Some context: Born in Drouin to Alfred and Colleen Ablett, Gary Ablett grew up in the Latrobe Valley in Victoria's Gippsland region alongside his four elder brothers and three sisters. Ablett displayed a love for sport at an early age, winning the state school high jump at 10 years of age. He was also awarded both club and competition best and fairest awards for Drouin at the under-11s, under-12s and under-14s levels. After citing waning interest in school, Ablett dropped out of high school at the age of 15 years to become a bricklayer's labourer.
Two of Ablett's brothers played in the Victorian Football League - Kevin Ablett, who played for Hawthorn, Richmond and Geelong, and Geoff Ablett, who played for Hawthorn, Richmond and St Kilda. Ablett's eldest son, Gary Ablett Jr., has followed in his footsteps to play for Geelong. In 2007 and 2009, Ablett Jr. won the Cats' best and fairest award, emulating a feat established by his father in his first season with the Cats back in 1984; he also won the Brownlow Medal in 2009 and 2013. Another son, Nathan, was drafted in 2004 (48th pick) by Geelong under the father-son rule. Nathan initially refused to play AFL Football because of his father's experience with the media, but, with encouragement from the club, was signed ahead of the 2005 AFL Season and has since established himself in the full forward role Gary Snr made his own. On 29 September 2007, both Gary Jr. and Nathan contributed to Geelong winning its first flag in 44 years, capturing the premiership that proved elusive to Gary Snr in his 12 years at the club. Nathan retired suddenly before the 2008 season, but he and his brother Gary Jr. were members of the Gold Coast Football Club's inaugural team for the 2011 season. In addition to his sons, Ablett has a nephew, Luke Ablett, who played for the Sydney Swans and won a premiership with them in 2005. Two other nephews, from his sister's marriage to Hawthorn legend Michael Tuck, also played in the AFL - Richmond's Shane Tuck and Travis Tuck, who played for Hawthorn.
Where did his other brother play?
A: Hawthorn, Richmond and Geelong, and Geoff Ablett, who played for Hawthorn, Richmond and St Kilda.

Question: Heifetz was born into a Russian-Jewish family in Vilna, Lithuania then part of the Russian Empire. His father, Reuven Heifetz, son of Elie, was a local violin teacher and served as the concertmaster of the Vilnius Theatre Orchestra for one season before the theatre closed down. While Jascha was an infant, his father did a series of tests, observing how his son responded to his fiddling. This convinced him that Jascha had great potential, and before Jascha was two years old, his father bought him a small violin, and taught him bowing and simple fingering.

Heifetz made his first recordings in Russia during 1910-11, while still a student of Leopold Auer. The existence of these recordings was not widely known until after Heifetz's death, when several sides, including Francois Schubert's L'Abeille, were reissued on an LP included as a supplement to The Strad magazine. Shortly after his Carnegie Hall debut on 7 November 1917, Heifetz made his first recordings for the Victor Talking Machine Company/RCA Victor where he would remain for most of his career. For several years, in the 1930s, Heifetz recorded primarily for HMV in the UK because RCA Victor cut back on expensive classical recording sessions during the Great Depression; these discs were issued in the US by RCA Victor. Heifetz often enjoyed playing chamber music. Various critics have blamed his limited success in chamber ensembles to the fact that his artistic personality tended to overwhelm his colleagues. Some notable collaborations include his 1941 recordings of piano trios by Beethoven, Schubert, and Brahms with cellist Emanuel Feuermann and pianist Arthur Rubinstein as well as a later collaboration with Rubinstein and cellist Gregor Piatigorsky, with whom he recorded trios by Maurice Ravel, Tchaikovsky, and Felix Mendelssohn. Both formations were sometimes referred to as the Million Dollar Trio. Heifetz also recorded some string quintets with violinist Israel Baker, violists William Primrose and Virginia Majewski, and Piatigorsky. He recorded the Beethoven Violin Concerto in 1940 with the NBC Symphony Orchestra conducted by Arturo Toscanini, and again in stereo in 1955 with the Boston Symphony Orchestra conducted by Charles Munch. A live performance of an NBC radio broadcast from 9 April 1944, of Heifetz playing the Mendelssohn Violin Concerto, with Toscanini and the NBC Symphony, has also been released. He performed and recorded Erich Wolfgang Korngold's Violin Concerto at a time when Korngold's scoring of numerous films for Warner Brothers prompted many classical musicians to develop the scarcely warranted opinion that Korngold was not a "serious" composer and to avoid his music in order to avoid being associated with him.

Using a quote from the above article, answer the following question: What type of music did he usually perform?
HHHHHH
Answer: Heifetz often enjoyed playing chamber music.

Some context: Hattie McDaniel (June 10, 1895 - October 26, 1952) was an American stage actress, professional singer-songwriter, and comedian. She is best known for her role as "Mammy" in Gone with the Wind (1939), for which she won the Academy Award for Best Supporting Actress, the first Academy Award won by an African American entertainer. In addition to acting in many films, McDaniel was a radio performer and television star; she was the first black woman to sing on radio in the United States. She appeared in over 300 films, although she received screen credits for only 80 or so.
The whereabouts of McDaniel's Oscar are currently unknown. In 1992, Jet magazine reported that Howard University could not find it and alleged that it had disappeared during protests in the 1960s. In 1998, Howard University stated that it could find no written record of the Oscar having arrived at Howard. In 2007, an article in the Huffington Post repeated rumors that the Oscar had been cast into the Potomac River by angry civil rights protesters in the 1960s. The assertion reappeared in the Huffington Post under the same byline in 2009. In 2010, Mo'Nique, the winner of the Academy Award for Best Supporting Actress, wearing a blue dress and gardenias in her hair, as McDaniel had at the ceremony in 1940, in her acceptance speech thanked McDaniel "for enduring all that she had to so that I would not have to". Her speech revived interest in the whereabouts of McDaniel's plaque. In 2011, J. Freedom duLac reported in the Washington Post that the plaque had disappeared in the 1960s. In November 2011, W. B. Carter, of the George Washington University Law School, published the results of her year-and-a-half-long investigation into the Oscar's fate. Carter rejected claims that students had stolen the Oscar (and thrown it in the Potomac River) as wild speculation or fabrication that traded on long-perpetuated stereotypes of blacks. She questioned the sourcing of the Huffington Post stories. Instead, she argued that the Oscar was likely returned to Howard University's Channing Pollack Theater Collection between the spring of 1971 and the summer of 1973 or had possibly been boxed and stored in the drama department at that time. The reason for its removal, she argued, was not civil rights unrest but rather efforts to make room for a new generation of black performers. If neither the Oscar nor any paper trail of its ultimate destiny can be found at Howard today, she suggested, inadequate storage or record-keeping in a time of financial constraints and national turbulence may be blamed. She also suggested that a new generation of caretakers may have failed to realize the historic significance of the 5 1/2" x 6" plaque.
What did this bring about
A:
In 1992, Jet magazine reported that Howard University could not find it and alleged that it had disappeared during protests in the 1960s.