input: In 1634, the Menominee and Ho-Chunk people (along with a band of Potawatomi who had recently moved into Wisconsin) witnessed the French explorer Jean Nicolet's approach and landing. Red Banks, near the present-day city of Green Bay, Wisconsin, later developed in this area. Nicolet, looking for a Northwest Passage to China, hoped to find and impress the Chinese. As the canoe approached the shore, Nicolet put on a silk Chinese ceremonial robe, stood up in the middle of the canoe and shot off two pistols. For at least forty years in the 20th century, this event was presented in a biased fashion to elementary school students studying Wisconsin history. The Native people were said to fear "the light-skinned man who could make thunder." John Boatman has said it was more likely the native people feared for the light-skinned man, as he had demonstrated questionable mental faculties. Anyone with local knowledge would know better than to stand up in a canoe on the choppy waters of Green Bay. Pierre Francois Xavier de Charlevoix (1682-1761), a French Catholic clergyman, professor, historian, author and explorer, kept a detailed journal of his travels through Wisconsin and Louisiana. In 1721 he came upon the Menominee, whom he referred to as Malhomines ("peuples d'avoines" or (Wild Oat Indians), which the French had adapted from an Ojibwe term: After we had advanced five or six leagues, we found ourselves abreast of a little island, which lies near the western side of the bay, and which concealed from our view, the mouth of a river, on which stands the village of the Malhomines Indians, called by our French "peuples d'avoines" or Wild Oat Indians, probably from their living chiefly on this sort of grain. The whole nation consists only of this village, and that too not very numerous. 'Tis really great pity, they being the finest and handsomest men in all Canada. They are even of a larger stature than the Potawatomi. I have been assured that they had the same original and nearly the same languages with the Noquets, and the Indians at the Falls.

Answer this question "Did they have farms?"
output: probably from their living chiefly on this sort of grain.

input: Taylor was born in Greenville, North Carolina, but moved to Washington, D.C., when he was five years old. He grew up in a musical family and learned to play different instruments as a child, including guitar, drums and saxophone. He was most successful at the piano, and had classical piano lessons with Henry Grant, who had educated Duke Ellington a generation earlier. Taylor made his first professional appearance playing keyboard at the age of 13 and was paid one dollar. Taylor attended Dunbar High School, the U.S.'s first high school for African-American students. He went to Virginia State College and majored in sociology. During his time he joined Kappa Alpha Psi fraternity. Pianist Undine Smith Moore noticed young Taylor's talent in piano and he changed his major to music, graduating with a degree in music in 1942. Taylor moved to New York City after graduation and started playing piano professionally from 1944, first with Ben Webster's Quartet on New York's 52nd Street. The same night he joined Webster's Quartet, he met Art Tatum, who became his mentor. Among the other musicians Taylor worked with was Machito and his mambo band, from whom he developed a love for Latin music. After an eight-month tour with the Don Redman Orchestra in Europe, Taylor stayed there with his wife, Theodora, and worked in Paris and the Netherlands. Taylor returned to New York later that year and cooperated with Bob Wyatt and Sylvia Syms at the Royal Roost jazz club and Billie Holiday in a successful show called Holiday on Broadway. A year later, he became the house pianist at Birdland and performed with Charlie Parker, J.J. Johnson, Stan Getz, Dizzy Gillespie and Miles Davis. Taylor played at Birdland longer than any other pianist in the history of the club. In 1949, Taylor published his first book, a textbook about bebop piano styles.

Answer this question "Did he continue to play professionally?"
output: started playing piano professionally from 1944, first with Ben Webster's Quartet on New York's 52nd Street.

input: Several people have been accorded unofficial "Associate Python" status over the years. Occasionally such people have been referred to as the 'seventh Python', in a style reminiscent of George Martin (or other associates of the Beatles) being dubbed "the Fifth Beatle". The two collaborators with the most meaningful and plentiful contributions have been Neil Innes and Carol Cleveland. Both were present and presented as Associate Pythons at the official Monty Python 25th-anniversary celebrations held in Los Angeles in July 1994. Neil Innes is the only non-Python besides Douglas Adams to be credited with writing material for Flying Circus. He appeared in sketches and the Python films, as well as performing some of his songs in Monty Python Live at the Hollywood Bowl. He was also a regular stand-in for absent team members on the rare occasions when they recreated sketches. For example, he took the place of Cleese at the Concert for George. Gilliam once noted that if anyone qualified for the title of the seventh Python, it would certainly be Innes. He was one of the creative talents in the off-beat Bonzo Dog Band. He would later portray Ron Nasty of the Rutles and write all of the Rutles' compositions for All You Need Is Cash (1978). By 2005, a falling out had occurred between Idle and Innes over additional Rutles projects, the results being Innes' critically acclaimed Rutles "reunion" album The Rutles: Archaeology and Idle's straight-to-DVD The Rutles 2: Can't Buy Me Lunch, each undertaken without the other's participation. According to an interview with Idle in the Chicago Tribune in May 2005, his attitude is that Innes and he go back "too far. And no further." Innes has remained silent on the dispute. Carol Cleveland was the most important female performer in the Monty Python ensemble, commonly referred to as "the female Python". She was originally hired by producer/director John Howard Davies for just the first five episodes of the Flying Circus. The Pythons then pushed to make Cleveland a permanent recurring performer after producer/director Ian MacNaughton brought in several other actresses who were not as good as she was. Cleveland went on to appear in about two-thirds of the episodes, as well as in all of the Python films, and in most of their stage shows, as well. Her common portrayal as the stereotypical "blonde bimbo" eventually earned her the sobriquet "Carol Cleavage" from the other Pythons, but she felt that the variety of her roles should not be described in such a pejorative way.

Answer this question "What are the associate pythons?"
output:
Several people have been accorded unofficial "Associate Python" status over the years.