input: When another perennial loser, the Seattle Mariners, lost 19 of their first 28 games in 1986 under Chuck Cottier, Williams came back to the American League West on May 6 for the first time in almost a decade. The Mariners showed some life that season and almost reached .500 the following season. However, Williams' autocratic managing style no longer played with the new generation of ballplayers. Williams was fired on June 8, 1988 with Seattle 23-33 and in sixth place. It would be his last major-league managing job. Williams' career won-loss totals were 1,571 wins and 1,451 losses over 21 seasons. In 1989, Williams was named manager of the West Palm Beach Tropics of the Senior Professional Baseball Association, a league featuring mostly former major league players 35 years of age and older. The Tropics went 52-20 in the regular season and ran away with the Southern Division title. Despite their regular season dominance, the Tropics lost 12-4 to the St. Petersburg Pelicans in the league's championship game. The Tropics folded at the end of the season, and the rest of the league folded a year later. He remained in the game, however, as a special consultant to George Steinbrenner and the New York Yankees. In 1990, Williams published his autobiography, No More Mister Nice Guy. His acrimonious departure in 1969 distanced Williams from the Red Sox for the remainder of the Yawkey ownership period (through 2001), but after the change in ownership and management that followed, he was selected to the team's Hall of Fame in 2006. Williams's number was recently retired by the Fort Worth Cats. The Cats were a popular minor league team in Fort Worth and Williams played there while he was working his way through the Dodgers system. The Cats merged/disbanded around 1960 but in recent years returned as an independent minor league team. The "New" Cats retired Williams' number.

Answer this question "who did he play for?"
output: decade. The Mariners

input: Grimes' music is varied, including an eclectic mix of styles which she herself describes as "ADD music", it shifts frequently and dramatically - "I go through phases a lot." Her work has been likened to various artists, including Bjork, Siouxsie Sioux and Enya and she was described by Tastemakers Magazine as an "alien love-child of Aphex Twin and ABBA" The Guardian summarised her musical style: "By sounding a little like everything you've ever heard, the whole sounds like nothing you've ever heard." Her music has experimented with elements of art pop, synthpop, witch house, baroque pop, dream pop, ambient, and electro-R&B. Grimes says she realized how to make music early. She was listening to Panda Bear's album Person Pitch and it "jumpstarted" her mind. She explains, "Up until that point I had basically only made weird atonal drone music, with no sense of songwriting. I barely understood anything about music, it seemed like a mystery. But suddenly all music clicked into place and seemed so simple and easy. I was pretty much able to spontaneously write songs immediately after listening to this album once." On her music making process she has also said, "I have a nervous tic. When I was a kid, I would constantly be banging on things with my foot. Making music has been a really good mechanism for releasing some kind of percussive issue that I have. It's usually about finding a perfect beat; I play around until I get a tempo I like and then it's just a matter of filling in the blanks". Grimes utilizes looping and layering techniques, particularly with vocals; many of her songs feature layers of over fifty different vocal tracks which create an "ethereal" sound. Grimes is a soprano. Grimes cites the following as influences: Marilyn Manson, Mariah Carey, Britney Spears, Enya, Kate Bush, Beyonce, Bikini Kill, Joanna Newsom, Burial, Bruce Springsteen, Billy Joel, Blue Hawaii, How to Dress Well, Cocteau Twins, Yeah Yeah Yeahs, Panda Bear, Tool, Dandi Wind, Outkast, the Dungeon Family, New Edition, TLC, Michael Jackson, Black Dice, Aphex Twin, Nine Inch Nails, Skinny Puppy, the Spice Girls, Jedi Mind Tricks, Paramore, Kyary Pamyu Pamyu, Geinoh Yamashirogumi, Yoko Kanno, Kenji Kawai, David Bowie, Queen, St. Vincent, Mindless Self Indulgence, Chris Isaak, Salem, Al Green, and Blink-182, as well as the Dune novels, The Godfather Part II, K-pop, artist Yayoi Kusama, The Legend of Zelda, Akira, and medieval music.

Answer this question "why was she described as this?"
output: Her music has experimented with elements of art pop, synthpop, witch house, baroque pop, dream pop, ambient, and electro-R&B.

input: In 1935 Holiday was signed to Brunswick Records by John Hammond to record current pop tunes with Teddy Wilson in the new swing style for the growing jukebox trade. They were given free rein to improvise the material. Holiday's improvisation of melody to fit the emotion was revolutionary. Their first collaboration included "What a Little Moonlight Can Do" and "Miss Brown to You". "What a Little Moonlight Can Do" has been deemed her "claim to fame." Brunswick did not favor the recording session, because producers wanted Holiday to sound more like Cleo Brown. After "What a Little Moonlight Can Do" garnered success, however, the company began considering Holiday an artist in her own right. She began recording under her own name a year later (on the 35-cent Vocalion label), producing a series of extraordinary performances with groups comprising the swing era's finest musicians. The sessions were co-produced by Hammond and Bernie Hanighen. With their arrangements, Wilson and Holiday took pedestrian pop tunes, such as "Twenty-Four Hours a Day" (number 6 Pop) and "Yankee Doodle Went to Town", and turned them into jazz classics. Most of Holiday's recordings with Wilson or under her own name during the 1930s and early 1940s are regarded as important parts of the jazz vocal library. She was then in her twenties. Another frequent accompanist was the tenor saxophonist Lester Young, who had been a boarder at her mother's house in 1934 and with whom Holiday had a special rapport. He said, "I think you can hear that on some of the old records, you know. Some time I'd sit down and listen to 'em myself, and it sound like two of the same voices, if you don't be careful, you know, or the same mind, or something like that." Young nicknamed her "Lady Day", and she called him "Prez". Hammond spoke about the commercial impact of the Wilson-Holiday sides from 1935 to 1938, calling them a great asset to Brunswick. The record label, according to Hammond, was broke and unable to record many jazz tunes. Wilson, Holiday, Young, and other musicians came into the studio without musical arrangements and improvised as they performed, dispensing with the expense of having written arrangements, so that the records they produced were cheap. Holiday was never given any royalties for her work, instead being paid a flat fee, which saved the company money. Some of the records produced were successful, such as "I Cried for You", which sold 15,000 copies. Hammond said of the record, "15,000 ... was a giant hit for Brunswick in those days. I mean a giant hit. Most records that made money sold around three to four thousand."

Answer this question "Are there any other interesting aspects about this article?"
output:
Holiday was never given any royalties for her work, instead being paid a flat fee, which saved the company money.