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 "What was he up to during his mid career?"
output: In 1952 Taylor composed one of his most famous tunes, "I Wish I Knew How It Would Feel to Be Free

input: Maddocks claims that it is likely Hildegard learned simple Latin and the tenets of the Christian faith but was not instructed in the Seven Liberal Arts, which formed the basis of all education for the learned classes in the Middle Ages: the Trivium of grammar, dialectic, and rhetoric plus the Quadrivium of arithmetic, geometry, astronomy, and music. The correspondence she kept with the outside world, both spiritual and social, transcended the cloister as a space of spiritual confinement and served to document Hildegard's grand style and strict formatting of medieval letter writing. Contributing to Christian European rhetorical traditions, Hildegard "authorized herself as a theologian" through alternative rhetorical arts. Hildegard was creative in her interpretation of theology. She believed that her monastery should exclude novices who were not from the nobility because she did not want her community to be divided on the basis of social status. She also stated that "woman may be made from man, but no man can be made without a woman." Because of church limitation on public, discursive rhetoric, the medieval rhetorical arts included preaching, letter writing, poetry, and the encyclopedic tradition. Hildegard's participation in these arts speaks to her significance as a female rhetorician, transcending bans on women's social participation and interpretation of scripture. The acceptance of public preaching by a woman, even a well-connected abbess and acknowledged prophet, does not fit the stereotype of this time. Her preaching was not limited to the monasteries; she preached publicly in 1160 in Germany. (New York: Routledge, 2001, 9). She conducted four preaching tours throughout Germany, speaking to both clergy and laity in chapter houses and in public, mainly denouncing clerical corruption and calling for reform. Many abbots and abbesses asked her for prayers and opinions on various matters. She traveled widely during her four preaching tours. She had several fanatical followers, including Guibert of Gembloux, who wrote to her frequently and became her secretary after Volmar's death in 1173. Hildegard also influenced several monastic women, exchanging letters with Elisabeth of Schonau, a nearby visionary. Hildegard corresponded with popes such as Eugene III and Anastasius IV, statesmen such as Abbot Suger, German emperors such as Frederick I Barbarossa, and other notable figures such as Saint Bernard of Clairvaux, who advanced her work, at the behest of her abbot, Kuno, at the Synod of Trier in 1147 and 1148. Hildegard of Bingen's correspondence is an important component of her literary output.

Answer this question "Are there any other interesting aspects about this article?"
output: Because of church limitation on public, discursive rhetoric, the medieval rhetorical arts included preaching, letter writing, poetry, and the encyclopedic tradition.

input: Following the signing of Treaties of Nice in May 2001, which made Brussels the de facto capital of the European Union, the then President of the European Commission, Romano Prodi and the Belgian Prime Minister Guy Verhofstadt invited Koolhaas to discuss the necessities and requirements of a European capital. During these talks and as an impetus for further discussion, Koolhaas and his think-tank AMO - an independent part of OMA - suggested the development of a visual language. This idea inspired a series of drawings and drafts, including the "Barcode". The barcode seeks to unite the flags of the EU member countries into a single, colourful symbol. In the current European flag, there is a fixed number of stars. In the barcode however, new Member States of the EU can be added without space constraints. Originally, the barcode displayed 15 EU countries. In 2004, the symbol was adapted to include the ten new Member States. Since the time of the first drafts of the barcode it has very rarely been officially used by commercial or political institutions. During the Austrian EU Presidency 2006, it was officially used for the first time. The logo was used for the EU information campaign, but was very negatively criticized. In addition to the initial uproar caused by the Estonian flag stripes being displayed incorrectly, the proposed flag failed to achieve its main objective as a symbol. Critics pointed the lack of capability to relate the signified (the mental concept, the European Union) with the signifier (the physical image, the stripes) as the major problem, as well as the presented justification for the order in which the color stripes were displayed (as every country in the EU should be regarded as equal in importance and priority).

Answer this question "How would the development work?"
output:
This idea inspired a series of drawings and drafts, including the "Barcode". The barcode seeks to unite the flags of the EU member countries into a single, colourful symbol.