born Michael Anthony Orlando Cassavitis on April 3, 1944, the son of a Greek father and a Puerto Rican mother. He spent his earliest years in Hell's Kitchen, New York. In his teenage years, the family moved to Union City, New Jersey and later Hasbrouck Heights, New Jersey. Orlando's musical career started with The Five Gents, a doo-wop group he formed in 1959 at age 15, with whom he recorded demo tapes. He got the attention of music publisher and producer Don Kirshner, who hired him to songwrite in an office across from New York's Brill Building, along with Carole King, Neil Sedaka, Toni Wine, Barry Mann, Bobby Darin, Connie Francis, and Tom and Jerry, who didn't make it in the office until they changed their name to Simon and Garfunkel. Kirshner also hired Orlando to record songwriter demos as a solo artist, and his first success came at the age of 16 when he charted in the US and UK with the hits "Bless You" and "Halfway To Paradise." He also appeared at the Brooklyn Paramount Theater with DJ Murray the K. Orlando also had four records that "Bubbled Under" the Hot 100: "Chills" in 1962, "Shirley" and "I'll Be There" in 1963, and "I Was A Boy (When You Needed A Man)" as by Billy Shields in April 1969. Gerry Goffin and Jack Keller wrote a doo-wop version of Stephen Foster's song "Beautiful Dreamer" for Orlando. Released as a single in 1962, the song was picked up by the Beatles who included it in their set lists on the Beatles Winter 1963 Helen Shapiro Tour; a recorded version was released on their 2013 album On Air - Live at the BBC Volume 2. New Colony Six recorded an Orlando composition, "I'm Just Waitin' (Anticipatin' For Her To Show Up)", which charted locally in Chicago and "Bubbled Under" the Hot 100 in July 1967. That year, Clive Davis hired Orlando as general manager of Columbia Records publishing subsidiary April-Blackwood Music. By the late 1960s, Orlando had worked his way up to vice president of a larger publishing company, CBS Music, where he signed, co-wrote with and produced Barry Manilow (under the name "Featherbed") and worked with James Taylor, the Grateful Dead, Laura Nyro and other artists. In the summer of 1969 he recorded with the studio group Wind and had a #28 hit that year with "Make Believe" on producer Bo Gentry's Life Records. Orlando was experiencing success, primarily as a music executive, and Davis pretended not to notice when Orlando accepted a $3,000 advance and sang lead vocals on a song called "Candida" as a favor for two producer friends. If the record failed, Orlando didn't want it to affect his reputation, so he used a pseudonym: Dawn.
Q: Where was Tony Orlando born?
A: He spent his earliest years in Hell's Kitchen, New York.
Q: Where did he live later?
A: In his teenage years, the family moved to Union City, New Jersey and later Hasbrouck Heights, New Jersey.
Q: Who was his father?
A: the son of a Greek father
|
C_4598c4492aef4f269f626d07006018e2_1_q#3
|
Who was his mother?
| 1n
| 2x
|
{
"texts": [
"Puerto Rican mother."
],
"answer_starts": [
107
]
}
|
{
"text": "Puerto Rican mother.",
"answer_start": 107
}
|
C_4598c4492aef4f269f626d07006018e2_1
|
Tony Orlando
|
Michael Anthony Orlando Cassavitis (born April 3, 1944), known professionally as Tony Orlando, is an American singer, songwriter, producer, music executive, and actor, best known as the lead singer of the group Tony Orlando and Dawn in the 1970s. Orlando formed the doowop group The Five Gents in 1959 at the age of 15, with whom he recorded demos, and got the attention of music publisher and producer Don Kirshner. Kirshner hired him to songwrite at 1650 Broadway, Manhattan as part New York's thriving Brill Building songwriting community, along with other songwriters Carole King, Neil Sedaka, Toni Wine, Barry Mann, Cynthia Weil, Bobby Darin, Connie Francis, and Tom and Jerry, who didn't make it in the office until they later changed their name to Simon and Garfunkel. Orlando was also hired to sing on songwriter demos, and singles released with Orlando as a solo artist began to hit the charts in the US and the UK beginning in 1961 with "Halfway to Paradise" and "Bless You" when he was 16.
|
Early life and career
|
Tony Orlando was born Michael Anthony Orlando Cassavitis on April 3, 1944, the son of a Greek father and a Puerto Rican mother. He spent his earliest years in Hell's Kitchen, New York. In his teenage years, the family moved to Union City, New Jersey and later Hasbrouck Heights, New Jersey. Orlando's musical career started with The Five Gents, a doo-wop group he formed in 1959 at age 15, with whom he recorded demo tapes. He got the attention of music publisher and producer Don Kirshner, who hired him to songwrite in an office across from New York's Brill Building, along with Carole King, Neil Sedaka, Toni Wine, Barry Mann, Bobby Darin, Connie Francis, and Tom and Jerry, who didn't make it in the office until they changed their name to Simon and Garfunkel. Kirshner also hired Orlando to record songwriter demos as a solo artist, and his first success came at the age of 16 when he charted in the US and UK with the hits "Bless You" and "Halfway To Paradise." He also appeared at the Brooklyn Paramount Theater with DJ Murray the K. Orlando also had four records that "Bubbled Under" the Hot 100: "Chills" in 1962, "Shirley" and "I'll Be There" in 1963, and "I Was A Boy (When You Needed A Man)" as by Billy Shields in April 1969. Gerry Goffin and Jack Keller wrote a doo-wop version of Stephen Foster's song "Beautiful Dreamer" for Orlando. Released as a single in 1962, the song was picked up by the Beatles who included it in their set lists on the Beatles Winter 1963 Helen Shapiro Tour; a recorded version was released on their 2013 album On Air - Live at the BBC Volume 2. New Colony Six recorded an Orlando composition, "I'm Just Waitin' (Anticipatin' For Her To Show Up)", which charted locally in Chicago and "Bubbled Under" the Hot 100 in July 1967. That year, Clive Davis hired Orlando as general manager of Columbia Records publishing subsidiary April-Blackwood Music. By the late 1960s, Orlando had worked his way up to vice president of a larger publishing company, CBS Music, where he signed, co-wrote with and produced Barry Manilow (under the name "Featherbed") and worked with James Taylor, the Grateful Dead, Laura Nyro and other artists. In the summer of 1969 he recorded with the studio group Wind and had a #28 hit that year with "Make Believe" on producer Bo Gentry's Life Records. Orlando was experiencing success, primarily as a music executive, and Davis pretended not to notice when Orlando accepted a $3,000 advance and sang lead vocals on a song called "Candida" as a favor for two producer friends. If the record failed, Orlando didn't want it to affect his reputation, so he used a pseudonym: Dawn.
Q: Where was Tony Orlando born?
A: He spent his earliest years in Hell's Kitchen, New York.
Q: Where did he live later?
A: In his teenage years, the family moved to Union City, New Jersey and later Hasbrouck Heights, New Jersey.
Q: Who was his father?
A: the son of a Greek father
Q: Who was his mother?
A: Puerto Rican mother.
|
C_4598c4492aef4f269f626d07006018e2_1_q#4
|
Where did he attend school?
| 1n
| 2x
|
{
"texts": [
"unknown"
],
"answer_starts": [
2640
]
}
|
{
"text": "unknown",
"answer_start": 2640
}
|
C_4598c4492aef4f269f626d07006018e2_1
|
Tony Orlando
|
Michael Anthony Orlando Cassavitis (born April 3, 1944), known professionally as Tony Orlando, is an American singer, songwriter, producer, music executive, and actor, best known as the lead singer of the group Tony Orlando and Dawn in the 1970s. Orlando formed the doowop group The Five Gents in 1959 at the age of 15, with whom he recorded demos, and got the attention of music publisher and producer Don Kirshner. Kirshner hired him to songwrite at 1650 Broadway, Manhattan as part New York's thriving Brill Building songwriting community, along with other songwriters Carole King, Neil Sedaka, Toni Wine, Barry Mann, Cynthia Weil, Bobby Darin, Connie Francis, and Tom and Jerry, who didn't make it in the office until they later changed their name to Simon and Garfunkel. Orlando was also hired to sing on songwriter demos, and singles released with Orlando as a solo artist began to hit the charts in the US and the UK beginning in 1961 with "Halfway to Paradise" and "Bless You" when he was 16.
|
Early life and career
|
Tony Orlando was born Michael Anthony Orlando Cassavitis on April 3, 1944, the son of a Greek father and a Puerto Rican mother. He spent his earliest years in Hell's Kitchen, New York. In his teenage years, the family moved to Union City, New Jersey and later Hasbrouck Heights, New Jersey. Orlando's musical career started with The Five Gents, a doo-wop group he formed in 1959 at age 15, with whom he recorded demo tapes. He got the attention of music publisher and producer Don Kirshner, who hired him to songwrite in an office across from New York's Brill Building, along with Carole King, Neil Sedaka, Toni Wine, Barry Mann, Bobby Darin, Connie Francis, and Tom and Jerry, who didn't make it in the office until they changed their name to Simon and Garfunkel. Kirshner also hired Orlando to record songwriter demos as a solo artist, and his first success came at the age of 16 when he charted in the US and UK with the hits "Bless You" and "Halfway To Paradise." He also appeared at the Brooklyn Paramount Theater with DJ Murray the K. Orlando also had four records that "Bubbled Under" the Hot 100: "Chills" in 1962, "Shirley" and "I'll Be There" in 1963, and "I Was A Boy (When You Needed A Man)" as by Billy Shields in April 1969. Gerry Goffin and Jack Keller wrote a doo-wop version of Stephen Foster's song "Beautiful Dreamer" for Orlando. Released as a single in 1962, the song was picked up by the Beatles who included it in their set lists on the Beatles Winter 1963 Helen Shapiro Tour; a recorded version was released on their 2013 album On Air - Live at the BBC Volume 2. New Colony Six recorded an Orlando composition, "I'm Just Waitin' (Anticipatin' For Her To Show Up)", which charted locally in Chicago and "Bubbled Under" the Hot 100 in July 1967. That year, Clive Davis hired Orlando as general manager of Columbia Records publishing subsidiary April-Blackwood Music. By the late 1960s, Orlando had worked his way up to vice president of a larger publishing company, CBS Music, where he signed, co-wrote with and produced Barry Manilow (under the name "Featherbed") and worked with James Taylor, the Grateful Dead, Laura Nyro and other artists. In the summer of 1969 he recorded with the studio group Wind and had a #28 hit that year with "Make Believe" on producer Bo Gentry's Life Records. Orlando was experiencing success, primarily as a music executive, and Davis pretended not to notice when Orlando accepted a $3,000 advance and sang lead vocals on a song called "Candida" as a favor for two producer friends. If the record failed, Orlando didn't want it to affect his reputation, so he used a pseudonym: Dawn.
Q: Where was Tony Orlando born?
A: He spent his earliest years in Hell's Kitchen, New York.
Q: Where did he live later?
A: In his teenage years, the family moved to Union City, New Jersey and later Hasbrouck Heights, New Jersey.
Q: Who was his father?
A: the son of a Greek father
Q: Who was his mother?
A: Puerto Rican mother.
Q: Where did he attend school?
A: unknown
|
C_4598c4492aef4f269f626d07006018e2_1_q#5
|
Who were his influences?
| 1n
| 2x
|
{
"texts": [
"unknown"
],
"answer_starts": [
2640
]
}
|
{
"text": "unknown",
"answer_start": 2640
}
|
C_4598c4492aef4f269f626d07006018e2_1
|
Tony Orlando
|
Michael Anthony Orlando Cassavitis (born April 3, 1944), known professionally as Tony Orlando, is an American singer, songwriter, producer, music executive, and actor, best known as the lead singer of the group Tony Orlando and Dawn in the 1970s. Orlando formed the doowop group The Five Gents in 1959 at the age of 15, with whom he recorded demos, and got the attention of music publisher and producer Don Kirshner. Kirshner hired him to songwrite at 1650 Broadway, Manhattan as part New York's thriving Brill Building songwriting community, along with other songwriters Carole King, Neil Sedaka, Toni Wine, Barry Mann, Cynthia Weil, Bobby Darin, Connie Francis, and Tom and Jerry, who didn't make it in the office until they later changed their name to Simon and Garfunkel. Orlando was also hired to sing on songwriter demos, and singles released with Orlando as a solo artist began to hit the charts in the US and the UK beginning in 1961 with "Halfway to Paradise" and "Bless You" when he was 16.
|
Early life and career
|
Tony Orlando was born Michael Anthony Orlando Cassavitis on April 3, 1944, the son of a Greek father and a Puerto Rican mother. He spent his earliest years in Hell's Kitchen, New York. In his teenage years, the family moved to Union City, New Jersey and later Hasbrouck Heights, New Jersey. Orlando's musical career started with The Five Gents, a doo-wop group he formed in 1959 at age 15, with whom he recorded demo tapes. He got the attention of music publisher and producer Don Kirshner, who hired him to songwrite in an office across from New York's Brill Building, along with Carole King, Neil Sedaka, Toni Wine, Barry Mann, Bobby Darin, Connie Francis, and Tom and Jerry, who didn't make it in the office until they changed their name to Simon and Garfunkel. Kirshner also hired Orlando to record songwriter demos as a solo artist, and his first success came at the age of 16 when he charted in the US and UK with the hits "Bless You" and "Halfway To Paradise." He also appeared at the Brooklyn Paramount Theater with DJ Murray the K. Orlando also had four records that "Bubbled Under" the Hot 100: "Chills" in 1962, "Shirley" and "I'll Be There" in 1963, and "I Was A Boy (When You Needed A Man)" as by Billy Shields in April 1969. Gerry Goffin and Jack Keller wrote a doo-wop version of Stephen Foster's song "Beautiful Dreamer" for Orlando. Released as a single in 1962, the song was picked up by the Beatles who included it in their set lists on the Beatles Winter 1963 Helen Shapiro Tour; a recorded version was released on their 2013 album On Air - Live at the BBC Volume 2. New Colony Six recorded an Orlando composition, "I'm Just Waitin' (Anticipatin' For Her To Show Up)", which charted locally in Chicago and "Bubbled Under" the Hot 100 in July 1967. That year, Clive Davis hired Orlando as general manager of Columbia Records publishing subsidiary April-Blackwood Music. By the late 1960s, Orlando had worked his way up to vice president of a larger publishing company, CBS Music, where he signed, co-wrote with and produced Barry Manilow (under the name "Featherbed") and worked with James Taylor, the Grateful Dead, Laura Nyro and other artists. In the summer of 1969 he recorded with the studio group Wind and had a #28 hit that year with "Make Believe" on producer Bo Gentry's Life Records. Orlando was experiencing success, primarily as a music executive, and Davis pretended not to notice when Orlando accepted a $3,000 advance and sang lead vocals on a song called "Candida" as a favor for two producer friends. If the record failed, Orlando didn't want it to affect his reputation, so he used a pseudonym: Dawn.
Q: Where was Tony Orlando born?
A: He spent his earliest years in Hell's Kitchen, New York.
Q: Where did he live later?
A: In his teenage years, the family moved to Union City, New Jersey and later Hasbrouck Heights, New Jersey.
Q: Who was his father?
A: the son of a Greek father
Q: Who was his mother?
A: Puerto Rican mother.
Q: Where did he attend school?
A: unknown
Q: Who were his influences?
A: unknown
|
C_4598c4492aef4f269f626d07006018e2_1_q#6
|
What did he do in his early career?
| 0y
| 2x
|
{
"texts": [
"Orlando's musical career started with The Five Gents, a doo-wop group he formed in 1959 at age 15,"
],
"answer_starts": [
292
]
}
|
{
"text": "Orlando's musical career started with The Five Gents, a doo-wop group he formed in 1959 at age 15,",
"answer_start": 292
}
|
C_4598c4492aef4f269f626d07006018e2_1
|
Tony Orlando
|
Michael Anthony Orlando Cassavitis (born April 3, 1944), known professionally as Tony Orlando, is an American singer, songwriter, producer, music executive, and actor, best known as the lead singer of the group Tony Orlando and Dawn in the 1970s. Orlando formed the doowop group The Five Gents in 1959 at the age of 15, with whom he recorded demos, and got the attention of music publisher and producer Don Kirshner. Kirshner hired him to songwrite at 1650 Broadway, Manhattan as part New York's thriving Brill Building songwriting community, along with other songwriters Carole King, Neil Sedaka, Toni Wine, Barry Mann, Cynthia Weil, Bobby Darin, Connie Francis, and Tom and Jerry, who didn't make it in the office until they later changed their name to Simon and Garfunkel. Orlando was also hired to sing on songwriter demos, and singles released with Orlando as a solo artist began to hit the charts in the US and the UK beginning in 1961 with "Halfway to Paradise" and "Bless You" when he was 16.
|
Early life and career
|
Tony Orlando was born Michael Anthony Orlando Cassavitis on April 3, 1944, the son of a Greek father and a Puerto Rican mother. He spent his earliest years in Hell's Kitchen, New York. In his teenage years, the family moved to Union City, New Jersey and later Hasbrouck Heights, New Jersey. Orlando's musical career started with The Five Gents, a doo-wop group he formed in 1959 at age 15, with whom he recorded demo tapes. He got the attention of music publisher and producer Don Kirshner, who hired him to songwrite in an office across from New York's Brill Building, along with Carole King, Neil Sedaka, Toni Wine, Barry Mann, Bobby Darin, Connie Francis, and Tom and Jerry, who didn't make it in the office until they changed their name to Simon and Garfunkel. Kirshner also hired Orlando to record songwriter demos as a solo artist, and his first success came at the age of 16 when he charted in the US and UK with the hits "Bless You" and "Halfway To Paradise." He also appeared at the Brooklyn Paramount Theater with DJ Murray the K. Orlando also had four records that "Bubbled Under" the Hot 100: "Chills" in 1962, "Shirley" and "I'll Be There" in 1963, and "I Was A Boy (When You Needed A Man)" as by Billy Shields in April 1969. Gerry Goffin and Jack Keller wrote a doo-wop version of Stephen Foster's song "Beautiful Dreamer" for Orlando. Released as a single in 1962, the song was picked up by the Beatles who included it in their set lists on the Beatles Winter 1963 Helen Shapiro Tour; a recorded version was released on their 2013 album On Air - Live at the BBC Volume 2. New Colony Six recorded an Orlando composition, "I'm Just Waitin' (Anticipatin' For Her To Show Up)", which charted locally in Chicago and "Bubbled Under" the Hot 100 in July 1967. That year, Clive Davis hired Orlando as general manager of Columbia Records publishing subsidiary April-Blackwood Music. By the late 1960s, Orlando had worked his way up to vice president of a larger publishing company, CBS Music, where he signed, co-wrote with and produced Barry Manilow (under the name "Featherbed") and worked with James Taylor, the Grateful Dead, Laura Nyro and other artists. In the summer of 1969 he recorded with the studio group Wind and had a #28 hit that year with "Make Believe" on producer Bo Gentry's Life Records. Orlando was experiencing success, primarily as a music executive, and Davis pretended not to notice when Orlando accepted a $3,000 advance and sang lead vocals on a song called "Candida" as a favor for two producer friends. If the record failed, Orlando didn't want it to affect his reputation, so he used a pseudonym: Dawn.
Q: Where was Tony Orlando born?
A: He spent his earliest years in Hell's Kitchen, New York.
Q: Where did he live later?
A: In his teenage years, the family moved to Union City, New Jersey and later Hasbrouck Heights, New Jersey.
Q: Who was his father?
A: the son of a Greek father
Q: Who was his mother?
A: Puerto Rican mother.
Q: Where did he attend school?
A: unknown
Q: Who were his influences?
A: unknown
Q: What did he do in his early career?
A: Orlando's musical career started with The Five Gents, a doo-wop group he formed in 1959 at age 15,
|
C_4598c4492aef4f269f626d07006018e2_1_q#7
|
Did he release any albums with The Five Gents?
| 0y
| 1n
|
{
"texts": [
"with whom he recorded demo tapes."
],
"answer_starts": [
391
]
}
|
{
"text": "with whom he recorded demo tapes.",
"answer_start": 391
}
|
C_4598c4492aef4f269f626d07006018e2_1
|
Tony Orlando
|
Michael Anthony Orlando Cassavitis (born April 3, 1944), known professionally as Tony Orlando, is an American singer, songwriter, producer, music executive, and actor, best known as the lead singer of the group Tony Orlando and Dawn in the 1970s. Orlando formed the doowop group The Five Gents in 1959 at the age of 15, with whom he recorded demos, and got the attention of music publisher and producer Don Kirshner. Kirshner hired him to songwrite at 1650 Broadway, Manhattan as part New York's thriving Brill Building songwriting community, along with other songwriters Carole King, Neil Sedaka, Toni Wine, Barry Mann, Cynthia Weil, Bobby Darin, Connie Francis, and Tom and Jerry, who didn't make it in the office until they later changed their name to Simon and Garfunkel. Orlando was also hired to sing on songwriter demos, and singles released with Orlando as a solo artist began to hit the charts in the US and the UK beginning in 1961 with "Halfway to Paradise" and "Bless You" when he was 16.
|
Early life and career
|
Tony Orlando was born Michael Anthony Orlando Cassavitis on April 3, 1944, the son of a Greek father and a Puerto Rican mother. He spent his earliest years in Hell's Kitchen, New York. In his teenage years, the family moved to Union City, New Jersey and later Hasbrouck Heights, New Jersey. Orlando's musical career started with The Five Gents, a doo-wop group he formed in 1959 at age 15, with whom he recorded demo tapes. He got the attention of music publisher and producer Don Kirshner, who hired him to songwrite in an office across from New York's Brill Building, along with Carole King, Neil Sedaka, Toni Wine, Barry Mann, Bobby Darin, Connie Francis, and Tom and Jerry, who didn't make it in the office until they changed their name to Simon and Garfunkel. Kirshner also hired Orlando to record songwriter demos as a solo artist, and his first success came at the age of 16 when he charted in the US and UK with the hits "Bless You" and "Halfway To Paradise." He also appeared at the Brooklyn Paramount Theater with DJ Murray the K. Orlando also had four records that "Bubbled Under" the Hot 100: "Chills" in 1962, "Shirley" and "I'll Be There" in 1963, and "I Was A Boy (When You Needed A Man)" as by Billy Shields in April 1969. Gerry Goffin and Jack Keller wrote a doo-wop version of Stephen Foster's song "Beautiful Dreamer" for Orlando. Released as a single in 1962, the song was picked up by the Beatles who included it in their set lists on the Beatles Winter 1963 Helen Shapiro Tour; a recorded version was released on their 2013 album On Air - Live at the BBC Volume 2. New Colony Six recorded an Orlando composition, "I'm Just Waitin' (Anticipatin' For Her To Show Up)", which charted locally in Chicago and "Bubbled Under" the Hot 100 in July 1967. That year, Clive Davis hired Orlando as general manager of Columbia Records publishing subsidiary April-Blackwood Music. By the late 1960s, Orlando had worked his way up to vice president of a larger publishing company, CBS Music, where he signed, co-wrote with and produced Barry Manilow (under the name "Featherbed") and worked with James Taylor, the Grateful Dead, Laura Nyro and other artists. In the summer of 1969 he recorded with the studio group Wind and had a #28 hit that year with "Make Believe" on producer Bo Gentry's Life Records. Orlando was experiencing success, primarily as a music executive, and Davis pretended not to notice when Orlando accepted a $3,000 advance and sang lead vocals on a song called "Candida" as a favor for two producer friends. If the record failed, Orlando didn't want it to affect his reputation, so he used a pseudonym: Dawn.
Q: Where was Tony Orlando born?
A: He spent his earliest years in Hell's Kitchen, New York.
Q: Where did he live later?
A: In his teenage years, the family moved to Union City, New Jersey and later Hasbrouck Heights, New Jersey.
Q: Who was his father?
A: the son of a Greek father
Q: Who was his mother?
A: Puerto Rican mother.
Q: Where did he attend school?
A: unknown
Q: Who were his influences?
A: unknown
Q: What did he do in his early career?
A: Orlando's musical career started with The Five Gents, a doo-wop group he formed in 1959 at age 15,
Q: Did he release any albums with The Five Gents?
A: with whom he recorded demo tapes.
|
C_4598c4492aef4f269f626d07006018e2_1_q#8
|
What songs were on the tapes?
| 0y
| 2x
|
{
"texts": [
"unknown"
],
"answer_starts": [
2640
]
}
|
{
"text": "unknown",
"answer_start": 2640
}
|
C_0cd5b78e7cee473e88660def01cf752b_0
|
Louis Slotin
|
Slotin was the first of three children born to Israel and Sonia Slotin, Yiddish-speaking refugees who had fled the pogroms of Russia to Winnipeg, Manitoba. He grew up in the North End neighborhood of Winnipeg, an area with a large concentration of Eastern European immigrants. From his early days at Machray Elementary School through his teenage years at St. John's High School, Slotin was academically exceptional. His younger brother, Sam, later remarked that his brother "had an extreme intensity that enabled him to study long hours."
|
Radiation dosage
|
The radiation doses received in these two accidents are not known with any semblance of accuracy. A large part of the dose was due to neutron radiation, which could not be measured by dosimetry equipment of the day. The available equipment, film badges, were not worn by personnel during the accident, and badges that were supposed to be planted under tables in case of disasters like these were not found. Disaster badges hung on the walls did provide some useful data about gamma radiation. A "tentative" estimate of the doses involved was made in 1948, based on dozens of assumptions, some of which are now known to be grossly incorrect. In the absence of personal dosimetry badges, the study authors relied on measurements of sodium activation in the victims' blood and urine samples as their primary source of data. This activation would have been caused by neutron radiation, but they converted all doses to equivalent doses of gamma or X-ray radiation. They concluded that Daghlian and Slotin had probably received doses equivalent to 290 and 880 rem (respectively) of gamma rays. Minimum and maximum estimates varied from about 50% to 200% of these values. The authors also calculated doses equivalent to a mix of soft 80 keV X-rays and gamma rays, which they believed gave a more realistic picture of the exposure than the gamma equivalent. In this model the equivalent X-ray doses were much higher, but would be concentrated in the tissues facing the source, whereas the gamma component penetrated the whole body. Slotin's equivalent dose was estimated to be 1930 R (roentgen) of X-ray with 114 R of gamma, while Daghlian's equivalent dose was estimated to be 480 R of X-ray with 110 R of gamma. Five hundred rem is usually a fatal dose for humans. In modern times dosimetry is done very differently. Equivalent doses would not be reported in roentgen; they would be calculated with different weighting factors, and they are not considered as relevant to acute radiation syndrome as absorbed doses. Recent documents have made various interpretations of Slotin's dose, ranging from 287 rad to 21 sievert. Based on citations and supporting reasoning, the most reliable estimate may be a 1978 Los Alamos memo which suggested 10 Gy(n) + 1.14 Gy(g) for Slotin and 2 Gy(n) + 1.1 Gy(g) for Daghlian. These doses are consistent with the symptoms they experienced.
|
C_0cd5b78e7cee473e88660def01cf752b_0_q#0
|
What is important to know about the radiation dosage?
| 0y
| 2x
|
{
"texts": [
"The radiation doses received in these two accidents are not known with any semblance of accuracy. A large part of the dose was due to neutron radiation,"
],
"answer_starts": [
0
]
}
|
{
"text": "The radiation doses received in these two accidents are not known with any semblance of accuracy. A large part of the dose was due to neutron radiation,",
"answer_start": 0
}
|
C_0cd5b78e7cee473e88660def01cf752b_0
|
Louis Slotin
|
Slotin was the first of three children born to Israel and Sonia Slotin, Yiddish-speaking refugees who had fled the pogroms of Russia to Winnipeg, Manitoba. He grew up in the North End neighborhood of Winnipeg, an area with a large concentration of Eastern European immigrants. From his early days at Machray Elementary School through his teenage years at St. John's High School, Slotin was academically exceptional. His younger brother, Sam, later remarked that his brother "had an extreme intensity that enabled him to study long hours."
|
Radiation dosage
|
The radiation doses received in these two accidents are not known with any semblance of accuracy. A large part of the dose was due to neutron radiation, which could not be measured by dosimetry equipment of the day. The available equipment, film badges, were not worn by personnel during the accident, and badges that were supposed to be planted under tables in case of disasters like these were not found. Disaster badges hung on the walls did provide some useful data about gamma radiation. A "tentative" estimate of the doses involved was made in 1948, based on dozens of assumptions, some of which are now known to be grossly incorrect. In the absence of personal dosimetry badges, the study authors relied on measurements of sodium activation in the victims' blood and urine samples as their primary source of data. This activation would have been caused by neutron radiation, but they converted all doses to equivalent doses of gamma or X-ray radiation. They concluded that Daghlian and Slotin had probably received doses equivalent to 290 and 880 rem (respectively) of gamma rays. Minimum and maximum estimates varied from about 50% to 200% of these values. The authors also calculated doses equivalent to a mix of soft 80 keV X-rays and gamma rays, which they believed gave a more realistic picture of the exposure than the gamma equivalent. In this model the equivalent X-ray doses were much higher, but would be concentrated in the tissues facing the source, whereas the gamma component penetrated the whole body. Slotin's equivalent dose was estimated to be 1930 R (roentgen) of X-ray with 114 R of gamma, while Daghlian's equivalent dose was estimated to be 480 R of X-ray with 110 R of gamma. Five hundred rem is usually a fatal dose for humans. In modern times dosimetry is done very differently. Equivalent doses would not be reported in roentgen; they would be calculated with different weighting factors, and they are not considered as relevant to acute radiation syndrome as absorbed doses. Recent documents have made various interpretations of Slotin's dose, ranging from 287 rad to 21 sievert. Based on citations and supporting reasoning, the most reliable estimate may be a 1978 Los Alamos memo which suggested 10 Gy(n) + 1.14 Gy(g) for Slotin and 2 Gy(n) + 1.1 Gy(g) for Daghlian. These doses are consistent with the symptoms they experienced.
Q: What is important to know about the radiation dosage?
A: The radiation doses received in these two accidents are not known with any semblance of accuracy. A large part of the dose was due to neutron radiation,
|
C_0cd5b78e7cee473e88660def01cf752b_0_q#1
|
Anything else pertinent to the dosage?
| 0y
| 2x
|
{
"texts": [
"A \"tentative\" estimate of the doses involved was made in 1948, based on dozens of assumptions, some of which are now known to be grossly incorrect."
],
"answer_starts": [
494
]
}
|
{
"text": "A \"tentative\" estimate of the doses involved was made in 1948, based on dozens of assumptions, some of which are now known to be grossly incorrect.",
"answer_start": 494
}
|
C_0cd5b78e7cee473e88660def01cf752b_0
|
Louis Slotin
|
Slotin was the first of three children born to Israel and Sonia Slotin, Yiddish-speaking refugees who had fled the pogroms of Russia to Winnipeg, Manitoba. He grew up in the North End neighborhood of Winnipeg, an area with a large concentration of Eastern European immigrants. From his early days at Machray Elementary School through his teenage years at St. John's High School, Slotin was academically exceptional. His younger brother, Sam, later remarked that his brother "had an extreme intensity that enabled him to study long hours."
|
Radiation dosage
|
The radiation doses received in these two accidents are not known with any semblance of accuracy. A large part of the dose was due to neutron radiation, which could not be measured by dosimetry equipment of the day. The available equipment, film badges, were not worn by personnel during the accident, and badges that were supposed to be planted under tables in case of disasters like these were not found. Disaster badges hung on the walls did provide some useful data about gamma radiation. A "tentative" estimate of the doses involved was made in 1948, based on dozens of assumptions, some of which are now known to be grossly incorrect. In the absence of personal dosimetry badges, the study authors relied on measurements of sodium activation in the victims' blood and urine samples as their primary source of data. This activation would have been caused by neutron radiation, but they converted all doses to equivalent doses of gamma or X-ray radiation. They concluded that Daghlian and Slotin had probably received doses equivalent to 290 and 880 rem (respectively) of gamma rays. Minimum and maximum estimates varied from about 50% to 200% of these values. The authors also calculated doses equivalent to a mix of soft 80 keV X-rays and gamma rays, which they believed gave a more realistic picture of the exposure than the gamma equivalent. In this model the equivalent X-ray doses were much higher, but would be concentrated in the tissues facing the source, whereas the gamma component penetrated the whole body. Slotin's equivalent dose was estimated to be 1930 R (roentgen) of X-ray with 114 R of gamma, while Daghlian's equivalent dose was estimated to be 480 R of X-ray with 110 R of gamma. Five hundred rem is usually a fatal dose for humans. In modern times dosimetry is done very differently. Equivalent doses would not be reported in roentgen; they would be calculated with different weighting factors, and they are not considered as relevant to acute radiation syndrome as absorbed doses. Recent documents have made various interpretations of Slotin's dose, ranging from 287 rad to 21 sievert. Based on citations and supporting reasoning, the most reliable estimate may be a 1978 Los Alamos memo which suggested 10 Gy(n) + 1.14 Gy(g) for Slotin and 2 Gy(n) + 1.1 Gy(g) for Daghlian. These doses are consistent with the symptoms they experienced.
Q: What is important to know about the radiation dosage?
A: The radiation doses received in these two accidents are not known with any semblance of accuracy. A large part of the dose was due to neutron radiation,
Q: Anything else pertinent to the dosage?
A: A "tentative" estimate of the doses involved was made in 1948, based on dozens of assumptions, some of which are now known to be grossly incorrect.
|
C_0cd5b78e7cee473e88660def01cf752b_0_q#2
|
Any treatment or cure?
| 1n
| 2x
|
{
"texts": [
"unknown"
],
"answer_starts": [
2368
]
}
|
{
"text": "unknown",
"answer_start": 2368
}
|
C_0cd5b78e7cee473e88660def01cf752b_0
|
Louis Slotin
|
Slotin was the first of three children born to Israel and Sonia Slotin, Yiddish-speaking refugees who had fled the pogroms of Russia to Winnipeg, Manitoba. He grew up in the North End neighborhood of Winnipeg, an area with a large concentration of Eastern European immigrants. From his early days at Machray Elementary School through his teenage years at St. John's High School, Slotin was academically exceptional. His younger brother, Sam, later remarked that his brother "had an extreme intensity that enabled him to study long hours."
|
Radiation dosage
|
The radiation doses received in these two accidents are not known with any semblance of accuracy. A large part of the dose was due to neutron radiation, which could not be measured by dosimetry equipment of the day. The available equipment, film badges, were not worn by personnel during the accident, and badges that were supposed to be planted under tables in case of disasters like these were not found. Disaster badges hung on the walls did provide some useful data about gamma radiation. A "tentative" estimate of the doses involved was made in 1948, based on dozens of assumptions, some of which are now known to be grossly incorrect. In the absence of personal dosimetry badges, the study authors relied on measurements of sodium activation in the victims' blood and urine samples as their primary source of data. This activation would have been caused by neutron radiation, but they converted all doses to equivalent doses of gamma or X-ray radiation. They concluded that Daghlian and Slotin had probably received doses equivalent to 290 and 880 rem (respectively) of gamma rays. Minimum and maximum estimates varied from about 50% to 200% of these values. The authors also calculated doses equivalent to a mix of soft 80 keV X-rays and gamma rays, which they believed gave a more realistic picture of the exposure than the gamma equivalent. In this model the equivalent X-ray doses were much higher, but would be concentrated in the tissues facing the source, whereas the gamma component penetrated the whole body. Slotin's equivalent dose was estimated to be 1930 R (roentgen) of X-ray with 114 R of gamma, while Daghlian's equivalent dose was estimated to be 480 R of X-ray with 110 R of gamma. Five hundred rem is usually a fatal dose for humans. In modern times dosimetry is done very differently. Equivalent doses would not be reported in roentgen; they would be calculated with different weighting factors, and they are not considered as relevant to acute radiation syndrome as absorbed doses. Recent documents have made various interpretations of Slotin's dose, ranging from 287 rad to 21 sievert. Based on citations and supporting reasoning, the most reliable estimate may be a 1978 Los Alamos memo which suggested 10 Gy(n) + 1.14 Gy(g) for Slotin and 2 Gy(n) + 1.1 Gy(g) for Daghlian. These doses are consistent with the symptoms they experienced.
Q: What is important to know about the radiation dosage?
A: The radiation doses received in these two accidents are not known with any semblance of accuracy. A large part of the dose was due to neutron radiation,
Q: Anything else pertinent to the dosage?
A: A "tentative" estimate of the doses involved was made in 1948, based on dozens of assumptions, some of which are now known to be grossly incorrect.
Q: Any treatment or cure?
A: unknown
|
C_0cd5b78e7cee473e88660def01cf752b_0_q#3
|
Are there acceptable dosages?
| 0y
| 2x
|
{
"texts": [
"Five hundred rem is usually a fatal dose for humans."
],
"answer_starts": [
1707
]
}
|
{
"text": "Five hundred rem is usually a fatal dose for humans.",
"answer_start": 1707
}
|
C_0cd5b78e7cee473e88660def01cf752b_0
|
Louis Slotin
|
Slotin was the first of three children born to Israel and Sonia Slotin, Yiddish-speaking refugees who had fled the pogroms of Russia to Winnipeg, Manitoba. He grew up in the North End neighborhood of Winnipeg, an area with a large concentration of Eastern European immigrants. From his early days at Machray Elementary School through his teenage years at St. John's High School, Slotin was academically exceptional. His younger brother, Sam, later remarked that his brother "had an extreme intensity that enabled him to study long hours."
|
Radiation dosage
|
The radiation doses received in these two accidents are not known with any semblance of accuracy. A large part of the dose was due to neutron radiation, which could not be measured by dosimetry equipment of the day. The available equipment, film badges, were not worn by personnel during the accident, and badges that were supposed to be planted under tables in case of disasters like these were not found. Disaster badges hung on the walls did provide some useful data about gamma radiation. A "tentative" estimate of the doses involved was made in 1948, based on dozens of assumptions, some of which are now known to be grossly incorrect. In the absence of personal dosimetry badges, the study authors relied on measurements of sodium activation in the victims' blood and urine samples as their primary source of data. This activation would have been caused by neutron radiation, but they converted all doses to equivalent doses of gamma or X-ray radiation. They concluded that Daghlian and Slotin had probably received doses equivalent to 290 and 880 rem (respectively) of gamma rays. Minimum and maximum estimates varied from about 50% to 200% of these values. The authors also calculated doses equivalent to a mix of soft 80 keV X-rays and gamma rays, which they believed gave a more realistic picture of the exposure than the gamma equivalent. In this model the equivalent X-ray doses were much higher, but would be concentrated in the tissues facing the source, whereas the gamma component penetrated the whole body. Slotin's equivalent dose was estimated to be 1930 R (roentgen) of X-ray with 114 R of gamma, while Daghlian's equivalent dose was estimated to be 480 R of X-ray with 110 R of gamma. Five hundred rem is usually a fatal dose for humans. In modern times dosimetry is done very differently. Equivalent doses would not be reported in roentgen; they would be calculated with different weighting factors, and they are not considered as relevant to acute radiation syndrome as absorbed doses. Recent documents have made various interpretations of Slotin's dose, ranging from 287 rad to 21 sievert. Based on citations and supporting reasoning, the most reliable estimate may be a 1978 Los Alamos memo which suggested 10 Gy(n) + 1.14 Gy(g) for Slotin and 2 Gy(n) + 1.1 Gy(g) for Daghlian. These doses are consistent with the symptoms they experienced.
