input: In August, 1950, McDaniel suffered a heart ailment and entered Temple Hospital in semi-critical condition. She was released in October to recuperate at home, and she was cited by United Press on Jan. 3, 1951, as showing "slight improvement in her recovery from a mild stroke." McDaniel died of breast cancer at age 57 on October 26, 1952, in the hospital on the grounds of the Motion Picture House in Woodland Hills, California. She was survived by her brother Sam McDaniel. Thousands of mourners turned out to celebrate her life and achievements. In her will, McDaniel wrote, "I desire a white casket and a white shroud; white gardenias in my hair and in my hands, together with a white gardenia blanket and a pillow of red roses. I also wish to be buried in the Hollywood Cemetery"; Hollywood Cemetery, on Santa Monica Boulevard in Hollywood, is the resting place of movie stars such as Douglas Fairbanks and Rudolph Valentino. Its owner at the time, Jules Roth, refused to allow her to be buried there, because, at the time of McDaniel's death, the cemetery practiced racial segregation and would not accept the remains of black people for burial. Her second choice was Rosedale Cemetery (now known as Angelus-Rosedale Cemetery), where she lies today. In 1999, Tyler Cassidy, the new owner of the Hollywood Cemetery (renamed the Hollywood Forever Cemetery), offered to have McDaniel re-interred there. Her family did not wish to disturb her remains and declined the offer. Instead, Hollywood Forever Cemetery built a large cenotaph on the lawn overlooking its lake. It is one of Hollywood's most popular tourist attractions. McDaniel's last will and testament of December 1951 bequeathed her Oscar to Howard University, where she had been honored by the students with a luncheon after she had won her Oscar. At the time of her death, McDaniel would have had few options. Very few white institutions in that day preserved black history. Historically, black colleges had been where such artifacts were placed. Despite evidence McDaniel had earned an excellent income as an actress, her final estate was less than $10,000. The IRS claimed the estate owed more than $11,000 in taxes. In the end, the probate court ordered all of her property, including her Oscar, sold to pay off creditors. Years later, the Oscar turned up where McDaniel wanted it to be: Howard University, where, according to reports, it was displayed in a glass case in the university's drama department.

Answer this question "Why didn't they end up moving her?"
output: Her family did not wish to disturb her remains and declined the offer. Instead, Hollywood Forever Cemetery built a large cenotaph on the lawn overlooking its lake.

input: In 1991, Palmer attempted a comeback with the Orioles. Palmer said that he wanted to make sure that he had not retired too early. ESPN, which was trying to cut expenses, had asked him to take a pay cut and to sign a three-year contract. Palmer said he would sign a one-year contract for less pay, but ESPN refused. "I wouldn't be here today if the broadcasting climate had been more to my liking. That was really my prime motivation, the fact that I no longer had that obligation", Palmer said during spring training. Covering Palmer's spring training workouts, Richard Hoffer of Sports Illustrated said that Palmer's comeback was not entirely about money. He wrote that "it is fair to suspect that a certain vanity is involved." Hoffer said that Palmer "has failed to excite either ridicule or astonishment. He's in fabulous condition, no question. But no matter whom he lines up with on the row of practice mounds, there is more pop in the gloves of catchers other than his." While working out at the University of Miami during his comeback attempt, Palmer was approached by Miami assistant coach Lazaro Collazo. Collazo reportedly told him, "You'll never get into the Hall of Fame with those mechanics." "I'm already in the Hall of Fame", Palmer replied. To help Palmer's pitching motion, Collazo and Palmer completed unusual drills that involved Palmer placing a knee or foot on a chair as he tossed the ball. After giving up five hits and two runs in two innings of a spring training game, he retired permanently. Palmer said that he tore his hamstring while warming up for the game, commenting, "I'm not saying I wouldn't like to continue, but I can't", he said. "I heard something pop in my leg yesterday. It wasn't a nice sound. I don't know what that means, but I think it's going to play havoc with my tennis game." He retired with a 268-152 win-loss record and a 2.86 ERA.

Answer this question "Are there any other interesting aspects about this article?"
output: He retired with a 268-152 win-loss record and a 2.86 ERA.

input: Most of the album's songs were composed soon after the Beatles' return to London after their North American tour. The Beatles expanded their sound on the album, with influences drawn from African-American soul music, the contemporary folk rock of Bob Dylan and the Byrds, and the Who. Rubber Soul also saw the band expanding rock and roll's instrumental resources, most notably on "Norwegian Wood (This Bird Has Flown)" through George Harrison's use of the Indian sitar. Having been introduced to the instrument on the set of the band's 1965 film Help!, Harrison's interest was fuelled by fellow Indian music fans Roger McGuinn and David Crosby of the Byrds, partway through the Beatles' August 1965 US tour. Taking support from French and Greek-influenced modalities for guitar lines on "Michelle" and "Girl", using fuzz bass on "Think for Yourself", and employing a piano made to sound like a baroque harpsichord on the instrumental bridge of "In My Life" added to the exotic brushstrokes on the album. During the sessions, the Beatles also made use of harmonium, marking that instrument's introduction into rock music. Lennon, McCartney and Harrison's three-part harmony singing was another musical detail that came to typify the Rubber Soul sound. Author Andrew Grant Jackson describes Rubber Soul as a "synthesis of folk, rock, soul, baroque, proto-psychedelia, and the sitar". According to The Encyclopedia of Country Music, building on the band's 1964 track "I Don't Want to Spoil the Party", the album can be seen in retrospect as an early example of country rock, anticipating the Byrds' Sweetheart of the Rodeo album. Ringo Starr had frequently augmented Beatles tracks with percussion instruments such as maracas or tambourine, but on "I'm Looking Through You" he unusually used taps on a box of matches, perhaps influenced by a similar trick accomplished by Gene Krupa in the 1941 film Ball of Fire. In the main guitar riff to "If I Needed Someone", the Beatles returned the compliment paid to them earlier in 1965 by the Byrds, whose jangly guitar-based sound McGuinn had sourced from Harrison's playing the previous year. For the country-styled "What Goes On", Starr received his first songwriting credit (as Richard Starkey), as a co-composer with Lennon and McCartney.

Answer this question "What was significant about their music?"
output:
saw the band expanding rock and roll's instrumental resources,