Problem: Background: Born in Cherryvale, Kansas, Louise Brooks was the daughter of Leonard Porter Brooks, a lawyer, who was usually too busy with his practice to discipline his children, and Myra Rude, an artistic mother who determined that any "squalling brats she produced could take care of themselves". Rude was a talented pianist who played the latest Debussy and Ravel for her children, inspiring them with a love of books and music. When she was nine years old, a neighborhood predator sexually abused Louise. This event had a major influence on Brooks' life and career, causing her to say in later years that she was incapable of real love, and that this man "must have had a great deal to do with forming my attitude toward sexual pleasure....
Context: French film historians rediscovered her films in the early 1950s, proclaiming her as an actress who surpassed even Marlene Dietrich and Greta Garbo as a film icon, much to her amusement. It would lead to the still ongoing Louise Brooks film revivals, and rehabilitated her reputation in her home country. James Card, the film curator for the George Eastman House, discovered Brooks living as a recluse in New York City about this time, and persuaded her to move to Rochester, New York to be near the George Eastman House film collection. With his help, she became a noted film writer in her own right. A collection of her writings, Lulu in Hollywood, was published in 1982. She was profiled by the film writer Kenneth Tynan in his essay, "The Girl in The Black Helmet", the title of which was an allusion to her bobbed hair, worn since childhood, a hairstyle she helped popularize, along with earlier actresses such as Colleen Moore. She rarely gave interviews, but had special relationships with film historians John Kobal and Kevin Brownlow. In the 1970s she was interviewed extensively, on film, for the documentaries Memories of Berlin: The Twilight of Weimar Culture (1976), produced and directed by Gary Conklin, and for the documentary series Hollywood (1980) by Brownlow and David Gill. Lulu in Berlin (1984) is another rare filmed interview, produced by Richard Leacock and Susan Woll, released a year before her death, but filmed a decade earlier. Author Tom Graves was allowed into Brooks' apartment for an interview in 1982, and later wrote about the at times awkward and tense conversation in his article "My Afternoon With Louise Brooks" that is the lead piece in his book Louise Brooks, Frank Zappa, & Other Charmers & Dreamers.
Question: Did she star in any new movies during this time?
Answer: documentaries Memories of Berlin: The Twilight of Weimar Culture (1976), produced and directed by Gary Conklin, and for the documentary series Hollywood (1980)

Problem: Background: Dave Holland (born 1 October 1946) is an English jazz double bassist, composer and bandleader who has been performing and recording for five decades. He has lived in the United States for over 40 years. His work ranges from pieces for solo performance to big band. Holland runs his own independent record label, Dare2, which he launched in 2005.
Context: During the 1990s, Holland renewed an affiliation, begun in the 1970s, with Joe Henderson, joining the tenor saxophonist on So Near (So Far), a tribute to Miles Davis, and Porgy & Bess. Holland also reunited with vocalist Betty Carter, touring and recording the live album Feed the Fire (1993). Fellow Davis alumnus Herbie Hancock invited Holland to tour with him in 1992, subsequently recording The New Standard. Holland joined Hancock's band again in 1996. He was also part of the sessions for River: The Joni Letters, winner of the 2008 Grammy Award for Album of the Year. As a leader, Holland formed his third quartet and released Dream of the Elders (1995), which introduced the vibraphonist Steve Nelson to his ensembles. Holland formed a quintet that includes tenor saxophonist Chris Potter, trombonist Robin Eubanks and, a more recent addition, drummer Nate Smith. Their recordings include Points of View, Prime Directive, Not for Nothin, Extended Play: Live at Birdland and Critical Mass. In addition to releasing four quintet albums on ECM, Holland debuted his Big Band, which released What Goes Around in 2002. The album won Holland his first Grammy as a leader, in the Best Large Jazz Ensemble Album category. The second Big Band recording, Overtime (2005), again won the Grammy in the Best Large Jazz Ensemble Album category; it was released on Holland's Dare2 label, which he formed that year. In 2009, Holland was a co-founder of an all-star group called the Overtone Quartet. The group consisted of Holland on bass, Chris Potter on tenor saxophone, Jason Moran on piano, and Eric Harland on drums. The group toured extensively throughout the United States and Europe.
Question: Are there any other notable achievements?
Answer: Overtime (2005), again won the Grammy in the Best Large Jazz Ensemble Album category;

Problem: Background: The Manchu (Manchu: manjU; Mollendorff: manju; Abkai: manju; simplified Chinese: Man Zu ; traditional Chinese: Man Zu ; pinyin: Manzu; Wade-Giles: Man3-tsu2) are an ethnic minority in China and the people from whom Manchuria derives its name. They are sometimes called "red-tasseled Manchus", a reference to the ornamentation on traditional Manchu hats. The Later Jin (1616-1636), and Qing dynasty (1636-1912) were established by Manchus, who are descended from the Jurchen people who earlier established the Jin dynasty (1115-1234) in China. Manchus form the largest branch of the Tungusic peoples and are distributed throughout China, forming the fourth largest ethnic group in the country.
Context: The early phase of Manchu clothing succeeded from Jurchen tradition. White was the dominating color. To facilitate convenience during archery, the robe is the most common article of clothing for the Manchu people. Over the robe, a surcoat is usually worn, derived from the military uniform of Eight Banners army. During the Kangxi period, the surcoat gained popularity among commoners. The modern Chinese suits, the Cheongsam and Tangzhuang, are derived from the Manchu robe and surcoat which are commonly considered as "Chinese elements". Wearing hats is also a part of traditional Manchu culture, and Manchu people wear hats in all ages and seasons in contrast to the Han Chinese culture of "Starting to wear hats at 20 year-old" (Er Shi Shi Guan ), . Manchu hats are either formal or casual, formal hats being made in two different styles, straw for spring and summer, and fur for fall and winter. Casual hats are more commonly known as "Mandarin hats" in English. Manchus have many distinctive traditional accessories. Women traditionally wear three earrings on each ear, a tradition that is maintained by many older Manchu women. Males also traditionally wear piercings, but they tend to only have one earring in their youth and do not continue to wear it as adults. The Manchu people also have traditional jewelry which evokes their past as hunters. The fergetun (fergetUn), a thumb ring traditionally made out of reindeer bone, was worn to protect the thumbs of archers. After the establishment of the Qing dynasty in 1644, the fergetun gradually became simply a form of jewelry, with the most valuable ones made in jade and ivory. High-heeled shoes were worn by Manchu women.
Question: What is the traditional garment of the Manchu people?
Answer:
To facilitate convenience during archery, the robe is the most common article of clothing for the Manchu people.