Q: What is important to know about the radiation dosage?
A: The radiation doses received in these two accidents are not known with any semblance of accuracy. A large part of the dose was due to neutron radiation,
Q: Anything else pertinent to the dosage?
A: A "tentative" estimate of the doses involved was made in 1948, based on dozens of assumptions, some of which are now known to be grossly incorrect.
Q: Any treatment or cure?
A: unknown
Q: Are there acceptable dosages?
A: Five hundred rem is usually a fatal dose for humans.
|
C_0cd5b78e7cee473e88660def01cf752b_0_q#4
|
What else does the article say about radiation dosages?
| 0y
| 2x
|
{
"texts": [
"In the absence of personal dosimetry badges, the study authors relied on measurements of sodium activation in the victims' blood and urine samples as their primary source of data."
],
"answer_starts": [
642
]
}
|
{
"text": "In the absence of personal dosimetry badges, the study authors relied on measurements of sodium activation in the victims' blood and urine samples as their primary source of data.",
"answer_start": 642
}
|
C_b18a1a332d3a464f910a815bc4ac2f78_0
|
Florence Nightingale
|
Florence Nightingale was born on 12 May 1820 into a rich, upper-class, well-connected British family at the Villa Colombaia, in Florence, Tuscany, Italy, and was named after the city of her birth. Florence's older sister Frances Parthenope had similarly been named after her place of birth, Parthenope, a Greek settlement now part of the city of Naples. The family moved back to England in 1821, with Nightingale being brought up in the family's homes at Embley, Hampshire and Lea Hurst, Derbyshire. Florence inherited a liberal-humanitarian outlook from both sides of her family.
|
Literature and the women's movement
|
Historian of science I. Bernard Cohen argues: Lytton Strachey was famous for his book debunking 19th century heroes, Eminent Victorians (1918). Nightingale gets a full chapter, but instead of the debunking received praise that overall raised her national reputation and made her an icon for English feminists of the 1920s and 1930s. While better known for her contributions in the nursing and mathematical fields, Nightingale is also an important link in the study of English feminism. She wrote some 200 books, pamphlets and articles throughout her life. During 1850 and 1852, she was struggling with her self-definition and the expectations of an upper-class marriage from her family. As she sorted out her thoughts, she wrote Suggestions for Thought to Searchers after Religious Truth. This was an 829-page, three-volume work, which Nightingale had printed privately in 1860, but which until recently was never published in its entirety. An effort to correct this was made with a 2008 publication by Wilfrid Laurier University, as volume 11 of a 16 volume project, the Collected Works of Florence Nightingale. The best known of these essays, called "Cassandra", was previously published by Ray Strachey in 1928. Strachey included it in The Cause, a history of the women's movement. Apparently, the writing served its original purpose of sorting out thoughts; Nightingale left soon after to train at the Institute for deaconesses at Kaiserswerth. "Cassandra" protests the over-feminisation of women into near helplessness, such as Nightingale saw in her mother's and older sister's lethargic lifestyle, despite their education. She rejected their life of thoughtless comfort for the world of social service. The work also reflects her fear of her ideas being ineffective, as were Cassandra's. Cassandra was a princess of Troy who served as a priestess in the temple of Apollo during the Trojan War. The god gave her the gift of prophecy; when she refused his advances, he cursed her so that her prophetic warnings would go unheeded. Elaine Showalter called Nightingale's writing "a major text of English feminism, a link between Wollstonecraft and Woolf." In 1972 the poet Eleanor Ross Taylor wrote "Welcome Eumenides," a poem written in Nightingale's voice and quoting frequently from Nightingale's writings. Adrienne Rich wrote that "...Eleanor Taylor has brought together the waste of women in society and the waste of men in wars and twisted them inseparably."
|
C_b18a1a332d3a464f910a815bc4ac2f78_0_q#0
|
What literature did she write?
| 0y
| 2x
|
{
"texts": [
"she wrote Suggestions for Thought to Searchers after Religious Truth."
],
"answer_starts": [
721
]
}
|
{
"text": "she wrote Suggestions for Thought to Searchers after Religious Truth.",
"answer_start": 721
}
|
C_b18a1a332d3a464f910a815bc4ac2f78_0
|
Florence Nightingale
|
Florence Nightingale was born on 12 May 1820 into a rich, upper-class, well-connected British family at the Villa Colombaia, in Florence, Tuscany, Italy, and was named after the city of her birth. Florence's older sister Frances Parthenope had similarly been named after her place of birth, Parthenope, a Greek settlement now part of the city of Naples. The family moved back to England in 1821, with Nightingale being brought up in the family's homes at Embley, Hampshire and Lea Hurst, Derbyshire. Florence inherited a liberal-humanitarian outlook from both sides of her family.
|
Literature and the women's movement
|
Historian of science I. Bernard Cohen argues: Lytton Strachey was famous for his book debunking 19th century heroes, Eminent Victorians (1918). Nightingale gets a full chapter, but instead of the debunking received praise that overall raised her national reputation and made her an icon for English feminists of the 1920s and 1930s. While better known for her contributions in the nursing and mathematical fields, Nightingale is also an important link in the study of English feminism. She wrote some 200 books, pamphlets and articles throughout her life. During 1850 and 1852, she was struggling with her self-definition and the expectations of an upper-class marriage from her family. As she sorted out her thoughts, she wrote Suggestions for Thought to Searchers after Religious Truth. This was an 829-page, three-volume work, which Nightingale had printed privately in 1860, but which until recently was never published in its entirety. An effort to correct this was made with a 2008 publication by Wilfrid Laurier University, as volume 11 of a 16 volume project, the Collected Works of Florence Nightingale. The best known of these essays, called "Cassandra", was previously published by Ray Strachey in 1928. Strachey included it in The Cause, a history of the women's movement. Apparently, the writing served its original purpose of sorting out thoughts; Nightingale left soon after to train at the Institute for deaconesses at Kaiserswerth. "Cassandra" protests the over-feminisation of women into near helplessness, such as Nightingale saw in her mother's and older sister's lethargic lifestyle, despite their education. She rejected their life of thoughtless comfort for the world of social service. The work also reflects her fear of her ideas being ineffective, as were Cassandra's. Cassandra was a princess of Troy who served as a priestess in the temple of Apollo during the Trojan War. The god gave her the gift of prophecy; when she refused his advances, he cursed her so that her prophetic warnings would go unheeded. Elaine Showalter called Nightingale's writing "a major text of English feminism, a link between Wollstonecraft and Woolf." In 1972 the poet Eleanor Ross Taylor wrote "Welcome Eumenides," a poem written in Nightingale's voice and quoting frequently from Nightingale's writings. Adrienne Rich wrote that "...Eleanor Taylor has brought together the waste of women in society and the waste of men in wars and twisted them inseparably."
Q: What literature did she write?
A: she wrote Suggestions for Thought to Searchers after Religious Truth.
|
C_b18a1a332d3a464f910a815bc4ac2f78_0_q#1
|
What subjects did she write about?
| 0y
| 2x
|
{
"texts": [
"a history of the women's movement."
],
"answer_starts": [
1252
]
}
|
{
"text": "a history of the women's movement.",
"answer_start": 1252
}
|
C_b18a1a332d3a464f910a815bc4ac2f78_0
|
Florence Nightingale
|
Florence Nightingale was born on 12 May 1820 into a rich, upper-class, well-connected British family at the Villa Colombaia, in Florence, Tuscany, Italy, and was named after the city of her birth. Florence's older sister Frances Parthenope had similarly been named after her place of birth, Parthenope, a Greek settlement now part of the city of Naples. The family moved back to England in 1821, with Nightingale being brought up in the family's homes at Embley, Hampshire and Lea Hurst, Derbyshire. Florence inherited a liberal-humanitarian outlook from both sides of her family.
|
Literature and the women's movement
|
Historian of science I. Bernard Cohen argues: Lytton Strachey was famous for his book debunking 19th century heroes, Eminent Victorians (1918). Nightingale gets a full chapter, but instead of the debunking received praise that overall raised her national reputation and made her an icon for English feminists of the 1920s and 1930s. While better known for her contributions in the nursing and mathematical fields, Nightingale is also an important link in the study of English feminism. She wrote some 200 books, pamphlets and articles throughout her life. During 1850 and 1852, she was struggling with her self-definition and the expectations of an upper-class marriage from her family. As she sorted out her thoughts, she wrote Suggestions for Thought to Searchers after Religious Truth. This was an 829-page, three-volume work, which Nightingale had printed privately in 1860, but which until recently was never published in its entirety. An effort to correct this was made with a 2008 publication by Wilfrid Laurier University, as volume 11 of a 16 volume project, the Collected Works of Florence Nightingale. The best known of these essays, called "Cassandra", was previously published by Ray Strachey in 1928. Strachey included it in The Cause, a history of the women's movement. Apparently, the writing served its original purpose of sorting out thoughts; Nightingale left soon after to train at the Institute for deaconesses at Kaiserswerth. "Cassandra" protests the over-feminisation of women into near helplessness, such as Nightingale saw in her mother's and older sister's lethargic lifestyle, despite their education. She rejected their life of thoughtless comfort for the world of social service. The work also reflects her fear of her ideas being ineffective, as were Cassandra's. Cassandra was a princess of Troy who served as a priestess in the temple of Apollo during the Trojan War. The god gave her the gift of prophecy; when she refused his advances, he cursed her so that her prophetic warnings would go unheeded. Elaine Showalter called Nightingale's writing "a major text of English feminism, a link between Wollstonecraft and Woolf." In 1972 the poet Eleanor Ross Taylor wrote "Welcome Eumenides," a poem written in Nightingale's voice and quoting frequently from Nightingale's writings. Adrienne Rich wrote that "...Eleanor Taylor has brought together the waste of women in society and the waste of men in wars and twisted them inseparably."
Q: What literature did she write?
A: she wrote Suggestions for Thought to Searchers after Religious Truth.
Q: What subjects did she write about?
A: a history of the women's movement.
|
C_b18a1a332d3a464f910a815bc4ac2f78_0_q#2
|
Was she well received by the public?
| 2m
| 2x
|
{
"texts": [
"In 1972 the poet Eleanor Ross Taylor wrote \"Welcome Eumenides,\" a poem written in Nightingale's voice and quoting frequently from Nightingale's writings."
],
"answer_starts": [
2162
]
}
|
{
"text": "In 1972 the poet Eleanor Ross Taylor wrote \"Welcome Eumenides,\" a poem written in Nightingale's voice and quoting frequently from Nightingale's writings.",
"answer_start": 2162
}
|
C_b18a1a332d3a464f910a815bc4ac2f78_0
|
Florence Nightingale
|
Florence Nightingale was born on 12 May 1820 into a rich, upper-class, well-connected British family at the Villa Colombaia, in Florence, Tuscany, Italy, and was named after the city of her birth. Florence's older sister Frances Parthenope had similarly been named after her place of birth, Parthenope, a Greek settlement now part of the city of Naples. The family moved back to England in 1821, with Nightingale being brought up in the family's homes at Embley, Hampshire and Lea Hurst, Derbyshire. Florence inherited a liberal-humanitarian outlook from both sides of her family.
|
Literature and the women's movement
|
Historian of science I. Bernard Cohen argues: Lytton Strachey was famous for his book debunking 19th century heroes, Eminent Victorians (1918). Nightingale gets a full chapter, but instead of the debunking received praise that overall raised her national reputation and made her an icon for English feminists of the 1920s and 1930s. While better known for her contributions in the nursing and mathematical fields, Nightingale is also an important link in the study of English feminism. She wrote some 200 books, pamphlets and articles throughout her life. During 1850 and 1852, she was struggling with her self-definition and the expectations of an upper-class marriage from her family. As she sorted out her thoughts, she wrote Suggestions for Thought to Searchers after Religious Truth. This was an 829-page, three-volume work, which Nightingale had printed privately in 1860, but which until recently was never published in its entirety. An effort to correct this was made with a 2008 publication by Wilfrid Laurier University, as volume 11 of a 16 volume project, the Collected Works of Florence Nightingale. The best known of these essays, called "Cassandra", was previously published by Ray Strachey in 1928. Strachey included it in The Cause, a history of the women's movement. Apparently, the writing served its original purpose of sorting out thoughts; Nightingale left soon after to train at the Institute for deaconesses at Kaiserswerth. "Cassandra" protests the over-feminisation of women into near helplessness, such as Nightingale saw in her mother's and older sister's lethargic lifestyle, despite their education. She rejected their life of thoughtless comfort for the world of social service. The work also reflects her fear of her ideas being ineffective, as were Cassandra's. Cassandra was a princess of Troy who served as a priestess in the temple of Apollo during the Trojan War. The god gave her the gift of prophecy; when she refused his advances, he cursed her so that her prophetic warnings would go unheeded. Elaine Showalter called Nightingale's writing "a major text of English feminism, a link between Wollstonecraft and Woolf." In 1972 the poet Eleanor Ross Taylor wrote "Welcome Eumenides," a poem written in Nightingale's voice and quoting frequently from Nightingale's writings. Adrienne Rich wrote that "...Eleanor Taylor has brought together the waste of women in society and the waste of men in wars and twisted them inseparably."
Q: What literature did she write?
A: she wrote Suggestions for Thought to Searchers after Religious Truth.
Q: What subjects did she write about?
A: a history of the women's movement.
Q: Was she well received by the public?
A: In 1972 the poet Eleanor Ross Taylor wrote "Welcome Eumenides," a poem written in Nightingale's voice and quoting frequently from Nightingale's writings.
|
C_b18a1a332d3a464f910a815bc4ac2f78_0_q#3
|
What effect did she have on the Women's movement?
| 2m
| 2x
|
{
"texts": [
"Elaine Showalter called Nightingale's writing \"a major text of English feminism, a link between Wollstonecraft and Woolf.\""
],
"answer_starts": [
2038
]
}
|
{
"text": "Elaine Showalter called Nightingale's writing \"a major text of English feminism, a link between Wollstonecraft and Woolf.\"",
"answer_start": 2038
}
|
C_b18a1a332d3a464f910a815bc4ac2f78_0
|
Florence Nightingale
|
Florence Nightingale was born on 12 May 1820 into a rich, upper-class, well-connected British family at the Villa Colombaia, in Florence, Tuscany, Italy, and was named after the city of her birth. Florence's older sister Frances Parthenope had similarly been named after her place of birth, Parthenope, a Greek settlement now part of the city of Naples. The family moved back to England in 1821, with Nightingale being brought up in the family's homes at Embley, Hampshire and Lea Hurst, Derbyshire. Florence inherited a liberal-humanitarian outlook from both sides of her family.
|
Literature and the women's movement
|
Historian of science I. Bernard Cohen argues: Lytton Strachey was famous for his book debunking 19th century heroes, Eminent Victorians (1918). Nightingale gets a full chapter, but instead of the debunking received praise that overall raised her national reputation and made her an icon for English feminists of the 1920s and 1930s. While better known for her contributions in the nursing and mathematical fields, Nightingale is also an important link in the study of English feminism. She wrote some 200 books, pamphlets and articles throughout her life. During 1850 and 1852, she was struggling with her self-definition and the expectations of an upper-class marriage from her family. As she sorted out her thoughts, she wrote Suggestions for Thought to Searchers after Religious Truth. This was an 829-page, three-volume work, which Nightingale had printed privately in 1860, but which until recently was never published in its entirety. An effort to correct this was made with a 2008 publication by Wilfrid Laurier University, as volume 11 of a 16 volume project, the Collected Works of Florence Nightingale. The best known of these essays, called "Cassandra", was previously published by Ray Strachey in 1928. Strachey included it in The Cause, a history of the women's movement. Apparently, the writing served its original purpose of sorting out thoughts; Nightingale left soon after to train at the Institute for deaconesses at Kaiserswerth. "Cassandra" protests the over-feminisation of women into near helplessness, such as Nightingale saw in her mother's and older sister's lethargic lifestyle, despite their education. She rejected their life of thoughtless comfort for the world of social service. The work also reflects her fear of her ideas being ineffective, as were Cassandra's. Cassandra was a princess of Troy who served as a priestess in the temple of Apollo during the Trojan War. The god gave her the gift of prophecy; when she refused his advances, he cursed her so that her prophetic warnings would go unheeded. Elaine Showalter called Nightingale's writing "a major text of English feminism, a link between Wollstonecraft and Woolf." In 1972 the poet Eleanor Ross Taylor wrote "Welcome Eumenides," a poem written in Nightingale's voice and quoting frequently from Nightingale's writings. Adrienne Rich wrote that "...Eleanor Taylor has brought together the waste of women in society and the waste of men in wars and twisted them inseparably."
Q: What literature did she write?
A: she wrote Suggestions for Thought to Searchers after Religious Truth.
Q: What subjects did she write about?
A: a history of the women's movement.
Q: Was she well received by the public?
A: In 1972 the poet Eleanor Ross Taylor wrote "Welcome Eumenides," a poem written in Nightingale's voice and quoting frequently from Nightingale's writings.
Q: What effect did she have on the Women's movement?
A: Elaine Showalter called Nightingale's writing "a major text of English feminism, a link between Wollstonecraft and Woolf."
|
C_b18a1a332d3a464f910a815bc4ac2f78_0_q#4
|
Did she receive any awards?
| 1n
| 2x
|
{
"texts": [
"unknown"
],
"answer_starts": [
2471
]
}
|
{
"text": "unknown",
"answer_start": 2471
}
|
C_b18a1a332d3a464f910a815bc4ac2f78_1
|
Florence Nightingale
|
Florence Nightingale was born on 12 May 1820 into a rich, upper-class, well-connected British family at the Villa Colombaia, in Florence, Tuscany, Italy, and was named after the city of her birth. Florence's older sister Frances Parthenope had similarly been named after her place of birth, Parthenope, a Greek settlement now part of the city of Naples. The family moved back to England in 1821, with Nightingale being brought up in the family's homes at Embley, Hampshire and Lea Hurst, Derbyshire. Florence inherited a liberal-humanitarian outlook from both sides of her family.
|
Statistics and sanitary reform
|
Florence Nightingale exhibited a gift for mathematics from an early age and excelled in the subject under the tutelage of her father. Later, Nightingale became a pioneer in the visual presentation of information and statistical graphics. She used methods such as the pie chart, which had first been developed by William Playfair in 1801. While taken for granted now, it was at the time a relatively novel method of presenting data. Indeed, Nightingale is described as "a true pioneer in the graphical representation of statistics", and is credited with developing a form of the pie chart now known as the polar area diagram, or occasionally the Nightingale rose diagram, equivalent to a modern circular histogram, to illustrate seasonal sources of patient mortality in the military field hospital she managed. Nightingale called a compilation of such diagrams a "coxcomb", but later that term would frequently be used for the individual diagrams. She made extensive use of coxcombs to present reports on the nature and magnitude of the conditions of medical care in the Crimean War to Members of Parliament and civil servants who would have been unlikely to read or understand traditional statistical reports. In 1859, Nightingale was elected the first female member of the Royal Statistical Society. In 1874 she became an honorary member of the American Statistical Association. Her attention turned to the health of the British army in India and she demonstrated that bad drainage, contaminated water, overcrowding and poor ventilation were causing the high death rate. She concluded that the health of the army and the people of India had to go hand in hand and so campaigned to improve the sanitary conditions of the country as a whole. Nightingale made a comprehensive statistical study of sanitation in Indian rural life and was the leading figure in the introduction of improved medical care and public health service in India. In 1858 and 1859, she successfully lobbied for the establishment of a Royal Commission into the Indian situation. Two years later, she provided a report to the commission, which completed its own study in 1863. "After 10 years of sanitary reform, in 1873, Nightingale reported that mortality among the soldiers in India had declined from 69 to 18 per 1,000". The Royal Sanitary Commission of 1868-9 presented Nightingale with an opportunity to press for compulsory sanitation in private houses. She lobbied the minister responsible, James Stansfeld, to strengthen the proposed Public Health Bill to require owners of existing properties to pay for connection to mains drainage. The strengthened legislation was enacted in the Public Health Acts of 1874 and 1875. At the same time she combined with the retired sanitary reformer Edwin Chadwick to persuade Stansfeld to devolve powers to enforce the law to Local Authorities, eliminating central control by medical technocrats. Her Crimean War statistics had convinced her that non-medical approaches were more effective given the state of knowledge at the time. Historians now believe that both drainage and devolved enforcement played a crucial role in increasing average national life expectancy by 20 years between 1871 and the mid-1930s during which time medical science made no impact on the most fatal epidemic diseases.
|
C_b18a1a332d3a464f910a815bc4ac2f78_1_q#0
|
did she ever receive backlash
| 1n
| 2x
|
{
"texts": [
"unknown"
],
"answer_starts": [
3315
]
}
|
{
"text": "unknown",
"answer_start": 3315
}
|
C_b18a1a332d3a464f910a815bc4ac2f78_1
|
Florence Nightingale
|
Florence Nightingale was born on 12 May 1820 into a rich, upper-class, well-connected British family at the Villa Colombaia, in Florence, Tuscany, Italy, and was named after the city of her birth. Florence's older sister Frances Parthenope had similarly been named after her place of birth, Parthenope, a Greek settlement now part of the city of Naples. The family moved back to England in 1821, with Nightingale being brought up in the family's homes at Embley, Hampshire and Lea Hurst, Derbyshire. Florence inherited a liberal-humanitarian outlook from both sides of her family.
|
Statistics and sanitary reform
|
Florence Nightingale exhibited a gift for mathematics from an early age and excelled in the subject under the tutelage of her father. Later, Nightingale became a pioneer in the visual presentation of information and statistical graphics. She used methods such as the pie chart, which had first been developed by William Playfair in 1801. While taken for granted now, it was at the time a relatively novel method of presenting data. Indeed, Nightingale is described as "a true pioneer in the graphical representation of statistics", and is credited with developing a form of the pie chart now known as the polar area diagram, or occasionally the Nightingale rose diagram, equivalent to a modern circular histogram, to illustrate seasonal sources of patient mortality in the military field hospital she managed. Nightingale called a compilation of such diagrams a "coxcomb", but later that term would frequently be used for the individual diagrams. She made extensive use of coxcombs to present reports on the nature and magnitude of the conditions of medical care in the Crimean War to Members of Parliament and civil servants who would have been unlikely to read or understand traditional statistical reports. In 1859, Nightingale was elected the first female member of the Royal Statistical Society. In 1874 she became an honorary member of the American Statistical Association. Her attention turned to the health of the British army in India and she demonstrated that bad drainage, contaminated water, overcrowding and poor ventilation were causing the high death rate. She concluded that the health of the army and the people of India had to go hand in hand and so campaigned to improve the sanitary conditions of the country as a whole. Nightingale made a comprehensive statistical study of sanitation in Indian rural life and was the leading figure in the introduction of improved medical care and public health service in India. In 1858 and 1859, she successfully lobbied for the establishment of a Royal Commission into the Indian situation. Two years later, she provided a report to the commission, which completed its own study in 1863. "After 10 years of sanitary reform, in 1873, Nightingale reported that mortality among the soldiers in India had declined from 69 to 18 per 1,000". The Royal Sanitary Commission of 1868-9 presented Nightingale with an opportunity to press for compulsory sanitation in private houses. She lobbied the minister responsible, James Stansfeld, to strengthen the proposed Public Health Bill to require owners of existing properties to pay for connection to mains drainage. The strengthened legislation was enacted in the Public Health Acts of 1874 and 1875. At the same time she combined with the retired sanitary reformer Edwin Chadwick to persuade Stansfeld to devolve powers to enforce the law to Local Authorities, eliminating central control by medical technocrats. Her Crimean War statistics had convinced her that non-medical approaches were more effective given the state of knowledge at the time. Historians now believe that both drainage and devolved enforcement played a crucial role in increasing average national life expectancy by 20 years between 1871 and the mid-1930s during which time medical science made no impact on the most fatal epidemic diseases.
Q: did she ever receive backlash
A: unknown
|
C_b18a1a332d3a464f910a815bc4ac2f78_1_q#1
|
Was her work considered imorral
| 2m
| 1n
|
{
"texts": [
"Nightingale is described as \"a true pioneer"
],
"answer_starts": [
441
]
}
|
{
"text": "Nightingale is described as \"a true pioneer",
"answer_start": 441
}
|
C_b18a1a332d3a464f910a815bc4ac2f78_1
|
Florence Nightingale
|
Florence Nightingale was born on 12 May 1820 into a rich, upper-class, well-connected British family at the Villa Colombaia, in Florence, Tuscany, Italy, and was named after the city of her birth. Florence's older sister Frances Parthenope had similarly been named after her place of birth, Parthenope, a Greek settlement now part of the city of Naples. The family moved back to England in 1821, with Nightingale being brought up in the family's homes at Embley, Hampshire and Lea Hurst, Derbyshire. Florence inherited a liberal-humanitarian outlook from both sides of her family.
|
Statistics and sanitary reform
|
Florence Nightingale exhibited a gift for mathematics from an early age and excelled in the subject under the tutelage of her father. Later, Nightingale became a pioneer in the visual presentation of information and statistical graphics. She used methods such as the pie chart, which had first been developed by William Playfair in 1801. While taken for granted now, it was at the time a relatively novel method of presenting data. Indeed, Nightingale is described as "a true pioneer in the graphical representation of statistics", and is credited with developing a form of the pie chart now known as the polar area diagram, or occasionally the Nightingale rose diagram, equivalent to a modern circular histogram, to illustrate seasonal sources of patient mortality in the military field hospital she managed. Nightingale called a compilation of such diagrams a "coxcomb", but later that term would frequently be used for the individual diagrams. She made extensive use of coxcombs to present reports on the nature and magnitude of the conditions of medical care in the Crimean War to Members of Parliament and civil servants who would have been unlikely to read or understand traditional statistical reports. In 1859, Nightingale was elected the first female member of the Royal Statistical Society. In 1874 she became an honorary member of the American Statistical Association. Her attention turned to the health of the British army in India and she demonstrated that bad drainage, contaminated water, overcrowding and poor ventilation were causing the high death rate. She concluded that the health of the army and the people of India had to go hand in hand and so campaigned to improve the sanitary conditions of the country as a whole. Nightingale made a comprehensive statistical study of sanitation in Indian rural life and was the leading figure in the introduction of improved medical care and public health service in India. In 1858 and 1859, she successfully lobbied for the establishment of a Royal Commission into the Indian situation. Two years later, she provided a report to the commission, which completed its own study in 1863. "After 10 years of sanitary reform, in 1873, Nightingale reported that mortality among the soldiers in India had declined from 69 to 18 per 1,000". The Royal Sanitary Commission of 1868-9 presented Nightingale with an opportunity to press for compulsory sanitation in private houses. She lobbied the minister responsible, James Stansfeld, to strengthen the proposed Public Health Bill to require owners of existing properties to pay for connection to mains drainage. The strengthened legislation was enacted in the Public Health Acts of 1874 and 1875. At the same time she combined with the retired sanitary reformer Edwin Chadwick to persuade Stansfeld to devolve powers to enforce the law to Local Authorities, eliminating central control by medical technocrats. Her Crimean War statistics had convinced her that non-medical approaches were more effective given the state of knowledge at the time. Historians now believe that both drainage and devolved enforcement played a crucial role in increasing average national life expectancy by 20 years between 1871 and the mid-1930s during which time medical science made no impact on the most fatal epidemic diseases.
Q: did she ever receive backlash
A: unknown
Q: Was her work considered imorral
A: Nightingale is described as "a true pioneer
|
C_b18a1a332d3a464f910a815bc4ac2f78_1_q#2
|
did she ever receive threats to shut her down
| 1n
| 1n
|
{
"texts": [
"Commission of 1868-9 presented Nightingale with an opportunity to press for compulsory sanitation"
],
"answer_starts": [
2317
]
}
|
{
"text": "Commission of 1868-9 presented Nightingale with an opportunity to press for compulsory sanitation",
"answer_start": 2317
}
|
C_b18a1a332d3a464f910a815bc4ac2f78_1
|
Florence Nightingale
|
Florence Nightingale was born on 12 May 1820 into a rich, upper-class, well-connected British family at the Villa Colombaia, in Florence, Tuscany, Italy, and was named after the city of her birth. Florence's older sister Frances Parthenope had similarly been named after her place of birth, Parthenope, a Greek settlement now part of the city of Naples. The family moved back to England in 1821, with Nightingale being brought up in the family's homes at Embley, Hampshire and Lea Hurst, Derbyshire. Florence inherited a liberal-humanitarian outlook from both sides of her family.
|
Statistics and sanitary reform
|
Florence Nightingale exhibited a gift for mathematics from an early age and excelled in the subject under the tutelage of her father. Later, Nightingale became a pioneer in the visual presentation of information and statistical graphics. She used methods such as the pie chart, which had first been developed by William Playfair in 1801. While taken for granted now, it was at the time a relatively novel method of presenting data. Indeed, Nightingale is described as "a true pioneer in the graphical representation of statistics", and is credited with developing a form of the pie chart now known as the polar area diagram, or occasionally the Nightingale rose diagram, equivalent to a modern circular histogram, to illustrate seasonal sources of patient mortality in the military field hospital she managed. Nightingale called a compilation of such diagrams a "coxcomb", but later that term would frequently be used for the individual diagrams. She made extensive use of coxcombs to present reports on the nature and magnitude of the conditions of medical care in the Crimean War to Members of Parliament and civil servants who would have been unlikely to read or understand traditional statistical reports. In 1859, Nightingale was elected the first female member of the Royal Statistical Society. In 1874 she became an honorary member of the American Statistical Association. Her attention turned to the health of the British army in India and she demonstrated that bad drainage, contaminated water, overcrowding and poor ventilation were causing the high death rate. She concluded that the health of the army and the people of India had to go hand in hand and so campaigned to improve the sanitary conditions of the country as a whole. Nightingale made a comprehensive statistical study of sanitation in Indian rural life and was the leading figure in the introduction of improved medical care and public health service in India. In 1858 and 1859, she successfully lobbied for the establishment of a Royal Commission into the Indian situation. Two years later, she provided a report to the commission, which completed its own study in 1863. "After 10 years of sanitary reform, in 1873, Nightingale reported that mortality among the soldiers in India had declined from 69 to 18 per 1,000". The Royal Sanitary Commission of 1868-9 presented Nightingale with an opportunity to press for compulsory sanitation in private houses. She lobbied the minister responsible, James Stansfeld, to strengthen the proposed Public Health Bill to require owners of existing properties to pay for connection to mains drainage. The strengthened legislation was enacted in the Public Health Acts of 1874 and 1875. At the same time she combined with the retired sanitary reformer Edwin Chadwick to persuade Stansfeld to devolve powers to enforce the law to Local Authorities, eliminating central control by medical technocrats. Her Crimean War statistics had convinced her that non-medical approaches were more effective given the state of knowledge at the time. Historians now believe that both drainage and devolved enforcement played a crucial role in increasing average national life expectancy by 20 years between 1871 and the mid-1930s during which time medical science made no impact on the most fatal epidemic diseases.
Q: did she ever receive backlash
A: unknown
Q: Was her work considered imorral
A: Nightingale is described as "a true pioneer
Q: did she ever receive threats to shut her down
A: Commission of 1868-9 presented Nightingale with an opportunity to press for compulsory sanitation
|
C_b18a1a332d3a464f910a815bc4ac2f78_1_q#3
|
did her family ever scorn her works
| 1n
| 2x
|
{
"texts": [
"unknown"
],
"answer_starts": [
3315
]
}
|
{
"text": "unknown",
"answer_start": 3315
}
|
C_b18a1a332d3a464f910a815bc4ac2f78_1
|
Florence Nightingale
|
Florence Nightingale was born on 12 May 1820 into a rich, upper-class, well-connected British family at the Villa Colombaia, in Florence, Tuscany, Italy, and was named after the city of her birth. Florence's older sister Frances Parthenope had similarly been named after her place of birth, Parthenope, a Greek settlement now part of the city of Naples. The family moved back to England in 1821, with Nightingale being brought up in the family's homes at Embley, Hampshire and Lea Hurst, Derbyshire. Florence inherited a liberal-humanitarian outlook from both sides of her family.
|
Statistics and sanitary reform
|
Florence Nightingale exhibited a gift for mathematics from an early age and excelled in the subject under the tutelage of her father. Later, Nightingale became a pioneer in the visual presentation of information and statistical graphics. She used methods such as the pie chart, which had first been developed by William Playfair in 1801. While taken for granted now, it was at the time a relatively novel method of presenting data. Indeed, Nightingale is described as "a true pioneer in the graphical representation of statistics", and is credited with developing a form of the pie chart now known as the polar area diagram, or occasionally the Nightingale rose diagram, equivalent to a modern circular histogram, to illustrate seasonal sources of patient mortality in the military field hospital she managed. Nightingale called a compilation of such diagrams a "coxcomb", but later that term would frequently be used for the individual diagrams. She made extensive use of coxcombs to present reports on the nature and magnitude of the conditions of medical care in the Crimean War to Members of Parliament and civil servants who would have been unlikely to read or understand traditional statistical reports. In 1859, Nightingale was elected the first female member of the Royal Statistical Society. In 1874 she became an honorary member of the American Statistical Association. Her attention turned to the health of the British army in India and she demonstrated that bad drainage, contaminated water, overcrowding and poor ventilation were causing the high death rate. She concluded that the health of the army and the people of India had to go hand in hand and so campaigned to improve the sanitary conditions of the country as a whole. Nightingale made a comprehensive statistical study of sanitation in Indian rural life and was the leading figure in the introduction of improved medical care and public health service in India. In 1858 and 1859, she successfully lobbied for the establishment of a Royal Commission into the Indian situation. Two years later, she provided a report to the commission, which completed its own study in 1863. "After 10 years of sanitary reform, in 1873, Nightingale reported that mortality among the soldiers in India had declined from 69 to 18 per 1,000". The Royal Sanitary Commission of 1868-9 presented Nightingale with an opportunity to press for compulsory sanitation in private houses. She lobbied the minister responsible, James Stansfeld, to strengthen the proposed Public Health Bill to require owners of existing properties to pay for connection to mains drainage. The strengthened legislation was enacted in the Public Health Acts of 1874 and 1875. At the same time she combined with the retired sanitary reformer Edwin Chadwick to persuade Stansfeld to devolve powers to enforce the law to Local Authorities, eliminating central control by medical technocrats. Her Crimean War statistics had convinced her that non-medical approaches were more effective given the state of knowledge at the time. Historians now believe that both drainage and devolved enforcement played a crucial role in increasing average national life expectancy by 20 years between 1871 and the mid-1930s during which time medical science made no impact on the most fatal epidemic diseases.
Q: did she ever receive backlash
A: unknown
Q: Was her work considered imorral
A: Nightingale is described as "a true pioneer
Q: did she ever receive threats to shut her down
A: Commission of 1868-9 presented Nightingale with an opportunity to press for compulsory sanitation
Q: did her family ever scorn her works
A: unknown
|
C_b18a1a332d3a464f910a815bc4ac2f78_1_q#4
|
did her personal life ever reflect her works
| 1n
| 2x
|
{
"texts": [
"unknown"
],
"answer_starts": [
3315
]
}
|
{
"text": "unknown",
"answer_start": 3315
}
|
C_97b0c650ab81497eb4dd8513b839b788_0
|
Beyoncé
|
Beyonce Giselle Knowles was born in Houston, Texas, to Celestine "Tina" Knowles (nee Beyince), a hairdresser and salon owner, and Mathew Knowles, a Xerox sales manager. Beyonce's name is a tribute to her mother's maiden name. Beyonce's younger sister Solange is also a singer and a former back up dancer for Destiny's Child.
|
Influences
|
Beyonce names Michael Jackson as her major musical influence. Aged five, Beyonce attended her first ever concert where Jackson performed and she claims to have realized her purpose. When she presented him with a tribute award at the World Music Awards in 2006, Beyonce said, "if it wasn't for Michael Jackson, I would never ever have performed." She admires Diana Ross as an "all-around entertainer" and Whitney Houston, who she said "inspired me to get up there and do what she did." She credits Mariah Carey's singing and her song "Vision of Love" as influencing her to begin practicing vocal runs as a child. Her other musical influences include Aaliyah, Prince, Lauryn Hill, Sade Adu, Donna Summer, Mary J. Blige, Janet Jackson, Anita Baker and Rachelle Ferrell. The feminism and female empowerment themes on Beyonce's second solo album B'Day were inspired by her role in Dreamgirls and by singer Josephine Baker. Beyonce paid homage to Baker by performing "Deja Vu" at the 2006 Fashion Rocks concert wearing Baker's trademark mini-hula skirt embellished with fake bananas. Beyonce's third solo album I Am... Sasha Fierce was inspired by Jay-Z and especially by Etta James, whose "boldness" inspired Beyonce to explore other musical genres and styles. Her fourth solo album, 4, was inspired by Fela Kuti, 1990s R&B, Earth, Wind & Fire, DeBarge, Lionel Richie, Teena Marie, The Jackson 5, New Edition, Adele, Florence and the Machine, and Prince. Beyonce has stated that she is personally inspired by Michelle Obama (the 44th First Lady of the United States), saying "She proves you can do it all" and she has described Oprah Winfrey as "the definition of inspiration and a strong woman". She has also discussed how Jay-Z is a continuing inspiration to her, both with what she describes as his lyrical genius and in the obstacles he has overcome in his life. Beyonce has expressed admiration for the artist Jean-Michel Basquiat, posting in a letter "what I find in the work of Jean-Michel Basquiat, I search for in every day in music... he is lyrical and raw". In February 2013, Beyonce said that Madonna inspired her to take control of her own career. She commented: "I think about Madonna and how she took all of the great things she achieved and started the label and developed other artists. But there are not enough of those women.".
|
C_97b0c650ab81497eb4dd8513b839b788_0_q#0
|
Who were Beyonce's influences?
| 0y
| 2x
|
{
"texts": [
"Beyonce names Michael Jackson as her major musical influence."
