input: Ablett signed a one-year contract for the 1984 season with Geelong, and he began his first season under the guidance of Tom Hafey. He debuted for the Cats in Round 7 and after just nine games on the wing, Ablett was selected to his first State of Origin game for Victoria. Ablett earned best-on-ground honours after kicking 8 goals from the half-forward flank. He played 15 games and kicked 33 goals in the 1984 season, and was awarded the Carji Greeves Medal as the Geelong Football Club's "best and fairest" player of the year. Following his first season with Geelong, Ablett signed a new three-year contract with the club. Playing mostly on the half forward flank, Ablett won the club's goalkicking award for the following two seasons with 82 and 65 goals respectively. Although Ablett had developed a reputation for his laconic, lazy attitude to training under coach John Devine, this did not prevent him from earning top three placings in the best and fairest awards from 1985-87. With his contract expiring at the conclusion of the 1987 season, Ablett shocked the VFL by signing a new five-year contract with his former club, Hawthorn. After a "cooling-off" period, however, Ablett opted to remain with Geelong by agreeing to a lucrative five-year contract that tied him to the club for the long-term. Ablett began the 1988 season with 59 goals after just 11 games, placing him second on the goalkicking list behind Hawthorn's Jason Dunstall. In these games, he kicked 10 goals against Richmond in the Anzac Day game, and 11 against Brisbane--one shy of breaking the ground record of 12 goals at Carrara. Although he missed out on State honours and failed to place within the top three in the club best and fairest award, Ablett finished with 82 goals during the season for the second time in his career.

Answer this question "What else was notable about his time with the Cats?"
output: was awarded the Carji Greeves Medal as the Geelong Football Club's "best and fairest" player of the year.

input: World War II brought about a swift end to the big band era as musicians went off to serve in the military and travel restrictions made touring difficult. When the war ended, the focus of popular music shifted towards crooners such as Frank Sinatra and Jo Stafford, so Ellington's wordless vocal feature "Transblucency" (1946) with Kay Davis was not going to have a similar reach. With inflation setting in after 1945, the cost of hiring big bands went up and club owners preferred smaller jazz groups who played in new styles such as bebop. Dancing in clubs also subjected club owners to a new wartime tax which continued for many years after, which made small bands more cost-effective for club owners. Ellington continued on his own course through these tectonic shifts. While Count Basie was forced to disband his whole ensemble and work as an octet for a time, Ellington was able to tour most of Western Europe between April 6 and June 30, 1950, with the orchestra playing 74 dates over 77 days. During the tour, according to Sonny Greer, the newer works were not performed, though Ellington's extended composition, Harlem (1950) was in the process of being completed at this time. Ellington later presented its score to music-loving President Harry Truman. Also during his time in Europe, Ellington would compose the music for a stage production by Orson Welles. Titled Time Runs in Paris and An Evening With Orson Welles in Frankfurt, the variety show also featured a newly discovered Eartha Kitt, who performed Ellington's original song "Hungry Little Trouble" as Helen of Troy. In 1951, Ellington suffered a significant loss of personnel: Sonny Greer, Lawrence Brown, and most importantly Johnny Hodges left to pursue other ventures, although only Greer was a permanent departee. Drummer Louie Bellson replaced Greer, and his "Skin Deep" was a hit for Ellington. Tenor player Paul Gonsalves had joined in December 1950 after periods with Count Basie and Dizzy Gillespie and stayed for the rest of his life, while Clark Terry joined in November 1951. During the early 1950s, Ellington's career was at a low point with his style being generally seen as outmoded, but his reputation did not suffer as badly as some artists. Andre Previn said in 1952: "You know, Stan Kenton can stand in front of a thousand fiddles and a thousand brass and make a dramatic gesture and every studio arranger can nod his head and say, Oh, yes, that's done like this. But Duke merely lifts his finger, three horns make a sound, and I don't know what it is!" However, by 1955, after three years of recording for Capitol, Ellington lacked a regular recording affiliation.

Answer this question "did he tour at all?"
output:
was able to tour most of Western Europe between April 6 and June 30, 1950,