IN: Dante Bert Joseph "Gluefingers" Lavelli (February 23, 1923 - January 20, 2009) was an American football end who played for the Cleveland Browns in the All-America Football Conference (AAFC) and National Football League (NFL) from 1946 to 1956. Starring alongside quarterback Otto Graham, fullback Marion Motley, placekicker Lou Groza and fellow receiver Mac Speedie, Lavelli was an integral part of a Browns team that won seven championships during his 11-season career. Lavelli was known for his sure hands and improvisations on the field. He was also renowned for making catches in critical situations, earning the nickname "Mr. Clutch".

After retiring from football, Lavelli ran an appliance business on Cleveland's west side. From 1961 through 1963, he served as an assistant to Graham, who was coaching college stars in the annual College All-Star Game. Lavelli was also an assistant coach with the Browns and a scout for the Chicago Bears. He later owned a furniture store in Rocky River, Ohio and had an interest in two bowling alleys. He had a hand in founding the NFL Alumni Association, a charitable organization. Lavelli was elected to the Pro Football Hall of Fame in 1975, joining former teammates Graham, Motley and Groza and coach Paul Brown. Later in life, he golfed and attended NFL alumni events and lobbied to get the NFL to recognize his and other players' AAFC statistics. The NFL refused to incorporate AAFC statistics into its own when the league dissolved and the Browns became part of the NFL, in contrast to the NFL's recognition of statistics from the American Football League (AFL) following the AFL-NFL merger. Lavelli called it a "double standard". He died in 2009 at 85 at Fairview Hospital in Cleveland of congestive heart failure and bladder and kidney infections and is buried in St. Mary's Cemetery, Hudson, OH. He and his wife Joy had three children, Lucinda, Edward and Lisa; as well as four grandchildren, Aaron, Noah, Luke and Danielle. Hudson High's stadium is named in honor of him. The Akron Community Foundation established a Dante Lavelli Scholarship Fund in 2010 to help Hudson High athletes pay for college. "He was one of the best I'd ever seen," Willie Davis, a defensive end who played for the Browns shortly after Lavelli retired, said. "He set the mold with his running patterns and catching the ball." After Lavelli died, Graham praised his abilities and remembered his eagerness to get his hands on the ball. "He was always coming into the huddle and telling me he was open and that I should throw to him," Graham said. "He wasn't saying that to be a big shot. He just loved to play. If he was open by a few inches, he'd be yelling, 'Otto, Otto.' Many a time when I was stuck and heard that voice I would throw it in his direction and darned if he didn't come down with it. He had fantastic hands."

When did he die?

OUT: He died in 2009

IN: In music, sampling is the act of taking a portion, or sample, of one sound recording and reusing it as an instrument or a sound recording in a different song or piece. Sampling was originally developed by experimental musicians working with musique concrete and electroacoustic music, who physically manipulated tape loops or vinyl records on a phonograph. By the late 1960s, the use of tape loop sampling influenced the development of minimalist music and the production of psychedelic rock and jazz fusion. Hip hop music was the first popular music genre based on the art of sampling - being born from 1970s DJs who experimented with manipulating vinyl on two turntables and an audio mixer.

Whereas loops are usually a phrase played on a musical instrument, this type of sample is usually a single note. Music workstations and samplers use samples of musical instruments as the basis of their own sounds, and are capable of playing a sample back at any pitch. Many modern synthesizers and drum machines also use samples as the basis of their sounds. (See sample-based synthesis for more information.) Most such samples are created in professional recording studios using world-class instruments played by accomplished musicians. These are usually developed by the manufacturer of the instrument or by a subcontractor who specializes in creating such samples. There are businesses and individuals who create libraries of samples of musical instruments. Of course, a sampler allows anyone to create such samples. Possibly the earliest equipment used to sample recorded instrument sounds are the Chamberlin, which was developed in the 1940s, and its better-known cousin, the Mellotron, marketed in England in the 1960s. Both are tape replay keyboards, in which each key pressed triggers a prerecorded tape recording of a single note. Musicians can reproduce the same samples of break beats like the "Amen" break which was composed, produced and mastered by The Winstons in 1960s. Producers in the early 1990s have used the whole 5.66 second sample, but music workstations like the Korg Electribe Series (EM-1, ES-1; EMX-1 and the ESX-1) have used the "Amen" kick, hi hat and snare in their sound wave libraries for free use. Sampler production companies have managed to use these samples for pitch, attack and decay and DSP effects to each drum sound. These features allow producers to manipulate samples to match other parts of the composition. Most sample sets consist of multiple samples at different pitches. These are combined into keymaps, that associate each sample with a particular pitch or pitch range. Often, these sample maps may have different layers as well, so that different velocities can trigger a different sample. Samples used in musical instruments sometimes have a looped component. An instrument with indefinite sustain, such as a pipe organ, does not need to be represented by a very long sample because the sustained portion of the timbre is looped. The sampler (or other sample playback instrument) plays the attack and decay portion of the sample followed by the looped sustain portion for as long as the note is held, then plays the release portion of the sample.

What songs did they make

OUT:
Musicians can reproduce the same samples of break beats like the "Amen" break which was composed, produced and mastered by The Winstons in 1960s.