Boris Nikolayevich Yeltsin (Russian: Boris Nikolaevich El'tsin, IPA: [ba'rjis njIka'laIvjItc 'jeljtsin] ( listen); 1 February 1931 - 23 April 2007) was a Soviet and Russian politician and the first President of the Russian Federation, serving from 1991 to 1999. Originally a supporter of Mikhail Gorbachev, Yeltsin emerged under the perestroika reforms as one of Gorbachev's most powerful political opponents. During the late 1980s, Yeltsin had been a candidate member of the Politburo, and in late 1987 tendered a letter of resignation in protest. No one had resigned from the Politburo before.

Boris Yeltsin was born in the village of Butka, Talitsky District, Sverdlovsk, USSR, on 1 February 1931. In 1932 after the state took away the entire harvest from the recently collectivised Butka peasants, the Yeltsin family moved as far away as they could, to Kazan, more than 1,100 kilometres from Butka, where Boris' father, Nikolai, found work on a construction site. Growing up in rural Sverdlovsk, he studied at the Ural State Technical University (now Urals Polytechnic Institute), and began his career in the construction industry. In 1934 Nikolai Yeltsin was convicted of anti-Soviet agitation and sentenced to hard labour in a gulag for three years. Following his release in 1936 after serving two years, Nikolai took his family to live in Berezniki in Perm Krai, where his brother Ivan, a blacksmith, had been exiled the year before for failing to deliver his grain quota. Nikolai remained unemployed for a period of time and then worked again in construction. His mother, Klavdiya Vasilyevna Yeltsina, worked as a seamstress. Boris studied at Pushkin High School in Berezniki. He was fond of sports (in particular skiing, gymnastics, volleyball, track and field, boxing and wrestling) despite losing the thumb and index finger of his left hand when he and some friends furtively entered a Red Army supply depot, stole several grenades, and tried to disassemble them. In 1949 he was admitted to the Ural Polytechnic Institute in Sverdlovsk, majoring in construction, and he graduated in 1955. The subject of his degree paper was "Construction of a Mine Shaft". From 1955 to 1957 he worked as a foreman with the building trust Uraltyazhtrubstroy. From 1957 to 1963 he worked in Sverdlovsk, and was promoted from construction site superintendent to chief of the Construction Directorate with the Yuzhgorstroy Trust. In 1963 he became chief engineer, and in 1965 head of the Sverdlovsk House-Building Combine, responsible for sewerage and technical plumbing. He joined the ranks of the CPSU nomenklatura in 1968 when he was appointed head of construction with the Sverdlovsk Regional Party Committee. In 1975 he became secretary of the regional committee in charge of the region's industrial development. In 1976 the Politburo of the CPSU promoted him to the post of the first secretary of the CPSU Committee of Sverdlovsk Oblast (effectively he became the head of one of the most important industrial regions in the USSR); he remained in this position until 1985. Just days after the dissolution of the Soviet Union, Boris Yeltsin resolved to embark on a program of radical economic reform. Unlike Gorbachev's reforms, which sought to expand democracy in the socialist system, the new regime aimed to completely dismantle socialism and fully implement capitalism--converting the world's largest command economy into a free-market one. During early discussions of this transition, Yeltsin's advisers debated issues of speed and sequencing, with an apparent division between those favoring a rapid approach and those favoring a gradual or slower approach. On 2 January 1992, Yeltsin, acting as his own prime minister, ordered the liberalization of foreign trade, prices, and currency. At the same time, Yeltsin followed a policy of 'macroeconomic stabilization,' a harsh austerity regime designed to control inflation. Under Yeltsin's stabilization program, interest rates were raised to extremely high levels to tighten money and restrict credit. To bring state spending and revenues into balance, Yeltsin raised new taxes heavily, cut back sharply on government subsidies to industry and construction, and made steep cuts to state welfare spending. In early 1992, prices skyrocketed throughout Russia, and a deep credit crunch shut down many industries and brought about a protracted depression. The reforms devastated the living standards of much of the population, especially the groups dependent on Soviet-era state subsidies and welfare entitlement programs. Through the 1990s, Russia's GDP fell by 50 percent, vast sectors of the economy were wiped out, inequality and unemployment grew dramatically, while incomes fell. Hyperinflation, caused by the Central Bank of Russia's loose monetary policy, wiped out a lot of personal savings, and tens of millions of Russians were plunged into poverty. Some economists argue that in the 1990s Russia suffered an economic downturn more severe than the United States or Germany had undergone six decades earlier in the Great Depression. Russian commentators and even some Western economists, such as Marshall Goldman, widely blamed Yeltsin's economic program for the country's disastrous economic performance in the 1990s. Many politicians began to quickly distance themselves from the program. In February 1992, Russia's vice president, Alexander Rutskoy denounced the Yeltsin program as "economic genocide." By 1993 conflict over the reform direction escalated between Yeltsin on the one side, and the opposition to radical economic reform in Russia's parliament on the other. Following the dissolution of the Soviet Union, Yeltsin promoted privatization as a way of spreading ownership of shares in former state enterprises as widely as possible to create political support for his economic reforms. In the West, privatization was viewed as the key to the transition from Communism in Eastern Europe, ensuring a quick dismantling of the Soviet-era command economy to make way for 'free market reforms.' In the early 1990s, Anatoly Chubais, Yeltsin's deputy for economic policy, emerged as a leading advocate of privatization in Russia. In late 1992, Yeltsin launched a program of free vouchers as a way to give mass privatization a jump-start. Under the program, all Russian citizens were issued vouchers, each with a nominal value of around 10,000 rubles, for purchase of shares of select state enterprises. Although each citizen initially received a voucher of equal face value, within months most of them converged in the hands of intermediaries who were ready to buy them for cash right away. In 1995, as Yeltsin struggled to finance Russia's growing foreign debt and gain support from the Russian business elite for his bid in the early-1996 presidential elections, the Russian president prepared for a new wave of privatization offering stock shares in some of Russia's most valuable state enterprises in exchange for bank loans. The program was promoted as a way of simultaneously speeding up privatization and ensuring the government a cash infusion to cover its operating needs.' However, the deals were effectively giveaways of valuable state assets to a small group of tycoons in finance, industry, energy, telecommunications, and the media who came to be known as "oligarchs" in the mid-1990s. This was due to the fact that ordinary people sold their vouchers for cash. The vouchers were bought out by a small group of investors. By mid-1996, substantial ownership shares over major firms were acquired at very low prices by a handful of people. Boris Berezovsky, who controlled major stakes in several banks and the national media, emerged as one of Yeltsin's most prominent backers. Along with Berezovsky, Mikhail Khodorkovsky, Vladimir Potanin, Vladimir Bogdanov, Rem Viakhirev, Vagit Alekperov, Alexander Smolensky, Victor Vekselberg, Mikhail Fridman and a few years later Roman Abramovich, were habitually mentioned in the media as Russia's oligarchs. CANNOTANSWER

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Some groups and individuals have criticized Limbaugh's accuracy. The July-August 1994 issue of Extra!, a publication of Fairness and Accuracy in Reporting (FAIR), alleges 50 different inaccuracies and distortions in Limbaugh's commentary. Others have since joined FAIR in questioning Limbaugh's facts. Comedian Al Franken, who later became a Senator, wrote a satirical book (Rush Limbaugh Is a Big Fat Idiot and Other Observations) in which he accused Limbaugh of distorting facts to serve his own political biases. Of Limbaugh's controversial statements and allegations they have investigated, Politifact has rated 84% as ranging from "Mostly False" to "Pants-On-Fire" (a signification for extremely false), with 5% of Limbaugh's contested statements rising to the level of "Mostly True" and 0% rated "True." These debunked allegations by Limbaugh include suggestions that the existence of gorillas disproves the theory of evolution, that Ted Kennedy sent a letter to Soviet Leader Yuri Andropov seeking to undercut President Reagan, that a recent lack of hurricanes disproves climate change, and that President Obama wanted to mandate circumcision. Limbaugh has been criticized for inaccuracies by the Environmental Defense Fund. A defense fund report authored by Princeton University endowed geoscience professor Michael Oppenheimer and professor of biology David Wilcove lists 14 significant scientific facts that, the authors allege, Limbaugh misrepresented in his book The Way Things Ought to Be. The authors conclude that "Rush Limbaugh ... allows his political bias to distort the truth about a whole range of important scientific issues." On October 14, 2011, Limbaugh questioned the U.S. military initiative against Joseph Kony and his Lord's Resistance Army (LRA), based on the assumption that they were Christians. "They are fighting the Muslims in Sudan. And Obama has sent troops, United States troops to remove them from the battlefield, which means kill them." Upon learning about the accusations leveled against Kony, which included kidnapping whole schools of young children for use as child soldiers, Limbaugh stated that he would research the group. The show's written transcript on his website was not changed. CANNOTANSWER

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We Are Scientists is a New York City-based rock band that formed in Berkeley, California, in 2000. It consists of guitarist and vocalist Keith Murray and bass guitarist Chris Cain. The band's breakthrough success came with their first studio album, With Love and Squalor, which sold 100,000 copies in the first six months. Their second album, Brain Thrust Mastery, charted at number 11 in the UK album chart, with two top-40 singles, "After Hours" and "Chick Lit".

