Background: Bhaktisiddhanta Sarasvati (Bhaktisiddhanta Sarasvati; Bengali: bhktisiddhaant srsbtii; Bengali: [bhoktisiddhanto SoroSboti] ( listen); 6 February 1874 - 1 January 1937), born Bimala Prasad Datta (Bimala Prasad Datta, Bengali: [bimola proSad dotto]), also referred to as Bhaktisiddhanta Sarasvati Thakura, was a prominent guru and spiritual reformer of Gaudiya Vaishnavism in the early 20th century in India. Bimala Prasad was born in 1874 in Puri (Orissa) a son of Kedarnath Datta Bhaktivinoda Thakur, a recognised Bengali Gaudiya Vaishnava philosopher and teacher. Bimala Prasad received both Western and traditional Indian education and gradually established himself as a leading intellectual among the bhadralok (Western-educated and often Hindu Bengali residents of colonial Calcutta), earning the title Siddhanta Sarasvati ("the pinnacle of wisdom"). Under the direction of his father and spiritual preceptor, Bimala Prasad took initiation (diksha) into Gaudiya Vaishnavism from the Vaishnava ascetic Gaurakishora Dasa Babaji, receiving the name Shri Varshabhanavi-devi-dayita Dasa (Sri Varsabhanavi-devi-dayita Dasa, "servant of Krishna, the beloved of Radha"), and dedicated himself to arduous ascetic discipline, recitation of the Hare Krishna mantra on beads (japa), and study of classical Vaishnava literature.
Context: Young Bimala Prasad, often affectionately called Bimala, Bimu or Binu, started his formal education at an English school at Ranaghat. In 1881 he was transferred to the Oriental Seminary of Calcutta and in 1883, after Kedarnath was posted as senior deputy magistrate in Serampore of Hooghly, Bimala Prasad was enrolled in the local school there. At the age of nine he memorised the seven hundred verses of the Bhagavad Gita in Sanskrit. From his early childhood Bimala Prasad demonstrated a sense of strict moral behaviour, a sharp intelligence, and an eidetic memory. He gained a reputation for remembering passages from a book on a single reading, and soon learned enough to compose his own poetry in Sanskrit. His biographers stated that even up to his last days Bhaktisiddhanta Sarasvati could verbatim recall passages from books that he had read in his childhood, earning the epithet "living encyclopedia". In the early 1880s, Kedarnath Datta, out of desire to foster the child's budding interest in spirituality, initiated him into harinama-japa, a traditional Gaudiya Vaishnava practice of meditation based on the soft recitation of the Hare Krishna mantra on tulasi beads. In 1885 Kedarnath Datta established the Vishva Vaishnava Raj Sabha (Royal World Vaisnava Association); the association composed of leading Bengali Vaishnavas stimulated Bimala's intellectual and spiritual growth and inspired him to undertake an in-depth study of Vaishnava texts, both classical and contemporary. Bimala's interest in the Vaishnava philosophy was further fuelled by the Vaishnava Depository, a library and a printing press established by Kedarnath Datta (by that time respectfully addressed as Bhaktivinoda Thakur) at his own house for systematically presenting Gaudiya Vaishnavism. In 1886 Bhaktivinoda began publishing a monthly magazine in Bengali, Sajjana-toshani ("The source of pleasure for devotees"), where he published his own writings of the history and philosophy of Gaudiya Vaishnavism, along with book reviews, poetry, and novels. Twelve-year-old Bimala Prasad assisted his father as a proofreader, thus closely acquainting himself with the art of printing and publishing as well as with the intellectual discourses of the bhadralok. In 1887 Bimala Prasad joined the Calcutta Metropolitan Institution (from 1917 - Vidyasagar College), which provided substantial modern education to the bhadralok youth; there, while studying the compulsory subjects, he pursued extracurricular studies of Sanskrit, mathematics, and jyotisha (traditional Indian astronomy). His proficiency in the latter was soon recognised by his tutors with an honorary title "Siddhanta Sarasvati", which he adopted as his pen name from then on. Sarasvati then entered Sanskrit College, one of Calcutta's finest schools for classical Hindu learning, where he added Indian philosophy and ancient history to his study list.
Question: Did Sarasvati go to any religious schools?
Answer: Sarasvati then entered Sanskrit College, one of Calcutta's finest schools for classical Hindu learning, where he added Indian philosophy and ancient history to his study list.

Background: Monroe was born on his family's farm near Rosine, Kentucky, the youngest of eight children of James Buchanan "Buck" and Malissa (Vandiver) Monroe. His mother and her brother, Pendleton "Pen" Vandiver, were both musically talented, and Monroe and his family grew up playing and singing at home. Bill was of Scottish heritage. Because his older brothers Birch and Charlie already played the fiddle and guitar, Bill Monroe was resigned to playing the less desirable mandolin.
Context: Monroe's fortunes began to improve during the "folk revival" of the early 1960s. Many college students and other young people were beginning to discover Monroe, associating his style more with traditional folk music than with the country-and-western genre with which it had previously been identified. The word "bluegrass" first appeared around this time to describe the sound of Monroe and similar artists such as Flatt and Scruggs, the Stanley Brothers, Reno and Smiley, Jim and Jesse, and the Osborne Brothers. While Flatt and Scruggs immediately recognized the potential for a lucrative new audience in cities and on college campuses in the North, Monroe was slower to respond. Under the influence of Ralph Rinzler, a young musician and folklorist from New Jersey who briefly became Monroe's manager in 1963, Monroe gradually expanded his geographic reach beyond the traditional southern country music circuit. Rinzler was also responsible for a lengthy profile and interview in the influential folk music magazine Sing Out! that first publicly referred to Monroe as the "father" of bluegrass. Accordingly, at the first bluegrass festival organized by Carlton Haney at Roanoke, Virginia in 1965, Bill Monroe was the central figure. The growing national popularity of Monroe's music during the 1960s was also apparent in the increasingly diverse background of musicians recruited into his band. Non-southerners who served as Blue Grass Boys during this period included banjo player Bill Keith and singer/guitarist Peter Rowan from Massachusetts, fiddler Gene Lowinger from New York, banjo player Lamar Grier from Maryland, banjo player Steve Arkin from New York, and singer/guitarist Roland White and fiddler Richard Greene from California.
Question: Anything else you found interesting?
Answer:
referred to Monroe as the "father" of bluegrass.