],
"answer_starts": [
0
]
}
|
{
"text": "Beyonce names Michael Jackson as her major musical influence.",
"answer_start": 0
}
|
C_97b0c650ab81497eb4dd8513b839b788_0
|
Beyoncé
|
Beyonce Giselle Knowles was born in Houston, Texas, to Celestine "Tina" Knowles (nee Beyince), a hairdresser and salon owner, and Mathew Knowles, a Xerox sales manager. Beyonce's name is a tribute to her mother's maiden name. Beyonce's younger sister Solange is also a singer and a former back up dancer for Destiny's Child.
|
Influences
|
Beyonce names Michael Jackson as her major musical influence. Aged five, Beyonce attended her first ever concert where Jackson performed and she claims to have realized her purpose. When she presented him with a tribute award at the World Music Awards in 2006, Beyonce said, "if it wasn't for Michael Jackson, I would never ever have performed." She admires Diana Ross as an "all-around entertainer" and Whitney Houston, who she said "inspired me to get up there and do what she did." She credits Mariah Carey's singing and her song "Vision of Love" as influencing her to begin practicing vocal runs as a child. Her other musical influences include Aaliyah, Prince, Lauryn Hill, Sade Adu, Donna Summer, Mary J. Blige, Janet Jackson, Anita Baker and Rachelle Ferrell. The feminism and female empowerment themes on Beyonce's second solo album B'Day were inspired by her role in Dreamgirls and by singer Josephine Baker. Beyonce paid homage to Baker by performing "Deja Vu" at the 2006 Fashion Rocks concert wearing Baker's trademark mini-hula skirt embellished with fake bananas. Beyonce's third solo album I Am... Sasha Fierce was inspired by Jay-Z and especially by Etta James, whose "boldness" inspired Beyonce to explore other musical genres and styles. Her fourth solo album, 4, was inspired by Fela Kuti, 1990s R&B, Earth, Wind & Fire, DeBarge, Lionel Richie, Teena Marie, The Jackson 5, New Edition, Adele, Florence and the Machine, and Prince. Beyonce has stated that she is personally inspired by Michelle Obama (the 44th First Lady of the United States), saying "She proves you can do it all" and she has described Oprah Winfrey as "the definition of inspiration and a strong woman". She has also discussed how Jay-Z is a continuing inspiration to her, both with what she describes as his lyrical genius and in the obstacles he has overcome in his life. Beyonce has expressed admiration for the artist Jean-Michel Basquiat, posting in a letter "what I find in the work of Jean-Michel Basquiat, I search for in every day in music... he is lyrical and raw". In February 2013, Beyonce said that Madonna inspired her to take control of her own career. She commented: "I think about Madonna and how she took all of the great things she achieved and started the label and developed other artists. But there are not enough of those women.".
Q: Who were Beyonce's influences?
A: Beyonce names Michael Jackson as her major musical influence.
|
C_97b0c650ab81497eb4dd8513b839b788_0_q#1
|
did she ever work with Michael Jackson?
| 1n
| 2x
|
{
"texts": [
"When she presented him with a tribute award at the World Music Awards in 2006, Beyonce said, \"if it wasn't for Michael Jackson, I would never ever have performed."
],
"answer_starts": [
182
]
}
|
{
"text": "When she presented him with a tribute award at the World Music Awards in 2006, Beyonce said, \"if it wasn't for Michael Jackson, I would never ever have performed.",
"answer_start": 182
}
|
C_97b0c650ab81497eb4dd8513b839b788_0
|
Beyoncé
|
Beyonce Giselle Knowles was born in Houston, Texas, to Celestine "Tina" Knowles (nee Beyince), a hairdresser and salon owner, and Mathew Knowles, a Xerox sales manager. Beyonce's name is a tribute to her mother's maiden name. Beyonce's younger sister Solange is also a singer and a former back up dancer for Destiny's Child.
|
Influences
|
Beyonce names Michael Jackson as her major musical influence. Aged five, Beyonce attended her first ever concert where Jackson performed and she claims to have realized her purpose. When she presented him with a tribute award at the World Music Awards in 2006, Beyonce said, "if it wasn't for Michael Jackson, I would never ever have performed." She admires Diana Ross as an "all-around entertainer" and Whitney Houston, who she said "inspired me to get up there and do what she did." She credits Mariah Carey's singing and her song "Vision of Love" as influencing her to begin practicing vocal runs as a child. Her other musical influences include Aaliyah, Prince, Lauryn Hill, Sade Adu, Donna Summer, Mary J. Blige, Janet Jackson, Anita Baker and Rachelle Ferrell. The feminism and female empowerment themes on Beyonce's second solo album B'Day were inspired by her role in Dreamgirls and by singer Josephine Baker. Beyonce paid homage to Baker by performing "Deja Vu" at the 2006 Fashion Rocks concert wearing Baker's trademark mini-hula skirt embellished with fake bananas. Beyonce's third solo album I Am... Sasha Fierce was inspired by Jay-Z and especially by Etta James, whose "boldness" inspired Beyonce to explore other musical genres and styles. Her fourth solo album, 4, was inspired by Fela Kuti, 1990s R&B, Earth, Wind & Fire, DeBarge, Lionel Richie, Teena Marie, The Jackson 5, New Edition, Adele, Florence and the Machine, and Prince. Beyonce has stated that she is personally inspired by Michelle Obama (the 44th First Lady of the United States), saying "She proves you can do it all" and she has described Oprah Winfrey as "the definition of inspiration and a strong woman". She has also discussed how Jay-Z is a continuing inspiration to her, both with what she describes as his lyrical genius and in the obstacles he has overcome in his life. Beyonce has expressed admiration for the artist Jean-Michel Basquiat, posting in a letter "what I find in the work of Jean-Michel Basquiat, I search for in every day in music... he is lyrical and raw". In February 2013, Beyonce said that Madonna inspired her to take control of her own career. She commented: "I think about Madonna and how she took all of the great things she achieved and started the label and developed other artists. But there are not enough of those women.".
Q: Who were Beyonce's influences?
A: Beyonce names Michael Jackson as her major musical influence.
Q: did she ever work with Michael Jackson?
A: When she presented him with a tribute award at the World Music Awards in 2006, Beyonce said, "if it wasn't for Michael Jackson, I would never ever have performed.
|
C_97b0c650ab81497eb4dd8513b839b788_0_q#2
|
how did he influence her?
| 1n
| 2x
|
{
"texts": [
"Aged five, Beyonce attended her first ever concert where Jackson performed and she claims to have realized her purpose."
],
"answer_starts": [
62
]
}
|
{
"text": "Aged five, Beyonce attended her first ever concert where Jackson performed and she claims to have realized her purpose.",
"answer_start": 62
}
|
C_97b0c650ab81497eb4dd8513b839b788_0
|
Beyoncé
|
Beyonce Giselle Knowles was born in Houston, Texas, to Celestine "Tina" Knowles (nee Beyince), a hairdresser and salon owner, and Mathew Knowles, a Xerox sales manager. Beyonce's name is a tribute to her mother's maiden name. Beyonce's younger sister Solange is also a singer and a former back up dancer for Destiny's Child.
|
Influences
|
Beyonce names Michael Jackson as her major musical influence. Aged five, Beyonce attended her first ever concert where Jackson performed and she claims to have realized her purpose. When she presented him with a tribute award at the World Music Awards in 2006, Beyonce said, "if it wasn't for Michael Jackson, I would never ever have performed." She admires Diana Ross as an "all-around entertainer" and Whitney Houston, who she said "inspired me to get up there and do what she did." She credits Mariah Carey's singing and her song "Vision of Love" as influencing her to begin practicing vocal runs as a child. Her other musical influences include Aaliyah, Prince, Lauryn Hill, Sade Adu, Donna Summer, Mary J. Blige, Janet Jackson, Anita Baker and Rachelle Ferrell. The feminism and female empowerment themes on Beyonce's second solo album B'Day were inspired by her role in Dreamgirls and by singer Josephine Baker. Beyonce paid homage to Baker by performing "Deja Vu" at the 2006 Fashion Rocks concert wearing Baker's trademark mini-hula skirt embellished with fake bananas. Beyonce's third solo album I Am... Sasha Fierce was inspired by Jay-Z and especially by Etta James, whose "boldness" inspired Beyonce to explore other musical genres and styles. Her fourth solo album, 4, was inspired by Fela Kuti, 1990s R&B, Earth, Wind & Fire, DeBarge, Lionel Richie, Teena Marie, The Jackson 5, New Edition, Adele, Florence and the Machine, and Prince. Beyonce has stated that she is personally inspired by Michelle Obama (the 44th First Lady of the United States), saying "She proves you can do it all" and she has described Oprah Winfrey as "the definition of inspiration and a strong woman". She has also discussed how Jay-Z is a continuing inspiration to her, both with what she describes as his lyrical genius and in the obstacles he has overcome in his life. Beyonce has expressed admiration for the artist Jean-Michel Basquiat, posting in a letter "what I find in the work of Jean-Michel Basquiat, I search for in every day in music... he is lyrical and raw". In February 2013, Beyonce said that Madonna inspired her to take control of her own career. She commented: "I think about Madonna and how she took all of the great things she achieved and started the label and developed other artists. But there are not enough of those women.".
Q: Who were Beyonce's influences?
A: Beyonce names Michael Jackson as her major musical influence.
Q: did she ever work with Michael Jackson?
A: When she presented him with a tribute award at the World Music Awards in 2006, Beyonce said, "if it wasn't for Michael Jackson, I would never ever have performed.
Q: how did he influence her?
A: Aged five, Beyonce attended her first ever concert where Jackson performed and she claims to have realized her purpose.
|
C_97b0c650ab81497eb4dd8513b839b788_0_q#3
|
who else influenced her?
| 0y
| 2x
|
{
"texts": [
"She admires Diana Ross as an \"all-around entertainer\" and Whitney Houston, who she said \"inspired me to get up there and do what she did."
],
"answer_starts": [
346
]
}
|
{
"text": "She admires Diana Ross as an \"all-around entertainer\" and Whitney Houston, who she said \"inspired me to get up there and do what she did.",
"answer_start": 346
}
|
C_97b0c650ab81497eb4dd8513b839b788_0
|
Beyoncé
|
Beyonce Giselle Knowles was born in Houston, Texas, to Celestine "Tina" Knowles (nee Beyince), a hairdresser and salon owner, and Mathew Knowles, a Xerox sales manager. Beyonce's name is a tribute to her mother's maiden name. Beyonce's younger sister Solange is also a singer and a former back up dancer for Destiny's Child.
|
Influences
|
Beyonce names Michael Jackson as her major musical influence. Aged five, Beyonce attended her first ever concert where Jackson performed and she claims to have realized her purpose. When she presented him with a tribute award at the World Music Awards in 2006, Beyonce said, "if it wasn't for Michael Jackson, I would never ever have performed." She admires Diana Ross as an "all-around entertainer" and Whitney Houston, who she said "inspired me to get up there and do what she did." She credits Mariah Carey's singing and her song "Vision of Love" as influencing her to begin practicing vocal runs as a child. Her other musical influences include Aaliyah, Prince, Lauryn Hill, Sade Adu, Donna Summer, Mary J. Blige, Janet Jackson, Anita Baker and Rachelle Ferrell. The feminism and female empowerment themes on Beyonce's second solo album B'Day were inspired by her role in Dreamgirls and by singer Josephine Baker. Beyonce paid homage to Baker by performing "Deja Vu" at the 2006 Fashion Rocks concert wearing Baker's trademark mini-hula skirt embellished with fake bananas. Beyonce's third solo album I Am... Sasha Fierce was inspired by Jay-Z and especially by Etta James, whose "boldness" inspired Beyonce to explore other musical genres and styles. Her fourth solo album, 4, was inspired by Fela Kuti, 1990s R&B, Earth, Wind & Fire, DeBarge, Lionel Richie, Teena Marie, The Jackson 5, New Edition, Adele, Florence and the Machine, and Prince. Beyonce has stated that she is personally inspired by Michelle Obama (the 44th First Lady of the United States), saying "She proves you can do it all" and she has described Oprah Winfrey as "the definition of inspiration and a strong woman". She has also discussed how Jay-Z is a continuing inspiration to her, both with what she describes as his lyrical genius and in the obstacles he has overcome in his life. Beyonce has expressed admiration for the artist Jean-Michel Basquiat, posting in a letter "what I find in the work of Jean-Michel Basquiat, I search for in every day in music... he is lyrical and raw". In February 2013, Beyonce said that Madonna inspired her to take control of her own career. She commented: "I think about Madonna and how she took all of the great things she achieved and started the label and developed other artists. But there are not enough of those women.".
Q: Who were Beyonce's influences?
A: Beyonce names Michael Jackson as her major musical influence.
Q: did she ever work with Michael Jackson?
A: When she presented him with a tribute award at the World Music Awards in 2006, Beyonce said, "if it wasn't for Michael Jackson, I would never ever have performed.
Q: how did he influence her?
A: Aged five, Beyonce attended her first ever concert where Jackson performed and she claims to have realized her purpose.
Q: who else influenced her?
A: She admires Diana Ross as an "all-around entertainer" and Whitney Houston, who she said "inspired me to get up there and do what she did.
|
C_97b0c650ab81497eb4dd8513b839b788_0_q#4
|
where those her only influences?
| 0y
| 0y
|
{
"texts": [
"She credits Mariah Carey's singing and her song \"Vision of Love\" as influencing her to begin practicing vocal runs as a child."
],
"answer_starts": [
485
]
}
|
{
"text": "She credits Mariah Carey's singing and her song \"Vision of Love\" as influencing her to begin practicing vocal runs as a child.",
"answer_start": 485
}
|
C_97b0c650ab81497eb4dd8513b839b788_0
|
Beyoncé
|
Beyonce Giselle Knowles was born in Houston, Texas, to Celestine "Tina" Knowles (nee Beyince), a hairdresser and salon owner, and Mathew Knowles, a Xerox sales manager. Beyonce's name is a tribute to her mother's maiden name. Beyonce's younger sister Solange is also a singer and a former back up dancer for Destiny's Child.
|
Influences
|
Beyonce names Michael Jackson as her major musical influence. Aged five, Beyonce attended her first ever concert where Jackson performed and she claims to have realized her purpose. When she presented him with a tribute award at the World Music Awards in 2006, Beyonce said, "if it wasn't for Michael Jackson, I would never ever have performed." She admires Diana Ross as an "all-around entertainer" and Whitney Houston, who she said "inspired me to get up there and do what she did." She credits Mariah Carey's singing and her song "Vision of Love" as influencing her to begin practicing vocal runs as a child. Her other musical influences include Aaliyah, Prince, Lauryn Hill, Sade Adu, Donna Summer, Mary J. Blige, Janet Jackson, Anita Baker and Rachelle Ferrell. The feminism and female empowerment themes on Beyonce's second solo album B'Day were inspired by her role in Dreamgirls and by singer Josephine Baker. Beyonce paid homage to Baker by performing "Deja Vu" at the 2006 Fashion Rocks concert wearing Baker's trademark mini-hula skirt embellished with fake bananas. Beyonce's third solo album I Am... Sasha Fierce was inspired by Jay-Z and especially by Etta James, whose "boldness" inspired Beyonce to explore other musical genres and styles. Her fourth solo album, 4, was inspired by Fela Kuti, 1990s R&B, Earth, Wind & Fire, DeBarge, Lionel Richie, Teena Marie, The Jackson 5, New Edition, Adele, Florence and the Machine, and Prince. Beyonce has stated that she is personally inspired by Michelle Obama (the 44th First Lady of the United States), saying "She proves you can do it all" and she has described Oprah Winfrey as "the definition of inspiration and a strong woman". She has also discussed how Jay-Z is a continuing inspiration to her, both with what she describes as his lyrical genius and in the obstacles he has overcome in his life. Beyonce has expressed admiration for the artist Jean-Michel Basquiat, posting in a letter "what I find in the work of Jean-Michel Basquiat, I search for in every day in music... he is lyrical and raw". In February 2013, Beyonce said that Madonna inspired her to take control of her own career. She commented: "I think about Madonna and how she took all of the great things she achieved and started the label and developed other artists. But there are not enough of those women.".
Q: Who were Beyonce's influences?
A: Beyonce names Michael Jackson as her major musical influence.
Q: did she ever work with Michael Jackson?
A: When she presented him with a tribute award at the World Music Awards in 2006, Beyonce said, "if it wasn't for Michael Jackson, I would never ever have performed.
Q: how did he influence her?
A: Aged five, Beyonce attended her first ever concert where Jackson performed and she claims to have realized her purpose.
Q: who else influenced her?
A: She admires Diana Ross as an "all-around entertainer" and Whitney Houston, who she said "inspired me to get up there and do what she did.
Q: where those her only influences?
A: She credits Mariah Carey's singing and her song "Vision of Love" as influencing her to begin practicing vocal runs as a child.
|
C_97b0c650ab81497eb4dd8513b839b788_0_q#5
|
did any family members influence her?
| 2m
| 0y
|
{
"texts": [
"She has also discussed how Jay-Z is a continuing inspiration to her,"
],
"answer_starts": [
1694
]
}
|
{
"text": "She has also discussed how Jay-Z is a continuing inspiration to her,",
"answer_start": 1694
}
|
C_97b0c650ab81497eb4dd8513b839b788_0
|
Beyoncé
|
Beyonce Giselle Knowles was born in Houston, Texas, to Celestine "Tina" Knowles (nee Beyince), a hairdresser and salon owner, and Mathew Knowles, a Xerox sales manager. Beyonce's name is a tribute to her mother's maiden name. Beyonce's younger sister Solange is also a singer and a former back up dancer for Destiny's Child.
|
Influences
|
Beyonce names Michael Jackson as her major musical influence. Aged five, Beyonce attended her first ever concert where Jackson performed and she claims to have realized her purpose. When she presented him with a tribute award at the World Music Awards in 2006, Beyonce said, "if it wasn't for Michael Jackson, I would never ever have performed." She admires Diana Ross as an "all-around entertainer" and Whitney Houston, who she said "inspired me to get up there and do what she did." She credits Mariah Carey's singing and her song "Vision of Love" as influencing her to begin practicing vocal runs as a child. Her other musical influences include Aaliyah, Prince, Lauryn Hill, Sade Adu, Donna Summer, Mary J. Blige, Janet Jackson, Anita Baker and Rachelle Ferrell. The feminism and female empowerment themes on Beyonce's second solo album B'Day were inspired by her role in Dreamgirls and by singer Josephine Baker. Beyonce paid homage to Baker by performing "Deja Vu" at the 2006 Fashion Rocks concert wearing Baker's trademark mini-hula skirt embellished with fake bananas. Beyonce's third solo album I Am... Sasha Fierce was inspired by Jay-Z and especially by Etta James, whose "boldness" inspired Beyonce to explore other musical genres and styles. Her fourth solo album, 4, was inspired by Fela Kuti, 1990s R&B, Earth, Wind & Fire, DeBarge, Lionel Richie, Teena Marie, The Jackson 5, New Edition, Adele, Florence and the Machine, and Prince. Beyonce has stated that she is personally inspired by Michelle Obama (the 44th First Lady of the United States), saying "She proves you can do it all" and she has described Oprah Winfrey as "the definition of inspiration and a strong woman". She has also discussed how Jay-Z is a continuing inspiration to her, both with what she describes as his lyrical genius and in the obstacles he has overcome in his life. Beyonce has expressed admiration for the artist Jean-Michel Basquiat, posting in a letter "what I find in the work of Jean-Michel Basquiat, I search for in every day in music... he is lyrical and raw". In February 2013, Beyonce said that Madonna inspired her to take control of her own career. She commented: "I think about Madonna and how she took all of the great things she achieved and started the label and developed other artists. But there are not enough of those women.".
Q: Who were Beyonce's influences?
A: Beyonce names Michael Jackson as her major musical influence.
Q: did she ever work with Michael Jackson?
A: When she presented him with a tribute award at the World Music Awards in 2006, Beyonce said, "if it wasn't for Michael Jackson, I would never ever have performed.
Q: how did he influence her?
A: Aged five, Beyonce attended her first ever concert where Jackson performed and she claims to have realized her purpose.
Q: who else influenced her?
A: She admires Diana Ross as an "all-around entertainer" and Whitney Houston, who she said "inspired me to get up there and do what she did.
Q: where those her only influences?
A: She credits Mariah Carey's singing and her song "Vision of Love" as influencing her to begin practicing vocal runs as a child.
Q: did any family members influence her?
A: She has also discussed how Jay-Z is a continuing inspiration to her,
|
C_97b0c650ab81497eb4dd8513b839b788_0_q#6
|
when did she meet jay-z?
| 1n
| 2x
|
{
"texts": [
"unknown"
],
"answer_starts": [
2344
]
}
|
{
"text": "unknown",
"answer_start": 2344
}
|
C_97b0c650ab81497eb4dd8513b839b788_0
|
Beyoncé
|
Beyonce Giselle Knowles was born in Houston, Texas, to Celestine "Tina" Knowles (nee Beyince), a hairdresser and salon owner, and Mathew Knowles, a Xerox sales manager. Beyonce's name is a tribute to her mother's maiden name. Beyonce's younger sister Solange is also a singer and a former back up dancer for Destiny's Child.
|
Influences
|
Beyonce names Michael Jackson as her major musical influence. Aged five, Beyonce attended her first ever concert where Jackson performed and she claims to have realized her purpose. When she presented him with a tribute award at the World Music Awards in 2006, Beyonce said, "if it wasn't for Michael Jackson, I would never ever have performed." She admires Diana Ross as an "all-around entertainer" and Whitney Houston, who she said "inspired me to get up there and do what she did." She credits Mariah Carey's singing and her song "Vision of Love" as influencing her to begin practicing vocal runs as a child. Her other musical influences include Aaliyah, Prince, Lauryn Hill, Sade Adu, Donna Summer, Mary J. Blige, Janet Jackson, Anita Baker and Rachelle Ferrell. The feminism and female empowerment themes on Beyonce's second solo album B'Day were inspired by her role in Dreamgirls and by singer Josephine Baker. Beyonce paid homage to Baker by performing "Deja Vu" at the 2006 Fashion Rocks concert wearing Baker's trademark mini-hula skirt embellished with fake bananas. Beyonce's third solo album I Am... Sasha Fierce was inspired by Jay-Z and especially by Etta James, whose "boldness" inspired Beyonce to explore other musical genres and styles. Her fourth solo album, 4, was inspired by Fela Kuti, 1990s R&B, Earth, Wind & Fire, DeBarge, Lionel Richie, Teena Marie, The Jackson 5, New Edition, Adele, Florence and the Machine, and Prince. Beyonce has stated that she is personally inspired by Michelle Obama (the 44th First Lady of the United States), saying "She proves you can do it all" and she has described Oprah Winfrey as "the definition of inspiration and a strong woman". She has also discussed how Jay-Z is a continuing inspiration to her, both with what she describes as his lyrical genius and in the obstacles he has overcome in his life. Beyonce has expressed admiration for the artist Jean-Michel Basquiat, posting in a letter "what I find in the work of Jean-Michel Basquiat, I search for in every day in music... he is lyrical and raw". In February 2013, Beyonce said that Madonna inspired her to take control of her own career. She commented: "I think about Madonna and how she took all of the great things she achieved and started the label and developed other artists. But there are not enough of those women.".
Q: Who were Beyonce's influences?
A: Beyonce names Michael Jackson as her major musical influence.
Q: did she ever work with Michael Jackson?
A: When she presented him with a tribute award at the World Music Awards in 2006, Beyonce said, "if it wasn't for Michael Jackson, I would never ever have performed.
Q: how did he influence her?
A: Aged five, Beyonce attended her first ever concert where Jackson performed and she claims to have realized her purpose.
Q: who else influenced her?
A: She admires Diana Ross as an "all-around entertainer" and Whitney Houston, who she said "inspired me to get up there and do what she did.
Q: where those her only influences?
A: She credits Mariah Carey's singing and her song "Vision of Love" as influencing her to begin practicing vocal runs as a child.
Q: did any family members influence her?
A: She has also discussed how Jay-Z is a continuing inspiration to her,
Q: when did she meet jay-z?
A: unknown
|
C_97b0c650ab81497eb4dd8513b839b788_0_q#7
|
Are there any other interesting aspects about this article?
| 0y
| 0y
|
{
"texts": [
"In February 2013, Beyonce said that Madonna inspired her to take control of her own career."
],
"answer_starts": [
2066
]
}
|
{
"text": "In February 2013, Beyonce said that Madonna inspired her to take control of her own career.",
"answer_start": 2066
}
|
C_97b0c650ab81497eb4dd8513b839b788_0
|
Beyoncé
|
Beyonce Giselle Knowles was born in Houston, Texas, to Celestine "Tina" Knowles (nee Beyince), a hairdresser and salon owner, and Mathew Knowles, a Xerox sales manager. Beyonce's name is a tribute to her mother's maiden name. Beyonce's younger sister Solange is also a singer and a former back up dancer for Destiny's Child.
|
Influences
|
Beyonce names Michael Jackson as her major musical influence. Aged five, Beyonce attended her first ever concert where Jackson performed and she claims to have realized her purpose. When she presented him with a tribute award at the World Music Awards in 2006, Beyonce said, "if it wasn't for Michael Jackson, I would never ever have performed." She admires Diana Ross as an "all-around entertainer" and Whitney Houston, who she said "inspired me to get up there and do what she did." She credits Mariah Carey's singing and her song "Vision of Love" as influencing her to begin practicing vocal runs as a child. Her other musical influences include Aaliyah, Prince, Lauryn Hill, Sade Adu, Donna Summer, Mary J. Blige, Janet Jackson, Anita Baker and Rachelle Ferrell. The feminism and female empowerment themes on Beyonce's second solo album B'Day were inspired by her role in Dreamgirls and by singer Josephine Baker. Beyonce paid homage to Baker by performing "Deja Vu" at the 2006 Fashion Rocks concert wearing Baker's trademark mini-hula skirt embellished with fake bananas. Beyonce's third solo album I Am... Sasha Fierce was inspired by Jay-Z and especially by Etta James, whose "boldness" inspired Beyonce to explore other musical genres and styles. Her fourth solo album, 4, was inspired by Fela Kuti, 1990s R&B, Earth, Wind & Fire, DeBarge, Lionel Richie, Teena Marie, The Jackson 5, New Edition, Adele, Florence and the Machine, and Prince. Beyonce has stated that she is personally inspired by Michelle Obama (the 44th First Lady of the United States), saying "She proves you can do it all" and she has described Oprah Winfrey as "the definition of inspiration and a strong woman". She has also discussed how Jay-Z is a continuing inspiration to her, both with what she describes as his lyrical genius and in the obstacles he has overcome in his life. Beyonce has expressed admiration for the artist Jean-Michel Basquiat, posting in a letter "what I find in the work of Jean-Michel Basquiat, I search for in every day in music... he is lyrical and raw". In February 2013, Beyonce said that Madonna inspired her to take control of her own career. She commented: "I think about Madonna and how she took all of the great things she achieved and started the label and developed other artists. But there are not enough of those women.".
Q: Who were Beyonce's influences?
A: Beyonce names Michael Jackson as her major musical influence.
Q: did she ever work with Michael Jackson?
A: When she presented him with a tribute award at the World Music Awards in 2006, Beyonce said, "if it wasn't for Michael Jackson, I would never ever have performed.
Q: how did he influence her?
A: Aged five, Beyonce attended her first ever concert where Jackson performed and she claims to have realized her purpose.
Q: who else influenced her?
A: She admires Diana Ross as an "all-around entertainer" and Whitney Houston, who she said "inspired me to get up there and do what she did.
Q: where those her only influences?
A: She credits Mariah Carey's singing and her song "Vision of Love" as influencing her to begin practicing vocal runs as a child.
Q: did any family members influence her?
A: She has also discussed how Jay-Z is a continuing inspiration to her,
Q: when did she meet jay-z?
A: unknown
Q: Are there any other interesting aspects about this article?
A: In February 2013, Beyonce said that Madonna inspired her to take control of her own career.
|
C_97b0c650ab81497eb4dd8513b839b788_0_q#8
|
were there any other influences?
| 2m
| 0y
|
{
"texts": [
"Aaliyah, Prince, Lauryn Hill, Sade Adu, Donna Summer, Mary J. Blige, Janet Jackson, Anita Baker and Rachelle Ferrell."
],
"answer_starts": [
649
]
}
|
{
"text": "Aaliyah, Prince, Lauryn Hill, Sade Adu, Donna Summer, Mary J. Blige, Janet Jackson, Anita Baker and Rachelle Ferrell.",
"answer_start": 649
}
|
C_97b0c650ab81497eb4dd8513b839b788_0
|
Beyoncé
|
Beyonce Giselle Knowles was born in Houston, Texas, to Celestine "Tina" Knowles (nee Beyince), a hairdresser and salon owner, and Mathew Knowles, a Xerox sales manager. Beyonce's name is a tribute to her mother's maiden name. Beyonce's younger sister Solange is also a singer and a former back up dancer for Destiny's Child.
|
Influences
|
Beyonce names Michael Jackson as her major musical influence. Aged five, Beyonce attended her first ever concert where Jackson performed and she claims to have realized her purpose. When she presented him with a tribute award at the World Music Awards in 2006, Beyonce said, "if it wasn't for Michael Jackson, I would never ever have performed." She admires Diana Ross as an "all-around entertainer" and Whitney Houston, who she said "inspired me to get up there and do what she did." She credits Mariah Carey's singing and her song "Vision of Love" as influencing her to begin practicing vocal runs as a child. Her other musical influences include Aaliyah, Prince, Lauryn Hill, Sade Adu, Donna Summer, Mary J. Blige, Janet Jackson, Anita Baker and Rachelle Ferrell. The feminism and female empowerment themes on Beyonce's second solo album B'Day were inspired by her role in Dreamgirls and by singer Josephine Baker. Beyonce paid homage to Baker by performing "Deja Vu" at the 2006 Fashion Rocks concert wearing Baker's trademark mini-hula skirt embellished with fake bananas. Beyonce's third solo album I Am... Sasha Fierce was inspired by Jay-Z and especially by Etta James, whose "boldness" inspired Beyonce to explore other musical genres and styles. Her fourth solo album, 4, was inspired by Fela Kuti, 1990s R&B, Earth, Wind & Fire, DeBarge, Lionel Richie, Teena Marie, The Jackson 5, New Edition, Adele, Florence and the Machine, and Prince. Beyonce has stated that she is personally inspired by Michelle Obama (the 44th First Lady of the United States), saying "She proves you can do it all" and she has described Oprah Winfrey as "the definition of inspiration and a strong woman". She has also discussed how Jay-Z is a continuing inspiration to her, both with what she describes as his lyrical genius and in the obstacles he has overcome in his life. Beyonce has expressed admiration for the artist Jean-Michel Basquiat, posting in a letter "what I find in the work of Jean-Michel Basquiat, I search for in every day in music... he is lyrical and raw". In February 2013, Beyonce said that Madonna inspired her to take control of her own career. She commented: "I think about Madonna and how she took all of the great things she achieved and started the label and developed other artists. But there are not enough of those women.".
Q: Who were Beyonce's influences?
A: Beyonce names Michael Jackson as her major musical influence.
Q: did she ever work with Michael Jackson?
A: When she presented him with a tribute award at the World Music Awards in 2006, Beyonce said, "if it wasn't for Michael Jackson, I would never ever have performed.
Q: how did he influence her?
A: Aged five, Beyonce attended her first ever concert where Jackson performed and she claims to have realized her purpose.
Q: who else influenced her?
A: She admires Diana Ross as an "all-around entertainer" and Whitney Houston, who she said "inspired me to get up there and do what she did.
Q: where those her only influences?
A: She credits Mariah Carey's singing and her song "Vision of Love" as influencing her to begin practicing vocal runs as a child.
Q: did any family members influence her?
A: She has also discussed how Jay-Z is a continuing inspiration to her,
Q: when did she meet jay-z?
A: unknown
Q: Are there any other interesting aspects about this article?
A: In February 2013, Beyonce said that Madonna inspired her to take control of her own career.
Q: were there any other influences?
A: Aaliyah, Prince, Lauryn Hill, Sade Adu, Donna Summer, Mary J. Blige, Janet Jackson, Anita Baker and Rachelle Ferrell.
|
C_97b0c650ab81497eb4dd8513b839b788_0_q#9
|
Is that everyone?
| 0y
| 1n
|
{
"texts": [
"Beyonce has stated that she is personally inspired by Michelle Obama"
],
"answer_starts": [
1452
]
}
|
{
"text": "Beyonce has stated that she is personally inspired by Michelle Obama",
"answer_start": 1452
}
|
C_97b0c650ab81497eb4dd8513b839b788_1
|
Beyoncé
|
Beyonce Giselle Knowles was born in Houston, Texas, to Celestine "Tina" Knowles (nee Beyince), a hairdresser and salon owner, and Mathew Knowles, a Xerox sales manager. Beyonce's name is a tribute to her mother's maiden name. Beyonce's younger sister Solange is also a singer and a former back up dancer for Destiny's Child.
|
Voice and songwriting
|
Jody Rosen highlights her tone and timbre as particularly distinctive, describing her voice as "one of the most compelling instruments in popular music". Her vocal abilities mean she is identified as the centerpiece of Destiny's Child. Jon Pareles of The New York Times commented that her voice is "velvety yet tart, with an insistent flutter and reserves of soul belting". Rosen notes that the hip hop era highly influenced Beyonce's unique rhythmic vocal style, but also finds her quite traditionalist in her use of balladry, gospel and falsetto. Other critics praise her range and power, with Chris Richards of The Washington Post saying she was "capable of punctuating any beat with goose-bump-inducing whispers or full-bore diva-roars." Beyonce's music is generally R&B, but she also incorporates pop, soul and funk into her songs. 4 demonstrated Beyonce's exploration of 1990s-style R&B, as well as further use of soul and hip hop than compared to previous releases. While she almost exclusively releases English songs, Beyonce recorded several Spanish songs for Irreemplazable (re-recordings of songs from B'Day for a Spanish-language audience), and the re-release of B'Day. To record these, Beyonce was coached phonetically by American record producer Rudy Perez. She has received co-writing credits for most of the songs recorded with Destiny's Child and her solo efforts. Her early songs were personally driven and female-empowerment themed compositions like "Independent Women" and "Survivor", but after the start of her relationship with Jay-Z, she transitioned to more man-tending anthems such as "Cater 2 U". Beyonce has also received co-producing credits for most of the records in which she has been involved, especially during her solo efforts. However, she does not formulate beats herself, but typically comes up with melodies and ideas during production, sharing them with producers. In 2001, she became the first black woman and second female lyricist to win the Pop Songwriter of the Year award at the American Society of Composers, Authors, and Publishers Pop Music Awards. Beyonce was the third woman to have writing credits on three number one songs ("Irreplaceable", "Grillz" and "Check on It") in the same year, after Carole King in 1971 and Mariah Carey in 1991. She is tied with American lyricist Diane Warren at third with nine song-writing credits on number-one singles. (The latter wrote her 9/11-motivated song "I Was Here" for 4.) In May 2011, Billboard magazine listed Beyonce at number 17 on their list of the "Top 20 Hot 100 Songwriters", for having co-written eight singles that hit number one on the Billboard Hot 100 chart. She was one of only three women on that list, along with Alicia Keys and Taylor Swift.
|
C_97b0c650ab81497eb4dd8513b839b788_1_q#0
|
What can you tell me about Beyonce's voice?
| 0y
| 2x
|
{
"texts": [
"her tone and timbre as particularly distinctive, describing her voice as \"one of the most compelling instruments in popular music\"."
],
"answer_starts": [
22
]
}
|
{
"text": "her tone and timbre as particularly distinctive, describing her voice as \"one of the most compelling instruments in popular music\".",
"answer_start": 22
}
|
C_97b0c650ab81497eb4dd8513b839b788_1
|
Beyoncé
|
Beyonce Giselle Knowles was born in Houston, Texas, to Celestine "Tina" Knowles (nee Beyince), a hairdresser and salon owner, and Mathew Knowles, a Xerox sales manager. Beyonce's name is a tribute to her mother's maiden name. Beyonce's younger sister Solange is also a singer and a former back up dancer for Destiny's Child.
|
Voice and songwriting
|
Jody Rosen highlights her tone and timbre as particularly distinctive, describing her voice as "one of the most compelling instruments in popular music". Her vocal abilities mean she is identified as the centerpiece of Destiny's Child. Jon Pareles of The New York Times commented that her voice is "velvety yet tart, with an insistent flutter and reserves of soul belting". Rosen notes that the hip hop era highly influenced Beyonce's unique rhythmic vocal style, but also finds her quite traditionalist in her use of balladry, gospel and falsetto. Other critics praise her range and power, with Chris Richards of The Washington Post saying she was "capable of punctuating any beat with goose-bump-inducing whispers or full-bore diva-roars." Beyonce's music is generally R&B, but she also incorporates pop, soul and funk into her songs. 4 demonstrated Beyonce's exploration of 1990s-style R&B, as well as further use of soul and hip hop than compared to previous releases. While she almost exclusively releases English songs, Beyonce recorded several Spanish songs for Irreemplazable (re-recordings of songs from B'Day for a Spanish-language audience), and the re-release of B'Day. To record these, Beyonce was coached phonetically by American record producer Rudy Perez. She has received co-writing credits for most of the songs recorded with Destiny's Child and her solo efforts. Her early songs were personally driven and female-empowerment themed compositions like "Independent Women" and "Survivor", but after the start of her relationship with Jay-Z, she transitioned to more man-tending anthems such as "Cater 2 U". Beyonce has also received co-producing credits for most of the records in which she has been involved, especially during her solo efforts. However, she does not formulate beats herself, but typically comes up with melodies and ideas during production, sharing them with producers. In 2001, she became the first black woman and second female lyricist to win the Pop Songwriter of the Year award at the American Society of Composers, Authors, and Publishers Pop Music Awards. Beyonce was the third woman to have writing credits on three number one songs ("Irreplaceable", "Grillz" and "Check on It") in the same year, after Carole King in 1971 and Mariah Carey in 1991. She is tied with American lyricist Diane Warren at third with nine song-writing credits on number-one singles. (The latter wrote her 9/11-motivated song "I Was Here" for 4.) In May 2011, Billboard magazine listed Beyonce at number 17 on their list of the "Top 20 Hot 100 Songwriters", for having co-written eight singles that hit number one on the Billboard Hot 100 chart. She was one of only three women on that list, along with Alicia Keys and Taylor Swift.