We Are Scientists members Keith Murray and Chris Cain met in 1997 at Pomona College, in Claremont, CA, but initially enjoyed a friendship based on attending stand-up comedy. In early 2000, after graduating and moving to Berkeley, CA, they hatched the idea for the band. Their roommate and fellow Pomona College alum Scott Lamb was a co-founder, and the original guitarist for the band. Keith was on drums, though he also sang roughly half the songs, not unlike Phil Collins in Genesis. Keith and Chris moved back to the L.A. area in late 2000 (without Scott) and recruited drummer Michael Tapper, whom they'd known during their time at Pomona, and who was in his last year at adjoining Harvey Mudd College. In 1999 the members moved to Berkeley, California for a short period of time, becoming We Are Scientists full-time, a name which the band have stated a number of origins for, most notably the song "We are Scientists!" from the pivotal '90s band Cap'n Jazz. They have also given the following story: they rented a truck from U-Haul. When they returned it, the inspector, after looking them up and down and assessing their wardrobe, asked if they were scientists. The band moved to Brooklyn, New York in 2001 and began recording their debut album on November 10, 2001. The band finished recording in January 2002, completing 12 tracks - two of which credit former member Scott Lamb. The album's title was announced on March 14, 2002 on the band's official website as Safety, Fun, and Learning (In That Order) for release in April 2002 through the band's own label, Devious Semantics. Due to issues with setting up their own label, it wasn't until June that the band were able to release the record. The summer saw them reunite with original vocalist Scott Lamb. In October after several months of performing in California and New York, amongst other places the band recorded their first EP, available originally only at live shows Bitching! was released on October 14, 2002, and featured 6 tracks. Later Bitching! was made available online on January 16, 2003. In March 2003 the band announced they would be heading to the recording studio with Paolo DeGregorio on April 1 to record a second EP; In Action, which was released through MotherWest records in October 2003, featuring 6 tracks. A year after recording In Action the band headed once more to the recording studio with Los Angeles-based producer Chris Fudurich, where they recorded rough versions of "The Great Escape", "Scene Is Dead" and "This Means War", which would make up half of the band's final independently released EP The Wolf's Hour, other tracks included "Callbacks Under The Sea", "Inaction" and "Nobody Move, Nobody Gets Hurt". The EP was released on November 26, 2004. On January 11, 2005 the band began the recording of their second full-length album in Los Angeles with Ariel Rechtshaid and engineering from Rob Brill. The band ended their time in the studio on February 23, throughout their time in the studio the band posted blogs on their official website, many of which told of a cat called Lewis, which would later be used on the album's artwork. Having recorded the album, the band decided to sign to Virgin Records to handle to release. On May 15, 2005, the first single from the album was aired in the UK, "Nobody Move, Nobody Get Hurt", this came after a number of dates in the UK with Editors. "Nobody Move, Nobody Get Hurt" was released later on June 27 at the same time as their own headline Summer 2005 UK tour. In July the band shot a music video for their second single, "The Great Escape", as well as appearing on MTV2 for the first time to plug their upcoming release. The band also appeared on at Reading and Leeds Festivals for the first time, performing on the Carling Stage, and later the band released the album With Love and Squalor in the United Kingdom on October 17, 2005 celebrating with an album signing session and intimate gig in London's Selectdisc on Berwick Street. In December 2005 the band made their U.S. Network television debut on the Late Show with David Letterman where they performed "Nobody Move, Nobody Get Hurt", as well as announcing the release of their second album, With Love and Squalor which would be released on January 10, 2006, although in January the band would be in the United Kingdom on the NME Shockwaves Tour with Mystery Jets, Arctic Monkeys and Maximo Park, before embarking on their own headline tour in April and releasing "Its a Hit" on February 20 and re-releasing "Nobody Move, Nobody Gets Hurt" on May 3. In September a co-headline tour across the USA with Art Brut and a new split single with Art Brut covering W.A.S single "The Great Escape" and in-turn We Are Scientists covering Art Brut's "Bang Bang Rock & Roll". With their ongoing success in the United Kingdom the band embarked on another full 15 date tour, with two nights at Brixton Academy in London due to demand, it was on this tour that the band released Crap Attack, a compilation album of b-sides and covers, as well as a DVD featuring music videos for all of the tracks on With Love and Squalor and live performances. In January 2007 Murray announced that he had begun working on the band's follow-up to With Love and Squalor in Brooklyn, New York, previewing "Impatience" and "Spoken For" later that month. During a UK tour that February they debuted the songs "Dinosaurs", "Chick Lit" and "Best Behavior". Recording of the new album began on June 11 in California with Ariel Rechtshaid and ended on July 19. That August the band made their second appearance at the Reading and Leeds Festivals, performing on the Radio One Stage. September 2007 saw the band hire Max Hart as an additional guitarist and keyboard player for live performances. The addition of Hart was to fit the larger arrangements of new material. Days before the tour was due to start, drummer Michael Tapper quit the band. Gary Powell and Adam Aaronson took over from Tapper for the remainder of the tour. For eight of their November tour dates the band acted as their own support act, conducting "self-improvement seminars" under the name Brain Thrust Mastery. After Virgin merged in 2007, the band were now signed to EMI. Murray stated that the band had to deal with a lot of bureaucracy recording the new album, with EMI unhappy that they were working with producer Ariel Rechtshaid; who at the time was relatively unknown. EMI instead tried setting the band up with various "cheesy, cheesy, big producers who we didn't like at all". Ultimately, against their labels wishes the band did record with Rechtshaid and in March 2008 the band announced that Brain Thrust Mastery would also be the name of their new album. Garrett Ray handled drum duties for the album. The first single from the record, "After Hours", was to be released on March 3 in the UK. The album was previewed a week before its UK release on NME.com. It came out in the United States on May 13. "Chick Lit" was released as the second single from Brain Thrust Mastery on June 9, coinciding with performances at The Great Escape Festival, Oxegen Festival Glastonbury Festival, T in the Park and Reading and Leeds on the main stage, and a consequent North American tour in July. In the latter part of 2008 the band toured the US as support to Kings of Leon in the USA. "Impatience" was the final single from the album, released on October 27. CANNOTANSWER


He was born on December 13, 1902 in Colorado Springs. He was the son of Edward Smith Parsons (1863-1943) and Mary Augusta Ingersoll (1863-1949). His father had attended Yale Divinity School, was ordained as a Congregationalist minister, and served first as a minister for a pioneer community in Greeley, Colorado. At the time of Parsons' birth, his father was a professor in English and vice-president at Colorado College.

Parsons went on to the University of Heidelberg, where he received his Ph.D. in sociology and economics in 1927. At Heidelberg, he worked with Alfred Weber, Max Weber's brother; Edgar Salin, his dissertation adviser; Emil Lederer; and Karl Mannheim. He was examined on Kant's "Critique of Pure Reason" by the philosopher Karl Jaspers. At Heidelberg, Parsons was also examed by Willy Andreas on the French Revolution. Parsons wrote his Dr. Phil. thesis on The Concept of Capitalism in the Recent German Literature, with his main focus on the work of Werner Sombart and Weber. It was clear from his discussion that he rejected Sombart's quasi-idealistic views and was supported Weber's attempt to strike a balance between historicism, idealism and Neo-Kantism. The most crucial encounter for Parsons at Heidelberg was his encounter with the work of Max Weber about whom he had never heard before. Weber became tremendously important for Parsons because his upbringing with a liberal but strongly-religious father had made the question of the role of culture and religion in the basic processes of world history a persistent puzzle in his mind. Weber was the first scholar who truly provided Parsons with a compelling theoretical "answer" to the question so Parsons became totally absorbed in reading of Weber. Parsons decided to translate Weber's work into English and approached Marianne Weber, Weber's widow. Parsons would eventually translate several of Weber's works to English. His time in Heidelberg had him invited by Marianne Weber to "sociological teas," which were study group meetings that she held in the library room of her and Max's old apartment. One scholar that Parsons met at Heidelberg who shared his enthusiasm for Weber was Alexander von Schelting. Parsons later wrote a review article on von Schelting's book on Weber. Generally, Parsons read extensively in religious literature, especially works focusing on the sociology of religion. One scholar who became especially important for Parsons was Ernst D. Troeltsch (1865-1923). Parsons also read widely on Calvinism. His reading included the work of Emile Doumerque, Eugene Choisy, and Henri Hauser. CANNOTANSWER

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Background: In Greek mythology, the Minotaur (, ; Ancient Greek: Minotauros [mi:no:tauros], Latin: Minotaurus, Etruscan: Thevrumines) is a mythical creature portrayed in Classical times with the head of a bull and the body of a man or, as described by Roman poet Ovid, a being "part man and part bull". The Minotaur dwelt at the center of the Labyrinth, which was an elaborate maze-like construction designed by the architect Daedalus and his son Icarus, on the command of King Minos of Crete. The Minotaur was eventually killed by the Athenian hero Theseus.
Context: After he ascended the throne of the island of Crete, Minos competed with his brothers to rule. Minos prayed to Poseidon, the sea god, to send him a snow-white bull, as a sign of support (the Cretan Bull). He was to kill the bull to show honor to the deity, but decided to keep it instead because of its beauty. He thought Poseidon would not care if he kept the white bull and sacrificed one of his own. To punish Minos, Poseidon made Pasiphae, Minos's wife, fall deeply in love with the bull. Pasiphae had craftsman Daedalus make a hollow wooden cow, and climbed inside it in order to mate with the white bull. The offspring was the monstrous Minotaur. Pasiphae nursed him, but he grew and became ferocious, being the unnatural offspring of a woman and a beast; he had no natural source of nourishment and thus devoured humans for sustenance. Minos, after getting advice from the oracle at Delphi, had Daedalus construct a gigantic labyrinth to hold the Minotaur. Its location was near Minos' palace in Knossos. The Minotaur is commonly represented in Classical art with the body of a man and the head and tail of a bull. One of the figurations assumed by the river spirit Achelous in seducing Deianira is as a man with the head of a bull, according to Sophocles' Trachiniai. From Classical times through the Renaissance, the Minotaur appears at the center of many depictions of the Labyrinth. Ovid's Latin account of the Minotaur, which did not elaborate on which half was bull and which half man, was the most widely available during the Middle Ages, and several later versions show the reverse of the Classical configuration, a man's head and torso on a bull's body, reminiscent of a centaur. This alternative tradition survived into the Renaissance, and still figures in some modern depictions, such as Steele Savage's illustrations for Edith Hamilton's Mythology (1942). CANNOTANSWER
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Yune Sugihara (Shan Yuan  You Yin , Sugihara Yune), born Yasuhiro Sugihara (Shan Yuan  Kang Hong , Sugihara Yasuhiro, on July 8, 1969 in Hadano, Kanagawa, Japan), known exclusively by his stage name Sugizo, is a Japanese musician, singer, songwriter, composer, and record producer. He is best known as lead guitarist and violinist of the rock band Luna Sea.

