Question: I, Claudius (1934) is a novel by English writer Robert Graves, written in the form of an autobiography of the Roman Emperor Claudius. Accordingly, it includes the history of the Julio-Claudian Dynasty and the Roman Empire, from Julius Caesar's assassination in 44 BC to Caligula's assassination in 41 AD. The 'autobiography' of Claudius continues (from Claudius' accession after Caligula's death, to his own death in 54) in Claudius the God (1935). The sequel also includes a section written as a biography of Herod Agrippa, contemporary of Claudius and future King of the Jews.

Claudius was the fourth Emperor of Rome (r. 41-54 AD). Historically, Claudius' family kept him out of public life until his sudden coronation at the age of forty-nine. This was due to his being perceived as being a dolt due to his stammering, limp and other nervous tics. This made others see him as mentally deficient and also therefore not a threat to his ambitious relatives. Even as his symptoms began to wane in his teenage years, he ran into trouble for his work as a budding historian. His work on a history of the civil wars was too truthful and too critical of the reigning emperor Augustus and his mother and grandmother quickly put a stop to it. This episode reinforced their initial suspicions that Claudius was not fit for public office. This is how he was defined by scholars for most of history, and Graves uses these peculiarities to develop a sympathetic character whose survival in a murderous dynasty depends upon his family's incorrect assumption that he is a harmless idiot. Graves's interpretation of the story owes much to the histories of Gaius Cornelius Tacitus, Plutarch and (especially) Suetonius (Lives of the Twelve Caesars). Graves translated Suetonius before writing the novels. Graves claimed that after he read Suetonius, Claudius came to him in a dream one night and demanded that his real story be told. The life of Claudius provided Graves with a way to write about the first four Emperors of Rome (Augustus, Tiberius, Caligula, and Claudius) from an intimate point of view. In addition, the real Claudius was a trained historian and is known to have written an autobiography (now lost) in eight books that covered the same time period. I, Claudius is a first-person narrative of Roman history from the reigns of Augustus to Caligula; Claudius the God is written as a later addition documenting Claudius' own reign. Graves provides a theme for the story by having the fictionalised Claudius describe a visit to Cumae, where he receives a prophecy in verse from the Sibyl, and an additional prophecy contained in a book of "Sibylline Curiosities". The latter concerns the fates of the "hairy ones" (i.e. The Caesars - from the Latin word "caesar", meaning "a fine head of hair") who are to rule Rome. The penultimate verse concerns his own reign, and Claudius assumes that he can tell the identity of the last emperor described. From the outset, then, Graves establishes a fatalistic tone that plays out at the end of Claudius the God, Claudius predicts his own assassination and succession by Nero. At Cumae, the Sibyl tells Claudius that he will "speak clear." Claudius believes this means that his secret memoirs will be one day found, and that he, having therein written the truth, will speak clearly, while his contemporaries, who had to distort their histories to appease the ruling family, will seem like stammerers. Since he wishes to record his life for posterity, Claudius chooses to write in Greek, since he believes that it will remain "the chief literary language of the world." This enables Graves to offer explanations of Latin wordplay or etymologies that would be unnecessary for native Latin speakers.

Using a quote from the above article, answer the following question: Who were the other Emperors?
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Answer: Augustus, Tiberius, Caligula, and Claudius

Problem: Timmons was born in Philadelphia, Pennsylvania, the son of a minister. He had a sister, Eleanor. Both of his parents, and several aunts and uncles, played the piano. From an early age Timmons studied music with an uncle, Robert Habershaw, who also taught McCoy Tyner.

Timmons moved to New York in 1954. He played with Kenny Dorham in 1956, making his recording debut with the trumpeter in a live set in May of that year. He went on to play and record with Chet Baker in 1956-57 (bassist Scott LaFaro was part of this band for a time), Sonny Stitt in 1957, and Maynard Ferguson in 1957-58. He also recorded as a sideman with hornmen Curtis Fuller, Hank Mobley, and Lee Morgan, all for Blue Note Records in 1957. Timmons became best known as a member of Art Blakey's band the Jazz Messengers, which he was first part of from July 1958 to September 1959, including for a tour of Europe. He was recruited for the Messengers by saxophonist Benny Golson, who said that "He was inventive, [...] He could play bebop and he could play funky - he could play a lot of things, and I thought it was the element that Art needed. He hadn't had anybody quite like Bobby, who could go here or go there, rather than walking in a single corridor." By late 1958 Timmons was sharing bandmate Morgan's East Sixth Street apartment and the pair had bought a piano, allowing Timmons to practice and Morgan to work on composing. From around the time he joined Blakey, Timmons, along with some of his fellow band members, was a heroin user. After leaving Blakey, Timmons joined Cannonball Adderley's band, in October 1959. Timmons was also known as a composer during this period: The Encyclopedia of Jazz states that his compositions "Moanin'" (from the 1958 album of the same title), "This Here", and "Dat Dere" "helped generate the gospel-tinged 'soul jazz' style of [the] late '50s and early '60s." The first was written when Timmons was first with Blakey; the others were composed when he was with Adderley. "This Here" (sometimes "Dis Here") was a surprise commercial success for Adderley: recorded in concert in 1959, it was released as part of The Cannonball Adderley Quintet in San Francisco album while the band was still on tour, and they discovered its popularity only when they arrived back in New York and found crowds outside the Village Gate, where they were due to play. Timmons was reported to be dissatisfied with the money he had received from "This Here", and was enticed in February 1960 into leaving Adderley and returning to Blakey's band by the offer of more pay. Timmons then appeared on further well-known albums with the drummer, including A Night in Tunisia, The Freedom Rider and The Witch Doctor. His own recording debut as sole leader was This Here Is Bobby Timmons in 1960, which contained his first versions of his best-known compositions. In the same year, he played on recordings led by Nat Adderley, Arnett Cobb, and Johnny Griffin, among others; on the first of these, Work Song, Timmons did not appear on all of the tracks, because he had been drinking heavily.

What did they do

Answer with quotes:
making his recording debut with the trumpeter in a live set in May of that year.