Q: What can you tell me about Beyonce's voice?
A: her tone and timbre as particularly distinctive, describing her voice as "one of the most compelling instruments in popular music".
|
C_97b0c650ab81497eb4dd8513b839b788_1_q#1
|
What are some other facts about her voice?
| 0y
| 2x
|
{
"texts": [
"Jon Pareles of The New York Times commented that her voice is \"velvety yet tart, with an insistent flutter and reserves of soul belting\"."
],
"answer_starts": [
236
]
}
|
{
"text": "Jon Pareles of The New York Times commented that her voice is \"velvety yet tart, with an insistent flutter and reserves of soul belting\".",
"answer_start": 236
}
|
C_97b0c650ab81497eb4dd8513b839b788_1
|
Beyoncé
|
Beyonce Giselle Knowles was born in Houston, Texas, to Celestine "Tina" Knowles (nee Beyince), a hairdresser and salon owner, and Mathew Knowles, a Xerox sales manager. Beyonce's name is a tribute to her mother's maiden name. Beyonce's younger sister Solange is also a singer and a former back up dancer for Destiny's Child.
|
Voice and songwriting
|
Jody Rosen highlights her tone and timbre as particularly distinctive, describing her voice as "one of the most compelling instruments in popular music". Her vocal abilities mean she is identified as the centerpiece of Destiny's Child. Jon Pareles of The New York Times commented that her voice is "velvety yet tart, with an insistent flutter and reserves of soul belting". Rosen notes that the hip hop era highly influenced Beyonce's unique rhythmic vocal style, but also finds her quite traditionalist in her use of balladry, gospel and falsetto. Other critics praise her range and power, with Chris Richards of The Washington Post saying she was "capable of punctuating any beat with goose-bump-inducing whispers or full-bore diva-roars." Beyonce's music is generally R&B, but she also incorporates pop, soul and funk into her songs. 4 demonstrated Beyonce's exploration of 1990s-style R&B, as well as further use of soul and hip hop than compared to previous releases. While she almost exclusively releases English songs, Beyonce recorded several Spanish songs for Irreemplazable (re-recordings of songs from B'Day for a Spanish-language audience), and the re-release of B'Day. To record these, Beyonce was coached phonetically by American record producer Rudy Perez. She has received co-writing credits for most of the songs recorded with Destiny's Child and her solo efforts. Her early songs were personally driven and female-empowerment themed compositions like "Independent Women" and "Survivor", but after the start of her relationship with Jay-Z, she transitioned to more man-tending anthems such as "Cater 2 U". Beyonce has also received co-producing credits for most of the records in which she has been involved, especially during her solo efforts. However, she does not formulate beats herself, but typically comes up with melodies and ideas during production, sharing them with producers. In 2001, she became the first black woman and second female lyricist to win the Pop Songwriter of the Year award at the American Society of Composers, Authors, and Publishers Pop Music Awards. Beyonce was the third woman to have writing credits on three number one songs ("Irreplaceable", "Grillz" and "Check on It") in the same year, after Carole King in 1971 and Mariah Carey in 1991. She is tied with American lyricist Diane Warren at third with nine song-writing credits on number-one singles. (The latter wrote her 9/11-motivated song "I Was Here" for 4.) In May 2011, Billboard magazine listed Beyonce at number 17 on their list of the "Top 20 Hot 100 Songwriters", for having co-written eight singles that hit number one on the Billboard Hot 100 chart. She was one of only three women on that list, along with Alicia Keys and Taylor Swift.
Q: What can you tell me about Beyonce's voice?
A: her tone and timbre as particularly distinctive, describing her voice as "one of the most compelling instruments in popular music".
Q: What are some other facts about her voice?
A: Jon Pareles of The New York Times commented that her voice is "velvety yet tart, with an insistent flutter and reserves of soul belting".
|
C_97b0c650ab81497eb4dd8513b839b788_1_q#2
|
What else can you tell me about her voice?
| 0y
| 2x
|
{
"texts": [
"Other critics praise her range and power, with Chris Richards of The Washington Post saying she was \"capable of punctuating any beat"
],
"answer_starts": [
549
]
}
|
{
"text": "Other critics praise her range and power, with Chris Richards of The Washington Post saying she was \"capable of punctuating any beat",
"answer_start": 549
}
|
C_97b0c650ab81497eb4dd8513b839b788_1
|
Beyoncé
|
Beyonce Giselle Knowles was born in Houston, Texas, to Celestine "Tina" Knowles (nee Beyince), a hairdresser and salon owner, and Mathew Knowles, a Xerox sales manager. Beyonce's name is a tribute to her mother's maiden name. Beyonce's younger sister Solange is also a singer and a former back up dancer for Destiny's Child.
|
Voice and songwriting
|
Jody Rosen highlights her tone and timbre as particularly distinctive, describing her voice as "one of the most compelling instruments in popular music". Her vocal abilities mean she is identified as the centerpiece of Destiny's Child. Jon Pareles of The New York Times commented that her voice is "velvety yet tart, with an insistent flutter and reserves of soul belting". Rosen notes that the hip hop era highly influenced Beyonce's unique rhythmic vocal style, but also finds her quite traditionalist in her use of balladry, gospel and falsetto. Other critics praise her range and power, with Chris Richards of The Washington Post saying she was "capable of punctuating any beat with goose-bump-inducing whispers or full-bore diva-roars." Beyonce's music is generally R&B, but she also incorporates pop, soul and funk into her songs. 4 demonstrated Beyonce's exploration of 1990s-style R&B, as well as further use of soul and hip hop than compared to previous releases. While she almost exclusively releases English songs, Beyonce recorded several Spanish songs for Irreemplazable (re-recordings of songs from B'Day for a Spanish-language audience), and the re-release of B'Day. To record these, Beyonce was coached phonetically by American record producer Rudy Perez. She has received co-writing credits for most of the songs recorded with Destiny's Child and her solo efforts. Her early songs were personally driven and female-empowerment themed compositions like "Independent Women" and "Survivor", but after the start of her relationship with Jay-Z, she transitioned to more man-tending anthems such as "Cater 2 U". Beyonce has also received co-producing credits for most of the records in which she has been involved, especially during her solo efforts. However, she does not formulate beats herself, but typically comes up with melodies and ideas during production, sharing them with producers. In 2001, she became the first black woman and second female lyricist to win the Pop Songwriter of the Year award at the American Society of Composers, Authors, and Publishers Pop Music Awards. Beyonce was the third woman to have writing credits on three number one songs ("Irreplaceable", "Grillz" and "Check on It") in the same year, after Carole King in 1971 and Mariah Carey in 1991. She is tied with American lyricist Diane Warren at third with nine song-writing credits on number-one singles. (The latter wrote her 9/11-motivated song "I Was Here" for 4.) In May 2011, Billboard magazine listed Beyonce at number 17 on their list of the "Top 20 Hot 100 Songwriters", for having co-written eight singles that hit number one on the Billboard Hot 100 chart. She was one of only three women on that list, along with Alicia Keys and Taylor Swift.
Q: What can you tell me about Beyonce's voice?
A: her tone and timbre as particularly distinctive, describing her voice as "one of the most compelling instruments in popular music".
Q: What are some other facts about her voice?
A: Jon Pareles of The New York Times commented that her voice is "velvety yet tart, with an insistent flutter and reserves of soul belting".
Q: What else can you tell me about her voice?
A: Other critics praise her range and power, with Chris Richards of The Washington Post saying she was "capable of punctuating any beat
|
C_97b0c650ab81497eb4dd8513b839b788_1_q#3
|
Is there any negative criticism about her voice?
| 1n
| 2x
|
{
"texts": [
"unknown"
],
"answer_starts": [
2754
]
}
|
{
"text": "unknown",
"answer_start": 2754
}
|
C_97b0c650ab81497eb4dd8513b839b788_1
|
Beyoncé
|
Beyonce Giselle Knowles was born in Houston, Texas, to Celestine "Tina" Knowles (nee Beyince), a hairdresser and salon owner, and Mathew Knowles, a Xerox sales manager. Beyonce's name is a tribute to her mother's maiden name. Beyonce's younger sister Solange is also a singer and a former back up dancer for Destiny's Child.
|
Voice and songwriting
|
Jody Rosen highlights her tone and timbre as particularly distinctive, describing her voice as "one of the most compelling instruments in popular music". Her vocal abilities mean she is identified as the centerpiece of Destiny's Child. Jon Pareles of The New York Times commented that her voice is "velvety yet tart, with an insistent flutter and reserves of soul belting". Rosen notes that the hip hop era highly influenced Beyonce's unique rhythmic vocal style, but also finds her quite traditionalist in her use of balladry, gospel and falsetto. Other critics praise her range and power, with Chris Richards of The Washington Post saying she was "capable of punctuating any beat with goose-bump-inducing whispers or full-bore diva-roars." Beyonce's music is generally R&B, but she also incorporates pop, soul and funk into her songs. 4 demonstrated Beyonce's exploration of 1990s-style R&B, as well as further use of soul and hip hop than compared to previous releases. While she almost exclusively releases English songs, Beyonce recorded several Spanish songs for Irreemplazable (re-recordings of songs from B'Day for a Spanish-language audience), and the re-release of B'Day. To record these, Beyonce was coached phonetically by American record producer Rudy Perez. She has received co-writing credits for most of the songs recorded with Destiny's Child and her solo efforts. Her early songs were personally driven and female-empowerment themed compositions like "Independent Women" and "Survivor", but after the start of her relationship with Jay-Z, she transitioned to more man-tending anthems such as "Cater 2 U". Beyonce has also received co-producing credits for most of the records in which she has been involved, especially during her solo efforts. However, she does not formulate beats herself, but typically comes up with melodies and ideas during production, sharing them with producers. In 2001, she became the first black woman and second female lyricist to win the Pop Songwriter of the Year award at the American Society of Composers, Authors, and Publishers Pop Music Awards. Beyonce was the third woman to have writing credits on three number one songs ("Irreplaceable", "Grillz" and "Check on It") in the same year, after Carole King in 1971 and Mariah Carey in 1991. She is tied with American lyricist Diane Warren at third with nine song-writing credits on number-one singles. (The latter wrote her 9/11-motivated song "I Was Here" for 4.) In May 2011, Billboard magazine listed Beyonce at number 17 on their list of the "Top 20 Hot 100 Songwriters", for having co-written eight singles that hit number one on the Billboard Hot 100 chart. She was one of only three women on that list, along with Alicia Keys and Taylor Swift.
Q: What can you tell me about Beyonce's voice?
A: her tone and timbre as particularly distinctive, describing her voice as "one of the most compelling instruments in popular music".
Q: What are some other facts about her voice?
A: Jon Pareles of The New York Times commented that her voice is "velvety yet tart, with an insistent flutter and reserves of soul belting".
Q: What else can you tell me about her voice?
A: Other critics praise her range and power, with Chris Richards of The Washington Post saying she was "capable of punctuating any beat
Q: Is there any negative criticism about her voice?
A: unknown
|
C_97b0c650ab81497eb4dd8513b839b788_1_q#4
|
Did she write songs?
| 0y
| 0y
|
{
"texts": [
"She has received co-writing credits for most of the songs recorded with Destiny's Child and her solo efforts."
],
"answer_starts": [
1274
]
}
|
{
"text": "She has received co-writing credits for most of the songs recorded with Destiny's Child and her solo efforts.",
"answer_start": 1274
}
|
C_97b0c650ab81497eb4dd8513b839b788_1
|
Beyoncé
|
Beyonce Giselle Knowles was born in Houston, Texas, to Celestine "Tina" Knowles (nee Beyince), a hairdresser and salon owner, and Mathew Knowles, a Xerox sales manager. Beyonce's name is a tribute to her mother's maiden name. Beyonce's younger sister Solange is also a singer and a former back up dancer for Destiny's Child.
|
Voice and songwriting
|
Jody Rosen highlights her tone and timbre as particularly distinctive, describing her voice as "one of the most compelling instruments in popular music". Her vocal abilities mean she is identified as the centerpiece of Destiny's Child. Jon Pareles of The New York Times commented that her voice is "velvety yet tart, with an insistent flutter and reserves of soul belting". Rosen notes that the hip hop era highly influenced Beyonce's unique rhythmic vocal style, but also finds her quite traditionalist in her use of balladry, gospel and falsetto. Other critics praise her range and power, with Chris Richards of The Washington Post saying she was "capable of punctuating any beat with goose-bump-inducing whispers or full-bore diva-roars." Beyonce's music is generally R&B, but she also incorporates pop, soul and funk into her songs. 4 demonstrated Beyonce's exploration of 1990s-style R&B, as well as further use of soul and hip hop than compared to previous releases. While she almost exclusively releases English songs, Beyonce recorded several Spanish songs for Irreemplazable (re-recordings of songs from B'Day for a Spanish-language audience), and the re-release of B'Day. To record these, Beyonce was coached phonetically by American record producer Rudy Perez. She has received co-writing credits for most of the songs recorded with Destiny's Child and her solo efforts. Her early songs were personally driven and female-empowerment themed compositions like "Independent Women" and "Survivor", but after the start of her relationship with Jay-Z, she transitioned to more man-tending anthems such as "Cater 2 U". Beyonce has also received co-producing credits for most of the records in which she has been involved, especially during her solo efforts. However, she does not formulate beats herself, but typically comes up with melodies and ideas during production, sharing them with producers. In 2001, she became the first black woman and second female lyricist to win the Pop Songwriter of the Year award at the American Society of Composers, Authors, and Publishers Pop Music Awards. Beyonce was the third woman to have writing credits on three number one songs ("Irreplaceable", "Grillz" and "Check on It") in the same year, after Carole King in 1971 and Mariah Carey in 1991. She is tied with American lyricist Diane Warren at third with nine song-writing credits on number-one singles. (The latter wrote her 9/11-motivated song "I Was Here" for 4.) In May 2011, Billboard magazine listed Beyonce at number 17 on their list of the "Top 20 Hot 100 Songwriters", for having co-written eight singles that hit number one on the Billboard Hot 100 chart. She was one of only three women on that list, along with Alicia Keys and Taylor Swift.
Q: What can you tell me about Beyonce's voice?
A: her tone and timbre as particularly distinctive, describing her voice as "one of the most compelling instruments in popular music".
Q: What are some other facts about her voice?
A: Jon Pareles of The New York Times commented that her voice is "velvety yet tart, with an insistent flutter and reserves of soul belting".
Q: What else can you tell me about her voice?
A: Other critics praise her range and power, with Chris Richards of The Washington Post saying she was "capable of punctuating any beat
Q: Is there any negative criticism about her voice?
A: unknown
Q: Did she write songs?
A: She has received co-writing credits for most of the songs recorded with Destiny's Child and her solo efforts.
|
C_97b0c650ab81497eb4dd8513b839b788_1_q#5
|
Did she write any other songs?
| 0y
| 2x
|
{
"texts": [
"In 2001, she became the first black woman and second female lyricist to win the Pop Songwriter of the Year award at the American Society of Composers,"
],
"answer_starts": [
1907
]
}
|
{
"text": "In 2001, she became the first black woman and second female lyricist to win the Pop Songwriter of the Year award at the American Society of Composers,",
"answer_start": 1907
}
|
C_97b0c650ab81497eb4dd8513b839b788_1
|
Beyoncé
|
Beyonce Giselle Knowles was born in Houston, Texas, to Celestine "Tina" Knowles (nee Beyince), a hairdresser and salon owner, and Mathew Knowles, a Xerox sales manager. Beyonce's name is a tribute to her mother's maiden name. Beyonce's younger sister Solange is also a singer and a former back up dancer for Destiny's Child.
|
Voice and songwriting
|
Jody Rosen highlights her tone and timbre as particularly distinctive, describing her voice as "one of the most compelling instruments in popular music". Her vocal abilities mean she is identified as the centerpiece of Destiny's Child. Jon Pareles of The New York Times commented that her voice is "velvety yet tart, with an insistent flutter and reserves of soul belting". Rosen notes that the hip hop era highly influenced Beyonce's unique rhythmic vocal style, but also finds her quite traditionalist in her use of balladry, gospel and falsetto. Other critics praise her range and power, with Chris Richards of The Washington Post saying she was "capable of punctuating any beat with goose-bump-inducing whispers or full-bore diva-roars." Beyonce's music is generally R&B, but she also incorporates pop, soul and funk into her songs. 4 demonstrated Beyonce's exploration of 1990s-style R&B, as well as further use of soul and hip hop than compared to previous releases. While she almost exclusively releases English songs, Beyonce recorded several Spanish songs for Irreemplazable (re-recordings of songs from B'Day for a Spanish-language audience), and the re-release of B'Day. To record these, Beyonce was coached phonetically by American record producer Rudy Perez. She has received co-writing credits for most of the songs recorded with Destiny's Child and her solo efforts. Her early songs were personally driven and female-empowerment themed compositions like "Independent Women" and "Survivor", but after the start of her relationship with Jay-Z, she transitioned to more man-tending anthems such as "Cater 2 U". Beyonce has also received co-producing credits for most of the records in which she has been involved, especially during her solo efforts. However, she does not formulate beats herself, but typically comes up with melodies and ideas during production, sharing them with producers. In 2001, she became the first black woman and second female lyricist to win the Pop Songwriter of the Year award at the American Society of Composers, Authors, and Publishers Pop Music Awards. Beyonce was the third woman to have writing credits on three number one songs ("Irreplaceable", "Grillz" and "Check on It") in the same year, after Carole King in 1971 and Mariah Carey in 1991. She is tied with American lyricist Diane Warren at third with nine song-writing credits on number-one singles. (The latter wrote her 9/11-motivated song "I Was Here" for 4.) In May 2011, Billboard magazine listed Beyonce at number 17 on their list of the "Top 20 Hot 100 Songwriters", for having co-written eight singles that hit number one on the Billboard Hot 100 chart. She was one of only three women on that list, along with Alicia Keys and Taylor Swift.
Q: What can you tell me about Beyonce's voice?
A: her tone and timbre as particularly distinctive, describing her voice as "one of the most compelling instruments in popular music".
Q: What are some other facts about her voice?
A: Jon Pareles of The New York Times commented that her voice is "velvety yet tart, with an insistent flutter and reserves of soul belting".
Q: What else can you tell me about her voice?
A: Other critics praise her range and power, with Chris Richards of The Washington Post saying she was "capable of punctuating any beat
Q: Is there any negative criticism about her voice?
A: unknown
Q: Did she write songs?
A: She has received co-writing credits for most of the songs recorded with Destiny's Child and her solo efforts.
Q: Did she write any other songs?
A: In 2001, she became the first black woman and second female lyricist to win the Pop Songwriter of the Year award at the American Society of Composers,
|
C_97b0c650ab81497eb4dd8513b839b788_1_q#6
|
Did she win any other awards?
| 0y
| 0y
|
{
"texts": [
"Billboard magazine listed Beyonce at number 17 on their list of the \"Top 20 Hot 100 Songwriters\","
],
"answer_starts": [
2481
]
}
|
{
"text": "Billboard magazine listed Beyonce at number 17 on their list of the \"Top 20 Hot 100 Songwriters\",",
"answer_start": 2481
}
|
C_97b0c650ab81497eb4dd8513b839b788_1
|
Beyoncé
|
Beyonce Giselle Knowles was born in Houston, Texas, to Celestine "Tina" Knowles (nee Beyince), a hairdresser and salon owner, and Mathew Knowles, a Xerox sales manager. Beyonce's name is a tribute to her mother's maiden name. Beyonce's younger sister Solange is also a singer and a former back up dancer for Destiny's Child.
|
Voice and songwriting
|
Jody Rosen highlights her tone and timbre as particularly distinctive, describing her voice as "one of the most compelling instruments in popular music". Her vocal abilities mean she is identified as the centerpiece of Destiny's Child. Jon Pareles of The New York Times commented that her voice is "velvety yet tart, with an insistent flutter and reserves of soul belting". Rosen notes that the hip hop era highly influenced Beyonce's unique rhythmic vocal style, but also finds her quite traditionalist in her use of balladry, gospel and falsetto. Other critics praise her range and power, with Chris Richards of The Washington Post saying she was "capable of punctuating any beat with goose-bump-inducing whispers or full-bore diva-roars." Beyonce's music is generally R&B, but she also incorporates pop, soul and funk into her songs. 4 demonstrated Beyonce's exploration of 1990s-style R&B, as well as further use of soul and hip hop than compared to previous releases. While she almost exclusively releases English songs, Beyonce recorded several Spanish songs for Irreemplazable (re-recordings of songs from B'Day for a Spanish-language audience), and the re-release of B'Day. To record these, Beyonce was coached phonetically by American record producer Rudy Perez. She has received co-writing credits for most of the songs recorded with Destiny's Child and her solo efforts. Her early songs were personally driven and female-empowerment themed compositions like "Independent Women" and "Survivor", but after the start of her relationship with Jay-Z, she transitioned to more man-tending anthems such as "Cater 2 U". Beyonce has also received co-producing credits for most of the records in which she has been involved, especially during her solo efforts. However, she does not formulate beats herself, but typically comes up with melodies and ideas during production, sharing them with producers. In 2001, she became the first black woman and second female lyricist to win the Pop Songwriter of the Year award at the American Society of Composers, Authors, and Publishers Pop Music Awards. Beyonce was the third woman to have writing credits on three number one songs ("Irreplaceable", "Grillz" and "Check on It") in the same year, after Carole King in 1971 and Mariah Carey in 1991. She is tied with American lyricist Diane Warren at third with nine song-writing credits on number-one singles. (The latter wrote her 9/11-motivated song "I Was Here" for 4.) In May 2011, Billboard magazine listed Beyonce at number 17 on their list of the "Top 20 Hot 100 Songwriters", for having co-written eight singles that hit number one on the Billboard Hot 100 chart. She was one of only three women on that list, along with Alicia Keys and Taylor Swift.
Q: What can you tell me about Beyonce's voice?
A: her tone and timbre as particularly distinctive, describing her voice as "one of the most compelling instruments in popular music".
Q: What are some other facts about her voice?
A: Jon Pareles of The New York Times commented that her voice is "velvety yet tart, with an insistent flutter and reserves of soul belting".
Q: What else can you tell me about her voice?
A: Other critics praise her range and power, with Chris Richards of The Washington Post saying she was "capable of punctuating any beat
Q: Is there any negative criticism about her voice?
A: unknown
Q: Did she write songs?
A: She has received co-writing credits for most of the songs recorded with Destiny's Child and her solo efforts.
Q: Did she write any other songs?
A: In 2001, she became the first black woman and second female lyricist to win the Pop Songwriter of the Year award at the American Society of Composers,
Q: Did she win any other awards?
A: Billboard magazine listed Beyonce at number 17 on their list of the "Top 20 Hot 100 Songwriters",
|
C_97b0c650ab81497eb4dd8513b839b788_1_q#7
|
Did she ever write songs for a movie or film?
| 1n
| 2x
|
{
"texts": [
"unknown"
],
"answer_starts": [
2754
]
}
|
{
"text": "unknown",
"answer_start": 2754
}
|
C_97b0c650ab81497eb4dd8513b839b788_1
|
Beyoncé
|
Beyonce Giselle Knowles was born in Houston, Texas, to Celestine "Tina" Knowles (nee Beyince), a hairdresser and salon owner, and Mathew Knowles, a Xerox sales manager. Beyonce's name is a tribute to her mother's maiden name. Beyonce's younger sister Solange is also a singer and a former back up dancer for Destiny's Child.
|
Voice and songwriting
|
Jody Rosen highlights her tone and timbre as particularly distinctive, describing her voice as "one of the most compelling instruments in popular music". Her vocal abilities mean she is identified as the centerpiece of Destiny's Child. Jon Pareles of The New York Times commented that her voice is "velvety yet tart, with an insistent flutter and reserves of soul belting". Rosen notes that the hip hop era highly influenced Beyonce's unique rhythmic vocal style, but also finds her quite traditionalist in her use of balladry, gospel and falsetto. Other critics praise her range and power, with Chris Richards of The Washington Post saying she was "capable of punctuating any beat with goose-bump-inducing whispers or full-bore diva-roars." Beyonce's music is generally R&B, but she also incorporates pop, soul and funk into her songs. 4 demonstrated Beyonce's exploration of 1990s-style R&B, as well as further use of soul and hip hop than compared to previous releases. While she almost exclusively releases English songs, Beyonce recorded several Spanish songs for Irreemplazable (re-recordings of songs from B'Day for a Spanish-language audience), and the re-release of B'Day. To record these, Beyonce was coached phonetically by American record producer Rudy Perez. She has received co-writing credits for most of the songs recorded with Destiny's Child and her solo efforts. Her early songs were personally driven and female-empowerment themed compositions like "Independent Women" and "Survivor", but after the start of her relationship with Jay-Z, she transitioned to more man-tending anthems such as "Cater 2 U". Beyonce has also received co-producing credits for most of the records in which she has been involved, especially during her solo efforts. However, she does not formulate beats herself, but typically comes up with melodies and ideas during production, sharing them with producers. In 2001, she became the first black woman and second female lyricist to win the Pop Songwriter of the Year award at the American Society of Composers, Authors, and Publishers Pop Music Awards. Beyonce was the third woman to have writing credits on three number one songs ("Irreplaceable", "Grillz" and "Check on It") in the same year, after Carole King in 1971 and Mariah Carey in 1991. She is tied with American lyricist Diane Warren at third with nine song-writing credits on number-one singles. (The latter wrote her 9/11-motivated song "I Was Here" for 4.) In May 2011, Billboard magazine listed Beyonce at number 17 on their list of the "Top 20 Hot 100 Songwriters", for having co-written eight singles that hit number one on the Billboard Hot 100 chart. She was one of only three women on that list, along with Alicia Keys and Taylor Swift.
Q: What can you tell me about Beyonce's voice?
A: her tone and timbre as particularly distinctive, describing her voice as "one of the most compelling instruments in popular music".
Q: What are some other facts about her voice?
A: Jon Pareles of The New York Times commented that her voice is "velvety yet tart, with an insistent flutter and reserves of soul belting".
Q: What else can you tell me about her voice?
A: Other critics praise her range and power, with Chris Richards of The Washington Post saying she was "capable of punctuating any beat
Q: Is there any negative criticism about her voice?
A: unknown
Q: Did she write songs?
A: She has received co-writing credits for most of the songs recorded with Destiny's Child and her solo efforts.
Q: Did she write any other songs?
A: In 2001, she became the first black woman and second female lyricist to win the Pop Songwriter of the Year award at the American Society of Composers,
Q: Did she win any other awards?
A: Billboard magazine listed Beyonce at number 17 on their list of the "Top 20 Hot 100 Songwriters",
Q: Did she ever write songs for a movie or film?
A: unknown
|
C_97b0c650ab81497eb4dd8513b839b788_1_q#8
|
Are there any other aspects of the article that are related to her voice or songwriting?
| 0y
| 2x
|
{
"texts": [
"female-empowerment themed compositions like \"Independent Women\" and \"Survivor\", but after the start of her relationship with Jay-Z, she transitioned to more man-tending anthems such as \"Cater 2 U\"."
],
"answer_starts": [
1427
]
}
|
{
"text": "female-empowerment themed compositions like \"Independent Women\" and \"Survivor\", but after the start of her relationship with Jay-Z, she transitioned to more man-tending anthems such as \"Cater 2 U\".",
"answer_start": 1427
}
|
C_97b0c650ab81497eb4dd8513b839b788_1
|
Beyoncé
|
Beyonce Giselle Knowles was born in Houston, Texas, to Celestine "Tina" Knowles (nee Beyince), a hairdresser and salon owner, and Mathew Knowles, a Xerox sales manager. Beyonce's name is a tribute to her mother's maiden name. Beyonce's younger sister Solange is also a singer and a former back up dancer for Destiny's Child.
|
Voice and songwriting
|
Jody Rosen highlights her tone and timbre as particularly distinctive, describing her voice as "one of the most compelling instruments in popular music". Her vocal abilities mean she is identified as the centerpiece of Destiny's Child. Jon Pareles of The New York Times commented that her voice is "velvety yet tart, with an insistent flutter and reserves of soul belting". Rosen notes that the hip hop era highly influenced Beyonce's unique rhythmic vocal style, but also finds her quite traditionalist in her use of balladry, gospel and falsetto. Other critics praise her range and power, with Chris Richards of The Washington Post saying she was "capable of punctuating any beat with goose-bump-inducing whispers or full-bore diva-roars." Beyonce's music is generally R&B, but she also incorporates pop, soul and funk into her songs. 4 demonstrated Beyonce's exploration of 1990s-style R&B, as well as further use of soul and hip hop than compared to previous releases. While she almost exclusively releases English songs, Beyonce recorded several Spanish songs for Irreemplazable (re-recordings of songs from B'Day for a Spanish-language audience), and the re-release of B'Day. To record these, Beyonce was coached phonetically by American record producer Rudy Perez. She has received co-writing credits for most of the songs recorded with Destiny's Child and her solo efforts. Her early songs were personally driven and female-empowerment themed compositions like "Independent Women" and "Survivor", but after the start of her relationship with Jay-Z, she transitioned to more man-tending anthems such as "Cater 2 U". Beyonce has also received co-producing credits for most of the records in which she has been involved, especially during her solo efforts. However, she does not formulate beats herself, but typically comes up with melodies and ideas during production, sharing them with producers. In 2001, she became the first black woman and second female lyricist to win the Pop Songwriter of the Year award at the American Society of Composers, Authors, and Publishers Pop Music Awards. Beyonce was the third woman to have writing credits on three number one songs ("Irreplaceable", "Grillz" and "Check on It") in the same year, after Carole King in 1971 and Mariah Carey in 1991. She is tied with American lyricist Diane Warren at third with nine song-writing credits on number-one singles. (The latter wrote her 9/11-motivated song "I Was Here" for 4.) In May 2011, Billboard magazine listed Beyonce at number 17 on their list of the "Top 20 Hot 100 Songwriters", for having co-written eight singles that hit number one on the Billboard Hot 100 chart. She was one of only three women on that list, along with Alicia Keys and Taylor Swift.
Q: What can you tell me about Beyonce's voice?
A: her tone and timbre as particularly distinctive, describing her voice as "one of the most compelling instruments in popular music".
Q: What are some other facts about her voice?
A: Jon Pareles of The New York Times commented that her voice is "velvety yet tart, with an insistent flutter and reserves of soul belting".
Q: What else can you tell me about her voice?
A: Other critics praise her range and power, with Chris Richards of The Washington Post saying she was "capable of punctuating any beat
Q: Is there any negative criticism about her voice?
A: unknown
Q: Did she write songs?
A: She has received co-writing credits for most of the songs recorded with Destiny's Child and her solo efforts.
Q: Did she write any other songs?
A: In 2001, she became the first black woman and second female lyricist to win the Pop Songwriter of the Year award at the American Society of Composers,
Q: Did she win any other awards?
A: Billboard magazine listed Beyonce at number 17 on their list of the "Top 20 Hot 100 Songwriters",
Q: Did she ever write songs for a movie or film?
A: unknown
Q: Are there any other aspects of the article that are related to her voice or songwriting?
A: female-empowerment themed compositions like "Independent Women" and "Survivor", but after the start of her relationship with Jay-Z, she transitioned to more man-tending anthems such as "Cater 2 U".
|
C_97b0c650ab81497eb4dd8513b839b788_1_q#9
|
What kind of feedback did she receive from her fans?
| 1n
| 2x
|
{
"texts": [
"unknown"
],
"answer_starts": [
2754
]
}
|
{
"text": "unknown",
"answer_start": 2754
}
|
C_68a7ed5781ac4c04aaaa3f72ea29c491_1
|
Om Shanti Om
|
Om Shanti Om (Hindi pronunciation: [o:m Sa:ntI o:m]) is a 2007 Indian romantic melodrama film directed and co-written by Farah Khan with Mayur Puri and Mushtaq Shiekh. It stars Shah Rukh Khan as Om, a junior artist of the 1970s who has a crush on a secretly married superstar, played by Deepika Padukone. Her husband, a producer played by Arjun Rampal, kills her in a fire;
|
Casting
|
Shah Rukh was cast as the lead; he gained six packs for a song sequence. He felt Om Shanti Om was a "happy film". Farah was advised by Malaika Arora to cast Padukone as the female lead, who was suggested by Wendell Roddick, under whom Padukone was working. She was cast without a screen test. Khan felt that she was "a beautiful, classic Indian beauty" who fit the role of an actor of the 1970s. She was excited at the prospect of working with Shah Rukh and said, "I've grown up watching [Shah Rukh] and always admired him so much. To get to work with him ... is quite wonderful. It was also fantastic that Farah showed faith in my talent and cast me opposite him." In preparation for her role, Padukone watched several films of actresses Helen and Hema Malini to study their body language. Her character was modelled after Malini and nicknamed Dreamy Girl after her the latter's nickname as Dream Girl. Rampal was approached by both Khan amd Shah Rukh at the latter's New Years Eve party. Rampal was initially reluctant to do the role as he felt it was "too evil" for someone like him. With persuasion from Shah Rukh, he agreed. Rampal wore a mustache in the film which was suggested by Shah Rukh. Shreyas Talpade played a supporting role as the best friend of Khan's character. After the release of Iqbal (2005) and completing the filming of Dor, Talpade, who attended the same gym as Khan, was called for a narration of what would be Om Shanti Om. He agreed to do the role. Kirron Kher, Bindu and Javed Sheikh also appear in the film. 31 Bollywood film actors appeared in cameo appearances for the song "Deewangi Deewangi". Other actors were also supposed to play cameos, including Fardeen Khan, who was arrested at Dubai airport in a drug case. Dev Anand refused as he always played lead roles in his career. Dilip Kumar and Saira Banu didn't appear in the song, despite plans to include them. Amitabh Bachchan refused due to his son's wedding, while Aamir Khan refused due to Taare Zameen Par's (2007) pending editing. Khan hsd wanted the three Khans to appear together in a film. Rekha, who appears in the song, carried out 2 days of rehearsal for it. All those who appeared for the song received gifts, including a Blackberry phone and a Tag Heuer watch.
|
C_68a7ed5781ac4c04aaaa3f72ea29c491_1_q#0
|
Who was cast for a role?
| 0y
| 2x
|
{
"texts": [
"Shah Rukh was cast as the lead;"
],
"answer_starts": [
0
]
}
|
{
"text": "Shah Rukh was cast as the lead;",
"answer_start": 0
}
|
C_68a7ed5781ac4c04aaaa3f72ea29c491_1
|
Om Shanti Om
|
Om Shanti Om (Hindi pronunciation: [o:m Sa:ntI o:m]) is a 2007 Indian romantic melodrama film directed and co-written by Farah Khan with Mayur Puri and Mushtaq Shiekh. It stars Shah Rukh Khan as Om, a junior artist of the 1970s who has a crush on a secretly married superstar, played by Deepika Padukone. Her husband, a producer played by Arjun Rampal, kills her in a fire;
|
Casting
|
Shah Rukh was cast as the lead; he gained six packs for a song sequence. He felt Om Shanti Om was a "happy film". Farah was advised by Malaika Arora to cast Padukone as the female lead, who was suggested by Wendell Roddick, under whom Padukone was working. She was cast without a screen test. Khan felt that she was "a beautiful, classic Indian beauty" who fit the role of an actor of the 1970s. She was excited at the prospect of working with Shah Rukh and said, "I've grown up watching [Shah Rukh] and always admired him so much. To get to work with him ... is quite wonderful. It was also fantastic that Farah showed faith in my talent and cast me opposite him." In preparation for her role, Padukone watched several films of actresses Helen and Hema Malini to study their body language. Her character was modelled after Malini and nicknamed Dreamy Girl after her the latter's nickname as Dream Girl. Rampal was approached by both Khan amd Shah Rukh at the latter's New Years Eve party. Rampal was initially reluctant to do the role as he felt it was "too evil" for someone like him. With persuasion from Shah Rukh, he agreed. Rampal wore a mustache in the film which was suggested by Shah Rukh. Shreyas Talpade played a supporting role as the best friend of Khan's character. After the release of Iqbal (2005) and completing the filming of Dor, Talpade, who attended the same gym as Khan, was called for a narration of what would be Om Shanti Om. He agreed to do the role. Kirron Kher, Bindu and Javed Sheikh also appear in the film. 31 Bollywood film actors appeared in cameo appearances for the song "Deewangi Deewangi". Other actors were also supposed to play cameos, including Fardeen Khan, who was arrested at Dubai airport in a drug case. Dev Anand refused as he always played lead roles in his career. Dilip Kumar and Saira Banu didn't appear in the song, despite plans to include them. Amitabh Bachchan refused due to his son's wedding, while Aamir Khan refused due to Taare Zameen Par's (2007) pending editing. Khan hsd wanted the three Khans to appear together in a film. Rekha, who appears in the song, carried out 2 days of rehearsal for it. All those who appeared for the song received gifts, including a Blackberry phone and a Tag Heuer watch.
Q: Who was cast for a role?