Upon returning to Japan, on January 27 Sugizo released two digital singles, "Fatima" and "Do-Funk Dance", another on February 24 entitled "Prana", which also topped the iTunes electronic charts, and one more on March 31 named "Dear Spiritual Life". Sugizo was the music director and composer of the soundtrack for jidaigeki theatre stage play Nemuri Kyoshiro Buraihikae, featuring Gackt in the main role, which ran for 120 performances across Japan. In April he performed at the Nagisa Music Festival. On July 8, Sugizo announced that he would help his friend Mick Karn, who was diagnosed with cancer, by remixing his song "Missing". The song was renamed "Missing Link" and was available for download in return for a donation on Mick's official website to help fund the expensive medical treatment. Mick Karn died on January 4, 2011. On August 29, he held a fan club only event called "Soul's Mate Day IV". The show featured an acoustic set which was given the name "Soul's Mate Quintet". On August 31, he and Luna Sea attended a press conference in Hong Kong, where they announced that they would be touring worldwide after 10 years of inactivity. From November 5 to 8, Sugizo teamed up with drummers Budgie, Leonard Eto and Mabi, and multi-instrumentalist Knox Chandler in Hong Kong, to participate in a project called "The Butterfly Effect: East-West Percussive Parade", as part of the "New Vision Arts Festival". On April 13, 2011, Sugizo released two singles, "No More Nukes Play the Guitar" and "The Edge". On June 29, he released the single "Miranda", followed by "Neo Cosmoscape" on July 27, which was remixed by System 7, "Enola Gay" on August 15, and "Pray for Mother Earth" on September 9, a song he wrote with Toshinori Kondo for Earth Day 2006. On December 14, Sugizo released two albums, Flower of Life and Tree of Life. The first is completely instrumental with psychedelic and electronica songs, while the second includes remixed songs and those done in collaboration with other artists. In December, a four-date tour titled "Stairway to the Flower of Life" was held, with a concert in Taipei and Hong Kong. CANNOTANSWER


Background: Gwar, often styled as GWAR, is an American heavy metal band formed in Richmond, Virginia in 1984, composed of and operated by a frequently rotating line-up of musicians, artists and filmmakers collectively known as Slave Pit Inc.. Following the death of frontman and lead singer Dave Brockie in 2014, the group has continued without any original members, although Don Drakulich, a non-instrument-performing member of the collective, has been with the band since 1985. Easily identified by their distinctively grotesque costumes, Gwar's core thematic and visual concept revolves around an elaborate science fiction-themed mythology which portrays the band members as barbaric interplanetary warriors, a narrative which serves as the basis for all of the band's albums, videos, live shows and other media. Rife with over-the-top violent, sexual, and scatological humour typically incorporating social and political satire, Gwar have attracted both acclaim and controversy for their music and stage shows, the latter of which notoriously showcase enactments of graphic violence that result in the audience being sprayed with copious amounts of fake blood, urine, and semen.
Context: With Gwar's line-up somewhat solidified, the band would set up to record Scumdogs of the Universe released worldwide on producer Ivan Healy Purvis' label Master Records, a subsidiary of Blue Beat Records. The album met a moderately large mainstream success and would mark the start of a career under the Metal Blade Records record label. The band would tour extensively in support for this album, releasing the Live from Antarctica produced by Ivan Healy Purvis, VHS tape in July 1990, containing, among other things, the music video for the song Sick of You. It was shortly after the video's release when the Slave Pit took in another new, young artist, Matt Maguire, to help out with costume fabrication, as well as illustrations for comics and related material. In August 1990, Michael Derks had a daughter leading him to take a short break from the band. Barry 'D'live' Ward from the band Rich Kids on LSD filled in on guitar as Balsac on Gwar's 1991 European tour. Upon returning home, Gwar filmed their first cameo in a mainstream film, Mystery Date. Scumdogs of the Universe was originally released through the U.K. label Master before being picked up by Metal Blade in 1991. In the group's hunt for a larger label, they auditioned for Relativity Records, one of the larger independent heavy metal labels. The group killed their audition when they showed up in costume and Slymenstra Hymen broke a blood capsule from her codpiece onto one of the office chairs, simulating menstruation. The band suffered further line-up changes during this period, with Dewey Rowell leaving the band in 1991 and not being replaced until 1992 by Pete Lee, after the recording of America Must Be Destroyed. During this period, Gwar was (temporarily) banned in North Carolina because Brockie was wearing his "Cuttlefish of Cthulhu" codpiece, which led to his arrest; this incident was the inspiration for Gwar's third album, America Must Be Destroyed, released in 1992. The album was accompanied by the movie Phallus in Wonderland, which documented the main concept and contained music videos for the album. Phallus in Wonderland was nominated for a Grammy Award in 1993. After recording for This Toilet Earth was completed, bassist Mike Bishop left the band. He was replaced by Casey Orr, from the band Rigor Mortis. This Toilet Earth was released in 1994, to moderate success. The album received additional attention due to controversy surrounding "B.D.F.", a song that graphically refers to subjects such as sodomy, necrophilia, pre-natal rape, pedophilia and mutilation. 1994 also saw the music videos for "Saddam a Go-Go" and "The Road Behind" being aired on Beavis and Butt-head. This would also mark the beginning of the band straying from their trademark sound, as the album contained several experimental songs as opposed to the punk of Hell-O and thrash of Scumdogs of the Universe. CANNOTANSWER
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Carter began his acting and singing career at a young age, when his mother enrolled him in voice lessons and dance lessons in ballet and tap at Karl and DiMarco's School of Theatre and Dance when he was 10. He performed in several commercials, such as the Florida State Lottery and The Money Store. He played the lead role in the fourth grade production of Phantom of the Opera at Miles Elementary School. He also did an educational video called "Reach For The Book", a show called "The Klub" and performing at the Tampa Bay Buccaneers home games for two years. He also made an appearance in the 1990 Johnny Depp film Edward Scissorhands as a child playing on a Slip 'N Slide. One of his dance teachers, Sandy, placed him in his first group called "Nick and the Angels". Between 1989-1993, Carter covered a various number of popular songs by other artists, including "Breaking Up Is Hard to Do" and "Uptown Girl" and a few original songs that he would perform at events. These recordings ended up on an unofficial release called Before the Backstreet Boys 1989-1993 by Dynamic Discs, Inc released in October 2002. It is revealed that through several auditions, Nick met AJ McLean and Howie Dorough and they became friends. After a troubled upbringing, he put in a winning performance on the 1992 New Original Amateur Hour at age 12. At 11 years old, Carter also auditioned for Disney's The Mickey Mouse Club and the Backstreet Boys around October 1992. He was not chosen right away to be a part of the Backstreet Boys because his mother Jane wanted him to join The Mickey Mouse Club so that he could stay in school. A week later, he was asked to join the group and was given the choice of either joining The Mickey Mouse Club with a $50,000 contract or this new music group. Nick chose to go with the group instead. The Mickey Mouse Club was cancelled a few years later. After he joined the group, he had his own personal tutor on tour. CANNOTANSWER

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Joey Yung (Chinese: Rong Zu Er ; Jyutping: Jung4 Zo2 Ji4; born 16 June 1980) is a Hong Kong singer and actress signed to Emperor Entertainment Group.

At the end of 2006, Yung released the Cantonese album Close Up to commercial success, selling out at stores over Hong Kong as well as online CD stores. A second version of the album was released on 26 January 2007, containing a bonus DVD with music videos for the songs "Splendid Encounter (Hua Li Xie Hou )" and "Elated Heart (Xin Hua Nu Fang )". Around the same time, Yung held a concert organised by Neway with appearances from other artists such as Anthony Wong, at17, Hins Cheung, Yumiko Cheng, Vincent Wong, and Sun Boy'z. In 2007, she became Hong Kong's ambassador of the World Vision 30 Hour Famine campaign and visited Kenya in March. On 5 July, she released her fifth Mandarin album, Insignificant Me, with the title track produced by Jay Chou. Unfortunately, it was one of her worst selling Mandarin album. On 7 July, she performed at the Live Earth concert in Shanghai. On 7 November, she released another album, Glow. In early 2008, Yung released her fourth compilation album Love Joey 4, and held her fifth concert titled StarLight Live over ten days at the Hong Kong Coliseum. During the concert she performed "The Power Medley", a 20-minute intense dance medley of her fast-tempo tracks. The concert's success led to a four-night extension. In February, Yung travelled to New York City with the hope of improving her dancing skills. That year she sang a number of official songs for the 2008 Beijing Olympics and began a world tour shortly afterwards with shows in Malaysia, Canada, the United States, Mainland China, Singapore, and Macau. The year 2009 marked the tenth anniversary of Yung's career with EEG. To celebrate the occasion, two albums (A Time For Us and Very Busy) and a documentary were released and a mini-concert (Perfect Ten Live at the Hong Kong Cultural Centre's Grand Theatre, where Yung won her first major singing contest in 1995) was held on 4 October, with tickets for the two shows selling out within seven minutes. The "Perfect Ten Live Boxset" was released in two versions in December: the normal version included two concert DVDs, the Perfect 10 documentary, and a photo album; while deluxe version contained two more CDs from Perfect Ten Live and more photos. Towards the end of the year, Yung performed at the concert Music Is Live with Mobile Chan, and won the Media Award for the third time (having previously won the award in 2003 and 2004). CANNOTANSWER

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Background: Maria Corazon "Cory" Cojuangco Aquino (born Sumulong; January 25, 1933 - August 1, 2009) was a Filipina politician who served as the 11th President of the Philippines and the first woman to hold that office. She is widely accredited as the Mother of Asian Democracy. The first female president in the Philippines, Aquino was the most prominent figure of the 1986 People Power Revolution, which toppled the 21-year authoritarian rule of President Ferdinand E. Marcos and restored democracy to the Philippines.
Context: Upon learning of Aquino's death, then incumbent President Gloria Macapagal Arroyo, who was then on a state visit to the United States, announced a 10-day mourning period for the former President and issued Administrative Order No. 269 detailing the necessary arrangements for a state funeral. Aquino's children, however, declined the government's offer of a state funeral for their mother. All churches in the Philippines celebrated requiem masses simultaneously throughout the country and all government offices flew the Philippine flag at half mast. Hours after her death, Aquino's body lay in repose for public viewing at the La Salle Green Hills campus in Mandaluyong City. On August 3, 2009, Aquino's body was transferred from La Salle Greenhills to Manila Cathedral in Intramuros, during which hundreds of thousands of Filipinos lined the streets to view and escort the former leader's body. On the way to the Cathedral, Aquino's funeral cortege passed along Ayala Avenue in Makati, stopping in front of the monument to her husband Ninoy, where throngs of mourners gathered and sang the patriotic protest anthem "Bayan Ko". Aquino's casket was solemnly brought inside the Cathedral by mid-afternoon that day. Following her death, all Roman Catholic dioceses in the country held requiem Masses. On August 4, 2009, Ferdinand "Bongbong" Marcos, Jr., and Imee Marcos--children of the late former President Ferdinand Marcos--paid their last respects to Aquino despite the two family's fierce political rivalry; the Aquinos have been blaming the late dictator for the assassination of Ninoy Aquino Jr. in 1983. The Marcos siblings were received by Aquino's daughters Maria Elena, Aurora Corazon, and Victoria Elisa. Early the next day, President Arroyo, who had cut short her trip in the United States, briefly paid her last respects to her erstwhile ally President Aquino. A final requiem Mass was held on the morning of August 5, 2009, with then-Archbishop of Manila Cardinal Gaudencio Rosales, then-Bishop of Balanga Socrates B. Villegas, and other high-ranking clergymen concelebrating. Aquino's daughter Kris spoke on behalf of her family towards the end of the Mass. Aquino's flag-draped casket was escorted from the Cathedral to Manila Memorial Park in Paranaque, where she was interred beside her husband in the family mausoleum. Aquino's funeral procession took more than eight hours to reach the burial site, as tens of thousands of civilians lined the route to pay their respects. Philippine Air Force UH-1 helicopters showered the procession with yellow confetti and ships docked at Manila's harbour blared their sirens, all to salute the late President, . CANNOTANSWER
Question: how long did they celebrate this?. Whats the answer?


