Problem: Background: Susan Keating Glaspell (July 1, 1876 - July 28, 1948) was an American playwright, novelist, journalist and actress. With her husband George Cram Cook she founded the Provincetown Players, the first modern American theatre company. During the Great Depression, she served in the Works Progress Administration as Midwest Bureau Director of the Federal Theater Project. Glaspell is known to have composed nine novels, fifteen plays, over fifty short stories, and one biography.
Context: Glaspell was highly regarded in her time, and was well known as a Pulitzer Prize-winning playwright. Her short stories were regularly printed in the era's top periodicals, and her New York Times obituary states that she was "one of the nation's most widely-read novelists." However, Glaspell's idealistic tales of strong and independent female protagonists were less popular in the post-war era that stressed female domesticity, and her novels fell out of print after her death. In 1940 a new generation of influential Broadway-based critics began publishing derogatory reviews of her plays, having a sizable effect on her long-term standing. Exacerbating the issue was Glaspell's reluctance to seek publicity and her tendency to downplay her own accomplishments, perhaps a result of her modest Midwestern upbringing. Accordingly, in the United States her work was seriously neglected for many years. Internationally, she received some attention by scholars who were primarily interested in her more experimental work from the Provincetown years. In the late 1970s feminist critics began to reevaluate Glaspell's career, and interest in her work has grown steadily ever since. Today, Glaspell scholarship is a "burgeoning" field, with several book-length biographies and analyses of her writing being published by university presses in recent years. After a century of being out of print, a large portion of her work has been republished. With major achievements in drama, novel, and short fiction, Glaspell is often cited as a "prime example" of an overlooked female writer deserving canonization. Perhaps the originator of modern American theater, Glaspell has been called "the First Lady of American Drama" and "the Mother of American Drama." In 2003 the International Susan Glaspell Society was founded, with the aim of promoting "the recognition of Susan Glaspell as a major American dramatist and fiction writer." Her plays are frequently performed by college and university theater departments, but she has become more widely known for her often-anthologized works: the one-act play Trifles, and its short-story adaptation, "A Jury of Her Peers". Since the late 20th century, these two pieces have become staples of theatre and Women's Studies curricula across the United States and the world.
Question: Is there anything else interesting about her?
Answer: In the late 1970s feminist critics began to reevaluate Glaspell's career, and interest in her work has grown steadily ever since. Today, Glaspell scholarship is a "burgeoning" field,

Problem: Background: Antoine Dominique "Fats" Domino Jr. (February 26, 1928 - October 24, 2017) was an American pianist and singer-songwriter. One of the pioneers of rock and roll music, Domino sold more than 65 million records. Between 1955 and 1960, he had eleven Top 10 hits. His humility and shyness may be one reason his contribution to the genre has been overlooked.
Context: Domino moved to ABC-Paramount Records in 1963. The label dictated that he record in Nashville, Tennessee, rather than New Orleans. He was assigned a new producer (Felton Jarvis) and a new arranger (Bill Justis). Domino's long-term collaboration with the producer, arranger, and frequent co-writer Dave Bartholomew, who oversaw virtually all of his Imperial hits, was seemingly at an end. Jarvis and Justis changed the Domino sound somewhat, notably by adding the backing of a countrypolitan-style vocal chorus to most of his new recordings. He released 11 singles for ABC-Paramount, several which hit the Top 100 but just once entering the Top 40 ("Red Sails in the Sunset", 1963). By the end of 1964 the British Invasion had changed the tastes of the record-buying public, and Domino's chart run was over. Despite the lack of chart success, Domino continued to record steadily until about 1970, leaving ABC-Paramount in mid-1965 and recording for Mercury Records, where he delivered a live album and two singles. A studio album was planned but stalled with just four tracks recorded . Dave Bartholomew's small Broadmoor label (reuniting with Bartholomew along the way), featured many contemporary Soul infused sides but an album was released overseas in 1971 to fulfill his Reprise Records contract. He shifted to that label after Broadmoor and had a Top 100 single, a cover of the Beatles' "Lady Madonna". Domino appeared in the Monkees' television special 33 1/3 Revolutions per Monkee in 1969. He continued to be popular as a performer for several decades. He made a cameo appearance in Clint Eastwood's movie Any Which Way You Can, filmed in 1979 and released in 1980 singing the country song "Whiskey Heaven" which later became a minor hit. His life and career were showcased in Joe Lauro's 2015 documentary The Big Beat: Fats Domino and the Birth of Rock 'n' Roll.
Question: Where did he go after he left Imperial?
Answer: 1970, leaving ABC-Paramount in mid-1965 and recording for Mercury Records,

Problem: Background: The term "Moors" refers primarily to the Muslim inhabitants of the Maghreb, the Iberian Peninsula, Sicily, and Malta during the Middle Ages. The Moors initially were the Berber autochthones of the Maghreb. The name was later also applied to Arabs. Moors are not a distinct or self-defined people, and the 1911 Encyclopaedia Britannica observed that "The term 'Moors' has no real ethnological value."
Context: Moors--or more frequently their heads, often crowned--appear with some frequency in medieval European heraldry, though less so since the Middle Ages. The term ascribed to them in Anglo-Norman blazon (the language of English heraldry) is maure, though they are also sometimes called moore, blackmoor, blackamoor or negro. Maures appear in European heraldry from at least as early as the 13th century, and some have been attested as early as the 11th century in Italy, where they have persisted in the local heraldry and vexillology well into modern times in Corsica and Sardinia. Armigers bearing moors or moors' heads may have adopted them for any of several reasons, to include symbolizing military victories in the Crusades, as a pun on the bearer's name in the canting arms of Morese, Negri, Saraceni, etc., or in the case of Frederick II, possibly to demonstrate the reach of his empire. The arms of Pope Benedict XVI feature a moor's head, crowned and collared red, in reference to the arms of Freising, Germany. In the case of Corsica and Sardinia, the blindfolded moors' heads in the four quarters have long been said to represent the four Moorish emirs who were defeated by Peter I of Aragon in the 11th century, the four moors' heads around a cross having been adopted to the arms of Aragon around 1281-1387, and Corsica and Sardinia having come under the dominion of the king of Aragon in 1297. In Corsica, the blindfolds were lifted to the brow in the 18th century as a way of expressing the island's newfound independence. The use of Moors (and particularly their heads) as a heraldic symbol has been deprecated in modern North America. For example, the College of Arms of the Society for Creative Anachronism urges applicants to use them delicately to avoid causing offence.
Question: What is heraldry?
Answer:
Moors--or more frequently their heads, often crowned--appear with some frequency in medieval European heraldry,