Background: Wilhelm Richard Wagner (; German: ['RicaRt 'va:gna]
Context: In 1833, Wagner's brother Albert managed to obtain for him a position as choir master at the theatre in Wurzburg. In the same year, at the age of 20, Wagner composed his first complete opera, Die Feen (The Fairies). This work, which imitated the style of Weber, went unproduced until half a century later, when it was premiered in Munich shortly after the composer's death in 1883. Having returned to Leipzig in 1834, Wagner held a brief appointment as musical director at the opera house in Magdeburg during which he wrote Das Liebesverbot (The Ban on Love), based on Shakespeare's Measure for Measure. This was staged at Magdeburg in 1836 but closed before the second performance; this, together with the financial collapse of the theatre company employing him, left the composer in bankruptcy. Wagner had fallen for one of the leading ladies at Magdeburg, the actress Christine Wilhelmine "Minna" Planer and after the disaster of Das Liebesverbot he followed her to Konigsberg, where she helped him to get an engagement at the theatre. The two married in Tragheim Church on 24 November 1836. In May 1837, Minna left Wagner for another man, and this was but only the first debacle of a tempestuous marriage. In June 1837, Wagner moved to Riga (then in the Russian Empire), where he became music director of the local opera; having in this capacity engaged Minna's sister Amalie (also a singer) for the theatre, he presently resumed relations with Minna during 1838. By 1839, the couple had amassed such large debts that they fled Riga on the run from creditors. Debts would plague Wagner for most of his life. Initially they took a stormy sea passage to London, from which Wagner drew the inspiration for his opera Der fliegende Hollander (The Flying Dutchman), with a plot based on a sketch by Heinrich Heine. The Wagners settled in Paris in September 1839 and stayed there until 1842. Wagner made a scant living by writing articles and short novelettes such as A pilgrimage to Beethoven, which sketched his growing concept of "music drama", and An end in Paris, where he depicts his own miseries as a German musician in the French metropolis. He also provided arrangements of operas by other composers, largely on behalf of the Schlesinger publishing house. During this stay he completed his third and fourth operas Rienzi and Der fliegende Hollander.
Question: Did he write any art songs or lieder?
Answer:

Background: Raymond William Stacy Burr was born May 21, 1917, in New Westminster, British Columbia, Canada. His father, William Johnston Burr (1889-1985), was a hardware salesman; his mother, Minerva Annette (nee Smith, 1892-1974), was a pianist and music teacher who was born in Chicago, Illinois. Burr's ancestry included Lebanese, Irish, English, Scottish, and German. When Burr was six, his parents divorced.
Context: Burr appeared in more than 50 feature films between 1946 and 1957, creating an array of villains that established him as an icon of film noir. Film historian Alain Silver concluded that Burr's most significant work in the genre is in these ten films: Desperate (1947), Sleep, My Love (1948), Raw Deal (1948), Pitfall (1948), Abandoned (1949), Red Light (1950), M (1951), His Kind of Woman (1951), The Blue Gardenia (1953) and Crime of Passion (1957). Silver described Burr's private detective in Pitfall as "both reprehensible and pathetic", a characterization also cited by film historian Richard Schickel as a prototype of film noir, in contrast with the appealing television characters for which Burr later became famous. "He tried to make you see the psychosis below the surface, even when the parts weren't huge," said film historian James Ursini. "He was able to bring such complexity and different levels to those characters, and create sympathy for his characters even though they were doing reprehensible things." Other titles in Burr's film noir legacy include Walk a Crooked Mile (1948), Borderline (1950), Unmasked (1950), The Whip Hand (1951), FBI Girl (1951), Meet Danny Wilson (1952), Rear Window (1954), They Were So Young (1954), A Cry in the Night (1956) and Affair in Havana (1957). Beyond noir, Burr's villains were also seen in Westerns, period dramas, horror films and adventure films. "I was just a fat heavy," Burr told journalist James Bawden. "I split the heavy parts with Bill Conrad. We were both in our twenties playing much older men. I never got the girl but I once got the gorilla in a 3-D picture called Gorilla at Large. I menaced Claudette Colbert, Lizabeth Scott, Paulette Goddard, Anne Baxter, Barbara Stanwyck. Those girls would take one look at me and scream and can you blame them? I was drowned, beaten, stabbed and all for my art. But I knew I was horribly overweight. I lacked any kind of self esteem. At 25 I was playing the fathers of people older than me." Burr's occasional roles on the right side of the law include the aggressive prosecutor in A Place in the Sun (1951). His courtroom performance in that film made an impression on Gail Patrick and her husband Cornwell Jackson, who had Burr in mind when they began casting the role of Los Angeles district attorney Hamilton Burger in the CBS-TV series Perry Mason.
Question: What roles he played in that?
Answer: the aggressive prosecutor in A Place in the Sun

Background: Simple Plan is a Canadian rock band from Montreal, Quebec. The band has released five studio albums: No Pads, No Helmets...Just Balls (2002), Still Not Getting Any...
Context: In 2004, Simple Plan released its second album, Still Not Getting Any... which was produced by Bob Rock and led to the subsequent singles, "Welcome to My Life", "Shut Up", "Untitled (How Could This Happen to Me?)", "Crazy", and (in some markets) "Perfect World". According to the bonus DVD of Still Not Getting Any..., while making the CD the members of Simple Plan thought of many names including Get Rich or Die Trying, Enema of the State, and In The Zone. The group decided on the name Still Not Getting Any... for a list of explained reasons. The most popular and most likely reason is that the members of Simple Plan thought that they were not getting any good reviews, Bouvier once noting that the band only had one recent good review in Alternative Press. Still Not Getting Any... was a musical departure from the group's previous album. The band still kept its style of downbeat lyrics matched to upbeat music, but managed to transcend from the standard pop punk genre. Although many of the tracks on this CD still carry the feeling of teen angst that is probably most noticeable in the song "I'm Just a Kid" from No Pads, No Helmets...Just Balls, the general slant of this album tends toward slightly deeper and more mature lyrical themes, as well as a more mainstream sound that edges away from the pure pop punk style of the group's last album. Some critics have pointed towards the inclusion of "classic" or "mainstream" rock elements, claiming the album "de-emphasizes punk-pop hyperactivity in favor of straightforward, well-crafted modern rock". In 2005, their cover version of Cheap Trick's "Surrender" was featured in the soundtrack album for the superhero film, Fantastic Four.
Question: What is the band that made the album?
Answer:
Simple Plan