input: In 1878, Irving entered into a partnership with actress Ellen Terry and re-opened the Lyceum under his own management. With Terry as Ophelia and Portia, he revived Hamlet and produced The Merchant of Venice (1879). His Shylock was as much discussed as his Hamlet had been, the dignity with which he invested the vengeful Jewish merchant marking a departure from the traditional interpretation of the role. After the production of Tennyson's The Cup and revivals of Othello (in which Irving played Iago to Edwin Booth's title character) and Romeo and Juliet, there began a period at the Lyceum which had a potent effect on the English stage. Much Ado about Nothing (1882) was followed by Twelfth Night (1884); an adaptation of Goldsmith's Vicar of Wakefield by W. G. Wills (1885); Faust (1886); Macbeth (1888, with incidental music by Arthur Sullivan); The Dead Heart, by Watts Phillips (1889); Ravenswood by Herman, and Merivales' dramatic version of Scott's Bride of Lammermoor (1890). Portrayals in 1892 of the characters of Wolsey in Henry VIII and of the title character in King Lear were followed in 1893 by a performance of Becket in Tennyson's play of the same name. During these years, too, Irving, with the whole Lyceum company, paid several successful visits to the United States and Canada, which were repeated in succeeding years. As Terry aged, there seemed to be fewer opportunities for her in his company; that was one reason she eventually left, moving on into less steady but nonetheless beloved stage work, including solo performances of Shakespeare's women.

Answer this question "What did he do when he had no more opportunities for Terry?"
output: she eventually left,

Problem: Background: Kulwicki grew up in Greenfield, Wisconsin, a suburb of Milwaukee known for its Polish-American neighborhoods, near the Milwaukee Mile racetrack. After his mother died, his family moved in with his grandmother, who died when Kulwicki was in seventh grade. A year later, his only brother died of a hemophilia-related illness. Kulwicki attended Pius XI High School, a Roman Catholic high school in Milwaukee, and received a bachelor of science degree in mechanical engineering from the University of Wisconsin-Milwaukee in 1977.
Context: Kulwicki began his racing career as a 13-year-old kart racer. His father built engines as the crew chief for Norm Nelson and Roger McCluskey's United States Automobile Club (USAC) racecars. Because his work involved travel, Kulwicki's father was unable to help his son at most kart races, so Kulwicki's resourcefulness was often tested trying to find someone to transport his kart to the track. Even when Kulwicki asked his father for advice, he typically ended up doing most of the work himself. "I showed him how", Gerry Kulwicki said. "And he said: 'Why don't you do it? You can do it better.' And I said, 'Well, if you do it for a while, you can do it better.'" Many local-level American racetracks host their own season championships. In Wisconsin, numerous locations held dirt and asphalt short track racing. Kulwicki started driving stock cars at the local level at the Hales Corners Speedway and Cedarburg Speedway dirt oval tracks. In 1973, he won the rookie of the year award at Hales Corners Speedway in the Milwaukee suburb of Franklin, and the next year started racing late models - the fastest and most complicated type of stock cars raced at the local level - at the same track. That season, he won his first feature race, at Leo's Speedway in Oshkosh. Kulwicki moved from dirt tracks to paved tracks in 1977. He also teamed up with racecar builder Greg Krieger to research, model, engineer, and construct an innovative car with far more torsional stiffness than other late models. The increased stiffness allowed the car to handle better in the corners, which increased its speed. Racing at Slinger Super Speedway, he won the track championship in 1977. In 1978, Kulwicki returned to Slinger; that same year he started racing a late model at Wisconsin International Raceway (WIR), finishing third in points in his rookie season at the track. In 1979 and 1980, he won the WIR late model track championships. In 1979, Kulwicki began competing in regional to national level events sanctioned by the USAC Stock Car series and the American Speed Association (ASA), while remaining an amateur racer through 1980. When Kulwicki raced against future NASCAR champion Rusty Wallace in the ASA series, the two became friends. Kulwicki's highest finish in the ASA season points championship was third place, which he accomplished in both 1982 and 1985, with five career victories and twelve pole positions.
Question: did he have any sponsors?
Answer:

Question: Lewis Allan Reed (March 2, 1942 - October 27, 2013) was an American musician, singer, and songwriter. He was the lead guitarist, singer and principal songwriter for the rock band the Velvet Underground, with a solo career that spanned five decades. The Velvet Underground achieved little commercial success during their existence, but are now regarded as one of the most influential bands in rock, underground, and alternative music. After leaving the band in 1970, he released 20 solo studio albums.

Throughout the 1970s Reed was a heavy user of methamphetamine and alcohol. Metal Machine Music (1975) was an hour of modulated feedback and guitar effects. Critics interpreted it as a gesture of contempt, an attempt to break his contract with RCA or to alienate his less sophisticated fans. Reed claimed that the album was a genuine artistic effort, even suggesting that quotations of classical music could be found buried in the feedback. Lester Bangs declared it "genius", though also psychologically disturbing. The album was reportedly returned to stores by the thousands and was withdrawn after a few weeks. 1976's Coney Island Baby still drew on the underbelly of city life. At this time his lover was a transgender woman, Rachel, mentioned in the dedication of "Coney Island Baby" and appearing in the photos on the cover of Reed's 1977 "best of" album, Walk on the Wild Side: The Best of Lou Reed. Rock and Roll Heart was his 1976 debut for his new record label Arista, and Street Hassle (1978) was released in the midst of the punk scene he had helped to inspire. Reed took on a watchful, competitive and sometimes dismissive attitude towards punk. Aware that he had inspired them, he regularly attended shows at CBGB to track the artistic and commercial development of numerous punk bands, and a cover illustration and interview of Reed appeared in the first issue of Punk by Legs McNeil. In 1978 Reed released his third live album, Live: Take No Prisoners, which some critics thought was his "bravest work yet," while others considered it his "silliest." Rolling Stone described it as "one of the funniest live albums ever recorded" and compared Reed's monologues with those of Lenny Bruce. Reed felt it was his best album to date. The Bells (1979) featured jazz trumpeter Don Cherry. Around this period Reed also appeared as a sleazy record producer in Paul Simon's film One-Trick Pony. From around 1979 Reed began to wean himself off drugs.

Using a quote from the above article, answer the following question: What else stood out
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Answer:
At this time his lover was a transgender woman, Rachel, mentioned in the dedication of "Coney Island Baby"