Question: David Thompson was born in Westminster, Middlesex, to recent Welsh migrants David and Ann Thompson. When Thompson was two, his father died. Due to the financial hardship with his mother without resources, Thompson and his older brother were placed in the Grey Coat Hospital, a school for the disadvantaged of Westminster. Thompson graduated to the Grey Coat mathematical school, where he was introduced to basic navigation skills.

In 1820, the English geologist, John Jeremiah Bigsby, attended a dinner party given by The Hon. William McGillivray at his home, Chateau St. Antoine, one of the early estates in Montreal's Golden Square Mile. He describes the party and some of the guests in his entertaining book The Shoe and Canoe, giving an excellent description of David Thompson: I was well placed at table between one of the Miss McGillivray's and a singular-looking person of about fifty. He was plainly dressed, quiet, and observant. His figure was short and compact, and his black hair was worn long all round, and cut square, as if by one stroke of the shears, just above the eyebrows. His complexion was of the gardener's ruddy brown, while the expression of his deeply-furrowed features was friendly and intelligent, but his cut-short nose gave him an odd look. His speech betrayed the Welshman, although he left his native hills when very young. I might have been spared this description of Mr David Thompson by saying he greatly resembled Curran the Irish Orator... I afterwards travelled much with him, and have now only to speak of him with great respect, or, I ought to say, with admiration... No living person possesses a tithe of his information respecting the Hudson's Bay countries... Never mind his Bunyan-like face and cropped hair; he has a very powerful mind, and a singular faculty of picture-making. He can create a wilderness and people it with warring savages, or climb the Rocky Mountains with you in a snow-storm, so clearly and palpably, that only shut your eyes and you hear the crack of the rifle, or feel the snow-flakes melt on your cheeks as he talks.

Using a quote from the above article, answer the following question: Did he have any issues with anger?
HHHHHH
Answer:

Question: Michael Bennett (April 8, 1943 - July 2, 1987) was an American musical theatre director, writer, choreographer, and dancer. He won seven Tony Awards for his choreography and direction of Broadway shows and was nominated for an additional eleven. Bennett choreographed Promises, Promises, Follies and Company. In 1976, he won the Tony Award for Best Direction of a Musical and the Tony Award for Best Choreography for the musical A Chorus Line.

Bennett was born Michael Bennett DiFiglia in Buffalo, New York, the son of Helen (nee Ternoff), a secretary, and Salvatore Joseph DiFiglia, a factory worker. His father was Roman Catholic and Italian American and his mother was Jewish. He studied dance and choreography in his teens and staged a number of shows in his local high school before dropping out to accept the role of Baby John in the US and European tours of West Side Story. Bennett's career as a Broadway dancer began in the 1961 Betty Comden-Adolph Green-Jule Styne musical Subways Are for Sleeping, after which he appeared in Meredith Willson's Here's Love and the short-lived Bajour. In the mid-1960s he was a featured dancer on the NBC pop music series Hullabaloo, where he met fellow dancer Donna McKechnie. Bennett made his choreographic debut with A Joyful Noise (1966), which lasted only twelve performances, and in 1967 followed it with another failure, Henry, Sweet Henry (based on the Peter Sellers film The World of Henry Orient). Success finally arrived in 1968, when he choreographed the hit musical Promises, Promises on Broadway. With a contemporary pop score by Burt Bacharach and Hal David, a wisecracking book by Neil Simon and Bennett's well-received production numbers, including "Turkey Lurkey Time", the show ran for 1,281 performances. Over the next few years, he earned praise for his work on the straight play Twigs with Sada Thompson and the musical Coco with Katharine Hepburn. These were followed by two Stephen Sondheim productions, Company and Follies co-directed with Hal Prince. In 1973, Bennett was asked by producers Joseph Kipness and Larry Kasha to take over the ailing Cy Coleman-Dorothy Fields musical Seesaw. In replacing the director Ed Sherin and choreographer Grover Dale, he asked for absolute control over the production as director and choreographer and received credit as "having written, directed, and choreographed" the show.

Using a quote from the above article, answer the following question: what was the play?
HHHHHH
Answer:

Question: A daughter of Charles and Anais Lenglen, Suzanne Lenglen was born in Paris. During her youth, she suffered from numerous health problems including chronic asthma, which also plagued her at a later age. Because his daughter was so frail and sickly, Charles Lenglen, the owner of a carriage company, decided that it would be good for her to compete in tennis and gain strength. Her first try at the game was in 1910, when she played on the tennis court at the family property in Marest-sur-Matz.

The first major female tennis star to turn professional, Lenglen was paid US$50,000 by American entrepreneur Charles C. Pyle to tour the United States in a series of matches against Mary K. Browne. Browne, winner of the US Championships from 1912 to 1914, was 35 and considered to be past her prime, although she had reached the French final earlier that year (losing to Lenglen 6-1, 6-0). For the first time in tennis history, the women's match was the headline event of the tour (which also featured male players). In their first match in New York City, Lenglen put on a performance that New York Times writer Allison Danzig lauded as "one of the most masterly exhibitions of court generalship that has been seen in this country." When the tour ended in February 1927, Lenglen had defeated Browne, 38 matches to 0. She was exhausted from the lengthy tour, and a physician advised Lenglen that she needed a lengthy period away from the game to recover. Instead, Lenglen chose to retire from competitive tennis to run a Paris tennis school, which she set up with the help and money of her lover Jean Tillier. The school, located next to the courts of Roland Garros, slowly expanded and was recognised as a federal training centre by the French tennis federation in 1936. During this period, Lenglen also wrote several books on tennis. Lenglen was criticised widely for her decision to turn professional, and the All England Club at Wimbledon even revoked her honorary membership. Lenglen, however, described her decision as "an escape from bondage and slavery" and said in the tour programme, "In the twelve years I have been champion I have earned literally millions of francs for tennis and have paid thousands of francs in entrance fees to be allowed to do so.... I have worked as hard at my career as any man or woman has worked at any career. And in my whole lifetime I have not earned $5,000 - not one cent of that by my specialty, my life study - tennis.... I am twenty-seven and not wealthy - should I embark on any other career and leave the one for which I have what people call genius? Or should I smile at the prospect of actual poverty and continue to earn a fortune - for whom?" As for the amateur tennis system, Lenglen said, "Under these absurd and antiquated amateur rulings, only a wealthy person can compete, and the fact of the matter is that only wealthy people do compete. Is that fair? Does it advance the sport? Does it make tennis more popular - or does it tend to suppress and hinder an enormous amount of tennis talent lying dormant in the bodies of young men and women whose names are not in the social register?"

Using a quote from the above article, answer the following question: How did Lenglen change the game of tennis?
HHHHHH
Answer:
For the first time in tennis history, the women's match was the headline event of the tour (which also featured male players).