Background: Michael Andrew McKagan grew up in Seattle's largely working-class University District, the youngest of eight children born to Marie and Elmer "Mac" McKagan. He has been called "Duff" since toddlerhood, to which he once referred as "an Irish thing". Following his parents' divorce, his mother supported the family by taking a job as a medical stenographer. He was taught how to play bass by his brother Bruce, further developing his skills by playing along with the albums 1999 by Prince and Damaged by Black Flag.
Context: In 1979, at the age of 15, McKagan formed the punk band the Vains, in which he played bass; they released the single "School Jerks" in 1980. During this time, he also played guitar in the punk band the Living, which opened shows for Husker Du and D.O.A., which developed a devoted following. In 1980, McKagan joined the pop-punk band the Fastbacks as their drummer. He appeared on their 1981 debut single "It's Your Birthday", which was issued on guitarist Kurt Bloch's label No Threes Records, and on the song "Someone Else's Room", which was included on the Seattle Syndrome Volume One compilation album, also released in 1981. In 1982, McKagan became the drummer for the hardcore punk band The Fartz, with whom he recorded several demos, five of which were included on their 1990 album You, We See You Crawling. After several line-up changes, The Fartz evolved into the post-punk band 10 Minute Warning, for which McKagan played guitar. In 1983, McKagan moved to Los Angeles, California, with one of his brothers where he found work as an appetizer server at a Black Angus restaurant in Northridge. Answering an ad for a bass guitarist in a local newspaper, he met guitarist Slash and drummer Steven Adler, with whom he formed the short-lived band Road Crew. They auditioned a number of singers, including one-time Black Flag vocalist Ron Reyes, and worked on material that included the main riff of what would become the Guns N' Roses song "Rocket Queen". Slash eventually disbanded the group due to them not being able to find a singer, as well as Adler's lack of work ethic compared to himself and McKagan.
Question: did the farts release any music during that time?
Answer: he recorded several demos, five of which were included on their 1990 album You, We See You Crawling.

Question:
Lester Willis Young (August 27, 1909 - March 15, 1959), nicknamed "Pres" or "Prez", was an American jazz tenor saxophonist and occasional clarinetist. Coming to prominence while a member of Count Basie's orchestra, Young was one of the most influential players on his instrument. In contrast to many of his hard-driving peers, Young played with a relaxed, cool tone and used sophisticated harmonies, using what one critic called "a free-floating style, wheeling and diving like a gull, banking with low, funky riffs that pleased dancers and listeners alike". Known for his hip, introverted style, he invented or popularized much of the hipster jargon which came to be associated with the music.
In 1933 Young settled in Kansas City, where after playing briefly in several bands, he rose to prominence with Count Basie. His playing in the Basie band was characterized by a relaxed style which contrasted sharply with the more forceful approach of Coleman Hawkins, the dominant tenor sax player of the day. One of Young's key influences was Frank Trumbauer, who came to prominence in the 1920s with Paul Whiteman and played the C-melody saxophone (between the alto and tenor in pitch). Young left the Basie band to replace Hawkins in Fletcher Henderson's orchestra. He soon left Henderson to play in the Andy Kirk band (for six months) before returning to Basie. While with Basie, Young made small-group recordings for Milt Gabler's Commodore Records, The Kansas City Sessions. Although they were recorded in New York (in 1938, with a reunion in 1944), they are named after the group, the Kansas City Seven, and comprised Buck Clayton, Dicky Wells, Basie, Young, Freddie Green, Rodney Richardson, and Jo Jones. Young played clarinet as well as tenor in these sessions. Young is described as playing the clarinet in a "liquid, nervous style." As well as the Kansas City Sessions, his clarinet work from 1938-39 is documented on recordings with Basie, Billie Holiday, Basie small groups, and the organist Glenn Hardman. Billie and Lester met at a Harlem jam session in the early 30s and worked together in the Count Basie band and in nightclubs on New York's 52nd St. At one point Lester moved into the apartment Billie shared with her mother, Sadie Fagan. Holiday always insisted their relationship was strictly platonic. She gave Lester the nickname "Prez" after President Franklin Roosevelt, the "greatest man around" in Billie's mind. Playing on her name, he would call her "Lady Day." Their famously empathetic classic recordings with Teddy Wilson date from this era. After Young's clarinet was stolen in 1939, he abandoned the instrument until about 1957. That year Norman Granz gave him one and urged him to play it (with far different results at that stage in Young's life--see below).
Answer this question using a quote from the text above:

what was it like with the count basie orchestra?

Answer:
His playing in the Basie band was characterized by a relaxed style which contrasted sharply with the more forceful approach of Coleman Hawkins,

Problem: Background: Dennis Wayne Johnson (September 18, 1954 - February 22, 2007), nicknamed "DJ", was an American professional basketball player for the National Basketball Association's (NBA) Seattle SuperSonics, Phoenix Suns and Boston Celtics and coach of the Los Angeles Clippers. He was an alumnus of Dominguez High School, Los Angeles Harbor College and Pepperdine University. A prototypical late bloomer, Johnson overcame early struggles and had a successful NBA playing career. Drafted 29th overall in 1976 by the Seattle SuperSonics
Context: Dennis Wayne Johnson was born the eighth of sixteen children, to a social worker and a bricklayer who lived in Compton, California, a suburb of Los Angeles. Originally a baseball fan and a Little Leaguer, Johnson learned basketball from his father, but seemed to have neither the size nor the talent to compete with his peers: as a teenager at Dominguez High School, Johnson measured just 5'9" and played only "a minute or two each game". After high school, he worked several odd jobs, including a $2.75-per-hour job as a forklift driver, and played with his brothers in summer league games after work. During this period, Johnson grew to a height of 6'3", and developed what some later described as "rocket launcher legs", which enabled him to jump high to grab rebounds against taller opponents. Jim White, the coach at Los Angeles Harbor College, had watched Johnson play street basketball; feeling that Johnson excelled in defense, White asked him to enroll. Johnson gave up his jobs and developed into a promising young guard, averaging 18.3 points and 12.0 rebounds per game and leading Harbor to a college junior state title. However, the young guard lacked discipline, often clashed with White and was thrown off the team three times in two years. At the end of his junior college career, two universities offered Johnson scholarships: Azusa Pacific University and Pepperdine University. Johnson chose the latter, and in his only year there, he averaged 15.7 points, 5.8 rebounds and 3.3 assists per game, and developed a reputation for tough defense. After that year, Johnson made himself eligible for the 1976 NBA draft, but was skeptical that any team would take him. NBA teams were wary of drafting a player with character issues, and Johnson was known to be a troublemaker.
Question: Who was his father ?
Answer:
a bricklayer