input: Parker's life was riddled with depression and heroin addiction. This addiction caused him to miss performances and be considered unemployable. He frequently resorted to busking, receiving loans from fellow musicians and admirers, and pawning his saxophones for drug money. Heroin use was rampant in the jazz scene, and users could acquire it with little difficulty. Although he produced many brilliant recordings during this period, Parker's behavior became increasingly erratic. Heroin was difficult to obtain once he moved to California, where the drug was less abundant, so he used alcohol as a substitute. A recording for the Dial label from July 29, 1946, provides evidence of his condition. Before this session, Parker drank a quart of whiskey. According to the liner notes of Charlie Parker on Dial Volume 1, Parker missed most of the first two bars of his first chorus on the track, "Max Making Wax". When he finally did come in, he swayed wildly and once spun all the way around, away from his microphone. On the next tune, "Lover Man", producer Ross Russell physically supported Parker. On "Bebop" (the final track Parker recorded that evening) he begins a solo with a solid first eight bars; on his second eight bars, however, he begins to struggle, and a desperate Howard McGhee, the trumpeter on this session, shouts, "Blow!" at him. Charles Mingus considered this version of "Lover Man" to be among Parker's greatest recordings, despite its flaws. Nevertheless, Parker hated the recording and never forgave Ross Russell for releasing it. He re-recorded the tune in 1951 for Verve. Parker's life took a turn for the worst when his 2 year old daughter tragically passed away from pneumonia. He attempted suicide twice in 1954, which landed him in a mental hospital. When Parker received his discharge from the hospital, he was clean and healthy. Before leaving California, he recorded "Relaxin' at Camarillo" in reference to his hospital stay. He returned to New York, resumed his addiction to heroin and recorded dozens of sides for the Savoy and Dial labels, which remain some of the high points of his recorded output. Many of these were with his so-called "classic quintet" including Davis and Roach.

Answer this question "did he attempt suicide in any other years?"
output:

input: Paige went on to portray some of Lloyd Webber's most notable female characters, creating the role of Grizabella in the original production of Cats from 11 May 1981 to 13 February 1982. She took on the role late in the rehearsal process when the actress Judi Dench had to withdraw due to a torn Achilles tendon. Paige's performance of the song "Memory" from Cats, with which she had a Top 10 hit, is her signature piece. The single reached number 5 in the UK charts and has since been recorded by a further 160 artists. She reprised the role of Grizabella for the video release of Cats in 1998, one of only two performers in the film from the original London cast; the other was Susan Jane Tanner as Jellylorum. Paige's website claims that the video soon became the bestselling music video in the UK and America. The 1983 production of Abbacadabra, written by former ABBA members, Bjorn Ulvaeus and Benny Andersson, saw Paige star in the role of Carabosse. She then originated the role of Florence for the 1984 concept album of Chess, with lyrics by Tim Rice and music by Ulvaeus and Andersson. Her albums, Stages (1983), and Cinema (1984), rejoined the cast recording of Chess in the UK top 40 chart, giving her three consecutive successful albums. In 1985, Paige released "I Know Him So Well", a duet from Chess, singing with Barbara Dickson. The single held the number 1 position in the British singles charts for four weeks, and still remains the biggest-selling record by a female duo, according to the Guinness Book of Records. From 1986 to 1987, Paige appeared as Florence in the stage production of Chess, a role that earned her a second Olivier Award nomination, this time in the category, Best Actress in a Musical. She next sang at the White House in 1988. Paige then took on the part of Reno Sweeney in the musical production of Anything Goes, which she co-produced and starred in from 1989 to 1990. Patti LuPone was appearing in Anything Goes on Broadway around that time, so Paige sought to become the co-producer of the West End production as a way to secure the role there before LuPone could take it. Playing Reno Sweeney was Paige's first experience using an American accent on stage, and the role earned her a third Olivier Award nomination. Beyond her theatre roles, she appeared in the television programme Unexplained Laughter in 1989 alongside Diana Rigg. In 1993, Paige signed up for a year as French chanteuse Edith Piaf in Pam Gems' musical play, Piaf, to critical acclaim. The Guardian wrote that Paige was "a magnificent, perfect Piaf". The demanding production required her to sing 15 songs, some in French, and to be on stage for 2 hours 40 minutes in total, and forced her to leave early due to exhaustion. Her portrayal of Piaf earned her an Olivier Award nomination for Best Actress in a Musical, her fourth nomination. She subsequently released an album, titled Piaf, containing Edith Piaf songs.

Answer this question "What was cats?"
output:
Lloyd Webber's most notable female characters, creating the role of Grizabella in the original production of Cats from 11 May 1981 to 13 February 1982.