input: On May 8, 1977, Crawford gave away her beloved Shih Tzu, "Princess Lotus Blossom," being too weak to care for her. Crawford died two days later at her New York apartment of a heart attack. A funeral was held at Campbell Funeral Home, New York, on May 13, 1977. In her will, which was signed on October 28, 1976, Crawford bequeathed to her two youngest children, Cindy and Cathy, $77,500 each from her $2,000,000 estate. She explicitly disinherited the two eldest, Christina and Christopher: "It is my intention to make no provision herein for my son, Christopher, or my daughter, Christina, for reasons which are well known to them". She also bequeathed nothing to her niece, Joan Lowe (1933-1999; born Joan Crawford LeSueur, the only child of her estranged brother, Hal). Crawford left money to her favorite charities: the U.S.O. of New York, the Motion Picture Home, the American Cancer Society, the Muscular Dystrophy Association, the American Heart Association, and the Wiltwyck School for Boys. A memorial service was held for Crawford at All Souls' Unitarian Church on Lexington Avenue in New York on May 16, 1977, and was attended by, among others, her old Hollywood friend Myrna Loy. Another memorial service, organized by George Cukor, was held on June 24 in the Samuel Goldwyn Theater at the Academy of Motion Picture Arts and Sciences in Beverly Hills. Crawford was cremated and her ashes were placed in a crypt with her fourth and final husband, Alfred Steele, in Ferncliff Cemetery, Hartsdale, New York. Joan Crawford's handprints and footprints are immortalized in the forecourt of Grauman's Chinese Theater on Hollywood Boulevard in Hollywood. She has a star on the Hollywood Walk of Fame at 1752 Vine Street for her contributions to the motion picture industry. Playboy listed Crawford as #84 of the "100 Sexiest Women of the 20th century". Crawford was also voted the tenth greatest female star of the classic American cinema by the American Film Institute.

Answer this question "How did she die?"
output: of a heart attack.

input: Fischer next lived in Detroit, Michigan, whereupon, after first hearing the vocal quartet The Hi-Lo's in a live performance, he promptly offered his services. Over the next five years, Fischer recorded several albums with the group, serving as pianist and, on occasion, arranger. In addition, he contributed several vocal arrangements, making his debut in that capacity; it was these arrangements that Herbie Hancock would later point to as a major influence: [T]hat's when I really learned some much farther-out voicings - like the harmonies I used on Speak Like a Child - just being able to do that. I really got that from Clare Fischer's arrangements for the Hi-Lo's. Clare Fischer was a major influence on my harmonic concept... I heard some of his last records, and he was still doing amazing harmonic stuff. And, of course, he was a wonderful pianist, too. But it was those vocal harmonies that were the first thing I heard. I was in awe of him. When Fischer moved to Hollywood in 1958, he went to East L.A. to play and learn more about Latin-Jazz. He started in a charanga group with Modesto Duran as leader and played with many different groups. On November 2, 1959, he made a particularly fruitful connection within this genre when he appeared with the Hi-lo's at the First Annual Los Angeles Jazz Festival on the same bill with the already popular Latin jazz group led by vibraphonist Cal Tjader. Both his playing and arranging made an immediate impression on Tjader, who went on to employ Fischer in both capacities on several recordings over the next three years; the two would reunite in the mid-seventies, leading eventually to the formation of Fischer's own Latin jazz unit, Salsa Picante. In 1961, Fischer became interested in Brazilian music through the recordings of Elizete Cardoso and Joao Gilberto. This discovery, coupled with his introduction to the music of Mexican composer Mario Ruiz Armengol, led to Fischer's subsequent collaboration with Cal Tjader, a 1962 LP devoted jointly to Armengol's music and that of assorted contemporary Brazilian composers. Over the following year, Fischer collaborated on two Bossa Nova-themed LPs with saxophonist Bud Shank, and arranged another for pianist George Shearing. While with The Hi-Lo's, Fischer arranged a record by trumpeter Donald Byrd, which, by virtue of Fischer's use of strings and harps, imbued well-known standards with an unaccustomed, melancholic quality. Although it would be twenty-five years before the album was finally released, September Afternoon paid immediate dividends when Byrd played a copy for Dizzy Gillespie. In turn, Gillespie hired Fischer to write arrangements for a small ensemble featuring brass and woodwinds for his own album, A Portrait of Duke Ellington, which was well received. In 1960 albums for vibraphonist Cal Tjader and pianist George Shearing followed, as did an eight-year career of writing music for commercials, as well as the signing of Fischer's first record contract.

Answer this question "What else did he do while in LA?"
output: He started in a charanga group with Modesto Duran as leader and played with many different groups.

input: In 1966, Parseghian guided Notre Dame to its first national championship since the Leahy era. Led by quarterback Terry Hanratty, running back Nick Eddy, star receiver Jim Seymour, and fullback Larry Conjar, the offense was best in the nation in scoring, with an average of 36.2 points per game. The defense was second in the country in points allowed, thanks to strong performances by linebacker Jim Lynch and defensive end Alan Page. The season began with eight straight victories, propelling Notre Dame to the top of the national polls. The team then faced Michigan State (who had Bubba Smith), which ranked second in the polls and was also undefeated. The contest, one among a number referred to as the "game of the century", ended in a 10-10 tie. Parseghian was criticized for winding down the clock instead of trying to score despite having the ball in the final seconds of the game. He defended his strategy by maintaining that several key starters had been knocked out of action early in the game and that he did not want to spoil a courageous comeback from a 10-0 deficit by risking a turnover deep in his own territory late in the game. When Parseghian's team trounced USC 51-0 the following week, critics alleged that he ran up the score to impress poll voters who had split the number-one ranking between Notre Dame and Michigan State following the tie. Subsequent to the USC rout, the final wire service polls gave Parseghian's team the national championship, although Notre Dame did not participate in a post-season bowl game. Nine members of the team were selected as All-Americans, and Parseghian was named coach of the year by Sporting News. Several winning seasons followed, but Notre Dame did not repeat as national champion in the late 1960s. In 1969, the team finished with an 8-2-1 record and accepted an invitation to play in the postseason Cotton Bowl. With this game, the school ended a long-standing policy of not playing in bowl games. The university urgently needed money to fund minority scholarships and decided to use the proceeds from bowl games for this purpose. Parseghian's team lost the game, 21-17, to the eventual national champion Texas Longhorns.

Answer this question "When did Parseghian win his first national title?"
output:
In 1966, Parseghian guided Notre Dame to its first national championship since the Leahy era.