A: Shah Rukh was cast as the lead;
|
C_68a7ed5781ac4c04aaaa3f72ea29c491_1_q#1
|
What was the lead character?
| 2m
| 2x
|
{
"texts": [
"Om Shanti"
],
"answer_starts": [
81
]
}
|
{
"text": "Om Shanti",
"answer_start": 81
}
|
C_68a7ed5781ac4c04aaaa3f72ea29c491_1
|
Om Shanti Om
|
Om Shanti Om (Hindi pronunciation: [o:m Sa:ntI o:m]) is a 2007 Indian romantic melodrama film directed and co-written by Farah Khan with Mayur Puri and Mushtaq Shiekh. It stars Shah Rukh Khan as Om, a junior artist of the 1970s who has a crush on a secretly married superstar, played by Deepika Padukone. Her husband, a producer played by Arjun Rampal, kills her in a fire;
|
Casting
|
Shah Rukh was cast as the lead; he gained six packs for a song sequence. He felt Om Shanti Om was a "happy film". Farah was advised by Malaika Arora to cast Padukone as the female lead, who was suggested by Wendell Roddick, under whom Padukone was working. She was cast without a screen test. Khan felt that she was "a beautiful, classic Indian beauty" who fit the role of an actor of the 1970s. She was excited at the prospect of working with Shah Rukh and said, "I've grown up watching [Shah Rukh] and always admired him so much. To get to work with him ... is quite wonderful. It was also fantastic that Farah showed faith in my talent and cast me opposite him." In preparation for her role, Padukone watched several films of actresses Helen and Hema Malini to study their body language. Her character was modelled after Malini and nicknamed Dreamy Girl after her the latter's nickname as Dream Girl. Rampal was approached by both Khan amd Shah Rukh at the latter's New Years Eve party. Rampal was initially reluctant to do the role as he felt it was "too evil" for someone like him. With persuasion from Shah Rukh, he agreed. Rampal wore a mustache in the film which was suggested by Shah Rukh. Shreyas Talpade played a supporting role as the best friend of Khan's character. After the release of Iqbal (2005) and completing the filming of Dor, Talpade, who attended the same gym as Khan, was called for a narration of what would be Om Shanti Om. He agreed to do the role. Kirron Kher, Bindu and Javed Sheikh also appear in the film. 31 Bollywood film actors appeared in cameo appearances for the song "Deewangi Deewangi". Other actors were also supposed to play cameos, including Fardeen Khan, who was arrested at Dubai airport in a drug case. Dev Anand refused as he always played lead roles in his career. Dilip Kumar and Saira Banu didn't appear in the song, despite plans to include them. Amitabh Bachchan refused due to his son's wedding, while Aamir Khan refused due to Taare Zameen Par's (2007) pending editing. Khan hsd wanted the three Khans to appear together in a film. Rekha, who appears in the song, carried out 2 days of rehearsal for it. All those who appeared for the song received gifts, including a Blackberry phone and a Tag Heuer watch.
Q: Who was cast for a role?
A: Shah Rukh was cast as the lead;
Q: What was the lead character?
A: Om Shanti
|
C_68a7ed5781ac4c04aaaa3f72ea29c491_1_q#2
|
Are there any other interesting aspects about this article?
| 0y
| 2x
|
{
"texts": [
"In preparation for her role, Padukone watched several films of actresses Helen and Hema Malini to study their body language."
],
"answer_starts": [
667
]
}
|
{
"text": "In preparation for her role, Padukone watched several films of actresses Helen and Hema Malini to study their body language.",
"answer_start": 667
}
|
C_68a7ed5781ac4c04aaaa3f72ea29c491_1
|
Om Shanti Om
|
Om Shanti Om (Hindi pronunciation: [o:m Sa:ntI o:m]) is a 2007 Indian romantic melodrama film directed and co-written by Farah Khan with Mayur Puri and Mushtaq Shiekh. It stars Shah Rukh Khan as Om, a junior artist of the 1970s who has a crush on a secretly married superstar, played by Deepika Padukone. Her husband, a producer played by Arjun Rampal, kills her in a fire;
|
Casting
|
Shah Rukh was cast as the lead; he gained six packs for a song sequence. He felt Om Shanti Om was a "happy film". Farah was advised by Malaika Arora to cast Padukone as the female lead, who was suggested by Wendell Roddick, under whom Padukone was working. She was cast without a screen test. Khan felt that she was "a beautiful, classic Indian beauty" who fit the role of an actor of the 1970s. She was excited at the prospect of working with Shah Rukh and said, "I've grown up watching [Shah Rukh] and always admired him so much. To get to work with him ... is quite wonderful. It was also fantastic that Farah showed faith in my talent and cast me opposite him." In preparation for her role, Padukone watched several films of actresses Helen and Hema Malini to study their body language. Her character was modelled after Malini and nicknamed Dreamy Girl after her the latter's nickname as Dream Girl. Rampal was approached by both Khan amd Shah Rukh at the latter's New Years Eve party. Rampal was initially reluctant to do the role as he felt it was "too evil" for someone like him. With persuasion from Shah Rukh, he agreed. Rampal wore a mustache in the film which was suggested by Shah Rukh. Shreyas Talpade played a supporting role as the best friend of Khan's character. After the release of Iqbal (2005) and completing the filming of Dor, Talpade, who attended the same gym as Khan, was called for a narration of what would be Om Shanti Om. He agreed to do the role. Kirron Kher, Bindu and Javed Sheikh also appear in the film. 31 Bollywood film actors appeared in cameo appearances for the song "Deewangi Deewangi". Other actors were also supposed to play cameos, including Fardeen Khan, who was arrested at Dubai airport in a drug case. Dev Anand refused as he always played lead roles in his career. Dilip Kumar and Saira Banu didn't appear in the song, despite plans to include them. Amitabh Bachchan refused due to his son's wedding, while Aamir Khan refused due to Taare Zameen Par's (2007) pending editing. Khan hsd wanted the three Khans to appear together in a film. Rekha, who appears in the song, carried out 2 days of rehearsal for it. All those who appeared for the song received gifts, including a Blackberry phone and a Tag Heuer watch.
Q: Who was cast for a role?
A: Shah Rukh was cast as the lead;
Q: What was the lead character?
A: Om Shanti
Q: Are there any other interesting aspects about this article?
A: In preparation for her role, Padukone watched several films of actresses Helen and Hema Malini to study their body language.
|
C_68a7ed5781ac4c04aaaa3f72ea29c491_1_q#3
|
What other work are they known for?
| 1n
| 2x
|
{
"texts": [
"unknown"
],
"answer_starts": [
2264
]
}
|
{
"text": "unknown",
"answer_start": 2264
}
|
C_68a7ed5781ac4c04aaaa3f72ea29c491_1
|
Om Shanti Om
|
Om Shanti Om (Hindi pronunciation: [o:m Sa:ntI o:m]) is a 2007 Indian romantic melodrama film directed and co-written by Farah Khan with Mayur Puri and Mushtaq Shiekh. It stars Shah Rukh Khan as Om, a junior artist of the 1970s who has a crush on a secretly married superstar, played by Deepika Padukone. Her husband, a producer played by Arjun Rampal, kills her in a fire;
|
Casting
|
Shah Rukh was cast as the lead; he gained six packs for a song sequence. He felt Om Shanti Om was a "happy film". Farah was advised by Malaika Arora to cast Padukone as the female lead, who was suggested by Wendell Roddick, under whom Padukone was working. She was cast without a screen test. Khan felt that she was "a beautiful, classic Indian beauty" who fit the role of an actor of the 1970s. She was excited at the prospect of working with Shah Rukh and said, "I've grown up watching [Shah Rukh] and always admired him so much. To get to work with him ... is quite wonderful. It was also fantastic that Farah showed faith in my talent and cast me opposite him." In preparation for her role, Padukone watched several films of actresses Helen and Hema Malini to study their body language. Her character was modelled after Malini and nicknamed Dreamy Girl after her the latter's nickname as Dream Girl. Rampal was approached by both Khan amd Shah Rukh at the latter's New Years Eve party. Rampal was initially reluctant to do the role as he felt it was "too evil" for someone like him. With persuasion from Shah Rukh, he agreed. Rampal wore a mustache in the film which was suggested by Shah Rukh. Shreyas Talpade played a supporting role as the best friend of Khan's character. After the release of Iqbal (2005) and completing the filming of Dor, Talpade, who attended the same gym as Khan, was called for a narration of what would be Om Shanti Om. He agreed to do the role. Kirron Kher, Bindu and Javed Sheikh also appear in the film. 31 Bollywood film actors appeared in cameo appearances for the song "Deewangi Deewangi". Other actors were also supposed to play cameos, including Fardeen Khan, who was arrested at Dubai airport in a drug case. Dev Anand refused as he always played lead roles in his career. Dilip Kumar and Saira Banu didn't appear in the song, despite plans to include them. Amitabh Bachchan refused due to his son's wedding, while Aamir Khan refused due to Taare Zameen Par's (2007) pending editing. Khan hsd wanted the three Khans to appear together in a film. Rekha, who appears in the song, carried out 2 days of rehearsal for it. All those who appeared for the song received gifts, including a Blackberry phone and a Tag Heuer watch.
Q: Who was cast for a role?
A: Shah Rukh was cast as the lead;
Q: What was the lead character?
A: Om Shanti
Q: Are there any other interesting aspects about this article?
A: In preparation for her role, Padukone watched several films of actresses Helen and Hema Malini to study their body language.
Q: What other work are they known for?
A: unknown
|
C_68a7ed5781ac4c04aaaa3f72ea29c491_1_q#4
|
Who was another person cast for a roll?
| 0y
| 2x
|
{
"texts": [
"Rampal was approached by both Khan amd Shah Rukh at the latter's New Years Eve party."
],
"answer_starts": [
905
]
}
|
{
"text": "Rampal was approached by both Khan amd Shah Rukh at the latter's New Years Eve party.",
"answer_start": 905
}
|
C_68a7ed5781ac4c04aaaa3f72ea29c491_1
|
Om Shanti Om
|
Om Shanti Om (Hindi pronunciation: [o:m Sa:ntI o:m]) is a 2007 Indian romantic melodrama film directed and co-written by Farah Khan with Mayur Puri and Mushtaq Shiekh. It stars Shah Rukh Khan as Om, a junior artist of the 1970s who has a crush on a secretly married superstar, played by Deepika Padukone. Her husband, a producer played by Arjun Rampal, kills her in a fire;
|
Casting
|
Shah Rukh was cast as the lead; he gained six packs for a song sequence. He felt Om Shanti Om was a "happy film". Farah was advised by Malaika Arora to cast Padukone as the female lead, who was suggested by Wendell Roddick, under whom Padukone was working. She was cast without a screen test. Khan felt that she was "a beautiful, classic Indian beauty" who fit the role of an actor of the 1970s. She was excited at the prospect of working with Shah Rukh and said, "I've grown up watching [Shah Rukh] and always admired him so much. To get to work with him ... is quite wonderful. It was also fantastic that Farah showed faith in my talent and cast me opposite him." In preparation for her role, Padukone watched several films of actresses Helen and Hema Malini to study their body language. Her character was modelled after Malini and nicknamed Dreamy Girl after her the latter's nickname as Dream Girl. Rampal was approached by both Khan amd Shah Rukh at the latter's New Years Eve party. Rampal was initially reluctant to do the role as he felt it was "too evil" for someone like him. With persuasion from Shah Rukh, he agreed. Rampal wore a mustache in the film which was suggested by Shah Rukh. Shreyas Talpade played a supporting role as the best friend of Khan's character. After the release of Iqbal (2005) and completing the filming of Dor, Talpade, who attended the same gym as Khan, was called for a narration of what would be Om Shanti Om. He agreed to do the role. Kirron Kher, Bindu and Javed Sheikh also appear in the film. 31 Bollywood film actors appeared in cameo appearances for the song "Deewangi Deewangi". Other actors were also supposed to play cameos, including Fardeen Khan, who was arrested at Dubai airport in a drug case. Dev Anand refused as he always played lead roles in his career. Dilip Kumar and Saira Banu didn't appear in the song, despite plans to include them. Amitabh Bachchan refused due to his son's wedding, while Aamir Khan refused due to Taare Zameen Par's (2007) pending editing. Khan hsd wanted the three Khans to appear together in a film. Rekha, who appears in the song, carried out 2 days of rehearsal for it. All those who appeared for the song received gifts, including a Blackberry phone and a Tag Heuer watch.
Q: Who was cast for a role?
A: Shah Rukh was cast as the lead;
Q: What was the lead character?
A: Om Shanti
Q: Are there any other interesting aspects about this article?
A: In preparation for her role, Padukone watched several films of actresses Helen and Hema Malini to study their body language.
Q: What other work are they known for?
A: unknown
Q: Who was another person cast for a roll?
A: Rampal was approached by both Khan amd Shah Rukh at the latter's New Years Eve party.
|
C_68a7ed5781ac4c04aaaa3f72ea29c491_1_q#5
|
What was were they approached about?
| 2m
| 2x
|
{
"texts": [
"Rampal was initially reluctant to do the role as he felt it was \"too evil\" for someone like him."
],
"answer_starts": [
991
]
}
|
{
"text": "Rampal was initially reluctant to do the role as he felt it was \"too evil\" for someone like him.",
"answer_start": 991
}
|
C_68a7ed5781ac4c04aaaa3f72ea29c491_1
|
Om Shanti Om
|
Om Shanti Om (Hindi pronunciation: [o:m Sa:ntI o:m]) is a 2007 Indian romantic melodrama film directed and co-written by Farah Khan with Mayur Puri and Mushtaq Shiekh. It stars Shah Rukh Khan as Om, a junior artist of the 1970s who has a crush on a secretly married superstar, played by Deepika Padukone. Her husband, a producer played by Arjun Rampal, kills her in a fire;
|
Casting
|
Shah Rukh was cast as the lead; he gained six packs for a song sequence. He felt Om Shanti Om was a "happy film". Farah was advised by Malaika Arora to cast Padukone as the female lead, who was suggested by Wendell Roddick, under whom Padukone was working. She was cast without a screen test. Khan felt that she was "a beautiful, classic Indian beauty" who fit the role of an actor of the 1970s. She was excited at the prospect of working with Shah Rukh and said, "I've grown up watching [Shah Rukh] and always admired him so much. To get to work with him ... is quite wonderful. It was also fantastic that Farah showed faith in my talent and cast me opposite him." In preparation for her role, Padukone watched several films of actresses Helen and Hema Malini to study their body language. Her character was modelled after Malini and nicknamed Dreamy Girl after her the latter's nickname as Dream Girl. Rampal was approached by both Khan amd Shah Rukh at the latter's New Years Eve party. Rampal was initially reluctant to do the role as he felt it was "too evil" for someone like him. With persuasion from Shah Rukh, he agreed. Rampal wore a mustache in the film which was suggested by Shah Rukh. Shreyas Talpade played a supporting role as the best friend of Khan's character. After the release of Iqbal (2005) and completing the filming of Dor, Talpade, who attended the same gym as Khan, was called for a narration of what would be Om Shanti Om. He agreed to do the role. Kirron Kher, Bindu and Javed Sheikh also appear in the film. 31 Bollywood film actors appeared in cameo appearances for the song "Deewangi Deewangi". Other actors were also supposed to play cameos, including Fardeen Khan, who was arrested at Dubai airport in a drug case. Dev Anand refused as he always played lead roles in his career. Dilip Kumar and Saira Banu didn't appear in the song, despite plans to include them. Amitabh Bachchan refused due to his son's wedding, while Aamir Khan refused due to Taare Zameen Par's (2007) pending editing. Khan hsd wanted the three Khans to appear together in a film. Rekha, who appears in the song, carried out 2 days of rehearsal for it. All those who appeared for the song received gifts, including a Blackberry phone and a Tag Heuer watch.
Q: Who was cast for a role?
A: Shah Rukh was cast as the lead;
Q: What was the lead character?
A: Om Shanti
Q: Are there any other interesting aspects about this article?
A: In preparation for her role, Padukone watched several films of actresses Helen and Hema Malini to study their body language.
Q: What other work are they known for?
A: unknown
Q: Who was another person cast for a roll?
A: Rampal was approached by both Khan amd Shah Rukh at the latter's New Years Eve party.
Q: What was were they approached about?
A: Rampal was initially reluctant to do the role as he felt it was "too evil" for someone like him.
|
C_68a7ed5781ac4c04aaaa3f72ea29c491_1_q#6
|
Did he ever agree to do the role?
| 2m
| 0y
|
{
"texts": [
"He agreed to do the role."
],
"answer_starts": [
1452
]
}
|
{
"text": "He agreed to do the role.",
"answer_start": 1452
}
|
C_68a7ed5781ac4c04aaaa3f72ea29c491_1
|
Om Shanti Om
|
Om Shanti Om (Hindi pronunciation: [o:m Sa:ntI o:m]) is a 2007 Indian romantic melodrama film directed and co-written by Farah Khan with Mayur Puri and Mushtaq Shiekh. It stars Shah Rukh Khan as Om, a junior artist of the 1970s who has a crush on a secretly married superstar, played by Deepika Padukone. Her husband, a producer played by Arjun Rampal, kills her in a fire;
|
Casting
|
Shah Rukh was cast as the lead; he gained six packs for a song sequence. He felt Om Shanti Om was a "happy film". Farah was advised by Malaika Arora to cast Padukone as the female lead, who was suggested by Wendell Roddick, under whom Padukone was working. She was cast without a screen test. Khan felt that she was "a beautiful, classic Indian beauty" who fit the role of an actor of the 1970s. She was excited at the prospect of working with Shah Rukh and said, "I've grown up watching [Shah Rukh] and always admired him so much. To get to work with him ... is quite wonderful. It was also fantastic that Farah showed faith in my talent and cast me opposite him." In preparation for her role, Padukone watched several films of actresses Helen and Hema Malini to study their body language. Her character was modelled after Malini and nicknamed Dreamy Girl after her the latter's nickname as Dream Girl. Rampal was approached by both Khan amd Shah Rukh at the latter's New Years Eve party. Rampal was initially reluctant to do the role as he felt it was "too evil" for someone like him. With persuasion from Shah Rukh, he agreed. Rampal wore a mustache in the film which was suggested by Shah Rukh. Shreyas Talpade played a supporting role as the best friend of Khan's character. After the release of Iqbal (2005) and completing the filming of Dor, Talpade, who attended the same gym as Khan, was called for a narration of what would be Om Shanti Om. He agreed to do the role. Kirron Kher, Bindu and Javed Sheikh also appear in the film. 31 Bollywood film actors appeared in cameo appearances for the song "Deewangi Deewangi". Other actors were also supposed to play cameos, including Fardeen Khan, who was arrested at Dubai airport in a drug case. Dev Anand refused as he always played lead roles in his career. Dilip Kumar and Saira Banu didn't appear in the song, despite plans to include them. Amitabh Bachchan refused due to his son's wedding, while Aamir Khan refused due to Taare Zameen Par's (2007) pending editing. Khan hsd wanted the three Khans to appear together in a film. Rekha, who appears in the song, carried out 2 days of rehearsal for it. All those who appeared for the song received gifts, including a Blackberry phone and a Tag Heuer watch.
Q: Who was cast for a role?
A: Shah Rukh was cast as the lead;
Q: What was the lead character?
A: Om Shanti
Q: Are there any other interesting aspects about this article?
A: In preparation for her role, Padukone watched several films of actresses Helen and Hema Malini to study their body language.
Q: What other work are they known for?
A: unknown
Q: Who was another person cast for a roll?
A: Rampal was approached by both Khan amd Shah Rukh at the latter's New Years Eve party.
Q: What was were they approached about?
A: Rampal was initially reluctant to do the role as he felt it was "too evil" for someone like him.
Q: Did he ever agree to do the role?
A: He agreed to do the role.
|
C_68a7ed5781ac4c04aaaa3f72ea29c491_1_q#7
|
Anyone else cast in an important role?
| 2m
| 1n
|
{
"texts": [
"Kirron Kher, Bindu and Javed Sheikh also appear in the film."
],
"answer_starts": [
1479
]
}
|
{
"text": "Kirron Kher, Bindu and Javed Sheikh also appear in the film.",
"answer_start": 1479
}
|
C_af5ace0e54e44e05b4de6c976e6f8035_0
|
Burlesque
|
A burlesque is a literary, dramatic or musical work intended to cause laughter by caricaturing the manner or spirit of serious works, or by ludicrous treatment of their subjects. The word derives from the Italian burlesco, which, in turn, is derived from the Italian burla - a joke, ridicule or mockery. Burlesque overlaps in meaning with caricature, parody and travesty, and, in its theatrical sense, with extravaganza, as presented during the Victorian era. "Burlesque" has been used in English in this literary and theatrical sense since the late 17th century.
|
Victorian theatrical burlesque
|
Victorian burlesque, sometimes known as "travesty" or "extravaganza", was popular in London theatres between the 1830s and the 1890s. It took the form of musical theatre parody in which a well-known opera, play or ballet was adapted into a broad comic play, usually a musical play, often risque in style, mocking the theatrical and musical conventions and styles of the original work, and quoting or pastiching text or music from the original work. The comedy often stemmed from the incongruity and absurdity of the classical subjects, with realistic historical dress and settings, being juxtaposed with the modern activities portrayed by the actors. Madame Vestris produced burlesques at the Olympic Theatre beginning in 1831 with Olympic Revels by J. R. Planche. Other authors of burlesques included H. J. Byron, G. R. Sims, F. C. Burnand, W. S. Gilbert and Fred Leslie. Victorian burlesque related to and in part derived from traditional English pantomime "with the addition of gags and 'turns'." In the early burlesques, following the example of ballad opera, the words of the songs were written to popular music; later burlesques mixed the music of opera, operetta, music hall and revue, and some of the more ambitious shows had original music composed for them. This English style of burlesque was successfully introduced to New York in the 1840s. Some of the most frequent subjects for burlesque were the plays of Shakespeare and grand opera. The dialogue was generally written in rhyming couplets, liberally peppered with bad puns. A typical example from a burlesque of Macbeth: Macbeth and Banquo enter under an umbrella, and the witches greet them with "Hail! hail! hail!" Macbeth asks Banquo, "What mean these salutations, noble thane?" and is told, "These showers of 'Hail' anticipate your 'reign'". A staple of burlesque was the display of attractive women in travesty roles, dressed in tights to show off their legs, but the plays themselves were seldom more than modestly risque. Burlesque became the speciality of certain London theatres, including the Gaiety and Royal Strand Theatre from the 1860s to the early 1890s. Until the 1870s, burlesques were often one-act pieces running less than an hour and using pastiches and parodies of popular songs, opera arias and other music that the audience would readily recognize. The house stars included Nellie Farren, John D'Auban, Edward Terry and Fred Leslie. From about 1880, Victorian burlesques grew longer, until they were a whole evening's entertainment rather than part of a double- or triple-bill. In the early 1890s, these burlesques went out of fashion in London, and the focus of the Gaiety and other burlesque theatres changed to the new more wholesome but less literary genre of Edwardian musical comedy.
|
C_af5ace0e54e44e05b4de6c976e6f8035_0_q#0
|
What was Victorian era burlesque?
| 0y
| 2x
|
{
"texts": [
"Victorian burlesque, sometimes known as \"travesty\" or \"extravaganza\", was popular in London theatres"
],
"answer_starts": [
0
]
}
|
{
"text": "Victorian burlesque, sometimes known as \"travesty\" or \"extravaganza\", was popular in London theatres",
"answer_start": 0
}
|
C_af5ace0e54e44e05b4de6c976e6f8035_0
|
Burlesque
|
A burlesque is a literary, dramatic or musical work intended to cause laughter by caricaturing the manner or spirit of serious works, or by ludicrous treatment of their subjects. The word derives from the Italian burlesco, which, in turn, is derived from the Italian burla - a joke, ridicule or mockery. Burlesque overlaps in meaning with caricature, parody and travesty, and, in its theatrical sense, with extravaganza, as presented during the Victorian era. "Burlesque" has been used in English in this literary and theatrical sense since the late 17th century.
|
Victorian theatrical burlesque
|
Victorian burlesque, sometimes known as "travesty" or "extravaganza", was popular in London theatres between the 1830s and the 1890s. It took the form of musical theatre parody in which a well-known opera, play or ballet was adapted into a broad comic play, usually a musical play, often risque in style, mocking the theatrical and musical conventions and styles of the original work, and quoting or pastiching text or music from the original work. The comedy often stemmed from the incongruity and absurdity of the classical subjects, with realistic historical dress and settings, being juxtaposed with the modern activities portrayed by the actors. Madame Vestris produced burlesques at the Olympic Theatre beginning in 1831 with Olympic Revels by J. R. Planche. Other authors of burlesques included H. J. Byron, G. R. Sims, F. C. Burnand, W. S. Gilbert and Fred Leslie. Victorian burlesque related to and in part derived from traditional English pantomime "with the addition of gags and 'turns'." In the early burlesques, following the example of ballad opera, the words of the songs were written to popular music; later burlesques mixed the music of opera, operetta, music hall and revue, and some of the more ambitious shows had original music composed for them. This English style of burlesque was successfully introduced to New York in the 1840s. Some of the most frequent subjects for burlesque were the plays of Shakespeare and grand opera. The dialogue was generally written in rhyming couplets, liberally peppered with bad puns. A typical example from a burlesque of Macbeth: Macbeth and Banquo enter under an umbrella, and the witches greet them with "Hail! hail! hail!" Macbeth asks Banquo, "What mean these salutations, noble thane?" and is told, "These showers of 'Hail' anticipate your 'reign'". A staple of burlesque was the display of attractive women in travesty roles, dressed in tights to show off their legs, but the plays themselves were seldom more than modestly risque. Burlesque became the speciality of certain London theatres, including the Gaiety and Royal Strand Theatre from the 1860s to the early 1890s. Until the 1870s, burlesques were often one-act pieces running less than an hour and using pastiches and parodies of popular songs, opera arias and other music that the audience would readily recognize. The house stars included Nellie Farren, John D'Auban, Edward Terry and Fred Leslie. From about 1880, Victorian burlesques grew longer, until they were a whole evening's entertainment rather than part of a double- or triple-bill. In the early 1890s, these burlesques went out of fashion in London, and the focus of the Gaiety and other burlesque theatres changed to the new more wholesome but less literary genre of Edwardian musical comedy.
Q: What was Victorian era burlesque?
A: Victorian burlesque, sometimes known as "travesty" or "extravaganza", was popular in London theatres
|
C_af5ace0e54e44e05b4de6c976e6f8035_0_q#1
|
What were some elements of these shows?
| 0y
| 2x
|
{
"texts": [
"parody in which a well-known opera, play or ballet was adapted into a broad comic play, usually a musical play,"
],
"answer_starts": [
170
]
}
|
{
"text": "parody in which a well-known opera, play or ballet was adapted into a broad comic play, usually a musical play,",
"answer_start": 170
}
|
C_af5ace0e54e44e05b4de6c976e6f8035_0
|
Burlesque
|
A burlesque is a literary, dramatic or musical work intended to cause laughter by caricaturing the manner or spirit of serious works, or by ludicrous treatment of their subjects. The word derives from the Italian burlesco, which, in turn, is derived from the Italian burla - a joke, ridicule or mockery. Burlesque overlaps in meaning with caricature, parody and travesty, and, in its theatrical sense, with extravaganza, as presented during the Victorian era. "Burlesque" has been used in English in this literary and theatrical sense since the late 17th century.
|
Victorian theatrical burlesque
|
Victorian burlesque, sometimes known as "travesty" or "extravaganza", was popular in London theatres between the 1830s and the 1890s. It took the form of musical theatre parody in which a well-known opera, play or ballet was adapted into a broad comic play, usually a musical play, often risque in style, mocking the theatrical and musical conventions and styles of the original work, and quoting or pastiching text or music from the original work. The comedy often stemmed from the incongruity and absurdity of the classical subjects, with realistic historical dress and settings, being juxtaposed with the modern activities portrayed by the actors. Madame Vestris produced burlesques at the Olympic Theatre beginning in 1831 with Olympic Revels by J. R. Planche. Other authors of burlesques included H. J. Byron, G. R. Sims, F. C. Burnand, W. S. Gilbert and Fred Leslie. Victorian burlesque related to and in part derived from traditional English pantomime "with the addition of gags and 'turns'." In the early burlesques, following the example of ballad opera, the words of the songs were written to popular music; later burlesques mixed the music of opera, operetta, music hall and revue, and some of the more ambitious shows had original music composed for them. This English style of burlesque was successfully introduced to New York in the 1840s. Some of the most frequent subjects for burlesque were the plays of Shakespeare and grand opera. The dialogue was generally written in rhyming couplets, liberally peppered with bad puns. A typical example from a burlesque of Macbeth: Macbeth and Banquo enter under an umbrella, and the witches greet them with "Hail! hail! hail!" Macbeth asks Banquo, "What mean these salutations, noble thane?" and is told, "These showers of 'Hail' anticipate your 'reign'". A staple of burlesque was the display of attractive women in travesty roles, dressed in tights to show off their legs, but the plays themselves were seldom more than modestly risque. Burlesque became the speciality of certain London theatres, including the Gaiety and Royal Strand Theatre from the 1860s to the early 1890s. Until the 1870s, burlesques were often one-act pieces running less than an hour and using pastiches and parodies of popular songs, opera arias and other music that the audience would readily recognize. The house stars included Nellie Farren, John D'Auban, Edward Terry and Fred Leslie. From about 1880, Victorian burlesques grew longer, until they were a whole evening's entertainment rather than part of a double- or triple-bill. In the early 1890s, these burlesques went out of fashion in London, and the focus of the Gaiety and other burlesque theatres changed to the new more wholesome but less literary genre of Edwardian musical comedy.
Q: What was Victorian era burlesque?
A: Victorian burlesque, sometimes known as "travesty" or "extravaganza", was popular in London theatres
Q: What were some elements of these shows?
A: parody in which a well-known opera, play or ballet was adapted into a broad comic play, usually a musical play,
|
C_af5ace0e54e44e05b4de6c976e6f8035_0_q#2
|
Were these shows popular with the public?
| 0y
| 0y
|
{
"texts": [
"Some of the most frequent subjects for burlesque were the plays of Shakespeare and grand opera."
],
"answer_starts": [
1356
]
}
|
{
"text": "Some of the most frequent subjects for burlesque were the plays of Shakespeare and grand opera.",
"answer_start": 1356
}
|
C_af5ace0e54e44e05b4de6c976e6f8035_0
|
Burlesque
|
A burlesque is a literary, dramatic or musical work intended to cause laughter by caricaturing the manner or spirit of serious works, or by ludicrous treatment of their subjects. The word derives from the Italian burlesco, which, in turn, is derived from the Italian burla - a joke, ridicule or mockery. Burlesque overlaps in meaning with caricature, parody and travesty, and, in its theatrical sense, with extravaganza, as presented during the Victorian era. "Burlesque" has been used in English in this literary and theatrical sense since the late 17th century.
|
Victorian theatrical burlesque
|
Victorian burlesque, sometimes known as "travesty" or "extravaganza", was popular in London theatres between the 1830s and the 1890s. It took the form of musical theatre parody in which a well-known opera, play or ballet was adapted into a broad comic play, usually a musical play, often risque in style, mocking the theatrical and musical conventions and styles of the original work, and quoting or pastiching text or music from the original work. The comedy often stemmed from the incongruity and absurdity of the classical subjects, with realistic historical dress and settings, being juxtaposed with the modern activities portrayed by the actors. Madame Vestris produced burlesques at the Olympic Theatre beginning in 1831 with Olympic Revels by J. R. Planche. Other authors of burlesques included H. J. Byron, G. R. Sims, F. C. Burnand, W. S. Gilbert and Fred Leslie. Victorian burlesque related to and in part derived from traditional English pantomime "with the addition of gags and 'turns'." In the early burlesques, following the example of ballad opera, the words of the songs were written to popular music; later burlesques mixed the music of opera, operetta, music hall and revue, and some of the more ambitious shows had original music composed for them. This English style of burlesque was successfully introduced to New York in the 1840s. Some of the most frequent subjects for burlesque were the plays of Shakespeare and grand opera. The dialogue was generally written in rhyming couplets, liberally peppered with bad puns. A typical example from a burlesque of Macbeth: Macbeth and Banquo enter under an umbrella, and the witches greet them with "Hail! hail! hail!" Macbeth asks Banquo, "What mean these salutations, noble thane?" and is told, "These showers of 'Hail' anticipate your 'reign'". A staple of burlesque was the display of attractive women in travesty roles, dressed in tights to show off their legs, but the plays themselves were seldom more than modestly risque. Burlesque became the speciality of certain London theatres, including the Gaiety and Royal Strand Theatre from the 1860s to the early 1890s. Until the 1870s, burlesques were often one-act pieces running less than an hour and using pastiches and parodies of popular songs, opera arias and other music that the audience would readily recognize. The house stars included Nellie Farren, John D'Auban, Edward Terry and Fred Leslie. From about 1880, Victorian burlesques grew longer, until they were a whole evening's entertainment rather than part of a double- or triple-bill. In the early 1890s, these burlesques went out of fashion in London, and the focus of the Gaiety and other burlesque theatres changed to the new more wholesome but less literary genre of Edwardian musical comedy.
Q: What was Victorian era burlesque?
A: Victorian burlesque, sometimes known as "travesty" or "extravaganza", was popular in London theatres
Q: What were some elements of these shows?
A: parody in which a well-known opera, play or ballet was adapted into a broad comic play, usually a musical play,
Q: Were these shows popular with the public?
A: Some of the most frequent subjects for burlesque were the plays of Shakespeare and grand opera.
|
C_af5ace0e54e44e05b4de6c976e6f8035_0_q#3
|
Were any performances especially popular?
| 0y
| 0y
|
{
"texts": [
"were often one-act pieces running less than an hour and using pastiches and parodies of popular songs, opera arias and other music that the audience would readily recognize."
],
"answer_starts": [
2167
]
}
|
{
"text": "were often one-act pieces running less than an hour and using pastiches and parodies of popular songs, opera arias and other music that the audience would readily recognize.",
"answer_start": 2167
}
|
C_af5ace0e54e44e05b4de6c976e6f8035_0
|
Burlesque
|
A burlesque is a literary, dramatic or musical work intended to cause laughter by caricaturing the manner or spirit of serious works, or by ludicrous treatment of their subjects. The word derives from the Italian burlesco, which, in turn, is derived from the Italian burla - a joke, ridicule or mockery. Burlesque overlaps in meaning with caricature, parody and travesty, and, in its theatrical sense, with extravaganza, as presented during the Victorian era. "Burlesque" has been used in English in this literary and theatrical sense since the late 17th century.
|
Victorian theatrical burlesque
|
Victorian burlesque, sometimes known as "travesty" or "extravaganza", was popular in London theatres between the 1830s and the 1890s. It took the form of musical theatre parody in which a well-known opera, play or ballet was adapted into a broad comic play, usually a musical play, often risque in style, mocking the theatrical and musical conventions and styles of the original work, and quoting or pastiching text or music from the original work. The comedy often stemmed from the incongruity and absurdity of the classical subjects, with realistic historical dress and settings, being juxtaposed with the modern activities portrayed by the actors. Madame Vestris produced burlesques at the Olympic Theatre beginning in 1831 with Olympic Revels by J. R. Planche. Other authors of burlesques included H. J. Byron, G. R. Sims, F. C. Burnand, W. S. Gilbert and Fred Leslie. Victorian burlesque related to and in part derived from traditional English pantomime "with the addition of gags and 'turns'." In the early burlesques, following the example of ballad opera, the words of the songs were written to popular music; later burlesques mixed the music of opera, operetta, music hall and revue, and some of the more ambitious shows had original music composed for them. This English style of burlesque was successfully introduced to New York in the 1840s. Some of the most frequent subjects for burlesque were the plays of Shakespeare and grand opera. The dialogue was generally written in rhyming couplets, liberally peppered with bad puns. A typical example from a burlesque of Macbeth: Macbeth and Banquo enter under an umbrella, and the witches greet them with "Hail! hail! hail!" Macbeth asks Banquo, "What mean these salutations, noble thane?" and is told, "These showers of 'Hail' anticipate your 'reign'". A staple of burlesque was the display of attractive women in travesty roles, dressed in tights to show off their legs, but the plays themselves were seldom more than modestly risque. Burlesque became the speciality of certain London theatres, including the Gaiety and Royal Strand Theatre from the 1860s to the early 1890s. Until the 1870s, burlesques were often one-act pieces running less than an hour and using pastiches and parodies of popular songs, opera arias and other music that the audience would readily recognize. The house stars included Nellie Farren, John D'Auban, Edward Terry and Fred Leslie. From about 1880, Victorian burlesques grew longer, until they were a whole evening's entertainment rather than part of a double- or triple-bill. In the early 1890s, these burlesques went out of fashion in London, and the focus of the Gaiety and other burlesque theatres changed to the new more wholesome but less literary genre of Edwardian musical comedy.
Q: What was Victorian era burlesque?
A: Victorian burlesque, sometimes known as "travesty" or "extravaganza", was popular in London theatres
Q: What were some elements of these shows?
A: parody in which a well-known opera, play or ballet was adapted into a broad comic play, usually a musical play,
Q: Were these shows popular with the public?
A: Some of the most frequent subjects for burlesque were the plays of Shakespeare and grand opera.
Q: Were any performances especially popular?
A: were often one-act pieces running less than an hour and using pastiches and parodies of popular songs, opera arias and other music that the audience would readily recognize.
|
C_af5ace0e54e44e05b4de6c976e6f8035_0_q#4
|
Did some of the actors become famous?
| 0y
| 0y
|
{
"texts": [
"recognize. The house stars included Nellie Farren, John D'Auban, Edward Terry and Fred Leslie."
