Question: "Eleanor Rigby" is a song by the Beatles, released on the 1966 album Revolver and as a 45 rpm single. It was written primarily by Paul McCartney, and credited to Lennon-McCartney. The song continued the transformation of the Beatles from a mainly rock and roll- and pop-oriented act to a more experimental, studio-based band. With a double string octet arrangement by George Martin and striking lyrics about loneliness, "Eleanor Rigby" broke sharply with popular music conventions, both musically and lyrically.

"Eleanor Rigby" does not have a standard pop backing. None of the Beatles played instruments on it, though John Lennon and George Harrison did contribute harmony vocals. Like the earlier song "Yesterday", "Eleanor Rigby" employs a classical string ensemble--in this case an octet of studio musicians, comprising four violins, two violas, and two cellos, all performing a score composed by producer George Martin. Where "Yesterday" is played legato, "Eleanor Rigby" is played mainly in staccato chords with melodic embellishments. McCartney, reluctant to repeat what he had done on Yesterday, explicitly expressed that he did not want the strings to sound too cloying. For the most part, the instruments "double up"--that is, they serve as a single string quartet but with two instruments playing each of the four parts. Microphones were placed close to the instruments to produce a more biting and raw sound. Engineer Geoff Emerick was admonished by the string players saying "You're not supposed to do that." Emerick was starting to develop a reputation at EMI for being a bit of a maverick and not adhering to the strict rules and proceedures prescribed by the Recording Handbooks that all staff engineers were required to follow. Fearing such close proximity to their instruments would expose the slightest deficiencies in their technique, the players kept moving their chairs away from the microphones until George Martin got on the talk-back system and scolded "Stop moving the chairs!" Martin recorded two versions, one with and one without vibrato, the latter of which was used. Lennon recalled in 1980 that "Eleanor Rigby" was "Paul's baby, and I helped with the education of the child ... The violin backing was Paul's idea. Jane Asher had turned him on to Vivaldi, and it was very good." The octet was recorded on 28 April 1966, in Studio 2 at Abbey Road Studios; it was completed in Studio 3 on 29 April and on 6 June. Take 15 was selected as the master. George Martin, in his autobiography All You Need Is Ears, takes credit for combining two of the vocal parts--"Ah! look at all the lonely people" and "All the lonely people"--having noticed that they would work together contrapuntally. He cited the influence of Bernard Herrmann's work on his string scoring. (Originally he cited the score for the film Fahrenheit 451, but this was a mistake as the film was not released until several months after the recording; Martin later stated he was thinking of Herrmann's score for Psycho.) The original stereo mix had McCartney's voice only in the right channel during the verses, with the string octet mixed to one channel, while the mono single and mono LP featured a more balanced mix. On the Yellow Submarine Songtrack and Love versions, McCartney's voice is centred and the string octet appears in stereo, creating a modern-sounding mix.

Using a quote from the above article, answer the following question: Are there any other interesting aspects about this article?
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Answer: None of the Beatles played instruments on it, though John Lennon and George Harrison did contribute harmony vocals.

Question: Convy was born in St. Louis, Missouri, the son of Monica (nee Whalen) and Bernard Fleming Convy. Convy's family moved to Los Angeles when he was seven years old. He later attended North Hollywood High School where he was an all-around athlete. The Philadelphia Phillies offered him a contract when he was just 17 and he played two years of minor league baseball in 1951-52.

In the 1960s and 1970s, Convy was a popular semi-regular panelist on several game shows, including What's My Line?, To Tell the Truth, Match Game (he would later star as the host of the pilot for Match Game '90 in 1989) and Password. He soon took the podium himself as host of several game shows, including the fourth edition of Password (called Super Password) (1984-1989) and Tattletales (1974-1978, 1982-1984), for which he was awarded an Emmy Award for Best Game Show Host in 1977. In 1979, he appeared on Password Plus with fellow celebrity contestants such as Elizabeth Montgomery, Carol Burnett, Phyllis Diller, Judy Norton Taylor, Marcia Wallace and Elaine Joyce. Convy and Burt Reynolds formed their own production company, Burt and Bert Productions, during the 1980s. Their first production was a game show based on Pictionary titled Win, Lose or Draw, which made its debut in 1987 as part of the NBC daytime lineup and in nightly syndication. Convy hosted the syndicated edition of Win, Lose or Draw for its first two seasons, then left the show to host another of his company's productions, the syndicated 3rd Degree. When 3rd Degree went to pilot, Peter Marshall was brought in to be the host. When the series was picked up for syndication, however, Convy decided to leave his position as the host of the syndicated edition of Win, Lose or Draw and take Marshall's place on 3rd Degree. Marshall filed a lawsuit against Convy for the action, but later dropped it after Convy's cancer diagnosis was made public. Around the time that 3rd Degree was cancelled, Convy was called upon by Mark Goodson Productions again to host a week's worth of pilot episodes for a revival of Match Game that Goodson was attempting to sell to ABC.

Using a quote from the above article, answer the following question: Did he compete on any game shows?
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Answer:
Convy was a popular semi-regular panelist on several game shows, including What's My Line?, To Tell the Truth, Match Game (