Question: Joe Frazier was the 12th child born to Dolly Alston-Frazier and Rubin in Beaufort, South Carolina. He was raised in a rural community of Beaufort called Laurel Bay. Frazier said he was always close to his father, who carried him when he was a toddler "over the 10 acres of farmland" the Fraziers worked as sharecroppers "to the still where he made his bootleg corn liquor, and into town on Saturdays to buy the necessities that a family of 10 needed." Young Frazier was affectionately called "Billie Boy."

According to an article from The New York Times, "over the years, Frazier has lost a fortune through a combination of his own generosity and naivete, his carousing, and failed business opportunities. The other headliners from his fighting days--Ali, George Foreman, and Larry Holmes--are millionaires." Asked about his situation, Frazier became playfully defensive, but would not reveal his financial status. "Are you asking me how much money I have?" he said. "I got plenty of money. I got a stack of $100 bills rolled up over there in the back of the room." Frazier blamed himself, partly, for not effectively promoting his own image. In a 2006 HBO documentary on the fight in Manila, Frazier was interviewed living in a one-room apartment on the second floor of his gym. His daughter Jackie Frazier-Lyde is a lawyer and worked on her father's behalf in pursuit of money they claimed he was owed in a Pennsylvania land deal. In 1973, Frazier purchased 140 acres in Bucks County, Pennsylvania for $843,000. Five years later, a developer agreed to buy the farmland for $1.8 million. Frazier received annual payments from a trust that bought the land with money he had earned in the ring. However, when the trust went bankrupt, the payments ceased. Frazier sued his business partners, insisting his signature had been forged on documents and he had no knowledge of the sale. In the ensuing years, the 140 acres was subdivided and turned into a residential community. The land is now worth an estimated $100 million.

Using a quote from the above article, answer the following question: Did he get the money back?
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Answer:

Problem: Chayefsky was born in The Bronx, New York City to Russian Jewish immigrants Harry and Gussie Stuchevsky Chayefsky who came from Moscow to New York in 1907. He had two older brothers, William and Isidor. He spent part of his youth in Mount Vernon, New York.

Returning to the United States, Chayefsky worked in his uncle's print shop, Regal Press, an experience which provided a background for his later teleplay, Printer's Measure (1953), as well as his story for the movie As Young as You Feel (1951). Kanin enabled Chayefsky to spend time working on his second play, Put Them All Together (later known as M is for Mother), but it was never produced. Producers Mike Gordon and Jerry Bressler gave him a junior writer's contract. He wrote a story, The Great American Hoax, which sold to Good Housekeeping but was never published. He relocated to Hollywood, where he met his future wife Susan Sackler, and the couple married in February 1949. Failing to find work on the West Coast, Chayefsky returned to New York. During the late 1940s, he began working full-time on short stories and radio scripts, and during that period, he was a gagwriter for radio host Robert Q. Lewis. Chayefsky later recalled, "I sold some plays to men who had an uncanny ability not to raise money." During 1951-52, Chayefsky wrote adaptations for radio's Theater Guild on the Air: The Meanest Man in the World (with James Stewart), Cavalcade of America, Tommy (with Van Heflin and Ruth Gordon) and Over 21 (with Wally Cox). His play The Man Who Made the Mountain Shake was noticed by Elia Kazan, and his wife, Molly Kazan, helped Chayefsky with revisions. It was retitled Fifth From Garibaldi but was never produced. In 1951, the movie As Young as You Feel was adapted from a Chayefsky story.

Did he find work in NY

Answer with quotes: During the late 1940s, he began working full-time on short stories and radio scripts,

Problem: 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.

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."

Are there any other interesting aspects about this article?

Answer with quotes:
Holiday was never given any royalties for her work, instead being paid a flat fee, which saved the company money.