input: Following his playing career Dean became a well-known radio and television sportscaster, calling baseball for the Cardinals (1941-46), Browns (1941-48), Yankees (1950-51), and Atlanta Braves (1966-68) and nationally with Mutual (1952), ABC (1953-54), and CBS (1955-1965), where he teamed first with Buddy Blattner then with Pee Wee Reese. As a broadcaster, Dean was famous for his wit and his often-colorful butchering of the English language. Much like football star-turned-sportscaster Terry Bradshaw years later, he chose to build on, rather than counter, his image as a not-too-bright country boy, as a way of entertaining fans: "The Good Lord was good to me. He gave me a strong right arm, a good body, and a weak mind." He once saw Browns outfielder Al Zarilla slide into a base, and said, "Zarilla slud into third!" "Slud" instead of "slid" became a frequently-used Dean expression. Thanks to baseball fan Charles Schulz, another Dean expression found its way into a Peanuts strip, as Lucy commented on a batter who swung at a pitch outside the strike zone: "He shouldn't hadn't ought-a swang!" Once, describing a player who had struck out, Dean said, "he nonchalantly walks back to the dugout in disgust." While doing a game on CBS, Dean once said, over the open mike, "I don't know why they're calling this the Game of the Week. There's a much better game, Dodgers and Giants, over on NBC." Every so often, he would sign off by saying, "Don't fail to miss tomorrow's game!" During rain delays he was famous for off-key renditions of the "Wabash Cannonball". These manglings of the language only endeared Dean to fans, being a precursor of such beloved ballplayers-turned-broadcasters as Ralph Kiner, Herb Score, and Jerry Coleman. An English teacher once wrote to him, complaining that he shouldn't use the word "ain't" on the air, as it was a bad example to children. On the air, Dean said, "A lot of folks who ain't sayin' 'ain't,' ain't eatin'. So, Teach, you learn 'em English, and I'll learn 'em baseball."

Answer this question "Who has his partner been in broadcasting?"
output: he teamed first with Buddy Blattner then with Pee Wee Reese.

input: Fogerty was discharged from the Army in July 1967. In the same year, the band changed its name to Creedence Clearwater Revival. At this time, he took his brother's place as lead singer for the band. By 1968, things started to pick up for the band. The band released their eponymous debut album and also had their first hit single, "Susie Q". Many other hit singles and albums followed, beginning with "Proud Mary" and the album Bayou Country. Fogerty, as writer of the songs for the band (as well as lead singer and lead guitarist), felt that his musical opinions should count for more than those of the others, leading to resentments within the band. These internal rifts, and Tom's feeling that he was being taken for granted, caused Tom to leave the group in January 1971. The two other group members, bassist Stu Cook and drummer Doug Clifford, wanted a greater role in the band's future. Fogerty, in an attempt to keep things together, insisted Cook and Clifford share equal songwriting and vocal time on what became the band's final album, Mardi Gras, released in April 1972, which included the band's last two singles, the 1971 hit "Sweet Hitch-Hiker", and "Someday Never Comes", which barely made it into the Billboard Top 20. Cook and Clifford told Fogerty that the fans would not accept "Mardi Gras" as a CCR LP, but he said, "My voice is a unique instrument, and I will not lend it to your songs." He gave them an ultimatum: either they would do it or he would quit immediately. They accepted his ultimatum, but the album received poor reviews. It was a commercial success, however, peaking at #12 and achieving gold record status. It generated weaker sales than their previous albums. The group disbanded shortly afterwards. The only reunion of all four original members was at Tom Fogerty's wedding in 1980. Fogerty, Doug and Stu played a 45-minute set at their 20th class reunion in 1983, and Fogerty and Doug were reunited again for a brief set at their 25th class reunion.

Answer this question "Did the band break up?"
output: The group disbanded shortly afterwards.

input: From 1936, Ellington began to make recordings with smaller groups (sextets, octets, and nonets) drawn from his then-15-man orchestra and he composed pieces intended to feature a specific instrumentalist, as with "Jeep's Blues" for Johnny Hodges, "Yearning for Love" for Lawrence Brown, "Trumpet in Spades" for Rex Stewart, "Echoes of Harlem" for Cootie Williams and "Clarinet Lament" for Barney Bigard. In 1937, Ellington returned to the Cotton Club which had relocated to the mid-town Theater District. In the summer of that year, his father died, and due to many expenses, Ellington's finances were tight, although his situation improved the following year. After leaving agent Irving Mills, he signed on with the William Morris Agency. Mills though continued to record Ellington. After only a year, his Master and Variety labels, the small groups had recorded for the latter, collapsed in late 1937, Mills placed Ellington back on Brunswick and those small group units on Vocalion through to 1940. Well known sides continued to be recorded, "Caravan" in 1937, and "I Let a Song Go Out of My Heart" the following year. Billy Strayhorn, originally hired as a lyricist, began his association with Ellington in 1939. Nicknamed "Swee' Pea" for his mild manner, Strayhorn soon became a vital member of the Ellington organization. Ellington showed great fondness for Strayhorn and never failed to speak glowingly of the man and their collaborative working relationship, "my right arm, my left arm, all the eyes in the back of my head, my brain waves in his head, and his in mine". Strayhorn, with his training in classical music, not only contributed his original lyrics and music, but also arranged and polished many of Ellington's works, becoming a second Ellington or "Duke's doppelganger". It was not uncommon for Strayhorn to fill in for Duke, whether in conducting or rehearsing the band, playing the piano, on stage, and in the recording studio. The 1930s ended with a very successful European tour just as World War II loomed in Europe.

Answer this question "Was he successful with his new agency?"
output:
After only a year, his Master and Variety labels, the small groups had recorded for the latter, collapsed in late 1937,