input: Kulwicki died in an airplane crash on Thursday April 1, 1993. He was returning from an appearance at the Knoxville Hooters in a Hooters corporate plane on a short flight across Tennessee before the Sunday spring race at Bristol. The plane slowed and crashed just before final approach at Tri-Cities Regional Airport near Blountville. The National Transportation Safety Board attributed the crash to the pilot's failure to use the airplane's anti-ice system to clear ice from the engine inlet system. Kulwicki was buried at St. Adalbert's Cemetery in Milwaukee; the funeral was attended by NASCAR President Bill France, Jr. and numerous drivers. Kulwicki's racecar transporter was driven from the rainy track later that Friday morning while other teams and the media watched it travel slowly around the track with a black wreath on its grille. In 2008, Kyle Petty described the slow laps as "the saddest thing I've ever seen at a racetrack... We just sat and cried." Kulwicki had competed in five NASCAR races that season with two Top 5 finishes, and was ranked ninth in points at his death. In his career, he had won five NASCAR Winston Cup races, 24 pole positions, 75 Top 10 finishes, and one championship in 207 races. His car was driven by road course specialist Tommy Kendall on road courses and by Jimmy Hensley at the other tracks. It was raced for most of the 1993 season until the team was sold to Geoff Bodine, who operated it as Geoff Bodine Racing. Kulwicki had been selected to compete in the 1993 International Race of Champions (IROC) series as the reigning Winston Cup champion. He competed in two IROC races before his death, finishing ninth at Daytona and eleventh at Darlington. Dale Earnhardt raced for Kulwicki in the final two IROC races, and the prize money for those races and their fifth place combined points finish was given to the Winston Cup Racing Wives Auxiliary, Brenner Children's Hospital and St. Thomas Aquinas Church charities.

Answer this question "How old was he when he died?"
output:

input: At the end of her tour for Legs to Make Us Longer in 2005, King departed from her previous musical direction out of a desire to escape being pigeonholed as a solo instrumental artist. She amicably parted ways with major label Sony/Epic and returned to her original label, Velour, to begin work on her third album ...Until We Felt Red. Released August 8, 2006, on Velour Records, the album features production work by Tortoise's John McEntire. With the prominence of electric guitar shoegazing and effect boxes on the new record, and the addition of a full band, the music website, The A.V. Club, called the sound a "post-rock makeover." She supported the album by going on tour with Sarah Bettens from K's Choice. In early 2007, Dave Grohl invited King to appear as a guitarist on the track "Ballad of the Beaconsfield Miners", a song penned by Grohl for an upcoming studio album by the Foo Fighters. King agreed and is credited on the album, entitled Echoes, Silence, Patience & Grace, released on September 25, 2007. On November 18, 2007, she joined Dave Grohl on stage to perform the track at the O2 arena in London. Grohl highly praised King's performance: "There are some guitar players that are good and there are some guitar players that are really fucking good. And then there's Kaki King." King toured with the Foo Fighters on the Australian leg of the Echoes, Silence, Patience and Grace tour. While on tour, King finished recording what became the Day Sleeper (Australian tour EP). It was released in late 2007 after King had finished working on August Rush, and with Eddie Vedder and Sean Penn on Into The Wild.

Answer this question "Why did she change her musical style?"
output: desire to escape being pigeonholed as a solo instrumental artist.

input: In Icons of Rock: An Encyclopedia of the Legends Who Changed Music Forever, Scott Schinder and Andy Schwartz describe the Beatles' musical evolution: In their initial incarnation as cheerful, wisecracking moptops, the Fab Four revolutionised the sound, style, and attitude of popular music and opened rock and roll's doors to a tidal wave of British rock acts. Their initial impact would have been enough to establish the Beatles as one of their era's most influential cultural forces, but they didn't stop there. Although their initial style was a highly original, irresistibly catchy synthesis of early American rock and roll and R&B, the Beatles spent the rest of the 1960s expanding rock's stylistic frontiers, consistently staking out new musical territory on each release. The band's increasingly sophisticated experimentation encompassed a variety of genres, including folk-rock, country, psychedelia, and baroque pop, without sacrificing the effortless mass appeal of their early work. In The Beatles as Musicians, Walter Everett describes Lennon and McCartney's contrasting motivations and approaches to composition: "McCartney may be said to have constantly developed - as a means to entertain - a focused musical talent with an ear for counterpoint and other aspects of craft in the demonstration of a universally agreed-upon common language that he did much to enrich. Conversely, Lennon's mature music is best appreciated as the daring product of a largely unconscious, searching but undisciplined artistic sensibility." Ian MacDonald describes McCartney as "a natural melodist - a creator of tunes capable of existing apart from their harmony". His melody lines are characterised as primarily "vertical", employing wide, consonant intervals which express his "extrovert energy and optimism". Conversely, Lennon's "sedentary, ironic personality" is reflected in a "horizontal" approach featuring minimal, dissonant intervals and repetitive melodies which rely on their harmonic accompaniment for interest: "Basically a realist, he instinctively kept his melodies close to the rhythms and cadences of speech, colouring his lyrics with bluesy tone and harmony rather than creating tunes that made striking shapes of their own." MacDonald praises Harrison's lead guitar work for the role his "characterful lines and textural colourings" play in supporting Lennon and McCartney's parts, and describes Starr as "the father of modern pop/rock drumming".

Answer this question "What did they say"
output:
Their initial impact would have been enough to establish the Beatles as one of their era's most influential cultural forces,