],
"answer_starts": [
2330
]
}
|
{
"text": "recognize. The house stars included Nellie Farren, John D'Auban, Edward Terry and Fred Leslie.",
"answer_start": 2330
}
|
C_af5ace0e54e44e05b4de6c976e6f8035_0
|
Burlesque
|
A burlesque is a literary, dramatic or musical work intended to cause laughter by caricaturing the manner or spirit of serious works, or by ludicrous treatment of their subjects. The word derives from the Italian burlesco, which, in turn, is derived from the Italian burla - a joke, ridicule or mockery. Burlesque overlaps in meaning with caricature, parody and travesty, and, in its theatrical sense, with extravaganza, as presented during the Victorian era. "Burlesque" has been used in English in this literary and theatrical sense since the late 17th century.
|
Victorian theatrical burlesque
|
Victorian burlesque, sometimes known as "travesty" or "extravaganza", was popular in London theatres between the 1830s and the 1890s. It took the form of musical theatre parody in which a well-known opera, play or ballet was adapted into a broad comic play, usually a musical play, often risque in style, mocking the theatrical and musical conventions and styles of the original work, and quoting or pastiching text or music from the original work. The comedy often stemmed from the incongruity and absurdity of the classical subjects, with realistic historical dress and settings, being juxtaposed with the modern activities portrayed by the actors. Madame Vestris produced burlesques at the Olympic Theatre beginning in 1831 with Olympic Revels by J. R. Planche. Other authors of burlesques included H. J. Byron, G. R. Sims, F. C. Burnand, W. S. Gilbert and Fred Leslie. Victorian burlesque related to and in part derived from traditional English pantomime "with the addition of gags and 'turns'." In the early burlesques, following the example of ballad opera, the words of the songs were written to popular music; later burlesques mixed the music of opera, operetta, music hall and revue, and some of the more ambitious shows had original music composed for them. This English style of burlesque was successfully introduced to New York in the 1840s. Some of the most frequent subjects for burlesque were the plays of Shakespeare and grand opera. The dialogue was generally written in rhyming couplets, liberally peppered with bad puns. A typical example from a burlesque of Macbeth: Macbeth and Banquo enter under an umbrella, and the witches greet them with "Hail! hail! hail!" Macbeth asks Banquo, "What mean these salutations, noble thane?" and is told, "These showers of 'Hail' anticipate your 'reign'". A staple of burlesque was the display of attractive women in travesty roles, dressed in tights to show off their legs, but the plays themselves were seldom more than modestly risque. Burlesque became the speciality of certain London theatres, including the Gaiety and Royal Strand Theatre from the 1860s to the early 1890s. Until the 1870s, burlesques were often one-act pieces running less than an hour and using pastiches and parodies of popular songs, opera arias and other music that the audience would readily recognize. The house stars included Nellie Farren, John D'Auban, Edward Terry and Fred Leslie. From about 1880, Victorian burlesques grew longer, until they were a whole evening's entertainment rather than part of a double- or triple-bill. In the early 1890s, these burlesques went out of fashion in London, and the focus of the Gaiety and other burlesque theatres changed to the new more wholesome but less literary genre of Edwardian musical comedy.
Q: What was Victorian era burlesque?
A: Victorian burlesque, sometimes known as "travesty" or "extravaganza", was popular in London theatres
Q: What were some elements of these shows?
A: parody in which a well-known opera, play or ballet was adapted into a broad comic play, usually a musical play,
Q: Were these shows popular with the public?
A: Some of the most frequent subjects for burlesque were the plays of Shakespeare and grand opera.
Q: Were any performances especially popular?
A: were often one-act pieces running less than an hour and using pastiches and parodies of popular songs, opera arias and other music that the audience would readily recognize.
Q: Did some of the actors become famous?
A: recognize. The house stars included Nellie Farren, John D'Auban, Edward Terry and Fred Leslie.
|
C_af5ace0e54e44e05b4de6c976e6f8035_0_q#5
|
Were the actors paid well?
| 1n
| 2x
|
{
"texts": [
"unknown"
],
"answer_starts": [
2782
]
}
|
{
"text": "unknown",
"answer_start": 2782
}
|
C_af5ace0e54e44e05b4de6c976e6f8035_0
|
Burlesque
|
A burlesque is a literary, dramatic or musical work intended to cause laughter by caricaturing the manner or spirit of serious works, or by ludicrous treatment of their subjects. The word derives from the Italian burlesco, which, in turn, is derived from the Italian burla - a joke, ridicule or mockery. Burlesque overlaps in meaning with caricature, parody and travesty, and, in its theatrical sense, with extravaganza, as presented during the Victorian era. "Burlesque" has been used in English in this literary and theatrical sense since the late 17th century.
|
Victorian theatrical burlesque
|
Victorian burlesque, sometimes known as "travesty" or "extravaganza", was popular in London theatres between the 1830s and the 1890s. It took the form of musical theatre parody in which a well-known opera, play or ballet was adapted into a broad comic play, usually a musical play, often risque in style, mocking the theatrical and musical conventions and styles of the original work, and quoting or pastiching text or music from the original work. The comedy often stemmed from the incongruity and absurdity of the classical subjects, with realistic historical dress and settings, being juxtaposed with the modern activities portrayed by the actors. Madame Vestris produced burlesques at the Olympic Theatre beginning in 1831 with Olympic Revels by J. R. Planche. Other authors of burlesques included H. J. Byron, G. R. Sims, F. C. Burnand, W. S. Gilbert and Fred Leslie. Victorian burlesque related to and in part derived from traditional English pantomime "with the addition of gags and 'turns'." In the early burlesques, following the example of ballad opera, the words of the songs were written to popular music; later burlesques mixed the music of opera, operetta, music hall and revue, and some of the more ambitious shows had original music composed for them. This English style of burlesque was successfully introduced to New York in the 1840s. Some of the most frequent subjects for burlesque were the plays of Shakespeare and grand opera. The dialogue was generally written in rhyming couplets, liberally peppered with bad puns. A typical example from a burlesque of Macbeth: Macbeth and Banquo enter under an umbrella, and the witches greet them with "Hail! hail! hail!" Macbeth asks Banquo, "What mean these salutations, noble thane?" and is told, "These showers of 'Hail' anticipate your 'reign'". A staple of burlesque was the display of attractive women in travesty roles, dressed in tights to show off their legs, but the plays themselves were seldom more than modestly risque. Burlesque became the speciality of certain London theatres, including the Gaiety and Royal Strand Theatre from the 1860s to the early 1890s. Until the 1870s, burlesques were often one-act pieces running less than an hour and using pastiches and parodies of popular songs, opera arias and other music that the audience would readily recognize. The house stars included Nellie Farren, John D'Auban, Edward Terry and Fred Leslie. From about 1880, Victorian burlesques grew longer, until they were a whole evening's entertainment rather than part of a double- or triple-bill. In the early 1890s, these burlesques went out of fashion in London, and the focus of the Gaiety and other burlesque theatres changed to the new more wholesome but less literary genre of Edwardian musical comedy.
Q: What was Victorian era burlesque?
A: Victorian burlesque, sometimes known as "travesty" or "extravaganza", was popular in London theatres
Q: What were some elements of these shows?
A: parody in which a well-known opera, play or ballet was adapted into a broad comic play, usually a musical play,
Q: Were these shows popular with the public?
A: Some of the most frequent subjects for burlesque were the plays of Shakespeare and grand opera.
Q: Were any performances especially popular?
A: were often one-act pieces running less than an hour and using pastiches and parodies of popular songs, opera arias and other music that the audience would readily recognize.
Q: Did some of the actors become famous?
A: recognize. The house stars included Nellie Farren, John D'Auban, Edward Terry and Fred Leslie.
Q: Were the actors paid well?
A: unknown
|
C_af5ace0e54e44e05b4de6c976e6f8035_0_q#6
|
What was most interesting about this article?
| 0y
| 2x
|
{
"texts": [
"Victorian burlesque related to and in part derived from traditional English pantomime \"with the addition of gags and 'turns'.\""
],
"answer_starts": [
874
]
}
|
{
"text": "Victorian burlesque related to and in part derived from traditional English pantomime \"with the addition of gags and 'turns'.\"",
"answer_start": 874
}
|
C_af5ace0e54e44e05b4de6c976e6f8035_0
|
Burlesque
|
A burlesque is a literary, dramatic or musical work intended to cause laughter by caricaturing the manner or spirit of serious works, or by ludicrous treatment of their subjects. The word derives from the Italian burlesco, which, in turn, is derived from the Italian burla - a joke, ridicule or mockery. Burlesque overlaps in meaning with caricature, parody and travesty, and, in its theatrical sense, with extravaganza, as presented during the Victorian era. "Burlesque" has been used in English in this literary and theatrical sense since the late 17th century.
|
Victorian theatrical burlesque
|
Victorian burlesque, sometimes known as "travesty" or "extravaganza", was popular in London theatres between the 1830s and the 1890s. It took the form of musical theatre parody in which a well-known opera, play or ballet was adapted into a broad comic play, usually a musical play, often risque in style, mocking the theatrical and musical conventions and styles of the original work, and quoting or pastiching text or music from the original work. The comedy often stemmed from the incongruity and absurdity of the classical subjects, with realistic historical dress and settings, being juxtaposed with the modern activities portrayed by the actors. Madame Vestris produced burlesques at the Olympic Theatre beginning in 1831 with Olympic Revels by J. R. Planche. Other authors of burlesques included H. J. Byron, G. R. Sims, F. C. Burnand, W. S. Gilbert and Fred Leslie. Victorian burlesque related to and in part derived from traditional English pantomime "with the addition of gags and 'turns'." In the early burlesques, following the example of ballad opera, the words of the songs were written to popular music; later burlesques mixed the music of opera, operetta, music hall and revue, and some of the more ambitious shows had original music composed for them. This English style of burlesque was successfully introduced to New York in the 1840s. Some of the most frequent subjects for burlesque were the plays of Shakespeare and grand opera. The dialogue was generally written in rhyming couplets, liberally peppered with bad puns. A typical example from a burlesque of Macbeth: Macbeth and Banquo enter under an umbrella, and the witches greet them with "Hail! hail! hail!" Macbeth asks Banquo, "What mean these salutations, noble thane?" and is told, "These showers of 'Hail' anticipate your 'reign'". A staple of burlesque was the display of attractive women in travesty roles, dressed in tights to show off their legs, but the plays themselves were seldom more than modestly risque. Burlesque became the speciality of certain London theatres, including the Gaiety and Royal Strand Theatre from the 1860s to the early 1890s. Until the 1870s, burlesques were often one-act pieces running less than an hour and using pastiches and parodies of popular songs, opera arias and other music that the audience would readily recognize. The house stars included Nellie Farren, John D'Auban, Edward Terry and Fred Leslie. From about 1880, Victorian burlesques grew longer, until they were a whole evening's entertainment rather than part of a double- or triple-bill. In the early 1890s, these burlesques went out of fashion in London, and the focus of the Gaiety and other burlesque theatres changed to the new more wholesome but less literary genre of Edwardian musical comedy.
Q: What was Victorian era burlesque?
A: Victorian burlesque, sometimes known as "travesty" or "extravaganza", was popular in London theatres
Q: What were some elements of these shows?
A: parody in which a well-known opera, play or ballet was adapted into a broad comic play, usually a musical play,
Q: Were these shows popular with the public?
A: Some of the most frequent subjects for burlesque were the plays of Shakespeare and grand opera.
Q: Were any performances especially popular?
A: were often one-act pieces running less than an hour and using pastiches and parodies of popular songs, opera arias and other music that the audience would readily recognize.
Q: Did some of the actors become famous?
A: recognize. The house stars included Nellie Farren, John D'Auban, Edward Terry and Fred Leslie.
Q: Were the actors paid well?
A: unknown
Q: What was most interesting about this article?
A: Victorian burlesque related to and in part derived from traditional English pantomime "with the addition of gags and 'turns'."
|
C_af5ace0e54e44e05b4de6c976e6f8035_0_q#7
|
Were the actors in burlesque silent?
| 0y
| 1n
|
{
"texts": [
"The dialogue was generally written in rhyming couplets,"
],
"answer_starts": [
1452
]
}
|
{
"text": "The dialogue was generally written in rhyming couplets,",
"answer_start": 1452
}
|
C_af5ace0e54e44e05b4de6c976e6f8035_0
|
Burlesque
|
A burlesque is a literary, dramatic or musical work intended to cause laughter by caricaturing the manner or spirit of serious works, or by ludicrous treatment of their subjects. The word derives from the Italian burlesco, which, in turn, is derived from the Italian burla - a joke, ridicule or mockery. Burlesque overlaps in meaning with caricature, parody and travesty, and, in its theatrical sense, with extravaganza, as presented during the Victorian era. "Burlesque" has been used in English in this literary and theatrical sense since the late 17th century.
|
Victorian theatrical burlesque
|
Victorian burlesque, sometimes known as "travesty" or "extravaganza", was popular in London theatres between the 1830s and the 1890s. It took the form of musical theatre parody in which a well-known opera, play or ballet was adapted into a broad comic play, usually a musical play, often risque in style, mocking the theatrical and musical conventions and styles of the original work, and quoting or pastiching text or music from the original work. The comedy often stemmed from the incongruity and absurdity of the classical subjects, with realistic historical dress and settings, being juxtaposed with the modern activities portrayed by the actors. Madame Vestris produced burlesques at the Olympic Theatre beginning in 1831 with Olympic Revels by J. R. Planche. Other authors of burlesques included H. J. Byron, G. R. Sims, F. C. Burnand, W. S. Gilbert and Fred Leslie. Victorian burlesque related to and in part derived from traditional English pantomime "with the addition of gags and 'turns'." In the early burlesques, following the example of ballad opera, the words of the songs were written to popular music; later burlesques mixed the music of opera, operetta, music hall and revue, and some of the more ambitious shows had original music composed for them. This English style of burlesque was successfully introduced to New York in the 1840s. Some of the most frequent subjects for burlesque were the plays of Shakespeare and grand opera. The dialogue was generally written in rhyming couplets, liberally peppered with bad puns. A typical example from a burlesque of Macbeth: Macbeth and Banquo enter under an umbrella, and the witches greet them with "Hail! hail! hail!" Macbeth asks Banquo, "What mean these salutations, noble thane?" and is told, "These showers of 'Hail' anticipate your 'reign'". A staple of burlesque was the display of attractive women in travesty roles, dressed in tights to show off their legs, but the plays themselves were seldom more than modestly risque. Burlesque became the speciality of certain London theatres, including the Gaiety and Royal Strand Theatre from the 1860s to the early 1890s. Until the 1870s, burlesques were often one-act pieces running less than an hour and using pastiches and parodies of popular songs, opera arias and other music that the audience would readily recognize. The house stars included Nellie Farren, John D'Auban, Edward Terry and Fred Leslie. From about 1880, Victorian burlesques grew longer, until they were a whole evening's entertainment rather than part of a double- or triple-bill. In the early 1890s, these burlesques went out of fashion in London, and the focus of the Gaiety and other burlesque theatres changed to the new more wholesome but less literary genre of Edwardian musical comedy.
Q: What was Victorian era burlesque?
A: Victorian burlesque, sometimes known as "travesty" or "extravaganza", was popular in London theatres
Q: What were some elements of these shows?
A: parody in which a well-known opera, play or ballet was adapted into a broad comic play, usually a musical play,
Q: Were these shows popular with the public?
A: Some of the most frequent subjects for burlesque were the plays of Shakespeare and grand opera.
Q: Were any performances especially popular?
A: were often one-act pieces running less than an hour and using pastiches and parodies of popular songs, opera arias and other music that the audience would readily recognize.
Q: Did some of the actors become famous?
A: recognize. The house stars included Nellie Farren, John D'Auban, Edward Terry and Fred Leslie.
Q: Were the actors paid well?
A: unknown
Q: What was most interesting about this article?
A: Victorian burlesque related to and in part derived from traditional English pantomime "with the addition of gags and 'turns'."
Q: Were the actors in burlesque silent?
A: The dialogue was generally written in rhyming couplets,
|
C_af5ace0e54e44e05b4de6c976e6f8035_0_q#8
|
What else was unique about burlesque during this time?
| 0y
| 2x
|
{
"texts": [
"Burlesque became the speciality of certain London theatres, including the Gaiety and Royal Strand Theatre from the 1860s to the early 1890s."
],
"answer_starts": [
1998
]
}
|
{
"text": "Burlesque became the speciality of certain London theatres, including the Gaiety and Royal Strand Theatre from the 1860s to the early 1890s.",
"answer_start": 1998
}
|
C_af5ace0e54e44e05b4de6c976e6f8035_0
|
Burlesque
|
A burlesque is a literary, dramatic or musical work intended to cause laughter by caricaturing the manner or spirit of serious works, or by ludicrous treatment of their subjects. The word derives from the Italian burlesco, which, in turn, is derived from the Italian burla - a joke, ridicule or mockery. Burlesque overlaps in meaning with caricature, parody and travesty, and, in its theatrical sense, with extravaganza, as presented during the Victorian era. "Burlesque" has been used in English in this literary and theatrical sense since the late 17th century.
|
Victorian theatrical burlesque
|
Victorian burlesque, sometimes known as "travesty" or "extravaganza", was popular in London theatres between the 1830s and the 1890s. It took the form of musical theatre parody in which a well-known opera, play or ballet was adapted into a broad comic play, usually a musical play, often risque in style, mocking the theatrical and musical conventions and styles of the original work, and quoting or pastiching text or music from the original work. The comedy often stemmed from the incongruity and absurdity of the classical subjects, with realistic historical dress and settings, being juxtaposed with the modern activities portrayed by the actors. Madame Vestris produced burlesques at the Olympic Theatre beginning in 1831 with Olympic Revels by J. R. Planche. Other authors of burlesques included H. J. Byron, G. R. Sims, F. C. Burnand, W. S. Gilbert and Fred Leslie. Victorian burlesque related to and in part derived from traditional English pantomime "with the addition of gags and 'turns'." In the early burlesques, following the example of ballad opera, the words of the songs were written to popular music; later burlesques mixed the music of opera, operetta, music hall and revue, and some of the more ambitious shows had original music composed for them. This English style of burlesque was successfully introduced to New York in the 1840s. Some of the most frequent subjects for burlesque were the plays of Shakespeare and grand opera. The dialogue was generally written in rhyming couplets, liberally peppered with bad puns. A typical example from a burlesque of Macbeth: Macbeth and Banquo enter under an umbrella, and the witches greet them with "Hail! hail! hail!" Macbeth asks Banquo, "What mean these salutations, noble thane?" and is told, "These showers of 'Hail' anticipate your 'reign'". A staple of burlesque was the display of attractive women in travesty roles, dressed in tights to show off their legs, but the plays themselves were seldom more than modestly risque. Burlesque became the speciality of certain London theatres, including the Gaiety and Royal Strand Theatre from the 1860s to the early 1890s. Until the 1870s, burlesques were often one-act pieces running less than an hour and using pastiches and parodies of popular songs, opera arias and other music that the audience would readily recognize. The house stars included Nellie Farren, John D'Auban, Edward Terry and Fred Leslie. From about 1880, Victorian burlesques grew longer, until they were a whole evening's entertainment rather than part of a double- or triple-bill. In the early 1890s, these burlesques went out of fashion in London, and the focus of the Gaiety and other burlesque theatres changed to the new more wholesome but less literary genre of Edwardian musical comedy.
Q: What was Victorian era burlesque?
A: Victorian burlesque, sometimes known as "travesty" or "extravaganza", was popular in London theatres
Q: What were some elements of these shows?
A: parody in which a well-known opera, play or ballet was adapted into a broad comic play, usually a musical play,
Q: Were these shows popular with the public?
A: Some of the most frequent subjects for burlesque were the plays of Shakespeare and grand opera.
Q: Were any performances especially popular?
A: were often one-act pieces running less than an hour and using pastiches and parodies of popular songs, opera arias and other music that the audience would readily recognize.
Q: Did some of the actors become famous?
A: recognize. The house stars included Nellie Farren, John D'Auban, Edward Terry and Fred Leslie.
Q: Were the actors paid well?
A: unknown
Q: What was most interesting about this article?
A: Victorian burlesque related to and in part derived from traditional English pantomime "with the addition of gags and 'turns'."
Q: Were the actors in burlesque silent?
A: The dialogue was generally written in rhyming couplets,
Q: What else was unique about burlesque during this time?
A: Burlesque became the speciality of certain London theatres, including the Gaiety and Royal Strand Theatre from the 1860s to the early 1890s.
|
C_af5ace0e54e44e05b4de6c976e6f8035_0_q#9
|
When did it stop being popular?
| 0y
| 2x
|
{
"texts": [
"In the early 1890s, these burlesques went out of fashion in London,"
],
"answer_starts": [
2570
]
}
|
{
"text": "In the early 1890s, these burlesques went out of fashion in London,",
"answer_start": 2570
}
|
C_af5ace0e54e44e05b4de6c976e6f8035_0
|
Burlesque
|
A burlesque is a literary, dramatic or musical work intended to cause laughter by caricaturing the manner or spirit of serious works, or by ludicrous treatment of their subjects. The word derives from the Italian burlesco, which, in turn, is derived from the Italian burla - a joke, ridicule or mockery. Burlesque overlaps in meaning with caricature, parody and travesty, and, in its theatrical sense, with extravaganza, as presented during the Victorian era. "Burlesque" has been used in English in this literary and theatrical sense since the late 17th century.
|
Victorian theatrical burlesque
|
Victorian burlesque, sometimes known as "travesty" or "extravaganza", was popular in London theatres between the 1830s and the 1890s. It took the form of musical theatre parody in which a well-known opera, play or ballet was adapted into a broad comic play, usually a musical play, often risque in style, mocking the theatrical and musical conventions and styles of the original work, and quoting or pastiching text or music from the original work. The comedy often stemmed from the incongruity and absurdity of the classical subjects, with realistic historical dress and settings, being juxtaposed with the modern activities portrayed by the actors. Madame Vestris produced burlesques at the Olympic Theatre beginning in 1831 with Olympic Revels by J. R. Planche. Other authors of burlesques included H. J. Byron, G. R. Sims, F. C. Burnand, W. S. Gilbert and Fred Leslie. Victorian burlesque related to and in part derived from traditional English pantomime "with the addition of gags and 'turns'." In the early burlesques, following the example of ballad opera, the words of the songs were written to popular music; later burlesques mixed the music of opera, operetta, music hall and revue, and some of the more ambitious shows had original music composed for them. This English style of burlesque was successfully introduced to New York in the 1840s. Some of the most frequent subjects for burlesque were the plays of Shakespeare and grand opera. The dialogue was generally written in rhyming couplets, liberally peppered with bad puns. A typical example from a burlesque of Macbeth: Macbeth and Banquo enter under an umbrella, and the witches greet them with "Hail! hail! hail!" Macbeth asks Banquo, "What mean these salutations, noble thane?" and is told, "These showers of 'Hail' anticipate your 'reign'". A staple of burlesque was the display of attractive women in travesty roles, dressed in tights to show off their legs, but the plays themselves were seldom more than modestly risque. Burlesque became the speciality of certain London theatres, including the Gaiety and Royal Strand Theatre from the 1860s to the early 1890s. Until the 1870s, burlesques were often one-act pieces running less than an hour and using pastiches and parodies of popular songs, opera arias and other music that the audience would readily recognize. The house stars included Nellie Farren, John D'Auban, Edward Terry and Fred Leslie. From about 1880, Victorian burlesques grew longer, until they were a whole evening's entertainment rather than part of a double- or triple-bill. In the early 1890s, these burlesques went out of fashion in London, and the focus of the Gaiety and other burlesque theatres changed to the new more wholesome but less literary genre of Edwardian musical comedy.
Q: What was Victorian era burlesque?
A: Victorian burlesque, sometimes known as "travesty" or "extravaganza", was popular in London theatres
Q: What were some elements of these shows?
A: parody in which a well-known opera, play or ballet was adapted into a broad comic play, usually a musical play,
Q: Were these shows popular with the public?
A: Some of the most frequent subjects for burlesque were the plays of Shakespeare and grand opera.
Q: Were any performances especially popular?
A: were often one-act pieces running less than an hour and using pastiches and parodies of popular songs, opera arias and other music that the audience would readily recognize.
Q: Did some of the actors become famous?
A: recognize. The house stars included Nellie Farren, John D'Auban, Edward Terry and Fred Leslie.
Q: Were the actors paid well?
A: unknown
Q: What was most interesting about this article?
A: Victorian burlesque related to and in part derived from traditional English pantomime "with the addition of gags and 'turns'."
Q: Were the actors in burlesque silent?
A: The dialogue was generally written in rhyming couplets,
Q: What else was unique about burlesque during this time?
A: Burlesque became the speciality of certain London theatres, including the Gaiety and Royal Strand Theatre from the 1860s to the early 1890s.
Q: When did it stop being popular?
A: In the early 1890s, these burlesques went out of fashion in London,
|
C_af5ace0e54e44e05b4de6c976e6f8035_0_q#10
|
Why did they go out of fashion?
| 0y
| 2x
|
{
"texts": [
"London, and the focus of the Gaiety and other burlesque theatres changed to the new more wholesome but less literary genre of Edwardian musical comedy."
],
"answer_starts": [
2630
]
}
|
{
"text": "London, and the focus of the Gaiety and other burlesque theatres changed to the new more wholesome but less literary genre of Edwardian musical comedy.",
"answer_start": 2630
}
|
C_af5ace0e54e44e05b4de6c976e6f8035_1
|
Burlesque
|
A burlesque is a literary, dramatic or musical work intended to cause laughter by caricaturing the manner or spirit of serious works, or by ludicrous treatment of their subjects. The word derives from the Italian burlesco, which, in turn, is derived from the Italian burla - a joke, ridicule or mockery. Burlesque overlaps in meaning with caricature, parody and travesty, and, in its theatrical sense, with extravaganza, as presented during the Victorian era. "Burlesque" has been used in English in this literary and theatrical sense since the late 17th century.
|
Literary origins and development
|
The word first appears in a title in Francesco Berni's Opere burlesche of the early 16th century, works that had circulated widely in manuscript before they were printed. For a time, burlesque verses were known as poesie bernesca in his honour. 'Burlesque' as a literary term became widespread in 17th century Italy and France, and subsequently England, where it referred to a grotesque imitation of the dignified or pathetic. Shakespeare's Pyramus and Thisbe scene in Midsummer Night's Dream and the general mocking of romance in Beaumont and Fletcher's The Knight of the Burning Pestle were early examples of such imitation. In 17th century Spain, playwright and poet Miguel de Cervantes ridiculed medieval romance in his many satirical works. Among Cervantes' works are Exemplary Novels and the Eight Comedies and Eight New Interludes published in 1615. The term burlesque has been applied retrospectively to works of Chaucer and Shakespeare and to the Graeco-Roman classics. Burlesque was intentionally ridiculous in that it imitated several styles and combined imitations of certain authors and artists with absurd descriptions. In this, the term was often used interchangeably with "pastiche", "parody", and the 17th and 18th century genre of the "mock-heroic". Burlesque depended on the reader's (or listener's) knowledge of the subject to make its intended effect, and a high degree of literacy was taken for granted. 17th and 18th century burlesque was divided into two types: High burlesque refers to a burlesque imitation where a literary, elevated manner was applied to a commonplace or comically inappropriate subject matter as, for example, in the literary parody and the mock-heroic. One of the most commonly cited examples of high burlesque is Alexander Pope's "sly, knowing and courtly" The Rape of the Lock. Low burlesque applied an irreverent, mocking style to a serious subject; an example is Samuel Butler's poem Hudibras, which described the misadventures of a Puritan knight in satiric doggerel verse, using a colloquial idiom. Butler's addition to his comic poem of an ethical subtext made his caricatures into satire. In more recent times, burlesque true to its literary origins is still performed in revues and sketches. Tom Stoppard's 1974 play Travesties is an example of a full-length play drawing on the burlesque tradition.
|
C_af5ace0e54e44e05b4de6c976e6f8035_1_q#0
|
What was the literary origins
| 0y
| 2x
|
{
"texts": [
"The word first appears in a title in Francesco Berni's Opere burlesche of the early 16th century,"
],
"answer_starts": [
0
]
}
|
{
"text": "The word first appears in a title in Francesco Berni's Opere burlesche of the early 16th century,",
"answer_start": 0
}
|
C_af5ace0e54e44e05b4de6c976e6f8035_1
|
Burlesque
|
A burlesque is a literary, dramatic or musical work intended to cause laughter by caricaturing the manner or spirit of serious works, or by ludicrous treatment of their subjects. The word derives from the Italian burlesco, which, in turn, is derived from the Italian burla - a joke, ridicule or mockery. Burlesque overlaps in meaning with caricature, parody and travesty, and, in its theatrical sense, with extravaganza, as presented during the Victorian era. "Burlesque" has been used in English in this literary and theatrical sense since the late 17th century.
|
Literary origins and development
|
The word first appears in a title in Francesco Berni's Opere burlesche of the early 16th century, works that had circulated widely in manuscript before they were printed. For a time, burlesque verses were known as poesie bernesca in his honour. 'Burlesque' as a literary term became widespread in 17th century Italy and France, and subsequently England, where it referred to a grotesque imitation of the dignified or pathetic. Shakespeare's Pyramus and Thisbe scene in Midsummer Night's Dream and the general mocking of romance in Beaumont and Fletcher's The Knight of the Burning Pestle were early examples of such imitation. In 17th century Spain, playwright and poet Miguel de Cervantes ridiculed medieval romance in his many satirical works. Among Cervantes' works are Exemplary Novels and the Eight Comedies and Eight New Interludes published in 1615. The term burlesque has been applied retrospectively to works of Chaucer and Shakespeare and to the Graeco-Roman classics. Burlesque was intentionally ridiculous in that it imitated several styles and combined imitations of certain authors and artists with absurd descriptions. In this, the term was often used interchangeably with "pastiche", "parody", and the 17th and 18th century genre of the "mock-heroic". Burlesque depended on the reader's (or listener's) knowledge of the subject to make its intended effect, and a high degree of literacy was taken for granted. 17th and 18th century burlesque was divided into two types: High burlesque refers to a burlesque imitation where a literary, elevated manner was applied to a commonplace or comically inappropriate subject matter as, for example, in the literary parody and the mock-heroic. One of the most commonly cited examples of high burlesque is Alexander Pope's "sly, knowing and courtly" The Rape of the Lock. Low burlesque applied an irreverent, mocking style to a serious subject; an example is Samuel Butler's poem Hudibras, which described the misadventures of a Puritan knight in satiric doggerel verse, using a colloquial idiom. Butler's addition to his comic poem of an ethical subtext made his caricatures into satire. In more recent times, burlesque true to its literary origins is still performed in revues and sketches. Tom Stoppard's 1974 play Travesties is an example of a full-length play drawing on the burlesque tradition.
Q: What was the literary origins
A: The word first appears in a title in Francesco Berni's Opere burlesche of the early 16th century,
|
C_af5ace0e54e44e05b4de6c976e6f8035_1_q#1
|
What was the development
| 0y
| 2x
|
{
"texts": [
"it referred to a grotesque imitation of the dignified or pathetic."
],
"answer_starts": [
360
]
}
|
{
"text": "it referred to a grotesque imitation of the dignified or pathetic.",
"answer_start": 360
}
|
C_af5ace0e54e44e05b4de6c976e6f8035_1
|
Burlesque
|
A burlesque is a literary, dramatic or musical work intended to cause laughter by caricaturing the manner or spirit of serious works, or by ludicrous treatment of their subjects. The word derives from the Italian burlesco, which, in turn, is derived from the Italian burla - a joke, ridicule or mockery. Burlesque overlaps in meaning with caricature, parody and travesty, and, in its theatrical sense, with extravaganza, as presented during the Victorian era. "Burlesque" has been used in English in this literary and theatrical sense since the late 17th century.
|
Literary origins and development
|
The word first appears in a title in Francesco Berni's Opere burlesche of the early 16th century, works that had circulated widely in manuscript before they were printed. For a time, burlesque verses were known as poesie bernesca in his honour. 'Burlesque' as a literary term became widespread in 17th century Italy and France, and subsequently England, where it referred to a grotesque imitation of the dignified or pathetic. Shakespeare's Pyramus and Thisbe scene in Midsummer Night's Dream and the general mocking of romance in Beaumont and Fletcher's The Knight of the Burning Pestle were early examples of such imitation. In 17th century Spain, playwright and poet Miguel de Cervantes ridiculed medieval romance in his many satirical works. Among Cervantes' works are Exemplary Novels and the Eight Comedies and Eight New Interludes published in 1615. The term burlesque has been applied retrospectively to works of Chaucer and Shakespeare and to the Graeco-Roman classics. Burlesque was intentionally ridiculous in that it imitated several styles and combined imitations of certain authors and artists with absurd descriptions. In this, the term was often used interchangeably with "pastiche", "parody", and the 17th and 18th century genre of the "mock-heroic". Burlesque depended on the reader's (or listener's) knowledge of the subject to make its intended effect, and a high degree of literacy was taken for granted. 17th and 18th century burlesque was divided into two types: High burlesque refers to a burlesque imitation where a literary, elevated manner was applied to a commonplace or comically inappropriate subject matter as, for example, in the literary parody and the mock-heroic. One of the most commonly cited examples of high burlesque is Alexander Pope's "sly, knowing and courtly" The Rape of the Lock. Low burlesque applied an irreverent, mocking style to a serious subject; an example is Samuel Butler's poem Hudibras, which described the misadventures of a Puritan knight in satiric doggerel verse, using a colloquial idiom. Butler's addition to his comic poem of an ethical subtext made his caricatures into satire. In more recent times, burlesque true to its literary origins is still performed in revues and sketches. Tom Stoppard's 1974 play Travesties is an example of a full-length play drawing on the burlesque tradition.
Q: What was the literary origins
A: The word first appears in a title in Francesco Berni's Opere burlesche of the early 16th century,
Q: What was the development
A: it referred to a grotesque imitation of the dignified or pathetic.
|
C_af5ace0e54e44e05b4de6c976e6f8035_1_q#2
|
Are there any other interesting aspects about this article?
| 0y
| 0y
|
{
"texts": [
"The term burlesque has been applied retrospectively to works of Chaucer and Shakespeare and to the Graeco-Roman classics."
],
"answer_starts": [
858
]
}
|
{
"text": "The term burlesque has been applied retrospectively to works of Chaucer and Shakespeare and to the Graeco-Roman classics.",
"answer_start": 858
}
|
C_af5ace0e54e44e05b4de6c976e6f8035_1
|
Burlesque
|
A burlesque is a literary, dramatic or musical work intended to cause laughter by caricaturing the manner or spirit of serious works, or by ludicrous treatment of their subjects. The word derives from the Italian burlesco, which, in turn, is derived from the Italian burla - a joke, ridicule or mockery. Burlesque overlaps in meaning with caricature, parody and travesty, and, in its theatrical sense, with extravaganza, as presented during the Victorian era. "Burlesque" has been used in English in this literary and theatrical sense since the late 17th century.
|
Literary origins and development
|
The word first appears in a title in Francesco Berni's Opere burlesche of the early 16th century, works that had circulated widely in manuscript before they were printed. For a time, burlesque verses were known as poesie bernesca in his honour. 'Burlesque' as a literary term became widespread in 17th century Italy and France, and subsequently England, where it referred to a grotesque imitation of the dignified or pathetic. Shakespeare's Pyramus and Thisbe scene in Midsummer Night's Dream and the general mocking of romance in Beaumont and Fletcher's The Knight of the Burning Pestle were early examples of such imitation. In 17th century Spain, playwright and poet Miguel de Cervantes ridiculed medieval romance in his many satirical works. Among Cervantes' works are Exemplary Novels and the Eight Comedies and Eight New Interludes published in 1615. The term burlesque has been applied retrospectively to works of Chaucer and Shakespeare and to the Graeco-Roman classics. Burlesque was intentionally ridiculous in that it imitated several styles and combined imitations of certain authors and artists with absurd descriptions. In this, the term was often used interchangeably with "pastiche", "parody", and the 17th and 18th century genre of the "mock-heroic". Burlesque depended on the reader's (or listener's) knowledge of the subject to make its intended effect, and a high degree of literacy was taken for granted. 17th and 18th century burlesque was divided into two types: High burlesque refers to a burlesque imitation where a literary, elevated manner was applied to a commonplace or comically inappropriate subject matter as, for example, in the literary parody and the mock-heroic. One of the most commonly cited examples of high burlesque is Alexander Pope's "sly, knowing and courtly" The Rape of the Lock. Low burlesque applied an irreverent, mocking style to a serious subject; an example is Samuel Butler's poem Hudibras, which described the misadventures of a Puritan knight in satiric doggerel verse, using a colloquial idiom. Butler's addition to his comic poem of an ethical subtext made his caricatures into satire. In more recent times, burlesque true to its literary origins is still performed in revues and sketches. Tom Stoppard's 1974 play Travesties is an example of a full-length play drawing on the burlesque tradition.
Q: What was the literary origins
A: The word first appears in a title in Francesco Berni's Opere burlesche of the early 16th century,
Q: What was the development
A: it referred to a grotesque imitation of the dignified or pathetic.
Q: Are there any other interesting aspects about this article?
A: The term burlesque has been applied retrospectively to works of Chaucer and Shakespeare and to the Graeco-Roman classics.
|
C_af5ace0e54e44e05b4de6c976e6f8035_1_q#3
|
What else did the burlesque do
| 0y
| 2x
|
{
"texts": [
"17th and 18th century burlesque was divided into two types:"
],
"answer_starts": [
1429
]
}
|
{
"text": "17th and 18th century burlesque was divided into two types:",
"answer_start": 1429
}
|
C_af5ace0e54e44e05b4de6c976e6f8035_1
|
Burlesque
|
A burlesque is a literary, dramatic or musical work intended to cause laughter by caricaturing the manner or spirit of serious works, or by ludicrous treatment of their subjects. The word derives from the Italian burlesco, which, in turn, is derived from the Italian burla - a joke, ridicule or mockery. Burlesque overlaps in meaning with caricature, parody and travesty, and, in its theatrical sense, with extravaganza, as presented during the Victorian era. "Burlesque" has been used in English in this literary and theatrical sense since the late 17th century.
|
Literary origins and development
|
The word first appears in a title in Francesco Berni's Opere burlesche of the early 16th century, works that had circulated widely in manuscript before they were printed. For a time, burlesque verses were known as poesie bernesca in his honour. 'Burlesque' as a literary term became widespread in 17th century Italy and France, and subsequently England, where it referred to a grotesque imitation of the dignified or pathetic. Shakespeare's Pyramus and Thisbe scene in Midsummer Night's Dream and the general mocking of romance in Beaumont and Fletcher's The Knight of the Burning Pestle were early examples of such imitation. In 17th century Spain, playwright and poet Miguel de Cervantes ridiculed medieval romance in his many satirical works. Among Cervantes' works are Exemplary Novels and the Eight Comedies and Eight New Interludes published in 1615. The term burlesque has been applied retrospectively to works of Chaucer and Shakespeare and to the Graeco-Roman classics. Burlesque was intentionally ridiculous in that it imitated several styles and combined imitations of certain authors and artists with absurd descriptions. In this, the term was often used interchangeably with "pastiche", "parody", and the 17th and 18th century genre of the "mock-heroic". Burlesque depended on the reader's (or listener's) knowledge of the subject to make its intended effect, and a high degree of literacy was taken for granted. 17th and 18th century burlesque was divided into two types: High burlesque refers to a burlesque imitation where a literary, elevated manner was applied to a commonplace or comically inappropriate subject matter as, for example, in the literary parody and the mock-heroic. One of the most commonly cited examples of high burlesque is Alexander Pope's "sly, knowing and courtly" The Rape of the Lock. Low burlesque applied an irreverent, mocking style to a serious subject; an example is Samuel Butler's poem Hudibras, which described the misadventures of a Puritan knight in satiric doggerel verse, using a colloquial idiom. Butler's addition to his comic poem of an ethical subtext made his caricatures into satire. In more recent times, burlesque true to its literary origins is still performed in revues and sketches. Tom Stoppard's 1974 play Travesties is an example of a full-length play drawing on the burlesque tradition.
