input: In March 1987, the new lineup of Expose released its debut album Exposure on Arista Records, led by the pop/dance hit "Come Go with Me" which reached #5 on the US Billboard Hot 100 chart. During the summer of 1987, a re-recorded version of "Point of No Return" was released, with Jurado now performing lead vocals, and it too topped out at #5 on the US Hot 100. While the initial distribution of Exposure to suppliers contained the original 1984 version of that song, subsequent pressings contained the new version. "Let Me Be the One", a mid-tempo R&B song with Bruno on lead vocal, became yet another hit reaching #7 on the US Hot 100 and also garnering significant R&B radio airplay. The group's highest charting hit occurred in February 1988 with the #1 US hit ballad "Seasons Change". Along with that came a Soul Train Award nomination for Best New Artist; television appearances on American Bandstand, Solid Gold, Showtime at the Apollo, and The Late Show Starring Joan Rivers; and the group was tapped to be the opening act for Lisa Lisa and Cult Jam during its national tour. Expose also performed backing vocals on Kashif's 1987 Arista/BMG Records album Love Changes, on the song "Who's Getting Serious?". During Expose's peak, the group endured legal issues behind the scenes. The members had a restrictive contract and there were reports in the media of backstage battles. According to Bruno, they were only paid $200 per show. Reportedly, the record label had to intervene to try to keep the peace between the members and their producers. Despite this intervention, the members filed a lawsuit and ultimately settled their legal case for a renegotiated contract.

Answer this question "Are there any other interesting aspects about this article?"
output: During Expose's peak, the group endured legal issues behind the scenes.

input: Until his return from Mexico in 1930 Whorf had been entirely an autodidact in linguistic theory and field methodology, yet he had already made a name for himself in Middle American linguistics. Whorf had met Sapir, the leading US linguist of the day, at professional conferences, and in 1931 Sapir came to Yale from the University of Chicago to take a position as Professor of Anthropology. Alfred Tozzer sent Sapir a copy of Whorf's paper on "Nahuatl tones and saltillo". Sapir replied stating that it "should by all means be published"; however, it was not until 1993 that it was prepared for publication by Lyle Campbell and Frances Karttunen. Whorf took Sapir's first course at Yale on "American Indian Linguistics". He enrolled in a program of graduate studies, nominally working towards a PhD in linguistics, but he never actually attempted to obtain a degree, satisfying himself with participating in the intellectual community around Sapir. At Yale, Whorf joined the circle of Sapir's students that included such luminary linguists as Morris Swadesh, Mary Haas, Harry Hoijer, G. L. Trager and Charles F. Voegelin. Whorf took on a central role among Sapir's students and was well respected. Sapir had a profound influence on Whorf's thinking. Sapir's earliest writings had espoused views of the relation between thought and language stemming from the Humboldtian tradition he acquired through Franz Boas, which regarded language as the historical embodiment of volksgeist, or ethnic world view. But Sapir had since become influenced by a current of logical positivism, such as that of Bertrand Russell and the early Ludwig Wittgenstein, particularly through Ogden and Richards' The Meaning of Meaning, from which he adopted the view that natural language potentially obscures, rather than facilitates, the mind to perceive and describe the world as it really is. In this view, proper perception could only be accomplished through formal logics. During his stay at Yale, Whorf acquired this current of thought partly from Sapir and partly through his own readings of Russell and Ogden and Richards. As Whorf became more influenced by positivist science he also distanced himself from some approaches to language and meaning that he saw as lacking in rigor and insight. One of these was Polish philosopher Alfred Korzybski's General semantics, which was espoused in the US by Stuart Chase. Chase admired Whorf's work and frequently sought out a reluctant Whorf, who considered Chase to be "utterly incompetent by training and background to handle such a subject." Ironically, Chase would later write the foreword for Carroll's collection of Whorf's writings.

Answer this question "What year did he attend Yale?"
output:

input: Miss Piggy began as a minor chorus pig on The Muppet Show, but gradually developed into one of the central characters of the series, as the writers and producers of The Muppet Show recognized that a lovelorn pig could be more than a one-note running gag. She spawned a huge fad during the late 1970s and early 1980s and eclipsed Kermit and the other Muppets in popularity at that time, selling far more merchandise and writing a book that, unlike any of Kermit's books, wound up on top of the New York Times Bestseller List. Miss Piggy's personality and voice were seen and heard in other female characters performed by Frank Oz before the character's debut. For instance, a Sesame Street Muppet skit from 1971 featured Snow White performed by Frank Oz and acting (as well as sounding) like Miss Piggy. Another sound-alike came from a contestant in a Guy Smiley sketch called "The Mystery Mix-Up Game". In The Muppet Show episode 106, Piggy is referred to by the full name "Piggy Lee," and in episode 116, Piggy tells guest star Avery Schreiber that Piggy is short for "Pigathius", "from the Greek, meaning 'river of passion'". Also during the Jim Nabors episode when asked what (astrological) sign she was born under she replied that she wasn't born under a sign, she was born over one, "Becker's Butcher shop". She portrayed "Wonder Pig", a spoof a Wonder Woman in episode 419 while Lynda Carter sang "The Rubberband Man" and "Orange Colored Sky".

Answer this question "When did The Muppet Show first air?"
output:
She spawned a huge fad during the late 1970s