input: When the National Baseball Museum opened on June 12, 1939 in Cooperstown New York, it remained to be determined how the membership in its Hall of Fame would be determined in the future. The Baseball Writers' Association of America (BBWAA) had determined to vote every three years rather than annually, although it had voted in special election to consider Lou Gehrig. That move was a widely criticized, as observers generally agreed that it was a good pace to elect about three recent players annually, as from 1936 to 1939. After the Centennial Committee made six selections in 1939 from the figures of the 19th century, baseball's Commissioner Landis completely revised the committee's membership, designating it the Hall of Fame Committee and establishing it as the institution's permanent governing body. From 1939 to 1944 its four members were Athletics owner and manager Connie Mack, Yankees president Ed Barrow, Braves president Bob Quinn, and sportswriter Sid Mercer. This committee was responsible, in its function as the Old-Timers Committee, for selecting additional worthy candidates from the 19th century, but it never convened during this five-year period, and thereby selected no one. Inaction fostered greater complaints that the stars of the 1880s and 1890s were being ignored. The relative slight was small considering the baseball writers voted only once between 1939 and 1945 and elected only one recent player. There was no regular election in 1944 to select inductees to the Baseball Hall of Fame; in 1939 the Baseball Writers' Association of America (BBWAA) had moved to hold elections every three years rather than annually, and the next scheduled election was to be in 1945. In addition, the four-member Old-Timers Committee formed in late 1939 to select deserving individuals from the 19th century had still never met for that purpose, and criticism of the lack of honorees from that period was increasing.

Answer this question "What kinds of things are in the museum"
output:

input: Octagonal drum is a type of Manchu folk art that was very popular among bannermen, especially in Beijing. It is said that octagonal drum originated with the snare drum of the Eight-banner military and the melody was made by the banner soldiers who were on the way back home from victory in the battle of Jinchuan. The drum is composed of wood surrounded by bells. The drumhead is made by wyrmhide with tassels at the bottom. The colors of the tassels are yellow, white, red, and blue, which represent the four colors of the Eight Banners. When artists perform, they use their fingers to hit the drumhead and shake the drum to ring the bells. Traditionally, octagonal drum is performed by three people. One is the harpist; one is the clown who is responsible for harlequinade; and the third is the singer. "Zidishu" is the main libretto of octagonal drum and can be traced back to a type of traditional folk music called the "Manchu Rhythm". Although Zidishu was not created by Han Chinese, it still contains many themes from Chinese stories, such as Romance of the Three Kingdoms, Dream of the Red Chamber, Romance of the West Chamber, Legend of the White Snake and Strange Stories from a Chinese Studio. Additionally, there are many works that depict the lives of Bannermen. Aisin Gioro Yigeng, who was pen named "Helu" and wrote the sigh of old imperial bodyguard, as the representative author. Zidishu involves two acts of singing, which are called dongcheng and xicheng. After the fall of the Qing dynasty, the influence of the octagonal drum gradually reduced. However, the Chinese monochord and crosstalk which derived from octagonal are still popular in Chinese society and the new generations. Many famous Chinese monochord performers and crosstalkers were the artists of octagonal drum, such as De Shoushan and Zhang Sanlu.

Answer this question "What is the drum called in Chinese or Manchurian language?"
output: However, the Chinese monochord and crosstalk which derived from octagonal are still popular in Chinese society and the new generations.

input: House was born in the hamlet of Lyon, north of Clarksdale, Mississippi, the second of three brothers, and lived in the rural Mississippi Delta until his parents separated, when he was about seven or eight years old. His father, Eddie House, Sr., was a musician, playing the tuba in a band with his brothers and sometimes playing the guitar. He was a church member but also a drinker; he left the church for a time, on account of his drinking, but then gave up alcohol and became a Baptist deacon. Young Eddie House adopted the family commitment to religion and churchgoing. He also absorbed the family love of music but confined himself to singing, showing no interest in the family instrumental band, and hostile to the blues on religious grounds. When House's parents separated, his mother took him to Tallulah, Louisiana, across the Mississippi River from Vicksburg, Mississippi. When he was in his early teens, they moved to Algiers, New Orleans. Recalling these years, he would later speak of his hatred of blues and his passion for churchgoing (he described himself as "churchy" and "churchified"). At fifteen, probably while living in Algiers, he began preaching sermons. At the age of nineteen, while living in the Delta, he married Carrie Martin, an older woman from New Orleans. This was a significant step for House; he married in church and against family opposition. The couple moved to her hometown of Centerville, Louisiana, to help run her father's farm. After a couple of years, feeling used and disillusioned, House recalled, "I left her hanging on the gatepost, with her father tellin' me to come back so we could plow some more." Around the same time, probably 1922, House's mother died. In later years, he was still angry about his marriage and said of Carrie, "She wasn't nothin' but one of them New Orleans whores". House's resentment of farming extended to the many menial jobs he took as a young adult. He moved frequently, on one occasion taking off to East Saint Louis to work in a steel plant. The one job he enjoyed was on a Louisiana horse ranch, which later he celebrated by wearing a cowboy hat in his performances. He found an escape from manual labor when, following a conversion experience ("getting religion") in his early twenties, he was accepted as a paid pastor, first in the Baptist Church and then in the Colored Methodist Episcopal Church. However, he fell into habits which conflicted with his calling--drinking like his father and probably also womanizing. This led him after several years of conflict to leave the church, ceasing his full-time commitment, although he continued to preach sermons from time to time.

Answer this question "How long was he a pastor?"
output:
This led him after several years of conflict to leave the church,