input: After finishing his military service, Fangio opened his own garage and raced in local events. He began his racing career in Argentina in 1934, driving a 1929 Ford Model A, which he had rebuilt. These local events were unlike anything in Europe or North America, they were long-distance races held on mostly dirt roads up and down South America. During his time racing in Argentina, he drove Chevrolet cars and was Argentine National Champion in 1940 and 1941. One particular race, which he won in 1940, the Gran Premio del Norte, was almost 10,000 km long. This race started in Buenos Aires and ran up through the Andes to Lima, Peru and back again, taking nearly two weeks with stages held each day. Following many successes driving mainly modified American stock cars; he was funded by the Argentine Automobile Club and the Argentine government and sent to Europe in 1948 to continue his career. In the Tourism Highway category, Fangio participated in his first race between 18 and 30 October 1938 as the co-pilot of Luis Finocchietti. Despite not winning the Argentine Road Grand Prix, Fangio drove most of the way and qualified in seventh place. In November of that year, he entered the "400 km of Tres Arroyos ", but it was suspended due to a fatal accident. In 1939, the circuit was in Forest, which conformed well with his last involvement with a Ford V8. With Hector Tieri as his partner, they led Turismo Carretera that year with a Chevrolet, competing for the Argentine Grand Prix. Suspended by a strong rain and resumed in Cordoba, he managed their first stage victory, winning the fourth stage from Catamarca to San Juan. In October, after 9500 km of competition in Argentina, Bolivia and Peru, he won his first race in Turismo Carretera, the Grand Prix International North. He became the first TC Argentine Champion to have driven a Chevrolet. In 1941, he beat Oscar Galvez in the Grand Prix Getulio Vargas in Brazil. For the second time, Fangio was crowned champion of Argentine TC. In 1942, he ended South Grand Prix in tenth place in accordance with the general classification. In April he won the race "Mar y Sierras" and had to suspend the mechanical activity due to the start of World War II. In 1946, after a brief period of inactivity, Fangio returned to racing with two races in Moron and Tandil driving a Ford T. In February 1947, Fangio competed at National Mechanics (MN) in the circuit Retirement, and on 1 March, he started the race for Rosario City Award. Subsequently, Fangio triumphed in the circuit 'Double Back Window' Race.

Answer this question "How did they fair?"
output: qualified in seventh place.

input: In 1971, Children's Television Workshop created the show The Electric Company, meant to help teach reading to children who had outgrown Sesame Street. Raposo served as the musical director of the show for its first three seasons, and contributed songs throughout the show's run, until 1977. Raposo performed joke characters for film segments on The Electric Company similar in style to what he had done on Sesame Street. One segment showed him attempting to get dressed in jacket and necktie against a white wall under the word "dressing", until the prefix "un-" appears and attaches itself to the prior word, forcing him to engage in a mock striptease which ends with him modestly hopping off-screen and tossing the remainder of his clothing into an empty chair left on-screen. In a variation of this film, he is shown packing a suitcase when the "un-" prefix returns and pesters him using the behavior of a meddling fly until, exasperated, Raposo strikes the word with a hammer, knocking it unconscious into the suitcase, which he then triumphantly slams shut with a smirk. Raposo enjoyed doing animation voicework. Other forays of his into the craft included both the tenor singing role of "master pickler" Gil Gickler in DePatie-Freleng's Dr. Seuss cartoon program Pontoffel Pock, Where Are You? and Gickler's spoken dialogue. Raposo also performed at least three other character voices in the cartoon, including a Groogen musician whose "flugel bugle" is destroyed by Pontoffel in an attack flyover, as the ancient Senior Fairy above McGillicuddy who oversees the fairy squadron's worldwide search for the missing Pock and his piano, and as an angry Groogen dairywoman spilt milk upon by a too-close fly-by of Pontoffel's. The HBO animated adaptation of Madeline, for which Raposo composed the music and songs (with writer/lyricist Judy Rothman), aired four months after Raposo's death; the cartoon The Smoggies, for which Raposo wrote the theme song, premiered in Canada.

Answer this question "What was the most intriguing think you read about Joe?"
output: Raposo performed joke characters for film segments on The Electric Company similar in style to what he had done on Sesame Street.

input: Supported by Guggenheim and university grants, Partch took up residence at the University of Wisconsin from 1944 until 1947. This was a productive period, in which he lectured, trained an ensemble, staged performances, released his first recordings, and completed his book, now called Genesis of a Music. Genesis was completed in 1947 and published in 1949 by the University of Wisconsin Press. He left the university, as it never accepted him as a member of the permanent staff, and there was little space for his growing stock of instruments. In 1949, pianist Gunnar Johansen allowed Partch to convert a smithy on his ranch to a studio. Partch worked there with support from the Guggenheim Foundation, and did recordings, primarily of his Eleven Intrusions (1949-1950). He was assisted for six months by composer Ben Johnston, who performed on Partch's recordings. In spring 1951, Partch moved to Oakland for health reasons, and prepared for a production of King Oedipus at Mills College, with the support of designer Arch Lauterer. Performances of King Oedipus in March were extensively reviewed, but a planned recording was blocked by the Yeats estate, which refused to grant permission to use Yeats's translation. In February 1953, Partch founded the studio Gate 5 in an abandoned shipyard in Sausalito, California, where he composed, built instruments and staged performances. Subscriptions to raise money for recordings were organized by the Harry Partch Trust Fund, an organization put together by friends and supporters. The recordings were sold via mail order, as were later releases on the Gate 5 Records label. The money raised from these recordings became his main source of income. Partch's three Plectra and Percussion Dances, Ring Around the Moon (1949-1950), Castor and Pollux, and Even Wild Horses, premiered on Berkeley's KPFA radio in November 1953. After completing The Bewitched in January 1955, Partch tried to find the means to put on a production of it. Ben Johnston introduced Danlee Mitchell to Partch at the University of Illinois; Mitchell later became Partch's heir. In March 1957, with the help of Johnston and the Fromm Foundation, The Bewitched was performed at the University of Illinois, and later at Washington University in St. Louis, though Partch was displeased with choreographer Alwin Nikolais's interpretation. Later in 1957, Partch provided the music for Madeline Tourtelot's film Windsong, the first of six film collaborations between the two. From 1959 to 1962, Partch received further appointments from the University of Illinois, and staged productions of Revelation in the Courthouse Park in 1961 and Water! Water! in 1962. Though these two works were based, as King Oedipus had been, on Greek mythology, they modernized the settings and incorporated elements of popular music. Partch had support from several departments and organizations at the university, but continuing hostility from the music department convinced him to leave and return to California.

Answer this question "what did he do at the university?"
output:
This was a productive period, in which he lectured, trained an ensemble, staged performances, released his first recordings, and completed his book, now called Genesis of a Music.