input: Before releasing "Hush...Hush, Sweet Charlotte," Page signed with Columbia Records, where she remained until the end of the decade. She released a few studio albums for Columbia in the 1960s. In 1970, her singles began to chart on the Hot Adult Contemporary Tracks chart. Many of these singles became hits, peaking in the Top 20, including cover versions of "You Can't Be True, Dear," "Gentle on My Mind" and "Little Green Apples" (the latter being her last pop chart entry). Page, who was a fan of country music, recorded many country songs over the years. Some of these were recorded for Columbia and were released as Adult Contemporary singles, including David Houston's "Almost Persuaded" and Tammy Wynette's "Stand by Your Man." Page left Columbia in 1970, returning to Mercury Records and shifting her career away from pop and into country music. In 1973, she returned to working with her former record producer, Shelby Singleton. Working for Mercury, Columbia, and Epic in the 1970s, Page recorded a series of country singles, beginning with 1970's "I Wish I Had a Mommy Like You," which became a Top 25 hit, followed by "Give Him Love," which had similar success. In 1971, she released a country music album, I'd Rather Be Sorry, for Mercury records. In 1973, a duet with country singer Tom T. Hall titled, "Hello, We're Lonely" was a Top 20 hit, reaching No. 14 on the Billboard Country Chart. In 1973, Page returned to Columbia Records' affiliate Epic Records. In 1974 and 1975, she released singles for Avco Records including "I May Not Be Lovin' You" and "Less Than the Song," both of which were minor country hits. After a five-year hiatus, she recorded for Plantation Records in 1980. She had a Top 40 hit with Plantation in 1981 titled "No Aces," followed by a series of minor country hits, "My Man Friday," which reached No. 80 In the early 1980s, she performed with major symphony orchestras in Cincinnati, Ohio, and Mexico City, Mexico. .

Answer this question "Did she do any duets during that time?"
output: In 1973, a duet with country singer Tom T. Hall titled, "Hello, We're Lonely" was a Top 20

Problem: Background: Womack was born and raised in Jacksonville, Texas. At an early age, she was interested in country music. Her father, a disc jockey, often took his daughter to work with him to help choose records to play on the air. Womack was the second of two daughters.
Context: Womack released her self-titled debut album in May 1997, produced by Mark Wright. The album consisted of self-penned material as well as songs written by other artists, including Mark Chesnutt, Ricky Skaggs, and Sharon White. The first single, "Never Again, Again" made the country charts and playlists by March 1997, which led to the release of the album's second single, "The Fool" shortly afterward. More successful than her first single, "The Fool" reached the Top 5 on the Billboard Country chart that year. That year she won major awards from the country music community; Top New Female Vocalist from the Academy of Country Music Awards, Top Artist of the Year from Billboard Magazine, and was nominated for the Horizon award by the Country Music Association. Decca Nashville decided to close its doors in 1998, moving Womack to MCA Nashville Records that year. In 1998, Womack released her second studio album, Some Things I Know, which was also produced by Wright. The album's first two singles, "A Little Past Little Rock" and "I'll Think of a Reason Later" both went to No. 2 on the Billboard Country Chart. Two additional singles, "(Now You See Me) Now You Don't" and "Don't Tell Me" were released in 1999, and the album was certified Gold by the RIAA soon after. That year, she also won Favorite Country New Artist from the American Music Awards. Womack also contributed her vocals to the songs "If You're Ever Down in Dallas" and "The Man Who Made Mama Cry" in collaboration with her ex-husband and musician, Jason Sellers. The material was promoted through shows through October to November before the birth of Womack's second child in January 1999.
Question: Was this song well received?
Answer: both went to No. 2 on the Billboard Country Chart.

Question: Gilbert and Sullivan refers to the Victorian-era theatrical partnership of the dramatist W. S. Gilbert (1836-1911) and the composer Arthur Sullivan (1842-1900) and to the works they jointly created. The two men collaborated on fourteen comic operas between 1871 and 1896, of which H.M.S. Pinafore, The Pirates of Penzance and The Mikado are among the best known. Gilbert, who wrote the libretti for these operas, created fanciful "topsy-turvy" worlds where each absurdity is taken to its logical conclusion--fairies rub elbows with British lords, flirting is a capital offence, gondoliers ascend to the monarchy, and pirates emerge as noblemen who have gone astray. Sullivan, six years Gilbert's junior, composed the music, contributing memorable melodies that could convey both humour and pathos.

Gilbert was born in London on 18 November 1836. His father, William, was a naval surgeon who later wrote novels and short stories, some of which included illustrations by his son. In 1861, to supplement his income, the younger Gilbert began writing illustrated stories, poems and articles of his own, many of which would later be mined as inspiration for his plays and operas, particularly Gilbert's series of illustrated poems, the Bab Ballads. In the Bab Ballads and his early plays, Gilbert developed a unique "topsy-turvy" style in which humour was derived by setting up a ridiculous premise and working out its logical consequences, however absurd. Director and playwright Mike Leigh described the "Gilbertian" style as follows: With great fluidity and freedom, [Gilbert] continually challenges our natural expectations. First, within the framework of the story, he makes bizarre things happen, and turns the world on its head. Thus the Learned Judge marries the Plaintiff, the soldiers metamorphose into aesthetes, and so on, and nearly every opera is resolved by a deft moving of the goalposts... His genius is to fuse opposites with an imperceptible sleight of hand, to blend the surreal with the real, and the caricature with the natural. In other words, to tell a perfectly outrageous story in a completely deadpan way. Gilbert developed his innovative theories on the art of stage direction, following theatrical reformer Tom Robertson. At the time Gilbert began writing, theatre in Britain was in disrepute. Gilbert helped to reform and elevate the respectability of the theatre, especially beginning with his six short family-friendly comic operas, or "entertainments", for Thomas German Reed. At a rehearsal for one of these entertainments, Ages Ago, in 1870, the composer Frederic Clay introduced Gilbert to his friend, the young composer Arthur Sullivan. Over the next year, before the two first collaborated, Gilbert continued to write humorous verse, stories and plays, including the comic operas Our Island Home (1870) and A Sensation Novel (1871), and the blank verse comedies The Princess (1870), The Palace of Truth (1870) and Pygmalion and Galatea (1871).

Using a quote from the above article, answer the following question: When was Gilbert born?
HHHHHH
Answer:
18 November 1836.