Problem: Background: George Jacob Gershwin (; September 26, 1898 - July 11, 1937) was an American composer and pianist. Gershwin's compositions spanned both popular and classical genres, and his most popular melodies are widely known. Among his best-known works are the orchestral compositions Rhapsody in Blue (1924) and An American in Paris (1928), as well as the contemporary opera Porgy and Bess (1935).
Context: On September 26, 1898, George was born as second son to Morris and Rose Bruskin Gershwine in their second-floor apartment on Brooklyn's Snediker Avenue. His birth certificate identifies him as Jacob Gershwine, with the surname pronounced 'Gersh-vin' in the Russian and Yiddish immigrant community. He had just one given name, contrary to the American practice of giving children both a first and middle name. He was named after his grandfather, a one time Russian army mechanic. He soon became known as George, and changed the spelling of his surname to 'Gershwin' about the time he became a professional musician; other family members followed suit. After Ira and George, another boy Arthur Gershwin (1900-1981), and a girl Frances Gershwin (1906-1999) were born into the family. The family lived in many different residences, as their father changed dwellings with each new enterprise in which he became involved. Mostly, they grew up around the Yiddish Theater District. George and Ira frequented the local Yiddish theaters, with George occasionally appearing onstage as an extra. George lived a usual childhood existence for children of New York tenements: running around with his boyhood friends, roller skating and misbehaving in the streets. Remarkably, until 1908, he cared nothing for music, when as a ten year old he was intrigued upon hearing his friend Maxie Rosenzweig's, violin recital. The sound, and the way his friend played, captured him. At around the same time, George's parents had bought a piano, for lessons, for his older brother Ira, but to his parents' surprise, and Ira's relief, it was George who spent more time playing it. Although his younger sister Frances was the first in the family to make a living through her musical talents, she married young and devoted herself to being a mother and housewife, thus surrendering any serious time to musical endeavors. Having given up her performing career, she settled upon painting as a creative outlet, which had also been a hobby George briefly pursued. Arthur Gershwin followed in the paths of George and Ira, also becoming a composer of songs, musicals, and short piano works. With a degree of frustration, George tried various piano teachers for some two (circa. 1911) before finally being introduced to Charles Hambitzer by Jack Miller (circa. 1913), the pianist in the Beethoven Symphony Orchestra. Until his death in 1918, Hambitzer remained Gershwin's musical mentor and taught him conventional piano technique, introduced him to music of the European classical tradition, and encouraged him to attend orchestral concerts. Following such concerts, young Gershwin would essentially try to play, on the piano at home, the music he had heard from recall, and without sheet music. As a matter of course, Gershwin later studied with the classical composer Rubin Goldmark and avant-garde composer-theorist Henry Cowell, thus formalizing his classical music training.
Question: Did George change his last name?
Answer: mechanic. He soon became known as George, and changed the spelling of his surname to 'Gershwin'

Problem: Background: William James Dixon (July 1, 1915 - January 29, 1992) was an American blues musician, vocalist, songwriter, arranger and record producer. He was proficient in playing both the upright bass and the guitar and was a capable singer, but he is perhaps best known as one of the most prolific songwriters of his time. Next to Muddy Waters, Dixon is recognized as the most influential person in shaping the post-World War II sound of the Chicago blues. Dixon's songs have been recorded by countless musicians in many genres as well as by various ensembles in which he participated.
Context: Dixon signed with Chess Records as a recording artist, but he began performing less, being more involved with administrative tasks for the label. By 1951, he was a full-time employee at Chess, where he acted as producer, talent scout, session musician and staff songwriter. He was also a producer for the Chess subsidiary Checker Records. His relationship with Chess was sometimes strained, but he stayed with the label from 1948 to the early 1960s. During this time Dixon's output and influence were prodigious. From late 1956 to early 1959, he worked in a similar capacity for Cobra Records, for which he produced early singles for Otis Rush, Magic Sam, and Buddy Guy. He later recorded for Bluesville Records. From the late 1960s until the mid-1970s, Dixon ran his own record label, Yambo Records, and two subsidiary labels, Supreme and Spoonful. He released his 1971 album, Peace?, on Yambo and also singles by McKinley Mitchell, Lucky Peterson and others. Dixon is considered one of the key figures in the creation of Chicago blues. He worked with Chuck Berry, Muddy Waters, Howlin' Wolf, Otis Rush, Bo Diddley, Joe Louis Walker, Little Walter, Sonny Boy Williamson, Koko Taylor, Little Milton, Eddie Boyd, Jimmy Witherspoon, Lowell Fulson, Willie Mabon, Memphis Slim, Washboard Sam, Jimmy Rogers, Sam Lay and others. In December 1964, the Rolling Stones reached number one on the UK Singles Chart with their cover of Dixon's "Little Red Rooster". In the same year, the group also covered "I Just Want To Make Love To You" on their debut album, The Rolling Stones.
Question: What was willie famous for?
Answer: Dixon is considered one of the key figures in the creation of Chicago blues.

Problem: Background: Ian Michael Chappell (born 26 September 1943) is a former cricketer who played for South Australia and Australia. He captained Australia between 1971 and 1975 before taking a central role in the breakaway World Series Cricket organisation. Born into a cricketing family--his grandfather and brother also captained Australia--Chappell made a hesitant start to international cricket playing as a right-hand middle-order batsman and spin bowler. He found his niche when promoted to bat at number three.
Context: A string of big scores and a record number of catches during the 1968-69 season earned Chappell the Australian Cricketer of the Year award. Against the touring West Indies, Chappell hit 188 not out, 123, 117, 180 and 165 before the New Year. Two of these centuries came in the Test series, when Chappell's average for 548 runs was 68.50. Chappell was elevated to number three in the batting order and became a less-frequent bowler; he was also appointed vice-captain of the team. Following up with a successful tour of India in late 1969, Chappell demonstrated his fluency against spin bowling by compiling Test innings of 138 at Delhi and 99 at Kolkata. His ability against both fast and slow bowling earned high praise, including from his captain Bill Lawry. When the Australians arrived in South Africa in early 1970, following their victory over India, Lawry told the local media that Chappell was the best all-round batsman in the world. His appraisal looked misguided when Chappell managed just 92 runs (at 11.5 average), with a top score of 34, as Australia lost 0-4. On this tour, Chappell clashed with cricket administrators over pay and conditions for the first time. The South African authorities requested that an extra Test be added to the fixture and the Australian Board of Control consented. Incensed that the players were not consulted about the change, Chappell led a group of his teammates in a demand for more money to play the proposed game. Eventually the match was cancelled after Chappell and his supporters refused to back down.
Question: Are there any other interesting aspects about this article?
Answer:
A string of big scores and a record number of catches during the 1968-69 season earned Chappell the Australian Cricketer of the Year award.