In 1951, Jordan assembled a short-lived big band that included Pee Wee Moore and others, at a time when big bands were declining in popularity. This is considered the beginning of his commercial decline, even though he reverted to the Tympany Five format within a year. By the mid-1950s, Jordan's records were not selling as well as before, and he left Decca Records. The next label to sign Jordan was Aladdin Records, for which Jordan recorded 21 songs in early 1954. Nine singles were released from these sessions; three of the songs were not released. In 1955, Jordan recorded with RCA's "independent" subsidiary "X" Records, which changed its name to Vik Records while Jordan was with them. Three singles were released under the "X" imprint and one under the Vik imprint; four tracks were not released. In these sessions Jordan intensified his sound to compete with rock and roll. In 1956, Mercury Records signed Jordan and released two LPs and a handful of singles. Jordan's first LP for Mercury, Somebody Up There Digs Me (1956), showcased updated rock-and-roll versions of previous hits such as "Ain't Nobody Here but Us Chickens", "Caldonia", "Choo Choo Ch'Boogie", "Salt Pork, West Virginia", and "Beware!" Its follow-up, Man, We're Wailin' (1957), featured a more laid-back, "late-night" sound. Mercury intended this to be a comeback for Jordan, but it was not commercially successful, and the label let him go in 1958. He recorded sporadically in the 1960s for Warwick (1960), Black Lion (1962), Tangerine (1962-1965), and Pzazz (1968) and in the early 1970s for Black and Blue (1973), Blues Spectrum (1973), and JSP (1974). In 1962 he appeared on the album Louis Jordan Sings, by the British trumpeter and bandleader Chris Barber. Speaking in 2012, Barber recalled seeing Jordan in the early 1960s at the Apollo Theater in New York, with the intention of bringing him to the UK to record There for the first time: "playing with him was just frightening. It's a bit like an amateur guitar player from a back street who has just bought a Spanish guitar, working with Segovia. He didn't make you feel small, but he was just so perfect in what he did. ... I still remember watching him singing, but he would accompany himself on the alto, and you were convinced he was playing the alto while he was singing. ... the breath hadn't gone from his last word before he was playing his alto and it seemed to be simultaneous. ... He got a very raw deal from history... In the Chick Webb band there were two regular singers - Ella [Fitzgerald] and Louis Jordan. And yet really history has consigned him to just being a comedy vocal thing with a bit of rock and roll, and the first alto ... but he was such a consumately good singer that it's sad that he wasn't known more for it." CANNOTANSWER

Answer this question "How did these singles do?" by extracting the answer from the text above.


Background: "Hound Dog" is a twelve-bar blues song written by Jerry Leiber and Mike Stoller. Recorded originally by Willie Mae "Big Mama" Thornton on August 13, 1952, in Los Angeles and released by Peacock Records in late February 1953, "Hound Dog" was Thornton's only hit record, selling over 500,000 copies, spending 14 weeks in the R&B charts, including seven weeks at number one. Thornton's recording of "Hound Dog" is listed as one of the Rock and Roll Hall of Fame's "500 Songs That Shaped Rock and Roll", and was inducted into the Grammy Hall of Fame in February 2013. "Hound Dog" has been recorded more than 250 times. The best-known version is the July 1956 recording by Elvis Presley, which is ranked number 19 on Rolling Stone magazine's list of the 500 Greatest Songs of All Time; it is also one of the best-selling singles of all time.
Context: Their requests for payment having been ignored, Robey and two other music publishers initiated unprecedented legal proceedings in April against the record companies that released these competing songs, alleging copyright infringement. As a result, Chess Records withdrew Brim's "Rattlesnake" from sale. In the Memphis courts, Lion Publishing Co. sought royalties and treble damages, claiming "Bear Cat" was "a dead steal". In May, Phillips responded: "There's a lot of difference in the words. As for the tune, there's practically no melody, but a rhythm pattern", adding that it is hard to differentiate between any two 12-bar blues songs. By June 1953 in a "precedent-setting" decision the Court ruled against Phillips, and upheld the charges of plagiarism, finding the tune and some of the lyrics of "Bear Cat" to be identical to those of "Hound Dog". Phillips was ordered to pay 2% of all of the profits of "Bear Cat" plus court costs. As this amounted to $35,000 compensation, Phillips was reduced to near bankruptcy, ultimately forcing him to sell Elvis Presley's Sun contract to RCA for $35,000 to raise the funds to settle his debts. On June 4, 1953, Jet reported that: "The Sun Record Company of Memphis agreed to pay $2,080 to a Texas Recording firm because its blues tune, Bear Cat, is too similar to Hound Dog. Lion Publishing Company of Houston, Tex., won the out-of-court settlement after contending in a court suit that Bear Cat was a "conscious imitation" of their own recording with "only minor variations." Sam C. Phillips of Sun Record agreed to pay Hound Dog owners two cents per record for 79,000 waxings of Bear Cat already sold and two cents a record for future sales. On July 8 Robey wrote to Phillips again, thanking him "kindly for your co-operation in this matter", but Phillips still refused to purchase a mechanical license for Thomas' "Bear Cat". Robey then instructed his company lawyer Irving Marcus to sue Phillips and Sun Records, hoping to use this as a test case to determine the legal status of all answer songs. While earlier pressings of Sun 181 bore the caption "(The Answer To Hound Dog)" above the A-side title, as a result of the legal action this was removed from all later pressings. In the 1980s, Sam Phillips conceded: "I should have known better. The melody was exactly the same as theirs, but we claimed the credit for writing the damn thing". CANNOTANSWER
Question: When did the proceedings begin?

Answer:


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Herman Northrop Frye  (July 14, 1912 - January 23, 1991) was a Canadian literary critic and literary theorist, considered one of the most influential of the 20th century. Frye gained international fame with his first book, Fearful Symmetry (1947), which led to the reinterpretation of the poetry of William Blake. His lasting reputation rests principally on the theory of literary criticism that he developed in Anatomy of Criticism (1957), one of the most important works of literary theory published in the twentieth century. The American critic Harold Bloom commented at the time of its publication that Anatomy established Frye as "the foremost living student of Western literature."

The recurring primitive formulas Frye noticed in his survey of the "greatest classics" provide literature with an order of words, a "skeleton" which allows the reader "to respond imaginatively to any literary work by seeing it in the larger perspective provided by its literary and social contexts" (Hamilton 20). Frye identifies these formulas as the "conventional myths and metaphors" which he calls "archetypes" (Spiritus Mundi 118). The archetypes of literature exist, Frye argues, as an order of words, providing criticism with a conceptual framework and a body of knowledge derived not from an ideological system but rooted in the imagination itself. Thus, rather than interpreting literary works from some ideological 'position' -- what Frye calls the "superimposed critical attitude" (Anatomy 7) -- criticism instead finds integrity within the literary field itself. Criticism for Frye, then, is not a task of evaluation -- that is, of rejecting or accepting a literary work -- but rather simply of recognizing it for what it is and understanding it in relation to other works within the 'order of words'  (Cotrupi 4). Imposing value judgments on literature belongs, according to Frye, "only to the history of taste, and therefore follows the vacillations of fashionable prejudice" (Anatomy 9). Genuine criticism "progresses toward making the whole of literature intelligible" (Anatomy 9) so that its goal is ultimately knowledge and not evaluation. For the critic in Frye's mode, then, . . . a literary work should be contemplated as a pattern of knowledge, an act that must be distinguished, at least initially, from any direct experience of the work, . . . [Thus] criticism begins when reading ends: no longer imaginatively subjected to a literary work, the critic tries to make sense out of it, not by going to some historical context or by commenting on the immediate experience of reading but by seeing its structure within literature and literature within culture (Hamilton 27). CANNOTANSWER


