input: In 1952 Taylor composed one of his most famous tunes, "I Wish I Knew How It Would Feel to Be Free", which achieved more popularity with the civil rights movement of the 1950s and 1960s. Nina Simone covered the song in her 1967 album Silk & Soul. The tune is widely known in the UK as a piano instrumental version, used for BBC Television's long-running Film... programme. He made dozens of recordings in the 1950s and 1960s, notably the album with Cuban percussionist Candido Camero, entitled Billy Taylor Trio with Candido, My Fair Lady Loves Jazz, Cross Section and Taylor Made Jazz. Taylor's broadcast career also thrived. In 1961, he founded New York's Jazzmobile, which provides an arts education program via workshops, master classes, lecture demonstrations, arts enrichment programs, outdoor summer mobile concerts, special indoor concerts and special projects. In 1958, he became the Musical Director of NBC's The Subject Is Jazz, the first ever television series focusing on jazz. The 13-part series was produced by the new National Educational Television Network (NET) and hosted guests including Ellington, Aaron Copland, Bill Evans, Cannonball Adderley, Jimmy Rushing and Langston Hughes. Taylor also worked as a DJ and program director on radio station WLIB in New York in the 1960s. During the 1960s, the Billy Taylor Trio was a regular feature of the Hickory House on West 55th Street in Manhattan. From 1969 to 1972, he served as the music director for The David Frost Show and was the first African American to lead a talk-show band. Louis Armstrong, Count Basie, Benny Goodman and Buddy Rich were just a few of the musicians who played on the show. In 1981, Jazzmobile produced a jazz special for National Public Radio, for which the program received the Peabody Award for Excellence in Broadcasting Programs. Jazzmobile's 1990 Tribute Concert to Dr. Taylor at Avery Fisher Hall, part of the JVC Jazz Festival, featured Nancy Wilson, Ahmad Jamal Trio and Terence Blanchard Quintet.

Answer this question "Was he affiliated with a tv network?"
output: projects. In 1958, he became the Musical Director of NBC's The Subject Is Jazz, the first ever television series focusing on jazz.

input: The group was scheduled to have their comeback in March 2008 with their second album, however, member Kim Sung-hee suddenly announced that she would be leaving the group due to parental pressure because her participation in the group was contingent on the maintenance of her grades. In response, DSP stated that the second album that was recorded would be shelved and replaced by a mini-album to come in May; in addition, two members would join the group. Auditions were held, and the two new members were eventually revealed to be Goo Ha-ra and Kang Jiyoung. The group made their return in the music industry as a quintet on July 24, 2008 with "Rock U" on M! Countdown. They made their comeback with the "cute" and "playful" image which was the complete opposite of the group's original image from their debut. In the same month, their first mini-album titled Rock U was also released. The second season of Kara Self Camera was premiered on August 18, 2008, which chronicled how the group was adapting to their two new members. On November 29, 2008, DSP released a teaser video for their upcoming single, "Pretty Girl", which received over 40,000 hits within 12 hours. The full video was released on December 2, 2008 online and was positively received by the public. The EP, Pretty Girl, was released on December 4, embodying a "fun-party" concept. The group began its comeback on all major music shows on December 4, 2008, starting with M! Countdown. During their first national performance on KBS's Music Bank, member Goo Hara accidentally gasped "ah!" live on air due to slipping on falling confetti, and reportedly cried profusely afterwards. The incident became a hot issue to many viewers, but Goo Hara received comfort instead of criticism from the general public. Park Gyuri attributed their popularity increase to their "pretty but natural" appeal, while media reports gave credit to the band for finally finding its own identity in the music industry since the group's debut and to older male fans, most notably singer Shin Hae Chul. Due to their increasingly hectic schedule as their popularity rose, a few of the group's members were taken to the hospital on December 19 after a Music Bank rehearsal for cold symptoms and exhaustion.

Answer this question "What was the line up changes they faced?"
output: member Kim Sung-hee suddenly announced that she would be leaving the group

input: There had been films of Wodehouse stories since 1915, when A Gentleman of Leisure was based on his 1910 novel of the same name. Further screen adaptations of his books were made between then and 1927, but it was not until 1929 that Wodehouse went to Hollywood where Bolton was working as a highly paid writer for Metro-Goldwyn-Mayer (MGM). Ethel was taken with both the financial and social aspects of Hollywood life, and she negotiated a contract with MGM on her husband's behalf under which he would be paid $2,000 a week. This large salary was particularly welcome because the couple had lost considerable sums in the Wall Street Crash of 1929. The contract started in May 1930, but the studio found little for Wodehouse to do, and he had spare time to write a novel and nine short stories. He commented, "It's odd how soon one comes to look on every minute as wasted that is given to earning one's salary." Even when the studio found a project for him to work on, the interventions of committees and constant rewriting by numerous contract authors meant that his ideas were rarely used. In a 2005 study of Wodehouse in Hollywood, Brian Taves writes that Those Three French Girls (1930) was "as close to a success as Wodehouse was to have at MGM. His only other credits were minimal, and the other projects he worked on were not produced." Wodehouse's contract ended after a year and was not renewed. At MGM's request, he gave an interview to The Los Angeles Times. Wodehouse was described by Herbert Warren Wind as "politically naive [and] fundamentally unworldly," and he caused a sensation by saying publicly what he had already told his friends privately about Hollywood's inefficiency, arbitrary decision-making, and waste of expensive talent. The interview was reprinted in The New York Times, and there was much editorial comment about the state of the film industry. Many writers have considered that the interview precipitated a radical overhaul of the studio system, but Taves believes it to have been "a storm in a teacup", and Donaldson comments that, in the straitened post-crash era, the reforms would have been inevitable. Wind's view of Wodehouse's naivete is not universally held. Some biographers suggest that his unworldliness was only part of a complex character, and that in some respects he was highly astute. He was unsparing of the studio owners in his early-1930s short stories set in Hollywood, which contain what Taves considers Wodehouse's sharpest and most biting satire.

Answer this question "What novel did he write?"
output:
Those Three French Girls (1930) was "as close to a success as Wodehouse was to have at MGM. His only other credits were minimal,