Q: What was the literary origins
A: The word first appears in a title in Francesco Berni's Opere burlesche of the early 16th century,
Q: What was the development
A: it referred to a grotesque imitation of the dignified or pathetic.
Q: Are there any other interesting aspects about this article?
A: The term burlesque has been applied retrospectively to works of Chaucer and Shakespeare and to the Graeco-Roman classics.
Q: What else did the burlesque do
A: 17th and 18th century burlesque was divided into two types:
|
C_af5ace0e54e44e05b4de6c976e6f8035_1_q#4
|
What was the two types
| 0y
| 2x
|
{
"texts": [
"High burlesque refers to a burlesque imitation where a literary, elevated manner was applied to a commonplace or comically inappropriate subject matter"
],
"answer_starts": [
1489
]
}
|
{
"text": "High burlesque refers to a burlesque imitation where a literary, elevated manner was applied to a commonplace or comically inappropriate subject matter",
"answer_start": 1489
}
|
C_af5ace0e54e44e05b4de6c976e6f8035_1
|
Burlesque
|
A burlesque is a literary, dramatic or musical work intended to cause laughter by caricaturing the manner or spirit of serious works, or by ludicrous treatment of their subjects. The word derives from the Italian burlesco, which, in turn, is derived from the Italian burla - a joke, ridicule or mockery. Burlesque overlaps in meaning with caricature, parody and travesty, and, in its theatrical sense, with extravaganza, as presented during the Victorian era. "Burlesque" has been used in English in this literary and theatrical sense since the late 17th century.
|
Literary origins and development
|
The word first appears in a title in Francesco Berni's Opere burlesche of the early 16th century, works that had circulated widely in manuscript before they were printed. For a time, burlesque verses were known as poesie bernesca in his honour. 'Burlesque' as a literary term became widespread in 17th century Italy and France, and subsequently England, where it referred to a grotesque imitation of the dignified or pathetic. Shakespeare's Pyramus and Thisbe scene in Midsummer Night's Dream and the general mocking of romance in Beaumont and Fletcher's The Knight of the Burning Pestle were early examples of such imitation. In 17th century Spain, playwright and poet Miguel de Cervantes ridiculed medieval romance in his many satirical works. Among Cervantes' works are Exemplary Novels and the Eight Comedies and Eight New Interludes published in 1615. The term burlesque has been applied retrospectively to works of Chaucer and Shakespeare and to the Graeco-Roman classics. Burlesque was intentionally ridiculous in that it imitated several styles and combined imitations of certain authors and artists with absurd descriptions. In this, the term was often used interchangeably with "pastiche", "parody", and the 17th and 18th century genre of the "mock-heroic". Burlesque depended on the reader's (or listener's) knowledge of the subject to make its intended effect, and a high degree of literacy was taken for granted. 17th and 18th century burlesque was divided into two types: High burlesque refers to a burlesque imitation where a literary, elevated manner was applied to a commonplace or comically inappropriate subject matter as, for example, in the literary parody and the mock-heroic. One of the most commonly cited examples of high burlesque is Alexander Pope's "sly, knowing and courtly" The Rape of the Lock. Low burlesque applied an irreverent, mocking style to a serious subject; an example is Samuel Butler's poem Hudibras, which described the misadventures of a Puritan knight in satiric doggerel verse, using a colloquial idiom. Butler's addition to his comic poem of an ethical subtext made his caricatures into satire. In more recent times, burlesque true to its literary origins is still performed in revues and sketches. Tom Stoppard's 1974 play Travesties is an example of a full-length play drawing on the burlesque tradition.
Q: What was the literary origins
A: The word first appears in a title in Francesco Berni's Opere burlesche of the early 16th century,
Q: What was the development
A: it referred to a grotesque imitation of the dignified or pathetic.
Q: Are there any other interesting aspects about this article?
A: The term burlesque has been applied retrospectively to works of Chaucer and Shakespeare and to the Graeco-Roman classics.
Q: What else did the burlesque do
A: 17th and 18th century burlesque was divided into two types:
Q: What was the two types
A: High burlesque refers to a burlesque imitation where a literary, elevated manner was applied to a commonplace or comically inappropriate subject matter
|
C_af5ace0e54e44e05b4de6c976e6f8035_1_q#5
|
What else was beneficial in this article?
| 0y
| 2x
|
{
"texts": [
"Low burlesque applied an irreverent, mocking style to a serious subject;"
],
"answer_starts": [
1829
]
}
|
{
"text": "Low burlesque applied an irreverent, mocking style to a serious subject;",
"answer_start": 1829
}
|
C_af5ace0e54e44e05b4de6c976e6f8035_1
|
Burlesque
|
A burlesque is a literary, dramatic or musical work intended to cause laughter by caricaturing the manner or spirit of serious works, or by ludicrous treatment of their subjects. The word derives from the Italian burlesco, which, in turn, is derived from the Italian burla - a joke, ridicule or mockery. Burlesque overlaps in meaning with caricature, parody and travesty, and, in its theatrical sense, with extravaganza, as presented during the Victorian era. "Burlesque" has been used in English in this literary and theatrical sense since the late 17th century.
|
Literary origins and development
|
The word first appears in a title in Francesco Berni's Opere burlesche of the early 16th century, works that had circulated widely in manuscript before they were printed. For a time, burlesque verses were known as poesie bernesca in his honour. 'Burlesque' as a literary term became widespread in 17th century Italy and France, and subsequently England, where it referred to a grotesque imitation of the dignified or pathetic. Shakespeare's Pyramus and Thisbe scene in Midsummer Night's Dream and the general mocking of romance in Beaumont and Fletcher's The Knight of the Burning Pestle were early examples of such imitation. In 17th century Spain, playwright and poet Miguel de Cervantes ridiculed medieval romance in his many satirical works. Among Cervantes' works are Exemplary Novels and the Eight Comedies and Eight New Interludes published in 1615. The term burlesque has been applied retrospectively to works of Chaucer and Shakespeare and to the Graeco-Roman classics. Burlesque was intentionally ridiculous in that it imitated several styles and combined imitations of certain authors and artists with absurd descriptions. In this, the term was often used interchangeably with "pastiche", "parody", and the 17th and 18th century genre of the "mock-heroic". Burlesque depended on the reader's (or listener's) knowledge of the subject to make its intended effect, and a high degree of literacy was taken for granted. 17th and 18th century burlesque was divided into two types: High burlesque refers to a burlesque imitation where a literary, elevated manner was applied to a commonplace or comically inappropriate subject matter as, for example, in the literary parody and the mock-heroic. One of the most commonly cited examples of high burlesque is Alexander Pope's "sly, knowing and courtly" The Rape of the Lock. Low burlesque applied an irreverent, mocking style to a serious subject; an example is Samuel Butler's poem Hudibras, which described the misadventures of a Puritan knight in satiric doggerel verse, using a colloquial idiom. Butler's addition to his comic poem of an ethical subtext made his caricatures into satire. In more recent times, burlesque true to its literary origins is still performed in revues and sketches. Tom Stoppard's 1974 play Travesties is an example of a full-length play drawing on the burlesque tradition.
Q: What was the literary origins
A: The word first appears in a title in Francesco Berni's Opere burlesche of the early 16th century,
Q: What was the development
A: it referred to a grotesque imitation of the dignified or pathetic.
Q: Are there any other interesting aspects about this article?
A: The term burlesque has been applied retrospectively to works of Chaucer and Shakespeare and to the Graeco-Roman classics.
Q: What else did the burlesque do
A: 17th and 18th century burlesque was divided into two types:
Q: What was the two types
A: High burlesque refers to a burlesque imitation where a literary, elevated manner was applied to a commonplace or comically inappropriate subject matter
Q: What else was beneficial in this article?
A: Low burlesque applied an irreverent, mocking style to a serious subject;
|
C_af5ace0e54e44e05b4de6c976e6f8035_1_q#6
|
What was the subject
| 0y
| 2x
|
{
"texts": [
"Samuel Butler's poem Hudibras, which described the misadventures of a Puritan knight in satiric doggerel verse, using a colloquial idiom."
],
"answer_starts": [
1916
]
}
|
{
"text": "Samuel Butler's poem Hudibras, which described the misadventures of a Puritan knight in satiric doggerel verse, using a colloquial idiom.",
"answer_start": 1916
}
|
C_af5ace0e54e44e05b4de6c976e6f8035_1
|
Burlesque
|
A burlesque is a literary, dramatic or musical work intended to cause laughter by caricaturing the manner or spirit of serious works, or by ludicrous treatment of their subjects. The word derives from the Italian burlesco, which, in turn, is derived from the Italian burla - a joke, ridicule or mockery. Burlesque overlaps in meaning with caricature, parody and travesty, and, in its theatrical sense, with extravaganza, as presented during the Victorian era. "Burlesque" has been used in English in this literary and theatrical sense since the late 17th century.
|
Literary origins and development
|
The word first appears in a title in Francesco Berni's Opere burlesche of the early 16th century, works that had circulated widely in manuscript before they were printed. For a time, burlesque verses were known as poesie bernesca in his honour. 'Burlesque' as a literary term became widespread in 17th century Italy and France, and subsequently England, where it referred to a grotesque imitation of the dignified or pathetic. Shakespeare's Pyramus and Thisbe scene in Midsummer Night's Dream and the general mocking of romance in Beaumont and Fletcher's The Knight of the Burning Pestle were early examples of such imitation. In 17th century Spain, playwright and poet Miguel de Cervantes ridiculed medieval romance in his many satirical works. Among Cervantes' works are Exemplary Novels and the Eight Comedies and Eight New Interludes published in 1615. The term burlesque has been applied retrospectively to works of Chaucer and Shakespeare and to the Graeco-Roman classics. Burlesque was intentionally ridiculous in that it imitated several styles and combined imitations of certain authors and artists with absurd descriptions. In this, the term was often used interchangeably with "pastiche", "parody", and the 17th and 18th century genre of the "mock-heroic". Burlesque depended on the reader's (or listener's) knowledge of the subject to make its intended effect, and a high degree of literacy was taken for granted. 17th and 18th century burlesque was divided into two types: High burlesque refers to a burlesque imitation where a literary, elevated manner was applied to a commonplace or comically inappropriate subject matter as, for example, in the literary parody and the mock-heroic. One of the most commonly cited examples of high burlesque is Alexander Pope's "sly, knowing and courtly" The Rape of the Lock. Low burlesque applied an irreverent, mocking style to a serious subject; an example is Samuel Butler's poem Hudibras, which described the misadventures of a Puritan knight in satiric doggerel verse, using a colloquial idiom. Butler's addition to his comic poem of an ethical subtext made his caricatures into satire. In more recent times, burlesque true to its literary origins is still performed in revues and sketches. Tom Stoppard's 1974 play Travesties is an example of a full-length play drawing on the burlesque tradition.
Q: What was the literary origins
A: The word first appears in a title in Francesco Berni's Opere burlesche of the early 16th century,
Q: What was the development
A: it referred to a grotesque imitation of the dignified or pathetic.
Q: Are there any other interesting aspects about this article?
A: The term burlesque has been applied retrospectively to works of Chaucer and Shakespeare and to the Graeco-Roman classics.
Q: What else did the burlesque do
A: 17th and 18th century burlesque was divided into two types:
Q: What was the two types
A: High burlesque refers to a burlesque imitation where a literary, elevated manner was applied to a commonplace or comically inappropriate subject matter
Q: What else was beneficial in this article?
A: Low burlesque applied an irreverent, mocking style to a serious subject;
Q: What was the subject
A: Samuel Butler's poem Hudibras, which described the misadventures of a Puritan knight in satiric doggerel verse, using a colloquial idiom.
|
C_af5ace0e54e44e05b4de6c976e6f8035_1_q#7
|
What other writes had burlesque
| 2m
| 2x
|
{
"texts": [
"Tom Stoppard's 1974 play Travesties is an example of a full-length play drawing on the burlesque tradition."
],
"answer_starts": [
2251
]
}
|
{
"text": "Tom Stoppard's 1974 play Travesties is an example of a full-length play drawing on the burlesque tradition.",
"answer_start": 2251
}
|
C_af5ace0e54e44e05b4de6c976e6f8035_1
|
Burlesque
|
A burlesque is a literary, dramatic or musical work intended to cause laughter by caricaturing the manner or spirit of serious works, or by ludicrous treatment of their subjects. The word derives from the Italian burlesco, which, in turn, is derived from the Italian burla - a joke, ridicule or mockery. Burlesque overlaps in meaning with caricature, parody and travesty, and, in its theatrical sense, with extravaganza, as presented during the Victorian era. "Burlesque" has been used in English in this literary and theatrical sense since the late 17th century.
|
Literary origins and development
|
The word first appears in a title in Francesco Berni's Opere burlesche of the early 16th century, works that had circulated widely in manuscript before they were printed. For a time, burlesque verses were known as poesie bernesca in his honour. 'Burlesque' as a literary term became widespread in 17th century Italy and France, and subsequently England, where it referred to a grotesque imitation of the dignified or pathetic. Shakespeare's Pyramus and Thisbe scene in Midsummer Night's Dream and the general mocking of romance in Beaumont and Fletcher's The Knight of the Burning Pestle were early examples of such imitation. In 17th century Spain, playwright and poet Miguel de Cervantes ridiculed medieval romance in his many satirical works. Among Cervantes' works are Exemplary Novels and the Eight Comedies and Eight New Interludes published in 1615. The term burlesque has been applied retrospectively to works of Chaucer and Shakespeare and to the Graeco-Roman classics. Burlesque was intentionally ridiculous in that it imitated several styles and combined imitations of certain authors and artists with absurd descriptions. In this, the term was often used interchangeably with "pastiche", "parody", and the 17th and 18th century genre of the "mock-heroic". Burlesque depended on the reader's (or listener's) knowledge of the subject to make its intended effect, and a high degree of literacy was taken for granted. 17th and 18th century burlesque was divided into two types: High burlesque refers to a burlesque imitation where a literary, elevated manner was applied to a commonplace or comically inappropriate subject matter as, for example, in the literary parody and the mock-heroic. One of the most commonly cited examples of high burlesque is Alexander Pope's "sly, knowing and courtly" The Rape of the Lock. Low burlesque applied an irreverent, mocking style to a serious subject; an example is Samuel Butler's poem Hudibras, which described the misadventures of a Puritan knight in satiric doggerel verse, using a colloquial idiom. Butler's addition to his comic poem of an ethical subtext made his caricatures into satire. In more recent times, burlesque true to its literary origins is still performed in revues and sketches. Tom Stoppard's 1974 play Travesties is an example of a full-length play drawing on the burlesque tradition.
Q: What was the literary origins
A: The word first appears in a title in Francesco Berni's Opere burlesche of the early 16th century,
Q: What was the development
A: it referred to a grotesque imitation of the dignified or pathetic.
Q: Are there any other interesting aspects about this article?
A: The term burlesque has been applied retrospectively to works of Chaucer and Shakespeare and to the Graeco-Roman classics.
Q: What else did the burlesque do
A: 17th and 18th century burlesque was divided into two types:
Q: What was the two types
A: High burlesque refers to a burlesque imitation where a literary, elevated manner was applied to a commonplace or comically inappropriate subject matter
Q: What else was beneficial in this article?
A: Low burlesque applied an irreverent, mocking style to a serious subject;
Q: What was the subject
A: Samuel Butler's poem Hudibras, which described the misadventures of a Puritan knight in satiric doggerel verse, using a colloquial idiom.
Q: What other writes had burlesque
A: Tom Stoppard's 1974 play Travesties is an example of a full-length play drawing on the burlesque tradition.
|
C_af5ace0e54e44e05b4de6c976e6f8035_1_q#8
|
What else did you know about the Burlesque
| 0y
| 2x
|
{
"texts": [
"the term was often used interchangeably with \"pastiche\", \"parody\", and the 17th and 18th century genre of the \"mock-heroic\"."
],
"answer_starts": [
1145
]
}
|
{
"text": "the term was often used interchangeably with \"pastiche\", \"parody\", and the 17th and 18th century genre of the \"mock-heroic\".",
"answer_start": 1145
}
|
C_af5ace0e54e44e05b4de6c976e6f8035_1
|
Burlesque
|
A burlesque is a literary, dramatic or musical work intended to cause laughter by caricaturing the manner or spirit of serious works, or by ludicrous treatment of their subjects. The word derives from the Italian burlesco, which, in turn, is derived from the Italian burla - a joke, ridicule or mockery. Burlesque overlaps in meaning with caricature, parody and travesty, and, in its theatrical sense, with extravaganza, as presented during the Victorian era. "Burlesque" has been used in English in this literary and theatrical sense since the late 17th century.
|
Literary origins and development
|
The word first appears in a title in Francesco Berni's Opere burlesche of the early 16th century, works that had circulated widely in manuscript before they were printed. For a time, burlesque verses were known as poesie bernesca in his honour. 'Burlesque' as a literary term became widespread in 17th century Italy and France, and subsequently England, where it referred to a grotesque imitation of the dignified or pathetic. Shakespeare's Pyramus and Thisbe scene in Midsummer Night's Dream and the general mocking of romance in Beaumont and Fletcher's The Knight of the Burning Pestle were early examples of such imitation. In 17th century Spain, playwright and poet Miguel de Cervantes ridiculed medieval romance in his many satirical works. Among Cervantes' works are Exemplary Novels and the Eight Comedies and Eight New Interludes published in 1615. The term burlesque has been applied retrospectively to works of Chaucer and Shakespeare and to the Graeco-Roman classics. Burlesque was intentionally ridiculous in that it imitated several styles and combined imitations of certain authors and artists with absurd descriptions. In this, the term was often used interchangeably with "pastiche", "parody", and the 17th and 18th century genre of the "mock-heroic". Burlesque depended on the reader's (or listener's) knowledge of the subject to make its intended effect, and a high degree of literacy was taken for granted. 17th and 18th century burlesque was divided into two types: High burlesque refers to a burlesque imitation where a literary, elevated manner was applied to a commonplace or comically inappropriate subject matter as, for example, in the literary parody and the mock-heroic. One of the most commonly cited examples of high burlesque is Alexander Pope's "sly, knowing and courtly" The Rape of the Lock. Low burlesque applied an irreverent, mocking style to a serious subject; an example is Samuel Butler's poem Hudibras, which described the misadventures of a Puritan knight in satiric doggerel verse, using a colloquial idiom. Butler's addition to his comic poem of an ethical subtext made his caricatures into satire. In more recent times, burlesque true to its literary origins is still performed in revues and sketches. Tom Stoppard's 1974 play Travesties is an example of a full-length play drawing on the burlesque tradition.
Q: What was the literary origins
A: The word first appears in a title in Francesco Berni's Opere burlesche of the early 16th century,
Q: What was the development
A: it referred to a grotesque imitation of the dignified or pathetic.
Q: Are there any other interesting aspects about this article?
A: The term burlesque has been applied retrospectively to works of Chaucer and Shakespeare and to the Graeco-Roman classics.
Q: What else did the burlesque do
A: 17th and 18th century burlesque was divided into two types:
Q: What was the two types
A: High burlesque refers to a burlesque imitation where a literary, elevated manner was applied to a commonplace or comically inappropriate subject matter
Q: What else was beneficial in this article?
A: Low burlesque applied an irreverent, mocking style to a serious subject;
Q: What was the subject
A: Samuel Butler's poem Hudibras, which described the misadventures of a Puritan knight in satiric doggerel verse, using a colloquial idiom.
Q: What other writes had burlesque
A: Tom Stoppard's 1974 play Travesties is an example of a full-length play drawing on the burlesque tradition.
Q: What else did you know about the Burlesque
A: the term was often used interchangeably with "pastiche", "parody", and the 17th and 18th century genre of the "mock-heroic".
|
C_af5ace0e54e44e05b4de6c976e6f8035_1_q#9
|
Did it have any more types of origins and development
| 1n
| 0y
|
{
"texts": [
"'Burlesque' as a literary term became widespread in 17th century Italy and France, and subsequently England,"
],
"answer_starts": [
245
]
}
|
{
"text": "'Burlesque' as a literary term became widespread in 17th century Italy and France, and subsequently England,",
"answer_start": 245
}
|
C_af5ace0e54e44e05b4de6c976e6f8035_1
|
Burlesque
|
A burlesque is a literary, dramatic or musical work intended to cause laughter by caricaturing the manner or spirit of serious works, or by ludicrous treatment of their subjects. The word derives from the Italian burlesco, which, in turn, is derived from the Italian burla - a joke, ridicule or mockery. Burlesque overlaps in meaning with caricature, parody and travesty, and, in its theatrical sense, with extravaganza, as presented during the Victorian era. "Burlesque" has been used in English in this literary and theatrical sense since the late 17th century.
|
Literary origins and development
|
The word first appears in a title in Francesco Berni's Opere burlesche of the early 16th century, works that had circulated widely in manuscript before they were printed. For a time, burlesque verses were known as poesie bernesca in his honour. 'Burlesque' as a literary term became widespread in 17th century Italy and France, and subsequently England, where it referred to a grotesque imitation of the dignified or pathetic. Shakespeare's Pyramus and Thisbe scene in Midsummer Night's Dream and the general mocking of romance in Beaumont and Fletcher's The Knight of the Burning Pestle were early examples of such imitation. In 17th century Spain, playwright and poet Miguel de Cervantes ridiculed medieval romance in his many satirical works. Among Cervantes' works are Exemplary Novels and the Eight Comedies and Eight New Interludes published in 1615. The term burlesque has been applied retrospectively to works of Chaucer and Shakespeare and to the Graeco-Roman classics. Burlesque was intentionally ridiculous in that it imitated several styles and combined imitations of certain authors and artists with absurd descriptions. In this, the term was often used interchangeably with "pastiche", "parody", and the 17th and 18th century genre of the "mock-heroic". Burlesque depended on the reader's (or listener's) knowledge of the subject to make its intended effect, and a high degree of literacy was taken for granted. 17th and 18th century burlesque was divided into two types: High burlesque refers to a burlesque imitation where a literary, elevated manner was applied to a commonplace or comically inappropriate subject matter as, for example, in the literary parody and the mock-heroic. One of the most commonly cited examples of high burlesque is Alexander Pope's "sly, knowing and courtly" The Rape of the Lock. Low burlesque applied an irreverent, mocking style to a serious subject; an example is Samuel Butler's poem Hudibras, which described the misadventures of a Puritan knight in satiric doggerel verse, using a colloquial idiom. Butler's addition to his comic poem of an ethical subtext made his caricatures into satire. In more recent times, burlesque true to its literary origins is still performed in revues and sketches. Tom Stoppard's 1974 play Travesties is an example of a full-length play drawing on the burlesque tradition.
Q: What was the literary origins
A: The word first appears in a title in Francesco Berni's Opere burlesche of the early 16th century,
Q: What was the development
A: it referred to a grotesque imitation of the dignified or pathetic.
Q: Are there any other interesting aspects about this article?
A: The term burlesque has been applied retrospectively to works of Chaucer and Shakespeare and to the Graeco-Roman classics.
Q: What else did the burlesque do
A: 17th and 18th century burlesque was divided into two types:
Q: What was the two types
A: High burlesque refers to a burlesque imitation where a literary, elevated manner was applied to a commonplace or comically inappropriate subject matter
Q: What else was beneficial in this article?
A: Low burlesque applied an irreverent, mocking style to a serious subject;
Q: What was the subject
A: Samuel Butler's poem Hudibras, which described the misadventures of a Puritan knight in satiric doggerel verse, using a colloquial idiom.
Q: What other writes had burlesque
A: Tom Stoppard's 1974 play Travesties is an example of a full-length play drawing on the burlesque tradition.
Q: What else did you know about the Burlesque
A: the term was often used interchangeably with "pastiche", "parody", and the 17th and 18th century genre of the "mock-heroic".
Q: Did it have any more types of origins and development
A: 'Burlesque' as a literary term became widespread in 17th century Italy and France, and subsequently England,
|
C_af5ace0e54e44e05b4de6c976e6f8035_1_q#10
|
What else did you see that stood out in this article
| 0y
| 2x
|
{
"texts": [
"Burlesque was intentionally ridiculous in that it imitated several styles and combined imitations of certain authors and artists with absurd descriptions."
],
"answer_starts": [
981
]
}
|
{
"text": "Burlesque was intentionally ridiculous in that it imitated several styles and combined imitations of certain authors and artists with absurd descriptions.",
"answer_start": 981
}
|
C_2bf2b3d7e1cb48e1acfbc373119171b7_1
|
Ruhollah Khomeini
|
Sayyid Ruhollah Musavi Khomeini (Persian: syd rwHllh mwswy khmyny [ru:hol'la:he khomei'ni:] ( listen); 24 September 1902 - 3 June 1989), known in the Western world as Ayatollah Khomeini, was an Iranian Shia Muslim religious leader and politician. He was the founder of Iran as an Islamic republic and the leader of its 1979 Iranian Revolution that saw the overthrow of 2500 years of Persian monarchy and Mohammad Reza Pahlavi, the last Shah of Iran.
|
Islamic constitution
|
In January 1963, the Shah announced the "White Revolution", a six-point programme of reform calling for land reform, nationalization of the forests, the sale of state-owned enterprises to private interests, electoral changes to enfranchise women and allow non-Muslims to hold office, profit-sharing in industry, and a literacy campaign in the nation's schools. Some of these initiatives were regarded as dangerous, especially by the powerful and privileged Shi'a ulama (religious scholars), and as Westernizing trends by traditionalists (Khomeini viewed them as "an attack on Islam"). Ayatollah Khomeini summoned a meeting of the other senior marjas of Qom and persuaded them to decree a boycott of the referendum on the White Revolution. On 22 January 1963 Khomeini issued a strongly worded declaration denouncing the Shah and his plans. Two days later the Shah took an armored column to Qom, and delivered a speech harshly attacking the ulama as a class. Khomeini continued his denunciation of the Shah's programmes, issuing a manifesto that bore the signatures of eight other senior Iranian Shia religious scholars. In it he listed the various ways in which the Shah had allegedly violated the constitution, condemned the spread of moral corruption in the country, and accused the Shah of submission to the United States and Israel. He also decreed that the Nowruz celebrations for the Iranian year 1342 (which fell on 21 March 1963) be canceled as a sign of protest against government policies. On the afternoon of 'Ashura (3 June 1963), Khomeini delivered a speech at the Feyziyeh madrasah drawing parallels between the Sunni Muslim caliph Yazid, who is perceived as a 'tyrant' by Shias, and the Shah, denouncing the Shah as a "wretched, miserable man," and warning him that if he did not change his ways the day would come when the people would offer up thanks for his departure from the country. On 5 June 1963 (15 of Khordad) at 3:00 am, two days after this public denunciation of the Shah Mohammad Reza Pahlavi, Khomeini was detained in Qom and transferred to Tehran. This sparked three days of major riots throughout Iran and led to the deaths of some 400. That event is now referred to as the Movement of 15 Khordad. Khomeini was kept under house arrest and released in August. Khomeini was not allowed to return to Iran during the Shah's reign (as he had been in exile). On 17 January 1979, the Shah left the country (ostensibly "on vacation"), never to return. Two weeks later, on Thursday, 1 February 1979, Khomeini returned in triumph to Iran, welcomed by a joyous crowd estimated (by BBC) to be of up to five million people. On his chartered Air France flight back to Tehran 120 journalists accompanied him, including three women. One of the journalists, Peter Jennings, asked: "Ayatollah, would you be so kind as to tell us how you feel about being back in Iran?" Khomeini answered via his aide Sadegh Ghotbzadeh: "Hichi" (Nothing). This statement--much discussed at the time and since--was considered by some reflective of his mystical beliefs and non-attachment to ego. Others considered it a warning to Iranians who hoped he would be a "mainstream nationalist leader" that they were in for disappointment. To others, it was a reflection of an unfeeling leader incapable or unconcerned with understanding the thoughts, beliefs, or the needs of the Iranian populace. Khomeini adamantly opposed the provisional government of Shapour Bakhtiar, promising "I shall kick their teeth in. I appoint the government." On 11 February (Bahman 22), Khomeini appointed his own competing interim prime minister, Mehdi Bazargan, demanding, "since I have appointed him, he must be obeyed." It was "God's government," he warned, disobedience against him or Bazargan was considered a "revolt against God." As Khomeini's movement gained momentum, soldiers began to defect to his side and Khomeini declared ill fortune on troops who did not surrender. On 11 February, as revolt spread and armories were taken over, the military declared neutrality and the Bakhtiar regime collapsed. On 30 and 31 March 1979, a referendum to replace the monarchy with an Islamic Republic passed with 98% voting in favour of the replacement, with the question: "should the monarchy be abolished in favour of an Islamic Government?" Although revolutionaries were now in charge and Khomeini was their leader, some opposition groups claim that several secular and religious groups were unaware of Khomeini's plan for Islamic government by wilayat al-faqih, which involved rule by a marja' Islamic cleric. They claim that this provisional constitution for the Islamic Republic did not include the post of supreme Islamic clerical ruler. The Islamic government was clearly defined by Khomeini in his book Hokumat-e Islami: Velayat-e faqih (Islamic Government: Governance of the Jurist) which was published while Khomeini was in exile in 1970, smuggled into Iran, and distributed to Khomeini's supporters. This book included Khomeini's notion of wilayat al-faqih (Governance of the Jurist) as well as the reasoning and in his view, the necessity of it in running an Islamic state. Khomeini and his supporters worked to suppress some former allies and rewrote the proposed constitution. Some newspapers were closed, and those protesting the closings were attacked. Opposition groups such as the National Democratic Front and Muslim People's Republican Party were attacked and finally banned. Through popular support, Khomeini supporters gained an overwhelming majority of the seats in the Assembly of Experts which revised the proposed constitution. The newly proposed constitution included an Islamic jurist Supreme Leader of the country, and a Council of Guardians to veto un-Islamic legislation and screen candidates for office, disqualifying those found un-Islamic. In November 1979, the new constitution of the Islamic Republic was adopted by national referendum. Khomeini himself became instituted as the Supreme Leader (Guardian Jurist), and officially became known as the "Leader of the Revolution." On 4 February 1980, Abolhassan Banisadr was elected as the first president of Iran. Critics complain that Khomeini had gone back on his word to advise, rather than rule the country.
|
C_2bf2b3d7e1cb48e1acfbc373119171b7_1_q#0
|
Why is the Islamic constitution important to Khomeini
| 0y
| 2x
|
{
"texts": [
"the Shah announced the \"White Revolution\", a six-point programme of reform"
],
"answer_starts": [
17
]
}
|
{
"text": "the Shah announced the \"White Revolution\", a six-point programme of reform",
"answer_start": 17
}
|
C_2bf2b3d7e1cb48e1acfbc373119171b7_1
|
Ruhollah Khomeini
|
Sayyid Ruhollah Musavi Khomeini (Persian: syd rwHllh mwswy khmyny [ru:hol'la:he khomei'ni:] ( listen); 24 September 1902 - 3 June 1989), known in the Western world as Ayatollah Khomeini, was an Iranian Shia Muslim religious leader and politician. He was the founder of Iran as an Islamic republic and the leader of its 1979 Iranian Revolution that saw the overthrow of 2500 years of Persian monarchy and Mohammad Reza Pahlavi, the last Shah of Iran.
|
Islamic constitution
|
In January 1963, the Shah announced the "White Revolution", a six-point programme of reform calling for land reform, nationalization of the forests, the sale of state-owned enterprises to private interests, electoral changes to enfranchise women and allow non-Muslims to hold office, profit-sharing in industry, and a literacy campaign in the nation's schools. Some of these initiatives were regarded as dangerous, especially by the powerful and privileged Shi'a ulama (religious scholars), and as Westernizing trends by traditionalists (Khomeini viewed them as "an attack on Islam"). Ayatollah Khomeini summoned a meeting of the other senior marjas of Qom and persuaded them to decree a boycott of the referendum on the White Revolution. On 22 January 1963 Khomeini issued a strongly worded declaration denouncing the Shah and his plans. Two days later the Shah took an armored column to Qom, and delivered a speech harshly attacking the ulama as a class. Khomeini continued his denunciation of the Shah's programmes, issuing a manifesto that bore the signatures of eight other senior Iranian Shia religious scholars. In it he listed the various ways in which the Shah had allegedly violated the constitution, condemned the spread of moral corruption in the country, and accused the Shah of submission to the United States and Israel. He also decreed that the Nowruz celebrations for the Iranian year 1342 (which fell on 21 March 1963) be canceled as a sign of protest against government policies. On the afternoon of 'Ashura (3 June 1963), Khomeini delivered a speech at the Feyziyeh madrasah drawing parallels between the Sunni Muslim caliph Yazid, who is perceived as a 'tyrant' by Shias, and the Shah, denouncing the Shah as a "wretched, miserable man," and warning him that if he did not change his ways the day would come when the people would offer up thanks for his departure from the country. On 5 June 1963 (15 of Khordad) at 3:00 am, two days after this public denunciation of the Shah Mohammad Reza Pahlavi, Khomeini was detained in Qom and transferred to Tehran. This sparked three days of major riots throughout Iran and led to the deaths of some 400. That event is now referred to as the Movement of 15 Khordad. Khomeini was kept under house arrest and released in August. Khomeini was not allowed to return to Iran during the Shah's reign (as he had been in exile). On 17 January 1979, the Shah left the country (ostensibly "on vacation"), never to return. Two weeks later, on Thursday, 1 February 1979, Khomeini returned in triumph to Iran, welcomed by a joyous crowd estimated (by BBC) to be of up to five million people. On his chartered Air France flight back to Tehran 120 journalists accompanied him, including three women. One of the journalists, Peter Jennings, asked: "Ayatollah, would you be so kind as to tell us how you feel about being back in Iran?" Khomeini answered via his aide Sadegh Ghotbzadeh: "Hichi" (Nothing). This statement--much discussed at the time and since--was considered by some reflective of his mystical beliefs and non-attachment to ego. Others considered it a warning to Iranians who hoped he would be a "mainstream nationalist leader" that they were in for disappointment. To others, it was a reflection of an unfeeling leader incapable or unconcerned with understanding the thoughts, beliefs, or the needs of the Iranian populace. Khomeini adamantly opposed the provisional government of Shapour Bakhtiar, promising "I shall kick their teeth in. I appoint the government." On 11 February (Bahman 22), Khomeini appointed his own competing interim prime minister, Mehdi Bazargan, demanding, "since I have appointed him, he must be obeyed." It was "God's government," he warned, disobedience against him or Bazargan was considered a "revolt against God." As Khomeini's movement gained momentum, soldiers began to defect to his side and Khomeini declared ill fortune on troops who did not surrender. On 11 February, as revolt spread and armories were taken over, the military declared neutrality and the Bakhtiar regime collapsed. On 30 and 31 March 1979, a referendum to replace the monarchy with an Islamic Republic passed with 98% voting in favour of the replacement, with the question: "should the monarchy be abolished in favour of an Islamic Government?" Although revolutionaries were now in charge and Khomeini was their leader, some opposition groups claim that several secular and religious groups were unaware of Khomeini's plan for Islamic government by wilayat al-faqih, which involved rule by a marja' Islamic cleric. They claim that this provisional constitution for the Islamic Republic did not include the post of supreme Islamic clerical ruler. The Islamic government was clearly defined by Khomeini in his book Hokumat-e Islami: Velayat-e faqih (Islamic Government: Governance of the Jurist) which was published while Khomeini was in exile in 1970, smuggled into Iran, and distributed to Khomeini's supporters. This book included Khomeini's notion of wilayat al-faqih (Governance of the Jurist) as well as the reasoning and in his view, the necessity of it in running an Islamic state. Khomeini and his supporters worked to suppress some former allies and rewrote the proposed constitution. Some newspapers were closed, and those protesting the closings were attacked. Opposition groups such as the National Democratic Front and Muslim People's Republican Party were attacked and finally banned. Through popular support, Khomeini supporters gained an overwhelming majority of the seats in the Assembly of Experts which revised the proposed constitution. The newly proposed constitution included an Islamic jurist Supreme Leader of the country, and a Council of Guardians to veto un-Islamic legislation and screen candidates for office, disqualifying those found un-Islamic. In November 1979, the new constitution of the Islamic Republic was adopted by national referendum. Khomeini himself became instituted as the Supreme Leader (Guardian Jurist), and officially became known as the "Leader of the Revolution." On 4 February 1980, Abolhassan Banisadr was elected as the first president of Iran. Critics complain that Khomeini had gone back on his word to advise, rather than rule the country.
Q: Why is the Islamic constitution important to Khomeini
A: the Shah announced the "White Revolution", a six-point programme of reform
|
C_2bf2b3d7e1cb48e1acfbc373119171b7_1_q#1
|
What happened next?
| 0y
| 2x
|
{
"texts": [
"Ayatollah Khomeini summoned a meeting of the other senior marjas of Qom and persuaded them to decree a boycott of the referendum on the White Revolution."
