Problem: Background: Nilsson was born in Bedford-Stuyvesant, Brooklyn in 1941. His paternal grandparents were Swedish circus performers and dancers, especially known for their "aerial ballet" (which is the title of one of Nilsson's albums). His maternal grandparents were the cornerstone of his young life. While his grandmother played piano, his grandfather Charlie supported the family in a tiny railroad apartment on Jefferson St in Brooklyn.
Context: Nilsson's disregard for commercialism in favor of artistic satisfaction showed itself in his next release, A Little Touch of Schmilsson in the Night (1973). Performing a selection of pop standards by the likes of Berlin, Kalmar and Ruby, Nilsson sang in front of an orchestra arranged and conducted by veteran Gordon Jenkins in sessions produced by Derek Taylor. This musical endeavor did not do well commercially. The session was filmed, and broadcast as a television special by the BBC in the UK. 1973 found Nilsson back in California, and when John Lennon moved there during his separation from Yoko Ono, the two musicians rekindled their earlier friendship. Lennon was intent upon producing Nilsson's next album, much to Nilsson's delight. However, their time together in California became known much more for heavy drinking than it did for musical collaboration. In a widely publicized incident, the two were ejected from the Troubadour nightclub in West Hollywood for drunken heckling of the Smothers Brothers. To make matters worse, at a late night party and jam session during the recording of the album, attended by Lennon, McCartney, Danny Kortchmar, and other musicians, Nilsson ruptured a vocal cord, but he hid the injury for fear that Lennon would call a halt to the production. The resulting album was Pussy Cats. In an effort to clean up, Lennon, Nilsson and Ringo Starr first rented a house together, then Lennon and Nilsson left for New York. After the relative failure of his latest two albums, RCA Records considered dropping Nilsson's contract. In a show of friendship, Lennon accompanied Nilsson to negotiations, and both intimated to RCA that Lennon and Starr might want to sign with them, once their Apple Records contracts with EMI expired in 1975, but would not be interested if Nilsson were no longer with the label. RCA took the hint and re-signed Nilsson (adding a bonus clause, to apply to each new album completed), but neither Lennon nor Starr signed with RCA. Nilsson's voice had mostly recovered by his next release, Duit on Mon Dei (1975), but neither it nor its follow-ups, Sandman and ...That's the Way It Is (both 1976), met with chart success. Finally, Nilsson recorded what he later considered to be his favorite album Knnillssonn (1977). With his voice strong again, and his songs exploring musical territory reminiscent of Harry or The Point!, Nilsson anticipated Knnillssonn to be a comeback album. RCA seemed to agree, and promised Nilsson a substantial marketing campaign for the album. However, the death of Elvis Presley caused RCA to ignore everything except meeting demand for Presley's back catalog, and the promised marketing push never happened. This, combined with RCA releasing a Nilsson Greatest Hits collection without consulting him, prompted Nilsson to leave the label.
Question: what was his greatest accomplishment stated in this article?
Answer: 1973 found Nilsson back in California, and when John Lennon moved there during his separation from Yoko Ono, the two musicians rekindled their earlier friendship.

Problem: Background: James Whale (22 July 1889 - 29 May 1957) was an English film director, theater director and actor. He is best remembered for his four classic horror films: Frankenstein (1931), The Old Dark House (1932), The Invisible Man (1933) and Bride of Frankenstein (1935). Whale also directed films in other genres, including what is considered the definitive film version of the musical Show Boat (1936). He became increasingly disenchanted with his association with horror, but many of his non-horror films have fallen into obscurity.
Context: After the armistice he returned to Birmingham and tried to find work as a cartoonist. He sold two cartoons to the Bystander in 1919 but was unable to secure a permanent position. Later that year he embarked on a professional stage career. Under the tutelage of actor-manager Nigel Playfair, he worked as an actor, set designer and builder, "stage director" (akin to a stage manager) and director. In 1922, while with Playfair, he met Doris Zinkeisen. They were considered a couple for some two years, despite Whale's living as an openly gay man. They were reportedly engaged in 1924, but by 1925 the engagement was off. In 1928 Whale was offered the opportunity to direct two private performances of R.C. Sherriff's then-unknown play Journey's End for the Incorporated Stage Society, a theatre society that mounted private Sunday performances of plays. Set over a four-day period in March 1918 in the trenches at Saint-Quentin, France, Journey's End gives a glimpse into the experiences of the officers of a British infantry company in World War I. The key conflict is between Capt. Stanhope, the company commander, and Lt. Raleigh, the brother of Stanhope's fiancee. Whale offered the part of Stanhope to the then barely known Laurence Olivier. Olivier initially declined the role, but after meeting the playwright agreed to take it on. Maurice Evans was cast as Raleigh. The play was well received and transferred to the Savoy Theatre in London's West End, opening on 21 January 1929. A young Colin Clive was now in the lead role, Olivier having accepted an offer to take the lead in a production of Beau Geste. The play was a tremendous success, with critics uniform and effusive in their praise and with audiences sometimes sitting in stunned silence following its conclusion only to burst into thunderous ovations. As Whale biographer James Curtis wrote, the play "managed to coalesce, at the right time and in the right manner, the impressions of a whole generation of men who were in the war and who had found it impossible, through words or deeds, to adequately express to their friends and families what the trenches had been like". After three weeks at the Savoy, Journey's End transferred to the Prince of Wales Theatre, where it ran for the next two years. With the success of Journey's End at home, Broadway producer Gilbert Miller acquired the rights to mount a New York production with an all-British cast headed by Colin Keith-Johnston as Stanhope and Derek Williams as Raleigh. Whale also directed this version, which premiered at Henry Miller's Theatre on 22 March 1929. The play ran for over a year and cemented its reputation as the greatest play about World War I.
Question: did james work in theatre
Answer:
he worked as an actor, set designer and builder, "stage director" (akin to a stage manager) and director.