Kapoor was born on 25 June 1974 in Mumbai, to actors Randhir Kapoor and Babita (nee Shivdasani). Her younger sister, Kareena, is also an actress. Her paternal grandfather was the actor and filmmaker Raj Kapoor, while her maternal grandfather was actor Hari Shivdasani. Her great-grandfather was actor Prithviraj. She is the niece of actors Rishi and Rajiv, and insurance agent Ritu. Actor Ranbir Kapoor and businessman Nikhil Nanda are her first cousins, while actress Sasha Agha is her distant relative. Actress Sadhana was her mother's first cousin. According to Kapoor, the name "Lolo" was derived after her mother made a passing reference to the Italian actress Gina Lollobrigida. Both of her paternal and maternal grandparents were from Peshawar, Lyallpur and Karachi respectively, who moved to Bombay for their film careers before the partition of India. Kapoor is of Hindu Punjabi descent on her father's side, and on her mother's side she is of Sindhi and British descent. She was particularly inspired by the work of actresses Sridevi and Madhuri Dixit. Despite her family background, her father disapproved of women working in films, because he believed it conflicted with the traditional maternal duties and responsibility of women in the family. This led to a conflict between her parents and they separated in 1988. She and her sister Kareena were raised by their mother, who worked several jobs to raise them, until she made her debut in films as an actress. The couple reconciled in 2007, after living separately for several years. Kapoor studied at the Cathedral and John Connon School and later, for a few months at Sophia College. Kapoor made her acting debut in 1991 at the age of seventeen with the romantic drama Prem Qaidi, opposite debutante Harish Kumar. Upon release, the film emerged as a moderate box office success and received mixed reviews from critics, as did Kapoor's performance, with Taran Adarsh of Bollywood Hungama describing it as "mechanical". The following year, Kapoor's first five releases--Police Officer, Jaagruti, Nishchaiy, Sapne Sajan Ke and Deedar--flopped at the box office. Jaagruti and Nishchaiy marked her first two collaborations with Salman Khan, while Deedar marked her first collaboration with Akshay Kumar. She next starred in the action drama Jigar (1992), followed by the romantic drama Anari (1993), both of which emerged as box office hits and among the highest-grossing films of their respective years. Jigar marked Kapoor's first of several collaborations with Ajay Devgn, while Anari featured her in the leading role of Rajnandini, a princess who falls in love with her poor servant (played by Daggubati Venkatesh). Kapoor's next four releases of 1993 were the dramas Muqabla (which marked first of her many collaborations with Govinda), Sangraam, Shaktiman and Dhanwaan. With the exception of Muqabla, none of these films performed well either critically or commercially. In 1994, Kapoor had nine film releases; four of them -- Prem Shakti, Dulaara, Andaz and Aatish--were critical and commercial failures. Her first hit that year was David Dhawan's comedy film Raja Babu, opposite Govinda, in which she played Madhubala, an educated arrogant girl who calls off her engagement upon discovering her fiancee's illiteracy. Kapoor next played the blind wife of Govinda's character in the hit action drama Khuddar, following which she starred with Salman Khan, Aamir Khan and Raveena Tandon in Rajkumar Santoshi's highly acclaimed comedy film Andaz Apna Apna. Kapoor played Raveena Bajaj, the daughter of a London-based business tycoon, who travels to India in search of true love, and falls for Salman Khan's character. Although the film underperformed at the box office, it developed a significant cult following over the years since its release. Kapoor's final two releases of the year were the action drama Suhaag (alongside Ajay Devgn, Akshay Kumar and Nagma) and the comedy-drama Gopi Kishan (alongside Suniel Shetty and Shilpa Shirodkar), both of which were critically and commercially successful. In the former, she starred as a college student and Devgn's love interest, while in the latter, she played a police commissioner's daughter who falls in love with a criminal. In 1995, after appearing in the box office flops Jawab and Maidan-E-Jung, Kapoor starred as Malti, a rich girl who marries a poor coolie (played by Govinda) in David Dhawan's blockbuster comedy film Coolie No. 1. The feature garnered good reviews and emerged as a commercial success, grossing Rs911 million (US$14 million) in India. On her initial career struggle, she later said: When I first entered the industry, things were made tough for me. I am not saying that I was singled out. I think every star kid has to go through this. Everyone was so unfair to me. Other newcomers were praised for every little achievement, but I was not given an iota of acknowledgement. When it came to me, it was always, 'Okay, she has done well, but what's the big deal about her?'. Nobody gave a 17-year-old credit for doing my job reasonably well. In 2003, she starred in Baaz: A Bird in Danger, which was her only release that year. Later in the same year she made her television debut in the Sahara One soap opera Karishma - The Miracles of Destiny, in which she played a dual role of a grandmother and granddaughter. The serial ended after 260 episodes in 2004 and she took a sabbatical from full-time acting for several years. In 2006, Kapoor was seen in Mere Jeevan Saathi; the film had been shot and completed in 2003, but was delayed for three years. In 2007, Kapoor won the Koffee Award for Best Supporting Appearance. In 2008, alongside actor Arjun Rampal and director-choreographer Farah Khan, Kapoor began judging season four of the dance show Nach Baliye, and continued the following year with the comedy show Hans Baliye. In addition, she had a cameo in the song "Deewangi Deewangi" from the 2007 melodrama Om Shanti Om, and in 2008, was as guest on the reality television show Wife Bina Life (2010). Kapoor also ventured into voice acting, voicing for her younger sister Kareena in the role of Chhaya in the 2012 action thriller Bodyguard, which ranks among one of the highest-grossing Bollywood films of all time. Kapoor made her comeback as an actress with a leading role in Vikram Bhatt's supernatural thriller Dangerous Ishhq. Co-starring Rajneesh Duggal, the film spans a period of four centuries and tells four different love stories set in different time periods. Kapoor played four characters, one from each century. A major critical and box office failure, the film generated positive reviews for Kapoor's portrayal. Taran Adarsh of Bollywood Hungama commented: "Karisma Kapoor puts forth her best efforts, getting to deliver lines in varied dialects. She gets the dialects right, especially Urdu and Rajasthani, but there's not much scope for her to display her acting prowess". In 2013, Kapoor made a special appearance along with several other actors in the titular song of the anthology film Bombay Talkies, which was made to honour the Hindi film industry for completing a hundred years. CANNOTANSWER

Answer this question "What is interesting about her career?" by extracting the answer from the text above.


Carey is the youngest of Lewis and Beulah Carey's three sons and raised in the Old Brooklyn neighborhood of Cleveland, Ohio. When Drew was eight years old, his father died from a brain tumor. He played the cornet and trumpet in the marching band of James Ford Rhodes High School, from which he graduated in 1975. He continued on to college at Kent State University (KSU) and was a part of Delta Tau Delta Fraternity.

Carey is an outspoken libertarian. He has expressed his political philosophy in the following terms: "I believe the answers to all the problems we face as a society won't come from Washington, it will come from us. So the way we decide to live our lives and our decisions about what we buy or don't buy are much more important than who we vote for." Carey expressed his distaste for the Bush administration's management of the Iraq War, specifically on the September 14, 2007, episode of Real Time with Bill Maher. He made donations to Ron Paul's presidential campaign for the 2008 election. On the September 26, 2008, episode of The Late Late Show with Craig Ferguson, Carey defined "libertarian" to host Craig Ferguson as "a conservative who still gets high." In 2016, he supported Libertarian Party presidential candidate Gary Johnson in his run for office, and was made an Honorary Chair of the campaign for California. Carey has spoken about his various political beliefs in several interviews, and in 1998, he led a "smoke-in" in defiance of California's newly passed no-smoking ordinance inside bars and restaurants. Carey has hosted a series of mini-documentaries called The Drew Carey Project on Reason.tv, an online project of Reason Foundation, a libertarian-oriented nonprofit think tank (for which Carey sits as a member of the board of trustees). The first episode, "Gridlock", addresses private highway ownership and was released on October 15, 2007. Other episodes discuss topics such as eminent domain, urban traffic congestion, and medical marijuana. CANNOTANSWERAnswer this question using a quote from the following article:

Did he donate money to any candidates?


Robert Larimore Riggs (February 25, 1918 - October 25, 1995) was an American tennis champion who was the World No. 1 or the World co-No. 1 player for three years, first as an amateur in 1939, then as a professional in 1946 and 1947. He played his first professional tennis match on December 26, 1941. As a 21-year-old amateur in 1939, Riggs won Wimbledon, the U.S. National Championships (now U.S. Open), and was runner-up at the French Championships. He was U.S. champion again in 1941, after a runner-up finish the year before.

In 1973, Riggs saw an opportunity to both make money and draw attention to the sport of tennis. He came out of retirement to challenge one of the world's greatest female players to a match, claiming that the female game was inferior and that a top female player could not beat him, even at the age of 55. He challenged Margaret Court, 30 years old and the top female player in the world, and they played on May 13, Mother's Day, in Ramona, California. Riggs used his drop shots and lobs to keep an unprepared Court off balance; his easy 6-2, 6-1 victory in less than an hour landed him on the cover of both Sports Illustrated and Time magazine. The match was called the "Mother's Day Massacre". Riggs had originally challenged Billie Jean King, but she had declined. Following Court's loss to Riggs, King accepted his challenge, and the two met in the Houston Astrodome on prime time television on Thursday, September 20, in a match billed as The Battle of the Sexes. The oddsmakers and writers favored Riggs; he built an early lead, but King won in straight sets (6-4, 6-3, 6-3) for the $100,000 winner-take-all prize. The ESPN program Outside the Lines, made an allegation that Riggs took advantage of the overwhelming odds against King and threw the match to get his debts to the mob erased. The article featured a man who had been silent for 40 years who said he heard several members of the mafia talking about Riggs throwing the match in exchange for cancelling his gambling debt to the mob. The article stated Riggs' close friend and estate executor Lornie Kuhle vehemently denied Riggs was ever in debt to the mob or received a payoff from them. Some in the sport industry believed the program was an attempt to rewrite the success of King and give credence to Riggs' sexist supporters. In the 2017 film adaptation Battle of the Sexes, Riggs was played by Steve Carell, with Emma Stone as Billie Jean King. CANNOTANSWER

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Did he use cheat tactics when competing?


Background: Jean-Jacques Rousseau (; French: [ZaZak Ruso]; 28 June 1712 - 2 July 1778) was a Genevan philosopher, writer, and composer of the 18th century, mainly active in France. His political philosophy influenced the Enlightenment across Europe, as well as aspects of the French Revolution and the overall development of modern political and educational thought. Rousseau's novel Emile, or On Education is a treatise on the education of the whole person for citizenship. His sentimental novel Julie, or the New Heloise was of importance to the development of pre-romanticism and romanticism in fiction.
Context: After Rousseau's Emile had outraged the French parliament, an arrest order was issued by parliament against him, causing him to flee to Switzerland. Subsequently, when the Swiss authorities also proved unsympathetic to him--condemning both Emile, and also The Social Contract--Voltaire issued an invitation to Rousseau to come and reside with him, commenting that: "I shall always love the author of the 'Vicaire savoyard' whatever he has done, and whatever he may do...Let him come here [to Ferney]! He must come! I shall receive him with open arms. He shall be master here more than I. I shall treat him like my own son." Rousseau later expressed regret that he had not replied to Voltaire's invitation. In July 1762, after Rousseau was informed that he could not continue to reside in Bern, d'Alembert advised him to move to the Principality of Neuchatel, ruled by Frederick the Great of Prussia. Subsequently, Rousseau accepted an invitation to reside in Motiers, fifteen miles from Neuchatel. On 11 July 1762, Rousseau wrote to Frederick, describing how he had been driven from France, from Geneva, and from Bern; and seeking Frederick's protection. He also mentioned that he had criticized Frederick in the past and would continue to be critical of Frederick in the future, stating however: "Your Majesty may dispose of me as you like." Frederick, still in the middle of the Seven Years' War, then wrote to the local governor of Neuchatel, Marischal Keith who was a mutual friend of theirs: We must succor this poor unfortunate. His only offense is to have strange opinions which he thinks are good ones. I will send a hundred crowns, from which you will be kind enough to give him as much as he needs. I think he will accept them in kind more readily than in cash. If we were not at war, if we were not ruined, I would build him a hermitage with a garden, where he could live as I believe our first fathers did...I think poor Rousseau has missed his vocation; he was obviously born to be a famous anchorite, a desert father, celebrated for his austerities and flagellations...I conclude that the morals of your savage are as pure as his mind is illogical. Rousseau, touched by the help he received from Frederick, stated that from then onwards he took a keen interest in Frederick's activities. As the Seven Years' War was about to end, Rousseau wrote to Frederick again, thanking him for the help received and urging him to put an end to military activities and to endeavor to keep his subjects happy instead. Frederick made no known reply, but commented to Keith that Rousseau had given him a "scolding". CANNOTANSWER
Question: What was Voltaire?

