input: McKenzie grew up in a sporting family. His father, Eric McKenzie, was an opening batsman who played once for Western Australia, against the touring South African cricket team in 1931-32. His uncle, Douglas McKenzie, was a batsman who represented Western Australia on several occasions, scoring 88 in his last game against Lindsay Hassett's Services team in 1945-46. Douglas went on to become President of the Western Australian Cricket Association. Both Douglas and Eric also represented Western Australia in field hockey. In his youth, McKenzie was an all rounder, batting right-handed and bowling off spin. Aged twelve, he gained selection for Western Australia in the 1953-54 under-14 interstate competition held at Adelaide, but the team withdrew after a polio epidemic in Western Australia. The next season, he captained the state when the competition was held in Perth, leading his team to the championship. McKenzie attended John Curtin High School, where he performed well with both bat and ball in the school's first XI. At sixteen he was made his first grade debut for Claremont-Cottesloe as a batsman, but after unproductive performances was dropped to the second XI. The following year in 1958-59, he continued in second grade and took up fast bowling, taking 50 wickets at an average of 14.50 after his team had a pace bowling shortage. He was recalled to the First XI in 1959-60. He finished the season with 515 runs at an average of 39.46 and 49 wickets at an average of 11.21. His efforts were rewarded in when the state selectors handed him a debut for the penultimate match of the Sheffield Shield season against Victoria in Melbourne. He went wicketless and scored 22 and 41. He took his first wickets in the final match against South Australia at Perth with 3/69. At season's end, his captain Ken Meuleman advised McKenzie to concentrate on his fast bowling.

Answer this question "Did he come from an athletic family?"
output: scoring 88 in his

input: Francis Bok waited three years, until 1996, before he tried to escape again. During the intervening three years he tended to the herds and regained Giemma's trust. Giemma regularly praised Bok's work with the animals yet still forced him to live a life of slavery. Bok finally escaped from Giemma when he was 17 years old by walking through the forest to the nearby market town of Mutari. Bok went to the local police department to seek help, and asked the police to help him find his people. Instead of helping him, the police made him their slave for two months. Bok escaped from the police by simply taking their donkeys to the well, tying them, and leaving them behind as he walked into the crowded marketplace. Bok asked a man with a truck to give him a ride out of Mutari. The man, a Muslim named Abdah, agreed to help him. Abdah thought that slavery was wrong and agreed to transport Bok to the town of Ed-Da'Ein in the back of his truck amongst his cargo of grain and onions. Bok stayed with Abdah, his wife and two sons for two months while Abdah tried to find a way to take Bok to Khartoum, the capital city of Sudan. When he could not find a friend to provide passage to Khartoum, Abdah bought a bus ticket to Khartoum for Bok. Francis Bok arrived in Khartoum with no money, no place to go, and did not know where to turn. Fortunately for Francis, another stranger helped him find his way to his fellow Dinka tribespeople in Khartoum in the Jabarona settlement.

Answer this question "Where did he flee to?"
output: by walking through the forest to the nearby market town of Mutari.

input: Supported by Guggenheim and university grants, Partch took up residence at the University of Wisconsin from 1944 until 1947. This was a productive period, in which he lectured, trained an ensemble, staged performances, released his first recordings, and completed his book, now called Genesis of a Music. Genesis was completed in 1947 and published in 1949 by the University of Wisconsin Press. He left the university, as it never accepted him as a member of the permanent staff, and there was little space for his growing stock of instruments. In 1949, pianist Gunnar Johansen allowed Partch to convert a smithy on his ranch to a studio. Partch worked there with support from the Guggenheim Foundation, and did recordings, primarily of his Eleven Intrusions (1949-1950). He was assisted for six months by composer Ben Johnston, who performed on Partch's recordings. In spring 1951, Partch moved to Oakland for health reasons, and prepared for a production of King Oedipus at Mills College, with the support of designer Arch Lauterer. Performances of King Oedipus in March were extensively reviewed, but a planned recording was blocked by the Yeats estate, which refused to grant permission to use Yeats's translation. In February 1953, Partch founded the studio Gate 5 in an abandoned shipyard in Sausalito, California, where he composed, built instruments and staged performances. Subscriptions to raise money for recordings were organized by the Harry Partch Trust Fund, an organization put together by friends and supporters. The recordings were sold via mail order, as were later releases on the Gate 5 Records label. The money raised from these recordings became his main source of income. Partch's three Plectra and Percussion Dances, Ring Around the Moon (1949-1950), Castor and Pollux, and Even Wild Horses, premiered on Berkeley's KPFA radio in November 1953. After completing The Bewitched in January 1955, Partch tried to find the means to put on a production of it. Ben Johnston introduced Danlee Mitchell to Partch at the University of Illinois; Mitchell later became Partch's heir. In March 1957, with the help of Johnston and the Fromm Foundation, The Bewitched was performed at the University of Illinois, and later at Washington University in St. Louis, though Partch was displeased with choreographer Alwin Nikolais's interpretation. Later in 1957, Partch provided the music for Madeline Tourtelot's film Windsong, the first of six film collaborations between the two. From 1959 to 1962, Partch received further appointments from the University of Illinois, and staged productions of Revelation in the Courthouse Park in 1961 and Water! Water! in 1962. Though these two works were based, as King Oedipus had been, on Greek mythology, they modernized the settings and incorporated elements of popular music. Partch had support from several departments and organizations at the university, but continuing hostility from the music department convinced him to leave and return to California.

Answer this question "did he work with anybody?"
output:
He was assisted for six months by composer Ben Johnston, who performed on Partch's recordings.