Question:
Leonard Bernstein ( BURN-styne; August 25, 1918 - October 14, 1990) was an American composer, conductor, author, music lecturer, and pianist. He was among the first conductors born and educated in the US to receive worldwide acclaim. According to music critic Donal Henahan, he was "one of the most prodigiously talented and successful musicians in American history."
Bernstein recorded extensively from the mid-1940s until just a few months before his death. Aside from those 1940s recordings, which were made for RCA Victor, Bernstein recorded primarily for Columbia Masterworks Records, especially when he was music director of the New York Philharmonic between 1958 and 1971. His typical pattern of recording at that time was to record major works in the studio immediately after they were presented in the orchestra's subscription concerts or on one of the Young People's Concerts, with any spare time used to record short orchestral showpieces and similar works. Many of these performances were digitally remastered and reissued by Sony as part of their 100 Volume, 125 CDs "Royal Edition" and their later "Bernstein Century" series. In 2010 many of these recordings were repackaged in a 60 CD "Bernstein Symphony Edition". His later recordings (starting with Bizet's Carmen in 1972) were mostly made for Deutsche Grammophon, though he would occasionally return to the Columbia Masterworks label. Notable exceptions include recordings of Gustav Mahler's Song of the Earth and Mozart's 15th piano concerto and "Linz" symphony with the Vienna Philharmonic Orchestra for Decca Records (1966); Berlioz's Symphonie fantastique and Harold in Italy (1976) for EMI; and Wagner's Tristan und Isolde (1981) for Philips Records, a label that like Deutsche Grammophon was part of PolyGram at that time. Unlike his studio recordings for Columbia Masterworks, most of his later Deutsche Grammophon recordings were taken from live concerts (or edited together from several concerts with additional sessions to correct errors). Many replicate repertoire that he recorded in the 1950s and 60s. In addition to his audio recordings, many of Bernstein's concerts from the 1970s onwards were recorded on motion picture film by the German film company Unitel. This included a complete cycle of the Mahler symphonies (with the Vienna Philharmonic and London Symphony Orchestra), as well as complete cycles of the Beethoven, Brahms and Schumann symphonies recorded at the same series of concerts as the audio recordings by Deutsche Grammophon. Many of these films appeared on Laserdisc and are now on DVD. In total Bernstein was awarded 16 Grammys for his recordings in various categories, including several for posthumously released recordings. He was also awarded a Lifetime Achievement Grammy in 1985.
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How did he act while conducting?

Answer:
His typical pattern of recording at that time was to record major works in the studio immediately after they were presented in the orchestra's subscription concerts

input: A quick, elegant, creative and technically-gifted attacking midfielder who was also capable of playing in the centre as a second striker, Francescoli was noted in particular for his control, grace, fluidity, dribbling skills and ability on the ball, despite his lack of notable pace. A two-footed playmaker with excellent vision, passing ability, and an eye for goal from midfield, he was also known for his ability from set-pieces, and also had a penchant for scoring acrobatic goals from overhead kicks. These qualities would later influence the style of French creative offensive midfielder Zinedine Zidane, who has stated that, along with compatriot Michel Platini, Francescoli was one of his favourite players as a young boy, and that he would often watch him train with Marseille. Zidane even named one of his sons, Enzo, in homage to him. Francescoli learned of this fact just before the Intercontinental Cup final match of 1996, and so the two players swapped jerseys at the end of the match. The piece became a favourite of Zidane's to wear. Subsequently, the two presented television show Football Cracks, a reality show that sought new football talent in Spain. Francescoli's admiration for Zidane extended to other French players and he has stated he felt more respect from French fans then than he had while playing there. Another player to have been named after him is Argentine international and current River Plate midfielder Enzo Perez. Argentine striker Diego Milito has also been given the nickname "Il Principe" during Milito's tenure with Internazionale due to his elegant style of play and physical resemblance to Francescoli. Francescoli has joked saying that neither of his sons resemble him as much as Milito, both in physical appearance and in their walk. Further, Argentine attacking midfielder Javier Pastore, who was also a fan of Francescoli as a youngster, was given the Uruguayan's nickname "El Flaco" because of their similar style of play as well as their slender build. In recognition of his talent, Francescoli was the only Uruguayan footballer to be named by Pele as one of the top 125 greatest living footballers in March 2004.

Answer this question "Are there any other interesting aspects about this article?"
output: Another player to have been named after him is Argentine international and current River Plate midfielder Enzo Perez.

Answer the question at the end by quoting:

Blanc was born in San Francisco, California to Russian-Jewish parents Frederick and Eva Blank, the younger of two children. He grew up in the neighborhood of Western Addition in San Francisco, and later in Portland, Oregon, where he attended Lincoln High School. Growing up, he had a fondness for voices and dialect which he began voicing at the age of 10. He claimed that he changed the spelling of his name when he was 16, from "Blank" to "Blanc", because a teacher told him that he would amount to nothing and be like his name, a "blank".
In the 1970s, Blanc gave a series of college lectures across the US and appeared in commercials for American Express. He also collaborated on a special with the Boston-based Shriners Burns Institute called Ounce of Prevention, which became a 30-minute TV special. Throughout the 1980s, Blanc performed his Looney Tunes characters for bridging sequences in various compilation films of Golden-Age-era Warner Bros. cartoons, such as The Looney Looney Looney Bugs Bunny Movie, Bugs Bunny's 3rd Movie: 1001 Rabbit Tales, Daffy Duck's Fantastic Island, and Daffy Duck's Quackbusters. His final performance of his "Looney Tunes" roles was in Bugs Bunny's Wild World of Sports (1989). After spending most of two seasons voicing the diminutive robot Twiki in Buck Rogers in the 25th Century, Blanc's last original character was Heathcliff, in the early 1980s. In the 1983 live-action film Strange Brew, Blanc voiced the father of Bob and Doug MacKenzie, at the request of comedian Rick Moranis. In the 1988 live-action/animated movie Who Framed Roger Rabbit, Blanc reprised several of his classic "Looney Tunes" roles (Bugs, Daffy, Porky, Tweety, and Sylvester), but left Yosemite Sam to Joe Alaskey (who later became one of Blanc's regular replacements until his death in 2016). As Disney produced the film, the company had to obtain permission from Warner Bros. and other studios in order to feature the non-Disney characters in the movie. The film was also one of very few Disney projects Blanc was involved in. Blanc died just a year after the film's release. His final recording session was for Jetsons: The Movie (1990).

Was all of later work done for Warner Bros. ?
In the 1983 live-action film Strange Brew, Blanc voiced the father of Bob and Doug MacKenzie, at the request of comedian Rick Moranis.