Answer:


Paul Reubens (ne Rubenfeld; born August 27, 1952) is an American actor, writer, film producer, game show host, and comedian, best known for his character Pee-wee Herman. Reubens joined the Los Angeles troupe The Groundlings in the 1970s and started his career as an improvisational comedian and stage actor. In 1982, Reubens put up a show about a character he had been developing for years.

Reubens was born Paul Rubenfeld in Peekskill, New York, and grew up in Sarasota, Florida, where his parents, Judy (Rosen) and Milton Rubenfeld, owned a lamp store. His mother was a teacher. His father was an automobile salesperson who had flown for Britain's Royal Air Force and for the U.S. Army Air Forces in World War II, later becoming one of the founding pilots of the Israeli Air Force during the 1948 Arab-Israeli War. Paul has two younger siblings, Luke (born 1958), who is a dog trainer, and Abby (born 1953), who is an attorney, and board member of the American Civil Liberties Union of Tennessee. Reubens spent a significant amount of his childhood in Oneonta, New York. As a child, Reubens frequented the Ringling Bros. and Barnum & Bailey Circus, whose winter headquarters was in Sarasota. The circus's atmosphere sparked Reubens' interest in entertainment and influenced his later work. Reubens also loved to watch reruns of I Love Lucy, which made him want to make people laugh. At age five, Reubens asked his father to build him a stage, where he and his siblings would put on plays. Reubens attended Sarasota High School, where he was named president of the National Thespian Society. He was accepted into Northwestern University's summer program for gifted high-school students and also joined the local Asolo Theater and Players of Sarasota Theater, appearing in several plays. After graduation, he attended Boston University and began auditioning for acting schools. He was turned down by several schools, including Juilliard, and twice by Carnegie-Mellon, before being accepted at the California Institute of the Arts and moving to California, where he worked in restaurant kitchens and as a Fuller Brush salesman. In the 1970s, Reubens performed at local comedy clubs and made four guest appearances on The Gong Show as part of a boy-girl act he had developed with Charlotte McGinnis, called The Hilarious Betty and Eddie. He soon joined the Los Angeles-based improvisational comedy team The Groundlings and remained a member for six years, working with Bob McClurg, John Paragon, Susan Barnes, and Phil Hartman. Hartman and Reubens became friends, often writing and working on material together. In 1980, he had a small part as a waiter in The Blues Brothers. Reubens auditioned for Saturday Night Live for the 1980-1981 season, but Gilbert Gottfried, who was a close friend of the show's producer and had the same acting style as Reubens, got the place (ironically, Gottfried would later get in trouble for joking about Reubens' indecent exposure arrest as an award presenter at the Emmys). Reubens was so angry and bitter that he decided he would borrow money and start his own show in Los Angeles using the character he had been developing during the last few years, "Pee-wee Herman". With the help of other Groundlings like John Paragon, Phil Hartman and Lynne Marie Stewart, Pee-wee acquired a small group of followers and Reubens took his show to The Roxy Theatre where "The Pee-wee Herman Show" ran for five sellout months, doing midnight shows for adults and weekly matinees for children, moving into the mainstream when HBO aired The Pee-wee Herman Show in 1981 as part of their series On Location. Reubens also appeared as Pee-wee in the 1980 film Cheech & Chong's Next Movie. Although it was Reubens in the role of Pee-Wee, the end credits of the movie billed him as Hamburger Dude. Reubens' act had mainly positive reactions and quickly acquired a group of fans, despite being described as "bizarre", and Reubens being described as "the weirdest comedian around". Pee-wee was both "corny" and "hip", "retrograde" and "avant-garde". When Pee-wee's fame started growing, Reubens started to move away from the spotlight, keeping his name under wraps and making all his public appearance and interviews in character while billing Pee-wee as playing himself; Reubens was trying to "get the public to think that that was a real person". Later on he would even prefer his parents be known only as Honey Herman and Herman Herman. In the early and mid-1980s, Reubens made several guest appearances on Late Night with David Letterman as Pee-wee Herman which gave Pee-wee an even bigger following. During the mid-1980s, Reubens traveled the United States with a whole new The Pee-wee Herman Show, playing notably at the Guthrie Theater in Minneapolis, Caroline's in New York City and, in 1984, in front of a full Carnegie Hall. After seeing the success of Pee-wee's Big Adventure, the CBS network approached Reubens with an ill-received cartoon series proposal. In 1986, CBS agreed to sign Reubens to act, produce, and direct his live-action children's program, Pee-wee's Playhouse, with a budget of $325,000 per episode, the same price as a prime-time sitcom, and no creative interference from CBS; although CBS did request a few minor changes throughout the years. After casting actors like Laurence Fishburne and S. Epatha Merkerson, production began in New York City. The opening credits of the show were sung by Cyndi Lauper. Playhouse was designed as an educational yet entertaining and artistic show for children and, despite being greatly influenced by 1950s shows Reubens watched as a child like The Rocky and Bullwinkle Show, The Mickey Mouse Club, Captain Kangaroo and Howdy Doody, it quickly acquired a dual audience of kids and grownups. Reubens, always trying to make of Pee-wee a positive role model, was after making a significantly moral show, one that would teach children the ethics of reciprocity. Reubens believed that children liked the Playhouse because it was fast-paced, colorful and "never talked them down"; while parents liked the Playhouse because it reminded them of the past. In 1986, Reubens (billed as Paul Mall) was the voice of the ship's computer in Flight of the Navigator. In 1987, Reubens provided the voice of REX, the main robot in the George Lucas produced Disneyland attraction, Star Tours, and reprised the role of Pee-wee Herman in cameo appearances in the film Back to the Beach and TV show Sesame Street, the latter of which made a cameo in Playhouse. Right after the success of Pee-wee's Big Adventure Reubens began working with Paramount Pictures on a sequel entitled Big Top Pee-wee. Reubens and George McGrath's script was directed by Grease director Randal Kleiser. The film was not as successful as its predecessor, receiving mild reviews and doing just over one third as well in the box office, earning only $15 million. Reubens attended 1988 Academy Awards with Top co-star Valeria Golino, which stirred rumors that the two were dating. The following year Reubens exchanged vows with Doris Duke's adopted daughter, Chandi Heffner, at a mock wedding over which Imelda Marcos presided, in Shangri-La, Doris Duke's mansion in Honolulu, Hawaii. Pee-wee's Playhouse aired from September 13, 1986, until November 10, 1990. Reubens had originally agreed to do two more seasons after the third, and when CBS asked Reubens about the possibility of a sixth season he declined, wanting to take a sabbatical. Reubens had been suffering from burnout from playing Pee-wee full-time and had been warning that Pee-wee was temporary and that he had other ideas he would like to work on. The parties agreed to end the show after five seasons, which included 45 episodes and a Christmas Special. Playhouse garnered 15 Emmy Awards, all of them in the Creative Arts Emmy Award category. 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did Pee wee have guests?


Keira Christina Knightley (; born 26 March 1985) is an English actress. Having worked extensively in both the British and the American film Industries, she has garnered such accolades as an Empire Award and multiple nominations for the British Academy, the Golden Globe, and the Academy Awards. Knightley featured as the highest-paid English actress on Forbes Celebrity 100 in 2008.

After getting an agent at the age of six, Knightley began working in commercials and small television roles. Her first on-screen appearance was in the 1993 television film, Royal Celebration. She then played Natasha Jordan, a young girl whose mother is involved in an extramarital affair, in the romantic drama A Village Affair (1995). After appearing in a spate of television films through the mid-to-late 1990s, including Innocent Lies (1995), The Treasure Seekers (1996), Coming Home (1998), and Oliver Twist (1999), Knightley landed the role of Sabe, Padme Amidala's handmaiden and decoy, in the 1999 science fiction blockbuster Star Wars: Episode I - The Phantom Menace. Her dialogue was dubbed over by Natalie Portman, who played Padme. Knightley was cast in the role because of her close resemblance to Portman; even the two actresses' mothers had difficulty telling their daughters apart when they were in full makeup. In her first major role, the 2001 Walt Disney Productions feature film Princess of Thieves, Knightley played the daughter of Robin Hood. To prepare for the film, she trained for several weeks in archery, fencing and horse riding. Concurrently, she appeared in The Hole, a thriller that received a direct-to-video release in the United States. The film's director Nick Hamm described her as "a young version of Julie Christie". Knightley also took on the role of Lara Antipova in the miniseries adaptation of Doctor Zhivago, which first aired in 2002 to positive reviews and high ratings. In the same year, Knightley starred as a pregnant drug addict in Gillies MacKinnon's drama film Pure. Co-starring Molly Parker and Harry Eden, the film had its world premiere at the 2002 Toronto International Film Festival. In a retrospect review for AboutFilm.com, Carlo Cavagna noted Knightley's screen presence and wrote that "[although Knightley] doesn't have half of Parker's ability [...], she has spunk and grit [and] shines brightly in Pure". Despite having appeared in over a dozen film and television roles, Knightley struggled to get a breakthrough. That changed in 2002, when she starred in Gurinder Chadha's sports comedy film Bend It Like Beckham, which was a smash hit both in the UK and the United States, grossing over $76.6 million. It also surprised film critics who were laudatory of its "charming" and "inspiring" nature, social context and the cast's performances. Knightley and her co-star Parminder Nagra, who played the central roles of aspiring footballers, attracted international attention for their performances in the film. To prepare for their roles, they underwent three months of extensive football training under the English football coach Simon Clifford. Knightley, who was initially skeptical of the project, went on to win the London Film Critics' Circle for Best Newcomer and the Online Film Critics Society Award for Best Breakthrough Performance. In an interview with Tracy Smith she said, "I remember telling friends I was doing this girls' soccer movie [...] And nobody thought that it was gonna be any good." Film critic James Berardinelli, who was largely laudatory of the film and the "energetic and likable" cast, noted that Knightley and Nagra brought, "a lot of spirit to their instantly likable characters". CANNOTANSWER

