input: While still in high school, Young went to a professional wrestling show and challenged then-champion Mildred Burke when she visited Tulsa to wrestle Gladys Gillem. Because the promoters told her she could not wrestle the champion, she wrestled Gillem in a shoot fight, beating her within seconds. After the fight, promoter Billy Wolfe wanted Young to become a professional wrestler. She left home two years later to wrestle professionally. Young later travelled to Charlotte, North Carolina where she met and trained with The Fabulous Moolah and also met Ed "Strangler" Lewis whom told her "I don't like girl wrestlers, women should be in the kitchen, but after seeing you, you was born to be a wrestler." There have been conflicting reports as to the year in which Young began her career. Young claimed her first match was August 20, 1939, while WWE said she "started her professional career" this year. However, Young also once said her first match was March 22, 1940. According to Dave Meltzer of The Wrestling Observer, historians have been unable to find any records that she began in 1939 and that her first match was most likely in 1941. Meltzer wrote, "In reality, Young is believed to have competed in seven decades, matching the record held by Lou Thesz. [...] You really couldn't call [her] 2010 match anything resembling a pro wrestling match, even giving as much leeway as possible. While she always claimed to have started in 1939, at 16, historians researching have been unable to find any records of her wrestling prior to 1941, when she turned 18 and went on tour with Billy Wolfe's troupe." In 1941, Young, along with Mildred Burke, opened up Canada for female wrestling. In Canada, they worked for Stu Hart. She was wrestling in Memphis, Tennessee on December 7, 1941, the day that Pearl Harbor was bombed by the Japanese, which led to the United States entering World War II. During the war, Young helped women take advantage of the fact that the men were fighting overseas by expanding their role in the sport.

Answer this question "Which war?"
output: World War II.

input: When Sam & Dave arrived at Stax, they worked with producer & engineer Jim Stewart and songwriters including the MGs' guitarist Steve Cropper, who wrote or co-wrote four of their first eight recordings. The duo then moved to relative newcomer writers and producers Isaac Hayes and David Porter. Hayes and Porter wrote and produced the duo's biggest hits (although they did not receive production credits until the Soul Men LP and singles). According to Moore and Prater, they also greatly influenced the duo's singing style, and shifted their recording style from the style of their Roulette records to a more live, more energetic gospel, call-and-response feel and beat driven soul style the group is known for today. Sam & Dave's Stax records also benefited from the musicians and engineering at Stax. The Stax house band, Booker T. & the M.G.'s, and the Stax horn section, the Mar-Keys, were world-class musicians who co-wrote (often without credit) and contributed to recordings--the same musicians who recorded with Otis Redding, Wilson Pickett, Carla Thomas and other soul artists. Sam & Dave's Stax recordings through 1967 were engineered by Stax founder Jim Stewart, who created the Memphis Sound by recording live in a single take. Stewart is credited for instrumental mixes that allowed for instrumental separation and the distinct contribution of each instrument to the overall feel of the song. While the first two Stax singles failed to chart, the third, the Hayes/Porter composition (with similarities, including the title, to a gospel standard) "You Don't Know Like I Know" hit #7 R&B in 1966. This was the first of 10 consecutive Top Twenty R&B chart hits over three years, and 14 R&B chart appearances during their career.

Answer this question "What did they make at Stax?"
output: Hayes and Porter wrote and produced the duo's biggest hits (although they did not receive production credits until the Soul Men LP and singles).

input: Longstanding rumors that the Giants engaged in systematic sign stealing during the second half of the 1951 season were confirmed in 2001. Several players told the Wall Street Journal that beginning on July 20, the team used a telescope, manned by coach Herman Franks in the Giants clubhouse behind center field, to steal the finger signals of opposing catchers. Stolen signs were relayed to the Giants dugout via a buzzer wire. Joshua Prager, the author of the Journal article, outlined the evidence in greater detail in a 2008 book. Although Thomson always insisted that he had no foreknowledge of Branca's pitch, Sal Yvars told Prager that he relayed Rube Walker's fastball sign to Thomson. Branca was privately skeptical of Thomson's denials but made no public comment at the time. Later he told The New York Times, "I didn't want to diminish a legendary moment in baseball. And even if Bobby knew what was coming, he had to hit it.... Knowing the pitch doesn't always help." Whether the telescope-and-buzzer system contributed significantly to the Giants' late-season 37-7 win streak remains a subject of debate. Prager notes in his book that sign stealing was not specifically forbidden by MLB rules at the time and, moral issues aside, "...has been a part of baseball since its inception". Sign stealing using optical or other mechanical aids was outlawed by MLB in 1961. Thomson however, late in his life, rebuked his prior claims of not receiving the sign on the Shot Heard 'Round the World, and admitted that the sign was received.

Answer this question "What was his reason for relaying the sign to Thomson?"
output:
the team used a telescope, manned by coach Herman Franks in the Giants clubhouse behind center field, to steal the finger signals of opposing catchers.