Background: Friedrich Ludwig Gottlob Frege (; German: ['gotlo:p 'fre:g@]; 8 November 1848 - 26 July 1925) was a German philosopher, logician, and mathematician. He is understood by many to be the father of analytic philosophy, concentrating on the philosophy of language and mathematics. Though largely ignored during his lifetime, Giuseppe Peano (1858-1932) and Bertrand Russell (1872-1970) introduced his work to later generations of logicians and philosophers.
Context: Frege matriculated at the University of Jena in the spring of 1869 as a citizen of the North German Confederation. In the four semesters of his studies he attended approximately twenty courses of lectures, most of them on mathematics and physics. His most important teacher was Ernst Karl Abbe (1840-1905; physicist, mathematician, and inventor). Abbe gave lectures on theory of gravity, galvanism and electrodynamics, complex analysis theory of functions of a complex variable, applications of physics, selected divisions of mechanics, and mechanics of solids. Abbe was more than a teacher to Frege: he was a trusted friend, and, as director of the optical manufacturer Carl Zeiss AG, he was in a position to advance Frege's career. After Frege's graduation, they came into closer correspondence. His other notable university teachers were Christian Philipp Karl Snell (1806-86; subjects: use of infinitesimal analysis in geometry, analytical geometry of planes, analytical mechanics, optics, physical foundations of mechanics); Hermann Karl Julius Traugott Schaeffer (1824-1900; analytical geometry, applied physics, algebraic analysis, on the telegraph and other electronic machines); and the philosopher Kuno Fischer (1824-1907; Kantian and critical philosophy). Starting in 1871, Frege continued his studies in Gottingen, the leading university in mathematics in German-speaking territories, where he attended the lectures of Rudolf Friedrich Alfred Clebsch (1833-72; analytical geometry), Ernst Christian Julius Schering (1824-97; function theory), Wilhelm Eduard Weber (1804-91; physical studies, applied physics), Eduard Riecke (1845-1915; theory of electricity), and Hermann Lotze (1817-81; philosophy of religion). Many of the philosophical doctrines of the mature Frege have parallels in Lotze; it has been the subject of scholarly debate whether or not there was a direct influence on Frege's views arising from his attending Lotze's lectures. In 1873, Frege attained his doctorate under Ernst Christian Julius Schering, with a dissertation under the title of "Ueber eine geometrische Darstellung der imaginaren Gebilde in der Ebene" ("On a Geometrical Representation of Imaginary Forms in a Plane"), in which he aimed to solve such fundamental problems in geometry as the mathematical interpretation of projective geometry's infinitely distant (imaginary) points. Frege married Margarete Katharina Sophia Anna Lieseberg (15 February 1856 - 25 June 1904) on 14 March 1887.
Question: Did they have any children?
Answer:

Problem: Background: Eleanora Fagan (April 7, 1915 - July 17, 1959), better known as Billie Holiday, was an American jazz musician and singer-songwriter with a career spanning nearly thirty years. Nicknamed "Lady Day" by her friend and music partner Lester Young, Holiday had a seminal influence on jazz music and pop singing. Her vocal style, strongly inspired by jazz instrumentalists, pioneered a new way of manipulating phrasing and tempo. She was known for her vocal delivery and improvisational skills, which made up for her limited range and lack of formal music education.
Context: 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."
Question: What happened in 1936?
Answer:
Hammond spoke about the commercial impact of the Wilson-Holiday sides from 1935 to 1938, calling them a great asset to Brunswick.