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Background: Jack William Nicklaus (born January 21, 1940), nicknamed The Golden Bear, is an American retired professional golfer. He is widely regarded as the greatest golfer of all time, winning a record 18 career major championships, while producing 19 second-place and 9 third-place finishes, over a span of 25 years. Nicklaus focused on the major championships--Masters Tournament, U.S. Open, Open Championship and PGA Championship--and played a selective schedule of regular PGA Tour events, yet still finished with 73 victories, third on the all-time list behind Sam Snead (82) and Tiger Woods (79).
Context: In 1980, Nicklaus recorded only four top-10 finishes in 14 events, but two of these were record-setting victories in majors (the U.S. Open and the PGA Championship); the other two were a tie for fourth in The Open Championship and a runner-up finish in the Doral-Eastern Open to Raymond Floyd via his chip-in birdie on the second hole of a sudden-death playoff. These victories and placements more than justified the work Nicklaus put in toward his game during the off-season. Nicklaus set a new scoring record for the 1980 U.S. Open with an aggregate of 272, eclipsing his earlier record of 275 from 1967 over the same golf course. That record, while since having been tied by three other players, stood until Rory McIlroy's 268 in winning the 2011 US Open. This was Nicklaus's second major win at Baltusrol Golf Club. Nicklaus opened with a record-tying 63 in round one and fought off his playing partner of all four rounds, 1978 Colgate World Match Play Championship winner, Isao Aoki. Entering the final round, Aoki had caught Nicklaus after three consecutive rounds of 68, but over the course of the last day, Nicklaus pulled away by two shots. Each player birdied the final two holes for a dramatic finish. Aoki's aggregate of 274 was the lowest score for a U.S. Open runner-up. Nicklaus' win was his fourth and final victory in the championship, tying him with Willie Anderson, Bobby Jones, and Ben Hogan. Nicklaus referred to this win as "by far the most emotional and warmest reaction to any of my wins in my own country". In the 1980 PGA Championship, Nicklaus set another record in winning the championship by seven shots over Andy Bean at the Oak Hill Country Club, largely due to exceptional putting. Nicklaus shot an even-par 70 in the first round followed by three successive rounds in the 60s over the difficult course, and was the only player to break par for the 72 holes. For the week, the field averaged 74.60 strokes while Nicklaus averaged 68.50. This was Nicklaus' fifth and final victory in the PGA Championship, which elevated him to record-holder for the most wins in the stroke-play era, and which tied him with Walter Hagen for the most wins overall, since Hagen's victories were all during the match-play era. Nicklaus' seven-shot winning margin remained the largest for the stroke-play version of the championship until Rory's McIroy's 2012 victory. This victory also made Nicklaus the only player since Gene Sarazen in 1922 and Ben Hogan in 1948 to win the U.S. Open and PGA Championship the same year (subsequently equaled by Tiger Woods in 2000). Between 1981 and 1985, Nicklaus accumulated seven more top-10 placements in major championships, including three runner-up performances. He won only twice on the PGA Tour during this period, the Colonial National Invitation in 1982 and his own Memorial Tournament in 1984 for the second time, defeating Andy Bean in a sudden-death playoff to become the tournament's first repeat champion. In 1983, Nicklaus closed out the PGA Championship and World Series of Golf with brilliant final rounds in the mid-60's, and passed many players to move into contention, but finished runner-up in each to Player of the Year Hal Sutton and Nick Price, respectively, who dominated the tournaments from start to finish. Despite not winning a PGA Tour event in 1983, Nicklaus finished 10th on the PGA Tour money list, and passed a significant milestone by becoming the first player to eclipse the $4 million level in career earnings. In 1985, Nicklaus finished second to Curtis Strange in the Canadian Open, which marked his seventh and final second-place finish in that tournament; this is a record for that event. These seven runner-up finishes came over the course of 21 events--or one second-place finish for every three tournaments played--and does not include a third-place finish in 1983, one shot out of the playoff between John Cook and Johnny Miller. During the five-year period between 1981 and 1985, the Ryder Cup matches provided Nicklaus with two bright spots. He completed his competition as a player in style by contributing a perfect 4-0-0 record (inclusive of a 5 & 3 anchor singles match win over Eamonn Darcy) in 1981, and captained the United States team in 1983 to a one-point win over Europe. Nicklaus became eligible to join the Senior PGA Tour, now known as PGA Tour Champions, when he turned 50 in January 1990, at which point he declared, "I'm never satisfied. Trouble is, I want to play like me--and I can't play like me anymore." He then quickly won in his first start on the Tour, The Tradition, also a Senior Tour major championship. Nicklaus would go on to win another three Traditions--the final two in succession--while the most anyone else has won is two. Later in the year, Nicklaus won the Senior Players Championship by six shots over Lee Trevino for his second win of the year, and also his second major of the year by shooting a record 27-under par 261. The next year, in 1991, Nicklaus won three of the five events he started in, those being the U.S. Senior Open at Oakland Hills by firing a 65 in a playoff against Chi-Chi Rodriguez and his fine round of 69, the PGA Seniors Championship and The Tradition for the second year straight. These, again, were all majors on the senior circuit. Nicklaus has won all the senior majors with the exception of the Senior Open Championship (also known as the Senior British Open). However, he never played in that event until after he turned 60, and it was only elevated to a major in 2003. After a winless year in 1992, Nicklaus came back to win the U.S. Senior Open for the second time in 1993 by one shot over Tom Weiskopf. Also in that year he teamed up with Chi-Chi Rodriguez and Raymond Floyd to win the Wendy's 3-Tour Challenge for the Senior PGA Tour team. In 1994, Nicklaus won the Senior PGA Tour's version of the Mercedes Championship for his only win of the year. The Tradition was his again in 1995, in a year where he made the top 10 in all of the seven tournaments he entered in. His 100th career win came the next year, when he won the Tradition for the fourth time, and second time in succession. He made a double eagle in the final round. Nicklaus closed the final 36 holes with back-to-back seven-under par rounds of 65 to shoot a 16-under par 272 and win by three shots over Hale Irwin. This was to be his last win on the Senior PGA Tour, and the last official win of his career. CANNOTANSWER
Question: Did he do anything else in his career?. Whats the answer?


Andy Irvine was born in St John's Wood, northwest London on 14 June 1942 to an Irish mother from Lisburn, County Antrim, and a Scottish father from Glasgow. His mother, Felice Lascelles, had been a musical comedy actress and Irvine would later say that "she may have given up the stage, but she never stopped acting!". As a child, Irvine was given opportunities to appear on stage, TV and in films. In the summer holidays of 1950, when he was eight years old, his first role was to play Jimmy in the film A Tale of Five Cities. At thirteen, he starred as Nokie (short for Pinocchio) in the ITV children's series Round at the Redways and joined a school for child actors. He made his stage debut in the Grand Theatre in Wolverhampton and, at fourteen, received rave reviews for his performance as Morgan in the ITV Television Playhouse drama The Magpies, adapted from a Henry James short story. The same year, he was Eric Brandt in Escape to Happiness, for the Armchair Theatre programme and also played John Logie Baird as a boy in the film A Voice in Vision. In early 1958, Irvine featured as Archie Almond in five episodes of Run to Earth. Aged fifteen, he played Lord Heybrook in French Without Tears, for the Saturday Playhouse TV series and, soon after, was one of the 'Pygmies' in Brouhaha, with Peter Sellers as the Sultan. Irvine then played Raymond opposite Laurence Harvey in Room at the Top and, although his scene was cut from the final release, he still appears briefly in the film, handing a bottle of champagne to Harvey during a wedding scene. In late 1959, he featured as Lanky Graham in Ask for King Billy and, in early 1960, he played a schoolboy in A Holiday Abroad for ITV Television Playhouse. Later that year, at eighteen, Irvine performed as Dan in three episodes of Sheep's Clothing, after which he was offered a two-year contract with the BBC's Repertory company ('The Rep'), where he befriended the poet Louis MacNeice who worked there as a writer for over twenty years. As Irvine recalled much later: However, Irvine would give up acting in his early twenties, after moving to Dublin at the end of his time with the 'Rep'. CANNOTANSWER

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Atomic Kitten are a British pop girl group formed in Liverpool in 1998 whose current members are Natasha Hamilton and Liz McClarnon. The band was founded by Colin Pulse, who served as principal songwriter during Atomic Kitten's early years. The group's debut album Right

Following the success of Right Now, a new album, Feels So Good, was recorded. The songwriting and production agreement with Andy McCluskey and Stuart Kershaw was an increasing source of tension within the group, and the pair departed during the recording of the album. McCluskey spoke of dissension between himself and the record company, whose "formula" demanded "'Whole Again', 'Whole Again' and more fucking 'Whole Again'"; he was essentially dismissed and legally prohibited from contacting the band, before exiting the "very dirty" business of "manufactured pop". Released tracks from Feels So Good were "It's OK", "The Tide Is High (Get the Feeling)", "The Last Goodbye","Love Doesn't Have to Hurt", and "Be With You". The unreleased single was "Feels So Good" sung by Kylie Minogue and Atomic Kitten. "The Last Goodbye" was the 3rd single from their second studio album, Feels So Good and "Be With You" was from their third album, Ladies Night. The first single, "It's OK", peaked at number three in the United Kingdom. The next single was "The Tide Is High (Get the Feeling)", a remake of the 1965 song by The Paragons that Blondie covered in 1980, which gave the group their third number-one single in the UK and New Zealand. In April 2002 Hamilton announced that she was pregnant but opted to continue with the scheduled 2002 tour, appear in the "Tide is High (Get the Feeling)" video, and appear at Party in the Park before going on maternity leave. the single "(I Wanna Be Like) Other Girls" was from the Disney movie Mulan II. There was also a Feels So Good Medley live at Party in the Park including "Be With You", "The Tide Is High (Get The Feeling)", It's OK", "Feels So Good", "The Moment You Leave Me", "Walking on the Water", and "The Last Goodbye". During January and February 2003, Atomic Kitten toured Southeast Asia, visiting Singapore, Thailand, and Korea. Hamilton, who had given birth to her son Josh on 24 August 2002, brought him on the tour. In 2002 the band sponsored a team in the British Touring Car Championship. CANNOTANSWER

