input: In 1913, Gershwin left school at the age of 15 and found his first job as a "song plugger". His employer was Jerome H. Remick and Company, a Detroit-based publishing firm with a branch office on New York City's Tin Pan Alley, and he earned $15 a week. His first published song was "When You Want 'Em, You Can't Get 'Em, When You've Got 'Em, You Don't Want 'Em" in 1916 when Gershwin was only 17 years old. It earned him 50 cents. In 1916, Gershwin started working for Aeolian Company and Standard Music Rolls in New York, recording and arranging. He produced dozens, if not hundreds, of rolls under his own and assumed names (pseudonyms attributed to Gershwin include Fred Murtha and Bert Wynn). He also recorded rolls of his own compositions for the Duo-Art and Welte-Mignon reproducing pianos. As well as recording piano rolls, Gershwin made a brief foray into vaudeville, accompanying both Nora Bayes and Louise Dresser on the piano. His 1917 novelty ragtime, "Rialto Ripples", was a commercial success. In 1919 he scored his first big national hit with his song, "Swanee", with words by Irving Caesar. Al Jolson, a famous Broadway singer of the day, heard Gershwin perform "Swanee" at a party and decided to sing it in one of his shows. In the late 1910s, Gershwin met songwriter and music director William Daly. The two collaborated on the Broadway musicals Piccadilly to Broadway (1920) and For Goodness' Sake (1922), and jointly composed the score for Our Nell (1923). This was the beginning of a long friendship. Daly was a frequent arranger, orchestrator and conductor of Gershwin's music, and Gershwin periodically turned to him for musical advice.

Answer this question "What was his song title?"
output: His first published song was "When You Want 'Em, You Can't Get 'Em, When You've Got 'Em, You Don't Want 'Em"

input: Due to the fairly limited medium of using webcams to record the video used in the Bloggingheads.tv episodes, a variety of visual aids and enhancements are sometimes added to the program by the participants. Generally this takes the form of holding up books, newspapers, or other objects that are being discussed to the camera, but sometimes it involves other, more exotic, items to either enhance a point or add something to the diavlog. Mickey Kaus is particularly known for using visual aids such as masks (of Al Gore, Laura Bush, and others), an Ann Coulter doll, and perhaps most recognizably, a stuffed moose doll. According to Kaus, "deploying the moose" symbolizes Pinch Sulzberger's idea of "the unaddressed important issue" similar to the "elephant in the room." Robert Wright has since received a stuffed moose of his own. Also, various live animals (usually pets) have been displayed onscreen during the course of conversations. Wright has displayed his family pet, a poodle mix named Frazier, several times. (Frazier was popular enough to subsequently get his own Facebook and Twitter profiles.) Other people have had their cat displayed onscreen, such as that of Ana Marie Cox, John McWhorter, and Jonah Goldberg. Other interesting onscreen visual aids that have been employed include the use of a kazoo by Matt Welch, hats by various people (e.g. a Santa hat by Jonah Goldberg, and a New Years Day hat by Mickey Kaus), and the display of a sextant by Robert Farley in a discussion on pirates.

Answer this question "Who's idea were these?"
output:

input: Rosa Ponselle made her Metropolitan Opera debut on November 15, 1918, just a few days after the Great War had finished, as Leonora in Verdi's La forza del destino, opposite Caruso. It was her first performance on any opera stage. She was quite intimidated for being in the presence of Caruso, and in spite of an almost paralyzing case of nervousness (which she suffered from throughout her operatic career), she scored a tremendous success, both with the public and with the critics. New York Times critic James Huneker wrote: "...what a promising debut! Added to her personal attractiveness, she possesses a voice of natural beauty that may prove a gold mine; it is vocal gold, anyhow, with its luscious lower and middle tones, dark, rich and ductile, brilliant in the upper register." In addition to Leonora, Ponselle's roles in the 1918/19 season included Santuzza in Cavalleria rusticana, Rezia in Weber's Oberon, and Carmelita in the (unsuccessful) world premiere of Joseph Carl Breil's The Legend. In the following Met seasons, Ponselle's roles included the lead soprano roles in La Juive (opposite Caruso's Eleazar, his last new role before he died), William Tell, Ernani, Il trovatore, Aida, La Gioconda, Don Carlos, L'Africaine, L'amore dei tre re, Andrea Chenier, La vestale, and in 1927 the role that many considered her greatest achievement, the title role in Bellini's Norma. In addition to her operatic activities, which were centered at the Met, Ponselle had a lucrative concert career. A tour of the West coast included an appearance at the Lobero Theatre in Santa Barbara on March 14, 1927 in the Artist Series of the Community Arts Association's Music Branch, accompanied by pianist Stuart Ross.

Answer this question "What else did she perform during her early career?"
output:
Santuzza in Cavalleria rusticana, Rezia in Weber's Oberon, and Carmelita in the (unsuccessful) world premiere of Joseph Carl Breil's The Legend.