Problem: Background: George General Grice Jr. was born in Pensacola, Florida on November 28, 1925. His family's strong emphasis on music, manners, and discipline had a tremendous effect on him as a child and into his later career. Grice's parents were of modest means, his mother a seamstress and his father the owner of a small cleaning and pressing service. The family belonged to the African Methodist Episcopal Church and attended services diligently.
Context: After graduating with a degree in composition in 1952, Gryce relocated to New York City, where he would enjoy much success in the mid fifties. In 1953 Max Roach recorded one of Gryce's charts with his septet, and soon after Gryce recorded with Howard McGhee and wrote for Horace Silver's sextet as well. Gryce was influenced by Tadd Dameron, with whom he played in 1953 at the Paradise Club. Gryce had not yet reached his peak as a musician or soloist, but was developing a reputation as a versatile and talented composer and arranger. Later in 1953 Gryce also contributed a tune, "Up in Quincy's Place" to Art Farmer's Prestige recordings. While this recording was rather inconsequential, Farmer would become one of Gryce's closest colleagues. One of the most important connections Gryce made in New York was with Quincy Jones, who encouraged Lionel Hampton to hire Gryce for his band in the summer of 1953. After playing with Hampton's band in the States, Gryce was invited to join the band for their European tour. While the style of the Hampton band was outdated and overly commercialized in Gryce's eyes, the opportunities and connections made on the European tour were largely what propelled Gryce into success as an artist. In Hampton's band, Gryce played with Anthony Ortega, Clifford Solomon (tenor saxophone), Clifford Scott, Oscar Estelle (baritone saxophone), Walter Williams (trumpet), Art Farmer, Clifford Brown, Quincy Jones, Al Hayse, Jimmy Cleveland, George "Buster" Cooper, William "Monk" Montgomery, and Alan Dawson. Gryce became particularly close friends with Clifford Brown, with whom he found much in common. The Hampton tour did not pay well, and Gryce and others frequently sought recording opportunities on the side, particularly in Stockholm and Paris, where Europeans were eager to record touring Americans. There was already some tension in the band between young bebop-influenced musicians and the more established swing musicians (including Hampton himself), and Hampton did not react well when he heard his musicians were recording on the side. The recordings Gryce made with Clifford Brown and others on the tour were often hurried and done on the fly, yet they were instrumental in building his career, particularly as a composer. Notable of these European recordings were "Paris the Beautiful", featuring tonal centers a third apart and a Parker-influenced solo by Gryce; "Brown Skins", a concerto for a large jazz ensemble; "Blue Concept", recorded by the Gryce-Brown sextet; and "Strictly Romantic", which oscillates between A flat and G major. In addition, Henri Renaud recorded an entire album exclusively of Gryce's work, which did a great deal to build his reputation.
Question: Who were some of his influences?
Answer: Gryce was influenced by Tadd Dameron, with whom he played in 1953 at the Paradise Club.

Problem: Background: Hunter was born in New York City, the son of Gertrude (nee Gelien) and Charles Kelm. His mother, from Hamburg, was a German Roman Catholic immigrant, and his father was Jewish. Hunter's father was reportedly abusive, and within a few years of his birth, his parents divorced. Tab grew up in California with his mother, older brother Walter, and maternal grandparents, John Henry and Ida (nee Sonnenfleth)
Context: One of Hunter's first films for Warners was The Sea Chase (1955), supporting John Wayne and Lana Turner. It was a big hit, but Hunter's part was relatively small. Rushes were seen by William Wellman, who cast Hunter to play the younger brother of Robert Mitchum in Track of the Cat (1955). It was a solid hit and Hunter began to get more notice. His breakthrough role came when he was cast as the young Marine Danny in 1955's World War II drama Battle Cry. His character has an affair with an older woman, but ends up marrying the girl next door. It was based on a bestseller by Leon Uris and became Warner Bros largest grossing film of that year, cementing Hunter's position as one of Hollywood's top young romantic leads. In September 1955 the tabloid magazine Confidential reported Hunter's 1950 arrest for disorderly conduct. The innuendo-laced article, and a second one focusing on Rory Calhoun's prison record, were the result of a deal Henry Willson had brokered with the scandal rag in exchange for not revealing his more prominent client Rock Hudson's sexual orientation to the public. Not only did this have no negative effect on Hunter's career, a few months later he was named Most Promising New Personality in a nationwide poll sponsored by the Council of Motion Picture Organizations. In 1956, he received 62,000 Valentines. Hunter, James Dean and Natalie Wood were the last of the actors placed under exclusive studio contract to Warner Bros. Warners decided to promote him to star status, teaming him with Natalie Wood in two back-to-back films, a Western, The Burning Hills (1956), directed by Heisler, and The Girl He Left Behind (1956), a service comedy. These films also proved to be hits with audiences and Warners planned a third teaming of Hunter and Wood. Hunter rejected the third picture, thus ending Warner's attempt to make Tab and Natalie the William Powell and Myrna Loy of the 1950s. Hunter was Warner Bros.' most popular male star from 1955-1959.
Question: was he in anything other than movies?
Answer:
The Burning Hills (1956), directed by Heisler, and The Girl He Left Behind (1956), a service comedy.