],
"answer_starts": [
585
]
}
|
{
"text": "Ayatollah Khomeini summoned a meeting of the other senior marjas of Qom and persuaded them to decree a boycott of the referendum on the White Revolution.",
"answer_start": 585
}
|
C_2bf2b3d7e1cb48e1acfbc373119171b7_1
|
Ruhollah Khomeini
|
Sayyid Ruhollah Musavi Khomeini (Persian: syd rwHllh mwswy khmyny [ru:hol'la:he khomei'ni:] ( listen); 24 September 1902 - 3 June 1989), known in the Western world as Ayatollah Khomeini, was an Iranian Shia Muslim religious leader and politician. He was the founder of Iran as an Islamic republic and the leader of its 1979 Iranian Revolution that saw the overthrow of 2500 years of Persian monarchy and Mohammad Reza Pahlavi, the last Shah of Iran.
|
Islamic constitution
|
In January 1963, the Shah announced the "White Revolution", a six-point programme of reform calling for land reform, nationalization of the forests, the sale of state-owned enterprises to private interests, electoral changes to enfranchise women and allow non-Muslims to hold office, profit-sharing in industry, and a literacy campaign in the nation's schools. Some of these initiatives were regarded as dangerous, especially by the powerful and privileged Shi'a ulama (religious scholars), and as Westernizing trends by traditionalists (Khomeini viewed them as "an attack on Islam"). Ayatollah Khomeini summoned a meeting of the other senior marjas of Qom and persuaded them to decree a boycott of the referendum on the White Revolution. On 22 January 1963 Khomeini issued a strongly worded declaration denouncing the Shah and his plans. Two days later the Shah took an armored column to Qom, and delivered a speech harshly attacking the ulama as a class. Khomeini continued his denunciation of the Shah's programmes, issuing a manifesto that bore the signatures of eight other senior Iranian Shia religious scholars. In it he listed the various ways in which the Shah had allegedly violated the constitution, condemned the spread of moral corruption in the country, and accused the Shah of submission to the United States and Israel. He also decreed that the Nowruz celebrations for the Iranian year 1342 (which fell on 21 March 1963) be canceled as a sign of protest against government policies. On the afternoon of 'Ashura (3 June 1963), Khomeini delivered a speech at the Feyziyeh madrasah drawing parallels between the Sunni Muslim caliph Yazid, who is perceived as a 'tyrant' by Shias, and the Shah, denouncing the Shah as a "wretched, miserable man," and warning him that if he did not change his ways the day would come when the people would offer up thanks for his departure from the country. On 5 June 1963 (15 of Khordad) at 3:00 am, two days after this public denunciation of the Shah Mohammad Reza Pahlavi, Khomeini was detained in Qom and transferred to Tehran. This sparked three days of major riots throughout Iran and led to the deaths of some 400. That event is now referred to as the Movement of 15 Khordad. Khomeini was kept under house arrest and released in August. Khomeini was not allowed to return to Iran during the Shah's reign (as he had been in exile). On 17 January 1979, the Shah left the country (ostensibly "on vacation"), never to return. Two weeks later, on Thursday, 1 February 1979, Khomeini returned in triumph to Iran, welcomed by a joyous crowd estimated (by BBC) to be of up to five million people. On his chartered Air France flight back to Tehran 120 journalists accompanied him, including three women. One of the journalists, Peter Jennings, asked: "Ayatollah, would you be so kind as to tell us how you feel about being back in Iran?" Khomeini answered via his aide Sadegh Ghotbzadeh: "Hichi" (Nothing). This statement--much discussed at the time and since--was considered by some reflective of his mystical beliefs and non-attachment to ego. Others considered it a warning to Iranians who hoped he would be a "mainstream nationalist leader" that they were in for disappointment. To others, it was a reflection of an unfeeling leader incapable or unconcerned with understanding the thoughts, beliefs, or the needs of the Iranian populace. Khomeini adamantly opposed the provisional government of Shapour Bakhtiar, promising "I shall kick their teeth in. I appoint the government." On 11 February (Bahman 22), Khomeini appointed his own competing interim prime minister, Mehdi Bazargan, demanding, "since I have appointed him, he must be obeyed." It was "God's government," he warned, disobedience against him or Bazargan was considered a "revolt against God." As Khomeini's movement gained momentum, soldiers began to defect to his side and Khomeini declared ill fortune on troops who did not surrender. On 11 February, as revolt spread and armories were taken over, the military declared neutrality and the Bakhtiar regime collapsed. On 30 and 31 March 1979, a referendum to replace the monarchy with an Islamic Republic passed with 98% voting in favour of the replacement, with the question: "should the monarchy be abolished in favour of an Islamic Government?" Although revolutionaries were now in charge and Khomeini was their leader, some opposition groups claim that several secular and religious groups were unaware of Khomeini's plan for Islamic government by wilayat al-faqih, which involved rule by a marja' Islamic cleric. They claim that this provisional constitution for the Islamic Republic did not include the post of supreme Islamic clerical ruler. The Islamic government was clearly defined by Khomeini in his book Hokumat-e Islami: Velayat-e faqih (Islamic Government: Governance of the Jurist) which was published while Khomeini was in exile in 1970, smuggled into Iran, and distributed to Khomeini's supporters. This book included Khomeini's notion of wilayat al-faqih (Governance of the Jurist) as well as the reasoning and in his view, the necessity of it in running an Islamic state. Khomeini and his supporters worked to suppress some former allies and rewrote the proposed constitution. Some newspapers were closed, and those protesting the closings were attacked. Opposition groups such as the National Democratic Front and Muslim People's Republican Party were attacked and finally banned. Through popular support, Khomeini supporters gained an overwhelming majority of the seats in the Assembly of Experts which revised the proposed constitution. The newly proposed constitution included an Islamic jurist Supreme Leader of the country, and a Council of Guardians to veto un-Islamic legislation and screen candidates for office, disqualifying those found un-Islamic. In November 1979, the new constitution of the Islamic Republic was adopted by national referendum. Khomeini himself became instituted as the Supreme Leader (Guardian Jurist), and officially became known as the "Leader of the Revolution." On 4 February 1980, Abolhassan Banisadr was elected as the first president of Iran. Critics complain that Khomeini had gone back on his word to advise, rather than rule the country.
Q: Why is the Islamic constitution important to Khomeini
A: the Shah announced the "White Revolution", a six-point programme of reform
Q: What happened next?
A: Ayatollah Khomeini summoned a meeting of the other senior marjas of Qom and persuaded them to decree a boycott of the referendum on the White Revolution.
|
C_2bf2b3d7e1cb48e1acfbc373119171b7_1_q#2
|
What year did this happen?
| 0y
| 2x
|
{
"texts": [
"On 22 January 1963 Khomeini issued a strongly worded declaration denouncing the Shah and his plans."
],
"answer_starts": [
739
]
}
|
{
"text": "On 22 January 1963 Khomeini issued a strongly worded declaration denouncing the Shah and his plans.",
"answer_start": 739
}
|
C_2bf2b3d7e1cb48e1acfbc373119171b7_1
|
Ruhollah Khomeini
|
Sayyid Ruhollah Musavi Khomeini (Persian: syd rwHllh mwswy khmyny [ru:hol'la:he khomei'ni:] ( listen); 24 September 1902 - 3 June 1989), known in the Western world as Ayatollah Khomeini, was an Iranian Shia Muslim religious leader and politician. He was the founder of Iran as an Islamic republic and the leader of its 1979 Iranian Revolution that saw the overthrow of 2500 years of Persian monarchy and Mohammad Reza Pahlavi, the last Shah of Iran.
|
Islamic constitution
|
In January 1963, the Shah announced the "White Revolution", a six-point programme of reform calling for land reform, nationalization of the forests, the sale of state-owned enterprises to private interests, electoral changes to enfranchise women and allow non-Muslims to hold office, profit-sharing in industry, and a literacy campaign in the nation's schools. Some of these initiatives were regarded as dangerous, especially by the powerful and privileged Shi'a ulama (religious scholars), and as Westernizing trends by traditionalists (Khomeini viewed them as "an attack on Islam"). Ayatollah Khomeini summoned a meeting of the other senior marjas of Qom and persuaded them to decree a boycott of the referendum on the White Revolution. On 22 January 1963 Khomeini issued a strongly worded declaration denouncing the Shah and his plans. Two days later the Shah took an armored column to Qom, and delivered a speech harshly attacking the ulama as a class. Khomeini continued his denunciation of the Shah's programmes, issuing a manifesto that bore the signatures of eight other senior Iranian Shia religious scholars. In it he listed the various ways in which the Shah had allegedly violated the constitution, condemned the spread of moral corruption in the country, and accused the Shah of submission to the United States and Israel. He also decreed that the Nowruz celebrations for the Iranian year 1342 (which fell on 21 March 1963) be canceled as a sign of protest against government policies. On the afternoon of 'Ashura (3 June 1963), Khomeini delivered a speech at the Feyziyeh madrasah drawing parallels between the Sunni Muslim caliph Yazid, who is perceived as a 'tyrant' by Shias, and the Shah, denouncing the Shah as a "wretched, miserable man," and warning him that if he did not change his ways the day would come when the people would offer up thanks for his departure from the country. On 5 June 1963 (15 of Khordad) at 3:00 am, two days after this public denunciation of the Shah Mohammad Reza Pahlavi, Khomeini was detained in Qom and transferred to Tehran. This sparked three days of major riots throughout Iran and led to the deaths of some 400. That event is now referred to as the Movement of 15 Khordad. Khomeini was kept under house arrest and released in August. Khomeini was not allowed to return to Iran during the Shah's reign (as he had been in exile). On 17 January 1979, the Shah left the country (ostensibly "on vacation"), never to return. Two weeks later, on Thursday, 1 February 1979, Khomeini returned in triumph to Iran, welcomed by a joyous crowd estimated (by BBC) to be of up to five million people. On his chartered Air France flight back to Tehran 120 journalists accompanied him, including three women. One of the journalists, Peter Jennings, asked: "Ayatollah, would you be so kind as to tell us how you feel about being back in Iran?" Khomeini answered via his aide Sadegh Ghotbzadeh: "Hichi" (Nothing). This statement--much discussed at the time and since--was considered by some reflective of his mystical beliefs and non-attachment to ego. Others considered it a warning to Iranians who hoped he would be a "mainstream nationalist leader" that they were in for disappointment. To others, it was a reflection of an unfeeling leader incapable or unconcerned with understanding the thoughts, beliefs, or the needs of the Iranian populace. Khomeini adamantly opposed the provisional government of Shapour Bakhtiar, promising "I shall kick their teeth in. I appoint the government." On 11 February (Bahman 22), Khomeini appointed his own competing interim prime minister, Mehdi Bazargan, demanding, "since I have appointed him, he must be obeyed." It was "God's government," he warned, disobedience against him or Bazargan was considered a "revolt against God." As Khomeini's movement gained momentum, soldiers began to defect to his side and Khomeini declared ill fortune on troops who did not surrender. On 11 February, as revolt spread and armories were taken over, the military declared neutrality and the Bakhtiar regime collapsed. On 30 and 31 March 1979, a referendum to replace the monarchy with an Islamic Republic passed with 98% voting in favour of the replacement, with the question: "should the monarchy be abolished in favour of an Islamic Government?" Although revolutionaries were now in charge and Khomeini was their leader, some opposition groups claim that several secular and religious groups were unaware of Khomeini's plan for Islamic government by wilayat al-faqih, which involved rule by a marja' Islamic cleric. They claim that this provisional constitution for the Islamic Republic did not include the post of supreme Islamic clerical ruler. The Islamic government was clearly defined by Khomeini in his book Hokumat-e Islami: Velayat-e faqih (Islamic Government: Governance of the Jurist) which was published while Khomeini was in exile in 1970, smuggled into Iran, and distributed to Khomeini's supporters. This book included Khomeini's notion of wilayat al-faqih (Governance of the Jurist) as well as the reasoning and in his view, the necessity of it in running an Islamic state. Khomeini and his supporters worked to suppress some former allies and rewrote the proposed constitution. Some newspapers were closed, and those protesting the closings were attacked. Opposition groups such as the National Democratic Front and Muslim People's Republican Party were attacked and finally banned. Through popular support, Khomeini supporters gained an overwhelming majority of the seats in the Assembly of Experts which revised the proposed constitution. The newly proposed constitution included an Islamic jurist Supreme Leader of the country, and a Council of Guardians to veto un-Islamic legislation and screen candidates for office, disqualifying those found un-Islamic. In November 1979, the new constitution of the Islamic Republic was adopted by national referendum. Khomeini himself became instituted as the Supreme Leader (Guardian Jurist), and officially became known as the "Leader of the Revolution." On 4 February 1980, Abolhassan Banisadr was elected as the first president of Iran. Critics complain that Khomeini had gone back on his word to advise, rather than rule the country.
Q: Why is the Islamic constitution important to Khomeini
A: the Shah announced the "White Revolution", a six-point programme of reform
Q: What happened next?
A: Ayatollah Khomeini summoned a meeting of the other senior marjas of Qom and persuaded them to decree a boycott of the referendum on the White Revolution.
Q: What year did this happen?
A: On 22 January 1963 Khomeini issued a strongly worded declaration denouncing the Shah and his plans.
|
C_2bf2b3d7e1cb48e1acfbc373119171b7_1_q#3
|
What happened after the boycott of the referendum on the white revolution?
| 0y
| 2x
|
{
"texts": [
"Two days later the Shah took an armored column to Qom, and delivered a speech harshly attacking the ulama as a class."
],
"answer_starts": [
839
]
}
|
{
"text": "Two days later the Shah took an armored column to Qom, and delivered a speech harshly attacking the ulama as a class.",
"answer_start": 839
}
|
C_b200a4798a7349ff8822b7bcf5addda2_1
|
Zhang Heng
|
Zhang Heng (Chinese: Zhang Heng ; AD 78-139), formerly romanized as Chang Heng, was a Han Chinese polymath from Nanyang who lived during the Han dynasty. Educated in the capital cities of Luoyang and Chang'an, he achieved success as an astronomer, mathematician, scientist, engineer, inventor, geographer, cartographer, artist, poet, statesman, and literary scholar. Zhang Heng began his career as a minor civil servant in Nanyang. Eventually, he became Chief Astronomer, Prefect of the Majors for Official Carriages, and then Palace Attendant at the imperial court.
|
Odometer and south-pointing chariot
|
Zhang Heng is often credited with inventing the first odometer, an achievement also attributed to Archimedes (c. 287-212 BC) and Heron of Alexandria (fl. AD 10-70). Similar devices were used by the Roman and Han-Chinese empires at about the same period. By the 3rd century, the Chinese had termed the device the ji li gu che, or "li-recording drum carriage" (the modern measurement of li = 500 m/1640 ft). Ancient Chinese texts describe the mechanical carriage's functions; after one li was traversed, a mechanically driven wooden figure struck a drum, and after ten li had been covered, another wooden figure struck a gong or a bell with its mechanically operated arm. However, there is evidence to suggest that the invention of the odometer was a gradual process in Han Dynasty China that centered on the "huang men"--court people (i.e. eunuchs, palace officials, attendants and familiars, actors, acrobats, etc.) who followed the musical procession of the royal "drum-chariot". There is speculation that at some time during the 1st century BC the beating of drums and gongs was mechanically driven by the rotation of the road wheels. This might have actually been the design of Luoxia Hong (c. 110 BC), yet by at least 125 the mechanical odometer carriage was already known, as it was depicted in a mural of the Xiao Tang Shan Tomb. The south-pointing chariot was another mechanical device credited to Zhang Heng. It was a non-magnetic compass vehicle in the form of a two-wheeled chariot. Differential gears driven by the chariot's wheels allowed a wooden figurine (in the shape of a Chinese state minister) to constantly point to the south, hence its name. The Song Shu (c. AD 500 ) records that Zhang Heng re-invented it from a model used in the Zhou Dynasty era, but the violent collapse of the Han Dynasty unfortunately did not allow it to be preserved. Whether Zhang Heng invented it or not, Ma Jun (200-265) succeeded in creating the chariot in the following century.
|
C_b200a4798a7349ff8822b7bcf5addda2_1_q#0
|
What is the south-point chariot?
| 0y
| 2x
|
{
"texts": [
"The south-pointing chariot was another mechanical device credited to Zhang Heng."
],
"answer_starts": [
1338
]
}
|
{
"text": "The south-pointing chariot was another mechanical device credited to Zhang Heng.",
"answer_start": 1338
}
|
C_b200a4798a7349ff8822b7bcf5addda2_1
|
Zhang Heng
|
Zhang Heng (Chinese: Zhang Heng ; AD 78-139), formerly romanized as Chang Heng, was a Han Chinese polymath from Nanyang who lived during the Han dynasty. Educated in the capital cities of Luoyang and Chang'an, he achieved success as an astronomer, mathematician, scientist, engineer, inventor, geographer, cartographer, artist, poet, statesman, and literary scholar. Zhang Heng began his career as a minor civil servant in Nanyang. Eventually, he became Chief Astronomer, Prefect of the Majors for Official Carriages, and then Palace Attendant at the imperial court.
|
Odometer and south-pointing chariot
|
Zhang Heng is often credited with inventing the first odometer, an achievement also attributed to Archimedes (c. 287-212 BC) and Heron of Alexandria (fl. AD 10-70). Similar devices were used by the Roman and Han-Chinese empires at about the same period. By the 3rd century, the Chinese had termed the device the ji li gu che, or "li-recording drum carriage" (the modern measurement of li = 500 m/1640 ft). Ancient Chinese texts describe the mechanical carriage's functions; after one li was traversed, a mechanically driven wooden figure struck a drum, and after ten li had been covered, another wooden figure struck a gong or a bell with its mechanically operated arm. However, there is evidence to suggest that the invention of the odometer was a gradual process in Han Dynasty China that centered on the "huang men"--court people (i.e. eunuchs, palace officials, attendants and familiars, actors, acrobats, etc.) who followed the musical procession of the royal "drum-chariot". There is speculation that at some time during the 1st century BC the beating of drums and gongs was mechanically driven by the rotation of the road wheels. This might have actually been the design of Luoxia Hong (c. 110 BC), yet by at least 125 the mechanical odometer carriage was already known, as it was depicted in a mural of the Xiao Tang Shan Tomb. The south-pointing chariot was another mechanical device credited to Zhang Heng. It was a non-magnetic compass vehicle in the form of a two-wheeled chariot. Differential gears driven by the chariot's wheels allowed a wooden figurine (in the shape of a Chinese state minister) to constantly point to the south, hence its name. The Song Shu (c. AD 500 ) records that Zhang Heng re-invented it from a model used in the Zhou Dynasty era, but the violent collapse of the Han Dynasty unfortunately did not allow it to be preserved. Whether Zhang Heng invented it or not, Ma Jun (200-265) succeeded in creating the chariot in the following century.
Q: What is the south-point chariot?
A: The south-pointing chariot was another mechanical device credited to Zhang Heng.
|
C_b200a4798a7349ff8822b7bcf5addda2_1_q#1
|
Are there any other interesting aspects about this article?
| 0y
| 0y
|
{
"texts": [
"It was a non-magnetic compass vehicle in the form of a two-wheeled chariot."
],
"answer_starts": [
1419
]
}
|
{
"text": "It was a non-magnetic compass vehicle in the form of a two-wheeled chariot.",
"answer_start": 1419
}
|
C_b200a4798a7349ff8822b7bcf5addda2_1
|
Zhang Heng
|
Zhang Heng (Chinese: Zhang Heng ; AD 78-139), formerly romanized as Chang Heng, was a Han Chinese polymath from Nanyang who lived during the Han dynasty. Educated in the capital cities of Luoyang and Chang'an, he achieved success as an astronomer, mathematician, scientist, engineer, inventor, geographer, cartographer, artist, poet, statesman, and literary scholar. Zhang Heng began his career as a minor civil servant in Nanyang. Eventually, he became Chief Astronomer, Prefect of the Majors for Official Carriages, and then Palace Attendant at the imperial court.
|
Odometer and south-pointing chariot
|
Zhang Heng is often credited with inventing the first odometer, an achievement also attributed to Archimedes (c. 287-212 BC) and Heron of Alexandria (fl. AD 10-70). Similar devices were used by the Roman and Han-Chinese empires at about the same period. By the 3rd century, the Chinese had termed the device the ji li gu che, or "li-recording drum carriage" (the modern measurement of li = 500 m/1640 ft). Ancient Chinese texts describe the mechanical carriage's functions; after one li was traversed, a mechanically driven wooden figure struck a drum, and after ten li had been covered, another wooden figure struck a gong or a bell with its mechanically operated arm. However, there is evidence to suggest that the invention of the odometer was a gradual process in Han Dynasty China that centered on the "huang men"--court people (i.e. eunuchs, palace officials, attendants and familiars, actors, acrobats, etc.) who followed the musical procession of the royal "drum-chariot". There is speculation that at some time during the 1st century BC the beating of drums and gongs was mechanically driven by the rotation of the road wheels. This might have actually been the design of Luoxia Hong (c. 110 BC), yet by at least 125 the mechanical odometer carriage was already known, as it was depicted in a mural of the Xiao Tang Shan Tomb. The south-pointing chariot was another mechanical device credited to Zhang Heng. It was a non-magnetic compass vehicle in the form of a two-wheeled chariot. Differential gears driven by the chariot's wheels allowed a wooden figurine (in the shape of a Chinese state minister) to constantly point to the south, hence its name. The Song Shu (c. AD 500 ) records that Zhang Heng re-invented it from a model used in the Zhou Dynasty era, but the violent collapse of the Han Dynasty unfortunately did not allow it to be preserved. Whether Zhang Heng invented it or not, Ma Jun (200-265) succeeded in creating the chariot in the following century.
Q: What is the south-point chariot?
A: The south-pointing chariot was another mechanical device credited to Zhang Heng.
Q: Are there any other interesting aspects about this article?
A: It was a non-magnetic compass vehicle in the form of a two-wheeled chariot.
|
C_b200a4798a7349ff8822b7bcf5addda2_1_q#2
|
When was it created?
| 2m
| 2x
|
{
"texts": [
"125"
],
"answer_starts": [
1223
]
}
|
{
"text": "125",
"answer_start": 1223
}
|
C_b200a4798a7349ff8822b7bcf5addda2_1
|
Zhang Heng
|
Zhang Heng (Chinese: Zhang Heng ; AD 78-139), formerly romanized as Chang Heng, was a Han Chinese polymath from Nanyang who lived during the Han dynasty. Educated in the capital cities of Luoyang and Chang'an, he achieved success as an astronomer, mathematician, scientist, engineer, inventor, geographer, cartographer, artist, poet, statesman, and literary scholar. Zhang Heng began his career as a minor civil servant in Nanyang. Eventually, he became Chief Astronomer, Prefect of the Majors for Official Carriages, and then Palace Attendant at the imperial court.
|
Odometer and south-pointing chariot
|
Zhang Heng is often credited with inventing the first odometer, an achievement also attributed to Archimedes (c. 287-212 BC) and Heron of Alexandria (fl. AD 10-70). Similar devices were used by the Roman and Han-Chinese empires at about the same period. By the 3rd century, the Chinese had termed the device the ji li gu che, or "li-recording drum carriage" (the modern measurement of li = 500 m/1640 ft). Ancient Chinese texts describe the mechanical carriage's functions; after one li was traversed, a mechanically driven wooden figure struck a drum, and after ten li had been covered, another wooden figure struck a gong or a bell with its mechanically operated arm. However, there is evidence to suggest that the invention of the odometer was a gradual process in Han Dynasty China that centered on the "huang men"--court people (i.e. eunuchs, palace officials, attendants and familiars, actors, acrobats, etc.) who followed the musical procession of the royal "drum-chariot". There is speculation that at some time during the 1st century BC the beating of drums and gongs was mechanically driven by the rotation of the road wheels. This might have actually been the design of Luoxia Hong (c. 110 BC), yet by at least 125 the mechanical odometer carriage was already known, as it was depicted in a mural of the Xiao Tang Shan Tomb. The south-pointing chariot was another mechanical device credited to Zhang Heng. It was a non-magnetic compass vehicle in the form of a two-wheeled chariot. Differential gears driven by the chariot's wheels allowed a wooden figurine (in the shape of a Chinese state minister) to constantly point to the south, hence its name. The Song Shu (c. AD 500 ) records that Zhang Heng re-invented it from a model used in the Zhou Dynasty era, but the violent collapse of the Han Dynasty unfortunately did not allow it to be preserved. Whether Zhang Heng invented it or not, Ma Jun (200-265) succeeded in creating the chariot in the following century.
Q: What is the south-point chariot?
A: The south-pointing chariot was another mechanical device credited to Zhang Heng.
Q: Are there any other interesting aspects about this article?
A: It was a non-magnetic compass vehicle in the form of a two-wheeled chariot.
Q: When was it created?
A: 125
|
C_b200a4798a7349ff8822b7bcf5addda2_1_q#3
|
Did any one aid him on its construction?
| 0y
| 0y
|
{
"texts": [
"Whether Zhang Heng invented it or not, Ma Jun (200-265) succeeded in creating the chariot in the following century."
],
"answer_starts": [
1864
]
}
|
{
"text": "Whether Zhang Heng invented it or not, Ma Jun (200-265) succeeded in creating the chariot in the following century.",
"answer_start": 1864
}
|
C_b200a4798a7349ff8822b7bcf5addda2_1
|
Zhang Heng
|
Zhang Heng (Chinese: Zhang Heng ; AD 78-139), formerly romanized as Chang Heng, was a Han Chinese polymath from Nanyang who lived during the Han dynasty. Educated in the capital cities of Luoyang and Chang'an, he achieved success as an astronomer, mathematician, scientist, engineer, inventor, geographer, cartographer, artist, poet, statesman, and literary scholar. Zhang Heng began his career as a minor civil servant in Nanyang. Eventually, he became Chief Astronomer, Prefect of the Majors for Official Carriages, and then Palace Attendant at the imperial court.
|
Odometer and south-pointing chariot
|
Zhang Heng is often credited with inventing the first odometer, an achievement also attributed to Archimedes (c. 287-212 BC) and Heron of Alexandria (fl. AD 10-70). Similar devices were used by the Roman and Han-Chinese empires at about the same period. By the 3rd century, the Chinese had termed the device the ji li gu che, or "li-recording drum carriage" (the modern measurement of li = 500 m/1640 ft). Ancient Chinese texts describe the mechanical carriage's functions; after one li was traversed, a mechanically driven wooden figure struck a drum, and after ten li had been covered, another wooden figure struck a gong or a bell with its mechanically operated arm. However, there is evidence to suggest that the invention of the odometer was a gradual process in Han Dynasty China that centered on the "huang men"--court people (i.e. eunuchs, palace officials, attendants and familiars, actors, acrobats, etc.) who followed the musical procession of the royal "drum-chariot". There is speculation that at some time during the 1st century BC the beating of drums and gongs was mechanically driven by the rotation of the road wheels. This might have actually been the design of Luoxia Hong (c. 110 BC), yet by at least 125 the mechanical odometer carriage was already known, as it was depicted in a mural of the Xiao Tang Shan Tomb. The south-pointing chariot was another mechanical device credited to Zhang Heng. It was a non-magnetic compass vehicle in the form of a two-wheeled chariot. Differential gears driven by the chariot's wheels allowed a wooden figurine (in the shape of a Chinese state minister) to constantly point to the south, hence its name. The Song Shu (c. AD 500 ) records that Zhang Heng re-invented it from a model used in the Zhou Dynasty era, but the violent collapse of the Han Dynasty unfortunately did not allow it to be preserved. Whether Zhang Heng invented it or not, Ma Jun (200-265) succeeded in creating the chariot in the following century.
Q: What is the south-point chariot?
A: The south-pointing chariot was another mechanical device credited to Zhang Heng.
Q: Are there any other interesting aspects about this article?
A: It was a non-magnetic compass vehicle in the form of a two-wheeled chariot.
Q: When was it created?
A: 125
Q: Did any one aid him on its construction?
A: Whether Zhang Heng invented it or not, Ma Jun (200-265) succeeded in creating the chariot in the following century.
|
C_b200a4798a7349ff8822b7bcf5addda2_1_q#4
|
Was there anything else he created?
| 0y
| 0y
|
{
"texts": [
"inventing the first odometer,"
],
"answer_starts": [
34
]
}
|
{
"text": "inventing the first odometer,",
"answer_start": 34
}
|
C_b200a4798a7349ff8822b7bcf5addda2_1
|
Zhang Heng
|
Zhang Heng (Chinese: Zhang Heng ; AD 78-139), formerly romanized as Chang Heng, was a Han Chinese polymath from Nanyang who lived during the Han dynasty. Educated in the capital cities of Luoyang and Chang'an, he achieved success as an astronomer, mathematician, scientist, engineer, inventor, geographer, cartographer, artist, poet, statesman, and literary scholar. Zhang Heng began his career as a minor civil servant in Nanyang. Eventually, he became Chief Astronomer, Prefect of the Majors for Official Carriages, and then Palace Attendant at the imperial court.
|
Odometer and south-pointing chariot
|
Zhang Heng is often credited with inventing the first odometer, an achievement also attributed to Archimedes (c. 287-212 BC) and Heron of Alexandria (fl. AD 10-70). Similar devices were used by the Roman and Han-Chinese empires at about the same period. By the 3rd century, the Chinese had termed the device the ji li gu che, or "li-recording drum carriage" (the modern measurement of li = 500 m/1640 ft). Ancient Chinese texts describe the mechanical carriage's functions; after one li was traversed, a mechanically driven wooden figure struck a drum, and after ten li had been covered, another wooden figure struck a gong or a bell with its mechanically operated arm. However, there is evidence to suggest that the invention of the odometer was a gradual process in Han Dynasty China that centered on the "huang men"--court people (i.e. eunuchs, palace officials, attendants and familiars, actors, acrobats, etc.) who followed the musical procession of the royal "drum-chariot". There is speculation that at some time during the 1st century BC the beating of drums and gongs was mechanically driven by the rotation of the road wheels. This might have actually been the design of Luoxia Hong (c. 110 BC), yet by at least 125 the mechanical odometer carriage was already known, as it was depicted in a mural of the Xiao Tang Shan Tomb. The south-pointing chariot was another mechanical device credited to Zhang Heng. It was a non-magnetic compass vehicle in the form of a two-wheeled chariot. Differential gears driven by the chariot's wheels allowed a wooden figurine (in the shape of a Chinese state minister) to constantly point to the south, hence its name. The Song Shu (c. AD 500 ) records that Zhang Heng re-invented it from a model used in the Zhou Dynasty era, but the violent collapse of the Han Dynasty unfortunately did not allow it to be preserved. Whether Zhang Heng invented it or not, Ma Jun (200-265) succeeded in creating the chariot in the following century.
Q: What is the south-point chariot?
A: The south-pointing chariot was another mechanical device credited to Zhang Heng.
Q: Are there any other interesting aspects about this article?
A: It was a non-magnetic compass vehicle in the form of a two-wheeled chariot.
Q: When was it created?
A: 125
Q: Did any one aid him on its construction?
A: Whether Zhang Heng invented it or not, Ma Jun (200-265) succeeded in creating the chariot in the following century.
Q: Was there anything else he created?
A: inventing the first odometer,
|
C_b200a4798a7349ff8822b7bcf5addda2_1_q#5
|
When was this invented?
| 0y
| 2x
|
{
"texts": [
"c. 287-212 BC"
],
"answer_starts": [
110
]
}
|
{
"text": "c. 287-212 BC",
"answer_start": 110
}
|
C_b200a4798a7349ff8822b7bcf5addda2_1
|
Zhang Heng
|
Zhang Heng (Chinese: Zhang Heng ; AD 78-139), formerly romanized as Chang Heng, was a Han Chinese polymath from Nanyang who lived during the Han dynasty. Educated in the capital cities of Luoyang and Chang'an, he achieved success as an astronomer, mathematician, scientist, engineer, inventor, geographer, cartographer, artist, poet, statesman, and literary scholar. Zhang Heng began his career as a minor civil servant in Nanyang. Eventually, he became Chief Astronomer, Prefect of the Majors for Official Carriages, and then Palace Attendant at the imperial court.
|
Odometer and south-pointing chariot
|
Zhang Heng is often credited with inventing the first odometer, an achievement also attributed to Archimedes (c. 287-212 BC) and Heron of Alexandria (fl. AD 10-70). Similar devices were used by the Roman and Han-Chinese empires at about the same period. By the 3rd century, the Chinese had termed the device the ji li gu che, or "li-recording drum carriage" (the modern measurement of li = 500 m/1640 ft). Ancient Chinese texts describe the mechanical carriage's functions; after one li was traversed, a mechanically driven wooden figure struck a drum, and after ten li had been covered, another wooden figure struck a gong or a bell with its mechanically operated arm. However, there is evidence to suggest that the invention of the odometer was a gradual process in Han Dynasty China that centered on the "huang men"--court people (i.e. eunuchs, palace officials, attendants and familiars, actors, acrobats, etc.) who followed the musical procession of the royal "drum-chariot". There is speculation that at some time during the 1st century BC the beating of drums and gongs was mechanically driven by the rotation of the road wheels. This might have actually been the design of Luoxia Hong (c. 110 BC), yet by at least 125 the mechanical odometer carriage was already known, as it was depicted in a mural of the Xiao Tang Shan Tomb. The south-pointing chariot was another mechanical device credited to Zhang Heng. It was a non-magnetic compass vehicle in the form of a two-wheeled chariot. Differential gears driven by the chariot's wheels allowed a wooden figurine (in the shape of a Chinese state minister) to constantly point to the south, hence its name. The Song Shu (c. AD 500 ) records that Zhang Heng re-invented it from a model used in the Zhou Dynasty era, but the violent collapse of the Han Dynasty unfortunately did not allow it to be preserved. Whether Zhang Heng invented it or not, Ma Jun (200-265) succeeded in creating the chariot in the following century.
Q: What is the south-point chariot?
A: The south-pointing chariot was another mechanical device credited to Zhang Heng.
Q: Are there any other interesting aspects about this article?
A: It was a non-magnetic compass vehicle in the form of a two-wheeled chariot.
Q: When was it created?
A: 125
Q: Did any one aid him on its construction?
A: Whether Zhang Heng invented it or not, Ma Jun (200-265) succeeded in creating the chariot in the following century.
Q: Was there anything else he created?
A: inventing the first odometer,
Q: When was this invented?
A: c. 287-212 BC
|
C_b200a4798a7349ff8822b7bcf5addda2_1_q#6
|
Did someone help him finish this one as well?
| 2m
| 0y
|
{
"texts": [
"Similar devices were used by the Roman and Han-Chinese empires at about the same period."
],
"answer_starts": [
165
]
}
|
{
"text": "Similar devices were used by the Roman and Han-Chinese empires at about the same period.",
"answer_start": 165
}
|
C_b200a4798a7349ff8822b7bcf5addda2_0
|
Zhang Heng
|
Zhang Heng (Chinese: Zhang Heng ; AD 78-139), formerly romanized as Chang Heng, was a Han Chinese polymath from Nanyang who lived during the Han dynasty. Educated in the capital cities of Luoyang and Chang'an, he achieved success as an astronomer, mathematician, scientist, engineer, inventor, geographer, cartographer, artist, poet, statesman, and literary scholar. Zhang Heng began his career as a minor civil servant in Nanyang. Eventually, he became Chief Astronomer, Prefect of the Majors for Official Carriages, and then Palace Attendant at the imperial court.
|
Science and technology
|
Zhang Heng's mechanical inventions influenced later Chinese inventors such as Yi Xing, Zhang Sixun, Su Song, and Guo Shoujing. Su Song directly named Zhang's water-powered armillary sphere as the inspiration for his 11th-century clock tower. The cosmic model of nine points of Heaven corresponding with nine regions of earth conceived in the work of the scholar-official Chen Hongmou (1696-1771) followed in the tradition of Zhang's book Spiritual Constitution of the Universe. The seismologist John Milne, who created the modern seismograph in 1876 alongside Thomas Gray and James A. Ewing at the Imperial College of Engineering in Tokyo, commented in 1886 on Zhang Heng's contributions to seismology. The historian Joseph Needham emphasized his contributions to pre-modern Chinese technology, stating that Zhang was noted even in his day for being able to "make three wheels rotate as if they were one." More than one scholar has described Zhang as a polymath. However, some scholars also point out that Zhang's writing lacks concrete scientific theories. Comparing Zhang with his contemporary, Ptolemy (83-161) of Roman Egypt, Jin Guantao, Fan Hongye, and Liu Qingfeng state: Based on the theories of his predecessors, Zhang Heng systematically developed the celestial sphere theory. An armillary constructed on the basis of his hypotheses bears a remarkable similarity to Ptolemy's earth-centered theory. However, Zhang Heng did not definitely propose a theoretical model like Ptolemy's earth-centered one. It is astonishing that the celestial model Zhang Heng constructed was almost a physical model of Ptolemy's earth-centered theory. Only a single step separates the celestial globe from the earth-centered theory, but Chinese astronomers never took that step. Here we can see how important the exemplary function of the primitive scientific structure is. In order to use the Euclidean system of geometry as a model for the development of astronomical theory, Ptolemy first had to select hypotheses which could serve as axioms. He naturally regarded circular motion as fundamental and then used the circular motion of deferents and epicycles in his earth-centered theory. Although Zhang Heng understood that the sun, moon and planets move in circles, he lacked a model for a logically structured theory and so could not establish a corresponding astronomical theory. Chinese astronomy was most interested in extracting the algebraic features of planetary motion (that is, the length of the cyclic periods) to establish astronomical theories. Thus astronomy was reduced to arithmetic operations, extracting common multiples and divisors from the observed cyclic motions of the heavenly bodies.
|
C_b200a4798a7349ff8822b7bcf5addda2_0_q#0
|
what did he have to do with science and technology?
| 0y
| 2x
|
{
"texts": [
"Zhang Heng's mechanical inventions influenced later Chinese inventors"
],
"answer_starts": [
0
]
}
|
{
"text": "Zhang Heng's mechanical inventions influenced later Chinese inventors",
"answer_start": 0
}
|
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