input: Geisel was born and raised in Springfield, Massachusetts, the son of Henrietta (nee Seuss) and Theodor Robert Geisel. His father managed the family brewery and was later appointed to supervise Springfield's public park system by Mayor John A. Denison after the brewery closed because of Prohibition. Mulberry Street in Springfield, made famous in Dr. Seuss' first children's book And to Think That I Saw It on Mulberry Street, is less than a mile southwest of his boyhood home on Fairfield Street. Geisel was raised a Lutheran. He enrolled at Springfield Central High School in 1917 and graduated in 1921. He took an art class as a freshman and later became manager of the school soccer team. Geisel attended Dartmouth College, graduating in 1925. At Dartmouth, he joined the Sigma Phi Epsilon fraternity and the humor magazine Dartmouth Jack-O-Lantern, eventually rising to the rank of editor-in-chief. While at Dartmouth, he was caught drinking gin with nine friends in his room. At the time, the possession and consumption of alcohol was illegal under Prohibition laws, which remained in place between 1920 and 1933. As a result of this infraction, Dean Craven Laycock insisted that Geisel resign from all extracurricular activities, including the college humor magazine. To continue work on the Jack-O-Lantern without the administration's knowledge, Geisel began signing his work with the pen name "Seuss". He was encouraged in his writing by professor of rhetoric W. Benfield Pressey, whom he described as his "big inspiration for writing" at Dartmouth. Upon graduating from Dartmouth, he entered Lincoln College, Oxford, intending to earn a PhD in English literature. At Oxford, he met Helen Palmer, who encouraged him to give up becoming an English teacher in favor of pursuing drawing as a career.

Answer this question "Was he successful?"
output: He was encouraged in his writing by professor of rhetoric W. Benfield Pressey, whom he described as his "big inspiration for writing" at Dartmouth.

Problem: Background: Nomeansno (sometimes stylized as NoMeansNo or spelled No Means No) was a Canadian punk rock band formed in Victoria, British Columbia and later relocated to Vancouver. They issued ten LPs, one collaborative LP, numerous EPs and singles, and gained an international audience following extensive touring. Critic Martin Popoff described their music as "the mightiest merger between the hateful aggression of punk and the discipline of heavy metal."
Context: In 1979 and at age 25, Rob Wright returned to his family's home in Victoria after studying in Calgary. His younger brother John, eight years his junior, played drums in the school jazz band. They were inspired to play punk rock after seeing D.O.A. perform at the University of Victoria. The two began rehearsing in their parents' basement in 1979, and took the name Nomeansno from an anti-date rape slogan. They also briefly gigged as the rhythm section for the local cover band Castle. Nomeansno recorded its earliest material in the months that followed on a TASCAM four-track recorder, with Rob playing electric guitar and bass, John playing keyboards and drums, and both brothers singing. Some of these recordings were issued as their first two self-released 7"s, the "Look, Here Come the Wormies / SS Social Service" single (a 1980 split with another short-lived Wright brothers project, Mass Appeal), and the Betrayal, Fear, Anger, Hatred EP of 1981. The brothers began performing live as a bass-and-drums duo in 1981. Their sound developed without a guitar, and John Wright later reflected on these developments: ...without a guitar player you can't rely on the standard hooks that punk rock and rock n' roll in general relies on. The guitar player - the guitar god quote unquote - was such a focus for so long that by the nature of not having a guitar player, the bass and the drums have to do a lot more. It also makes the vocals more important, or at least it makes a lot more room for the vocals. You don't have guitar solos, you don't have the wash of high end. And the things you do on the drums are different, if you just did a straight four beat on the drums it would get kinda dull after awhile. It isn't as though bass guitar hasn't been a prominent instrument at times in other bands but it made us approach things differently, our song structure couldn't just be verse-chorus-verse. It had everything to do with how our sound got off to a unique start. Some of the songs they played in this period were released on the Mama LP of 1982, which was self-released in a limited pressing. Writing for Trouser Press, critic Ira Robbins described Mama and the early 7"s as "Devo on a jazz trip, Motorhead after art school, or Wire on psychotic steroids." This same year, John Wright also joined the Victoria punk band The Infamous Scientists.
Question: Were they always into music
Answer: younger brother John, eight years his junior, played drums in the school jazz band.

Question: 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.

In 1968, Miles Davis and Philly Joe Jones heard him at Ronnie Scott's Jazz Club, playing in a combo that opened for the Bill Evans Trio. Jones told Holland that Davis wanted him to join his band (replacing Ron Carter). Davis left the UK before Holland could contact him directly, and two weeks later Holland was given three days' notice to fly to New York for an engagement at Count Basie's nightclub. He arrived the night before, staying with Jack DeJohnette, a previous acquaintance. The following day Herbie Hancock took him to the club, and his two years with Davis began. This was also Hancock's last gig as Davis's pianist, as he left afterwards for a honeymoon in Brazil and was replaced by Chick Corea when he could not return for an engagement due to illness. Holland's first recordings with Davis were in September 1968, and he appears on half of the album Filles de Kilimanjaro (with Davis, Corea, Wayne Shorter and Tony Williams). Holland was a member of Davis's rhythm section through the summer of 1970; he appears on the albums In a Silent Way and Bitches' Brew. All three of his studio recordings with Davis were important in the evolution of jazz fusion. In the first year of his tenure with Davis, Holland played primarily upright bass. By the end of 1969, he played electric bass guitar (often treated with wah-wah pedal and other electronic effects) with greater frequency as Davis moved away from acoustic jazz. Holland was also a member of Davis's working group during this time, unlike many of the musicians who appeared only on the trumpeter's studio recordings. The so-called "lost quintet" of Davis, Shorter, Corea, Holland and DeJohnette was active in 1969 but never made any studio recordings as a quintet. A 1970 live recording of this group plus percussionist Airto Moreira, Live at the Fillmore East, March 7, 1970: It's About That Time, was issued in 2001. Steve Grossman replaced Shorter in early 1970; Keith Jarrett joined the group as a second keyboardist thereafter, and Gary Bartz replaced Grossman during the summer of 1970. By the end of the summer, rhythm and blues bass guitarist Michael Henderson had replaced Holland.

Using a quote from the above article, answer the following question: Did Miles Davis make a statement about Hollands music?
HHHHHH
Answer:
Jones told Holland that Davis wanted him to join his band (replacing Ron Carter).