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White has long been a proponent of analog equipment and the associated working methods. Beginning in the fifth grade, he and his childhood friend, Dominic Suchyta, would listen to records in White's attic on weekends and began to record cover songs on an old four-track reel to reel tape machine. The White Stripes' first album was largely recorded in the attic of his parents' home. As their fame grew beyond Detroit, the Stripes became known for their affected innocence and stripped-down playing style. In particular, White became distinguished for his nasal vocal delivery and loose, explosive guitar delivery. In an early New York Times concert review from 2001, Ann Powers said that, while White's playing was "ingenious," he "created more challenges by playing an acoustic guitar with paper taped over the hole and a less-than-high-quality solid body electric." His home studio in Nashville contains two rooms ("I want everyone close, focused, feeling like we're in it together.") with two pieces of equipment: a Neve mixing console, and two Studer A800 2-inch 8-track tape recorders. In his introduction in the documentary film, It Might Get Loud, White showcases his minimalist style by constructing a guitar built out of a plank of wood, three nails, a glass Coke bottle, a guitar string, and a pickup. He ends the demonstration by saying, "Who says you need to buy a guitar?" In a 2012 episode of the show, Portlandia, White made a cameo in a sketch spoofing home studio enthusiasts who prefer antique recording equipment. CANNOTANSWER

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The Great Ziegfeld is a 1936 American musical drama film directed by Robert Z. Leonard and produced by Hunt Stromberg. It stars William Powell as the theatrical impresario Florenz "Flo" Ziegfeld, Jr., Luise Rainer as Anna Held, and Myrna Loy as Billie Burke. The film, shot at MGM Studios in Culver City, California in the fall of 1935, is a fictionalized tribute to Florenz Ziegfeld, Jr. and a cinematic adaption of Broadway's Ziegfeld Follies, with highly elaborate costumes, dances and sets. Many of the performers of the theatrical Ziegfeld Follies were cast in the film as themselves, including Fanny Brice and Harriet Hoctor, and the real Billie Burke acted as a supervisor for the film.

The screenplay by William Anthony McGuire was a "novelty" to many audiences who were familiar with the theatrical Broadway shows of the follies. The script, although fictionalized with embellishments needed for the motion picture, did show some accuracies in the life of Ziegfeld. Frank S. Nugent of The New York Times said of the script: "What William Anthony McGuire has attempted in his screen play, and with general success, is to encompass not merely the fantastic personal history of Ziegfeld but the cross-sectional story of the development of the Follies, the Midnight Frolic on the New Amsterdam Roof and the other theatrical enterprises floated under the Glorifier's aegis during a span of about forty years. The two biographies--of the man and of his creations--are, naturally, inseparable; but both have been told with such wealth of detail and circumstance (real and imaginative) that even the three-hour film narrative is fragmentary and, in some places, confused." Although it has some accuracies, The Great Ziegfeld takes many key liberties with Ziegfeld's life and the history of the Follies, resulting in many inaccuracies. The earlier scenes with Sandow, the milk bath advertising scenario, and many other sequences including several of the dramatic ups and downs of the film were fictional. George Gershwin's Rhapsody in Blue was never featured in the Follies, and the number "A Pretty Girl Is Like a Melody" was written for the 1919 Follies, not the first edition of the revue, as shown in the film. Ray Bolger was never cast in a "Follies" show, and although she was born in the U.S, Billie Burke grew up in England and spoke with a Mid-Atlantic accent throughout her life; Loy who portrays her clearly has an American accent in the film. In the film, the last few lines of the song "Ol' Man River" (from Show Boat) are sung by what sounds like a tenor, while the song was intended for bass Paul Robeson and sung in the original production by bass-baritone Jules Bledsoe. Further, the screenplay also gives the impression that the successful original production of Show Boat, which Ziegfeld produced, closed because of the Great Depression. In fact Show Boat ended its original 1927 run in the spring of 1929 and the stock market crash did not occur until October of that year. It was the 1932 revival of the show (also produced by Ziegfeld shortly before his death), not the original production, that was affected by the Depression. In real life, Ziegfeld did not die in his room at the Hotel Warwick (not mentioned) which stood in front of the Ziegfeld Theatre; he actually died in Los Angeles and had not even spent his last years in New York. However, McGuire did capture a number of Ziegfeld's traits, such as sending telegrams to people even in close proximity, his belief that elephants were a symbol of good luck, his exquisite taste in costumes and design, and perfectionism over his productions, especially lighting and rostrum pedestaling. McGuire's script, now in the Henry E. Huntington Library, San Marino, California, is dated September 21, 1935, probably the date when it was finalized. CANNOTANSWER


Mamoru Fujisawa (Teng Ze  Shou , Fujisawa Mamoru, born December 6, 1950), known professionally as Joe Hisaishi (Jiu Shi  Rang , Hisaishi Jo), is a Japanese composer and musical director known for over 100 film scores and solo albums dating back to 1981. Hisaishi is also known for his piano scores. While possessing a stylistically distinct sound, Hisaishi's music has been known to explore and incorporate different genres, including minimalist, experimental electronic, European classical, and Japanese classical.

In 1981 Hisaishi, with his new name, released his first album of art music, MKWAJU, and in 1982 the electropop-minimalist album Information. Then, in 1983, Hisaishi was recommended by Tokuma, who had published Information, to create an image album for Nausicaa of the Valley of the Wind. Hisaishi and the director of the animated film, Hayao Miyazaki, became great friends and would work together on many future projects. In 1985, he founded his own recording studio--the wonder station. Their collaboration has invited comparisons to the collaborations of Steven Spielberg and John Williams. This big break led to Hisaishi's overwhelming success as a composer of film scores. In 1986, Laputa: Castle in the Sky, would be the first feature to appear under the Studio Ghibli banner, and its gentle, faintly melancholic tone would become a familiar trademark of much of the studio's later output. And later, in the 1990s, Porco Rosso and Princess Mononoke were released. As Hisaishi strengthened his reputation as one of the budding anime industry's top musical contributors, his compositions (including eight theatrical films and one OAV) would proceed to become some of the very hallmarks of early anime in the 1980s and 1990s. Hisaishi also composed for such TV and movie hits as Sasuga no Sarutobi, Two Down Full Base, Tonde Mon Pe and the anime Tekuno porisu 21C (all 1982), Sasuraiger (1983), Futari Taka (1984), Hono no Alpen Rose (1985) and Oz no mahotsukai (1986). He also scored the sci-fi adventure series Mospeada (1983), which was later reworked (without his music) into the third segment of Carl Macek's compilation, Robotech. Other films he scored included Mobile Suit Gundam Movie II: Soldiers of Sorrow (1981), Mobile Suit Gundam Movie III: Encounters in Space, (1982), Birth (Basu) (1984), Arion (1986), Robot Carnival (1987), Totoro (1988), Crest of the Royal Family and Maison Ikkoku - Apartment Fantasy (both 1988), Venus Wars (1989), Kiki's Delivery Service (1989), Porco Rosso (1992) and Ocean Heaven (2010). He also did theme song arrangements and composed other anime opening, closing, and insert title theme songs such as Maho Shojo Lalabel (1980), Hello! Sandybell (1981), Meiken Jolie (1981), Voltron (1981), Ai Shite Knight (1983), Creamy Mami, the Magic Angel: Curtain Call (1986), and Kimagure Orange Road: The Movie (1988). As more exposure was given to Hisaishi and the anime industry, his career grew. He initiated a solo career, began to produce music, and created his own label (Wonder Land Inc.) in 1988. A year later, Hisaishi released his solo album Pretender as the first album under the new label. CANNOTANSWER

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His mother, Emma Berdis Jones, left his biological father because of his drug abuse. She moved to Harlem, New York, where Baldwin was born in Harlem Hospital. In New York, his mother married a preacher, David Baldwin, with whom she had eight children, born between 1927 and 1943; her husband also had one son from a previous marriage who was nine years older than James. The family was poor and Baldwin's stepfather was harder on him than on the rest of the children.

Growing up in Harlem, Baldwin faced many obstacles, one of which was his education. "I knew I was black, of course, but I also knew I was smart. I didn't know how I would use my mind, or even if I could, but that was the only thing I had to use," he said. Baldwin attended P.S. 24 on 128th Street, between Fifth and Madison Avenues in Harlem, where he wrote the school song which was used until the school closed. As recounted in "Notes of a Native Son," when he was nine and a half years old, Baldwin wrote a play that was directed by a teacher at his school. Seeing his talent and potential, she offered to take him to "real" plays. This caused some backlash from Baldwin's stepfather because the teacher was white. His uncertainty was ultimately overruled by Baldwin's mother who said that "it would not be very nice to let such a kind woman make the trip for nothing." When his teacher came to pick him up, Baldwin noticed that his stepfather was filled with disgust. Baldwin later realized that this encounter was an "unprecedented and frightening" situation for his parents: "It was clear, during the brief interview in our living room, that my father was agreeing very much against his will and that he would have refused permission if he had dared. The fact that he did not dare caused me to despise him: I had no way of knowing that he was facing in that living room a wholly unprecedented and frightening situation." His middle school years were spent at Frederick Douglass Junior High where he was influenced by poet Countee Cullen, a leading figure in the Harlem Renaissance, and was encouraged by his math teacher to serve as editor of the school newspaper, The Douglass Pilot. (Directly preceding him at Frederick Douglass were Brock Peters, the future actor, and Bud Powell, the future jazz pianist.) Also in "Notes of a Native Son," Baldwin gives advice to little James to "Take no one's word for anything, including mine--but trust your experience." He then went on to DeWitt Clinton High School in the Bronx's Bedford Park section. There, along with Richard Avedon, Baldwin worked on the school magazine as literary editor but disliked school because of the constant racial slurs. CANNOTANSWER