input: In 1956 Steiner returned to the United States, where for two years he was a scholar at the Institute for Advanced Study in Princeton, New Jersey. He also held a Fulbright professorship in Innsbruck, Austria from 1958 to 1959. In 1959, he was appointed Gauss Lecturer at Princeton, where he lectured for another two years. He then became a founding fellow of Churchill College at the University of Cambridge in 1961. Steiner was initially not well received at Cambridge by the English faculty. Many disapproved of this charismatic "firebrand with a foreign accent" and questioned the relevance of the Holocaust he constantly referred to in his lectures. Bryan Cheyette, professor of 20th-century literature at the University of Southampton said that at the time, "Britain [...] didn't think it had a relationship to the Holocaust; its mythology of the war was rooted in the Blitz, Dunkirk, the Battle of Britain." While Steiner received a professorial salary, he was never made a full professor at Cambridge with the right to examine. He had the option of leaving for professorships in the United States, but Steiner's father objected, saying that Hitler, who said no one bearing their name would be left in Europe, would then have won. Steiner remained in England because "I'd do anything rather than face such contempt from my father." He was elected an Extraordinary Fellow at Cambridge in 1969. After several years as a freelance writer and occasional lecturer, Steiner accepted the post of Professor of English and Comparative Literature at the University of Geneva in 1974; he held this post for 20 years, teaching in four languages. He lived by Goethe's maxim that "no monoglot truly knows his own language." He became Professor Emeritus at Geneva University on his retirement in 1994, and an Honorary Fellow at Balliol College at Oxford University in 1995. He has since held the positions of the first Lord Weidenfeld Professor of Comparative European Literature and Fellow of St Anne's College at Oxford University from 1994 to 1995, and Norton Professor of Poetry at Harvard University from 2001 to 2002. Steiner has been called "an intelligent and intellectual critic and essayist." He was active on undergraduate publications while at the University of Chicago and later become a regular contributor of reviews and articles to many journals and newspapers including the Times Literary Supplement and The Guardian. He has written for The New Yorker for over thirty years, contributing over two hundred reviews. While Steiner generally takes things very seriously, he also reveals an unexpected deadpan humor: when he was once asked if he had ever read anything trivial as a child, he replied, Moby-Dick.

Answer this question "what was george's career?"
output: for two years he was a scholar at the Institute for Advanced Study in Princeton, New Jersey.

input: Having become primarily recognized as a musical-comedy actress, Day gradually took on more dramatic roles to broaden her range. Her dramatic star-turn as singer Ruth Etting in Love Me or Leave Me (1955), co-starring James Cagney, received critical and commercial success, becoming Day's biggest hit thus far. Day said it was her best film performance. Producer Joe Pasternak said, "I was stunned that Doris did not get an Oscar nomination." The soundtrack album from that movie was a No. 1 hit. Day starred in Alfred Hitchcock's suspense film, The Man Who Knew Too Much (1956) with James Stewart. She sang two songs in the film, "Que Sera, Sera (Whatever Will Be, Will Be)", which won an Academy Award for Best Original Song, and "We'll Love Again". The film was Day's 10th movie to be in the Top 10 at the box office. In 1956, Day played the title role in the thriller/noir Julie with Louis Jourdan. After three successive dramatic films, Day returned to her musical/comedic roots in 1957's The Pajama Game with John Raitt. The film was based on the Broadway play of the same name. She worked with Paramount Pictures for the comedy Teacher's Pet (1958), alongside Clark Gable and Gig Young. She co-starred with Richard Widmark and Gig Young in the romantic comedy film, The Tunnel of Love (1958), but found scant success opposite Jack Lemmon in It Happened to Jane (1959). Billboard's annual nationwide poll of disc jockeys had ranked Day as the No. 1 female vocalist nine times in ten years (1949 through 1958), but her success and popularity as a singer was now being overshadowed by her box-office appeal.

Answer this question "How did she break through"
output: Love Me or Leave Me (1955), co-starring James Cagney, received critical and commercial success, becoming Day's biggest hit

input: Among Bring Me the Horizon's earliest influences were bands like At the Gates, Carcass, Pantera, Metallica, The Dillinger Escape Plan, Every Time I Die, Norma Jean, Skycamefalling and Poison the Well; and genres death metal, grindcore, and emo have been cited by AllMusic writer Steward Mason. However, as their sound developed, the band started to take influences from progressive rock, post-rock, dubstep and electronica. The band's musical style has been described mainly as metalcore and - though they have since moved on from the genre - their early material was considered deathcore. Across their career the band has also been said to play within the genres post-hardcore, hardcore punk, technical metal, heavy metal, and emo. Bring Me the Horizon have attempted to grow and change with each album, believing they should be different. Raziq Rauf, writing for Drowned In Sound, described Count Your Blessings as possessing "Norma Jean-style thunderous riffs mixed with some dastardly sludgy doom moments and more breakdowns than your dad's old Nissan Sunny." Metal Hammer described Suicide Season as a "creative, critical and commercial success" for the band as they started to adopt a more eclectic style, with its "crushingly heavy party deathcore". Leading up to its release Oliver Sykes described it as "100% different to Count Your Blessings" and noted the album sounds "more rock than metal". As time went by, Bring Me the Horizon began rejecting their debut album Count Your Blessings and considered Suicide Season as their "Year Zero[...] [their] wipe-the-slate-clean time". Bring Me the Horizon then moved even further away from deathcore with their third album There Is a Hell, which incorporated electronica, classical music and pop music into their metalcore style. This required more ambitious production feats, such as using a full choir, a synthesised orchestra and glitched out vocals and breakdowns that were also toned down, favouring quiet atmospheric passages in song breaks. For the writing of Sempiternal, the band pooled far broader influences such as post-rock acts like This Will Destroy You and Explosions In The Sky and from pop music. Bring Me the Horizon has experimented with its music in recent years, mixing pop with metal music, leading the band to be labeled a "pop metal" act. With the release of That's the Spirit, their sound shifted towards alternative metal and alternative rock, also incorporated other genres such as pop rock and nu metal, while completely abandoning the metalcore sound of their earlier albums.

Answer this question "Who did they model their style after?"
output:
Every Time I Die, Norma Jean, Skycamefalling and Poison the Well;