Problem: Background: "God Save the Queen" (alternatively "God Save the King", depending on the gender of the reigning monarch) is the national or royal anthem in a number of Commonwealth realms, their territories, and the British Crown Dependencies. The author of the tune is unknown and it may originate in plainchant, but an attribution to John Bull is sometimes made. It is the national anthem of the United Kingdom and one of two national anthems used by New Zealand since 1977, as well as for several of the UK's territories that have their own additional local anthem. It is also the royal anthem - played specifically in the presence of the monarch - of all the aforementioned countries, as well as Australia (since 1984), Canada (since 1980), Barbados and Tuvalu.
Context: The phrase "God Save the King" is much older than the song, appearing, for instance, several times in the King James Bible. A text based on the 1st Book of Kings Chapter 1: verses 38-40, "...And all the people rejoic'd, and said: God save the King! Long live the King! May the King live for ever, Amen", has been sung at every coronation since that of King Edgar in 973. Scholes says that as early as 1545 "God Save the King" was a watchword of the Royal Navy, with the response being "Long to reign over us". He also notes that the prayer read in churches on anniversaries of the Gunpowder Plot includes words which might have formed part of the basis for the second verse "Scatter our enemies...assuage their malice and confound their devices". In 1745, The Gentleman's Magazine published "God save our lord the king: A new song set for two voices", describing it "As sung at both Playhouses" (the Theatres Royal at Drury Lane and Covent Garden). Traditionally, the first performance was thought to have been in 1745, when it was sung in support of King George II, after his defeat at the Battle of Prestonpans by the army of Charles Edward Stuart, son of James Francis Edward Stuart, the Jacobite claimant to the British throne. It is sometimes claimed that, ironically, the song was originally sung in support of the Jacobite cause: the word "send" in the line "Send him victorious" could imply that the king was absent. However, the Oxford English Dictionary cites examples of "[God] send (a person) safe, victorious, etc." meaning "God grant that he may be safe, etc.". There are also examples of early eighteenth century Jacobean drinking glasses which are inscribed with a version of the words and were apparently intended for drinking the health of King James II and VII. Scholes acknowledges these possibilities but argues that the same words were probably being used by both Jacobite and Hanoverian supporters and directed at their respective kings. In 1902, the musician William Hayman Cummings, quoting mid-18th century correspondence between Charles Burney and Sir Joseph Banks, proposed that the words were based on a Latin verse composed for King James II at the Chapel Royal.
Question: Are there any other interesting aspects about this article?
Answer: In 1745, The Gentleman's Magazine published "God save our lord the king: A new song set for two voices",

Problem: Background: O'Neill was born in a hotel, the Barrett House, at Broadway and 43rd Street, on what was then Longacre Square (now Times Square). A commemorative plaque was first dedicated there in 1957. The site is now occupied by 1500 Broadway, which houses offices, retail, and ABC Studios. He was the son of Irish immigrant actor James O'Neill and Mary Ellen Quinlan, who was also of Irish descent.
Context: After suffering from multiple health problems (including depression and alcoholism) over many years, O'Neill ultimately faced a severe Parkinsons-like tremor in his hands which made it impossible for him to write during the last 10 years of his life; he had tried using dictation but found himself unable to compose in that way. While at Tao House, O'Neill had intended to write a cycle of 11 plays chronicling an American family since the 1800s. Only two of these, A Touch of the Poet and More Stately Mansions, were ever completed. As his health worsened, O'Neill lost inspiration for the project and wrote three largely autobiographical plays, The Iceman Cometh, Long Day's Journey into Night, and A Moon for the Misbegotten. He managed to complete Moon for the Misbegotten in 1943, just before leaving Tao House and losing his ability to write. Drafts of many other uncompleted plays were destroyed by Carlotta at Eugene's request. O'Neill died in Room 401 of the Sheraton Hotel (now Boston University's Shelton Hall) on Bay State Road in Boston, on November 27, 1953, at the age of 65. As he was dying, he whispered his last words: "I knew it. I knew it. Born in a hotel room and died in a hotel room." Dr. Harry Kozol, the lead prosecuting expert of the Patty Hearst trial, treated O'Neill during these last years of illness. He also was present for O'Neill's death and announced the fact to the public. O'Neill is interred in the Forest Hills Cemetery in Boston's Jamaica Plain neighborhood. In 1956 Carlotta arranged for his autobiographical play Long Day's Journey into Night to be published, although his written instructions had stipulated that it not be made public until 25 years after his death. It was produced on stage to tremendous critical acclaim and won the Pulitzer Prize in 1957. This last play is widely considered to be his finest. Other posthumously-published works include A Touch of the Poet (1958) and More Stately Mansions (1967). The United States Postal Service honored O'Neill with a Prominent Americans series (1965-1978) $1 postage stamp.
Question: What else was important in this article?
Answer:
In 1956 Carlotta arranged for his autobiographical play Long Day's Journey into Night to be published,