input: In 1934 Blount was offered his first full-time musical job by Ethel Harper--his biology teacher from the high school, who had organized a band to pursue a career as a singer. Blount joined a musicians' trade union and toured with Harper's group through the US Southeast and Midwest. When Harper left the group mid-tour to move to New York (she later was a member of the modestly successful singing group the Ginger Snaps), Blount took over leadership of the group, renaming it the Sonny Blount Orchestra. They continued touring for several months before dissolving as unprofitable. Though the first edition of the Sonny Blount Orchestra was not financially successful, they earned positive notice from fans and other musicians. Blount afterward found steady employment as a musician in Birmingham. Birmingham clubs often featured exotic trappings, such as vivid lighting and murals with tropical or oasis scenes. Some believe these influenced the elements Sun Ra incorporated in his later stage shows. Playing for the big bands gave black musicians a sense of pride and togetherness, and they were highly regarded in the black community. They were expected to be disciplined and presentable, and in the segregated South, black musicians had wide acceptance in white society. They often played for elite white society audiences (though they were typically forbidden from associating with the audience). In 1936, Whatley's intercession led to Blount's being awarded a scholarship at Alabama Agricultural and Mechanical University. He was a music education major, studying composition, orchestration, and music theory. He dropped out after a year.

Answer this question "What about the South?"
output: They often played for elite white society audiences (though they were typically forbidden from associating with the audience).

input: Frost was chosen by writer and producer Ned Sherrin to host the satirical programme That Was the Week That Was, alias TW3 after Frost's flatmate John Bird suggested Sherrin should see his act at The Blue Angel. The series, which ran for less than 18 months during 1962-63, was part of the satire boom in early 1960s Britain and became a popular programme. The involvement of Frost in TW3 led to an intensification of the rivalry with Peter Cook who accused him of stealing material and dubbed Frost "the bubonic plagiarist". The new satirical magazine Private Eye also mocked him at this time. Frost visited the United States during the break between the two series of TW3 in the summer of 1963 and stayed with the producer of the New York production of Beyond The Fringe. Frost was unable to swim, but still jumped into the pool, and nearly drowned until he was saved by Peter Cook. At the memorial service for Cook in 1995, Alan Bennett recalled that rescuing Frost was the one regret Cook frequently expressed. For the first three editions of the second series in 1963, the BBC attempted to limit the team by scheduling repeats of The Third Man television series after the programme, thus preventing overruns. Frost took to reading synopses of the episodes at the end of the programme as a means of sabotage. After the BBC's Director General Hugh Greene instructed that the repeats should be abandoned, TW3 returned to being open-ended. More sombrely, on 23 November 1963, a tribute to the assassinated President John F. Kennedy, an event which had occurred the previous day, formed an entire edition of That Was the Week That Was. An American version of TW3 ran after the original British series had ended. Following a pilot episode on 10 November 1963, the 30-minute US series, also featuring Frost, ran on NBC from 10 January 1964 to May 1965. In 1985, Frost produced and hosted a television special in the same format, That Was the Year That Was, on NBC.

Answer this question "Is Frost incapable?"
output:

input: Along with Francois Couperin, Rameau is one of the two masters of the French school of harpsichord music in the 18th century. Both composers made a decisive break with the style of the first generation of harpsichordists, who confined their compositions to the relatively fixed mould of the classical suite. This reached its apogee in the first decade of the 18th century with successive collections of pieces by Louis Marchand, Gaspard Le Roux, Louis-Nicolas Clerambault, Jean-Francois Dandrieu, Elisabeth Jacquet de la Guerre, Charles Dieupart, and Nicolas Siret. Rameau and Couperin have different styles. They seem not to have known one another (Couperin was one of the official court musicians while Rameau was still an unknown; fame would only come to him after Couperin's death). Rameau published his first book of harpsichord pieces in 1706 while Couperin (who was fifteen years his senior) waited until 1713 before publishing his first "ordres." Rameau's music includes pieces in the pure tradition of the French suite: imitative ("Le rappel des oiseaux," "La poule") and character ("Les tendres plaintes", "L'entretien des Muses") pieces and works of pure virtuosity that resemble Scarlatti ("Les tourbillons," "Les trois mains") as well as pieces that reveal the experiments of a theorist and musical innovator ("L'Enharmonique", "Les Cyclopes"), which had a marked influence on Daquin, Royer, and Jacques Duphly. The suites are grouped in the traditional way, by key. Rameau's three collections appeared in 1706, 1724 and 1726 or 1727, respectively. After this, he only composed a single piece for the harpsichord: "La Dauphine" (1747). Other works, such as "Les petits marteaux," have been doubtfully attributed to him. During his semiretirement in the years 1740 to 1744, he wrote the Pieces de clavecin en concert (1741), which some musicologists consider the pinnacle of French Baroque chamber music. Adopting a formula successfully employed by Mondonville a few years earlier, these pieces differ from trio sonatas in that the harpsichord is not simply there as basso continuo to accompany other instruments (the violin, flute or viol) playing the melody but has an equal part in the "concert" with them. Rameau also claimed that the pieces would be equally satisfying as solo harpsichord works--although this statement is far from convincing, since the composer took the trouble to transcribe five of them himself--those where the lack of other instruments would show the least.

Answer this question "Are there any other interesting aspects about this article?"
output:
During his semiretirement in the years 1740 to 1744, he wrote the Pieces de clavecin en concert (1741),