IN: James was born in Holton, Kansas; his mother, died in 1954 when he was five. His father was a janitor and a handyman. After four years at the University of Kansas residing at Stephenson Scholarship hall, James joined the Army in 1971. He was the last person in Kansas to be sent to fight in the Vietnam War, although he never saw action there.

An aspiring writer and obsessive fan, James began writing baseball articles after leaving the United States Army in his mid-twenties. Many of his first baseball writings came while he was doing night shifts as a security guard at the Stokely-Van Camp's pork and beans cannery. Unlike most writers, his pieces did not recount games in epic terms or offer insights gleaned from interviews with players. A typical James piece posed a question (e.g., "Which pitchers and catchers allow runners to steal the most bases?"), and then presented data and analysis written in a lively, insightful, and witty style that offered an answer. Editors considered James's pieces so unusual that few believed them suitable for their readers. In an effort to reach a wider audience, James began self-publishing an annual book titled The Bill James Baseball Abstract beginning in 1977. The first edition, titled 1977 Baseball Abstract: Featuring 18 categories of statistical information that you just can't find anywhere else, presented 68 pages of in-depth statistics compiled from James's study of box scores from the preceding season and was offered for sale through a small advertisement in The Sporting News. Seventy-five people purchased the booklet. The 1978 edition, subtitled The 2nd annual edition of baseball's most informative and imaginative review, sold 250 copies. Beginning in 1979, James wrote an annual preview of the baseball season for Esquire, and continued to do so through 1984. The first three editions of the Baseball Abstract garnered respect for James's work, including a very favorable review by Daniel Okrent in Sports Illustrated. New annual editions added essays on teams and players. By 1982 sales had increased tenfold, and a media conglomerate agreed to publish and distribute future editions. While writers had published books about baseball statistics before (most notably Earnshaw Cook's Percentage Baseball, in the 1960s), few had ever reached a mass audience. Attempts to imitate James's work spawned a flood of books and articles that continues to this day.

When was the last abstract published?

OUT: James wrote an annual preview of the baseball season for Esquire, and continued to do so through 1984.

Answer the question at the end by quoting:

A big band is a type of musical ensemble that usually consists of ten or more musicians with four sections: saxophones, trumpets, trombones, and a rhythm section. Big bands originated during the early 1910s and dominated jazz in the early 1940s when swing was most popular. The term "big band" is also used to describe a genre of music. One problem with this usage is that it overlooks the variety of music played by these bands.
Although big bands are identified with the swing era, they continued to exist after those decades, though the music they played was often different from swing. Bandleader Charlie Barnet's recording of "Cherokee" in 1942 and "The Moose" in 1943 have been called the beginning of the bop era. Woody Herman's first band, nicknamed the First Herd, borrowed from progressive jazz, while the Second Herd emphasized the saxophone section of three tenors and one baritone. In the 1950s, Stan Kenton referred to his band's music as "progressive jazz", "modern", and "new music". He created his band as a vehicle for his compositions. Kenton pushed the boundaries of big bands by combining clashing elements and by hiring arrangers whose ideas about music conflicted. This expansive eclecticism characterized much of jazz after World War II. During the 1960s and '70s, Sun Ra and his Arketstra took big bands further out. Ra's eclectic music was played by a roster of musicians from ten to thirty and was presented as theater, with costumes, dancers, and special effects. As jazz was expanded during the 1950s through the 1970s, the Basie and Ellington bands were still around, as were bands led by Buddy Rich, Gene Krupa, Lionel Hampton, Earl Hines, Les Brown, Clark Terry, and Doc Severinsen. Progressive bands were led by Dizzy Gillespie, Gil Evans, Carla Bley, Toshiko Akiyoshi and Lew Tabackin, Don Ellis, and Anthony Braxton. Other bandleaders used Brazilian and Afro-Cuban music with big band instrumentation, and big bands led by arranger Gil Evans, saxophonist John Coltrane (on the album Ascension from 1965) and bass guitarist Jaco Pastorius introduced cool jazz, free jazz and jazz fusion, respectively, to the big band domain. Modern big bands can be found playing all styles of jazz music. Some large contemporary European jazz ensembles play mostly avant-garde jazz using the instrumentation of the big bands. Examples include the Vienna Art Orchestra, founded in 1977, and the Italian Instabile Orchestra, active in the 1990s. In the late 1990s, there was a swing revival in the U.S. The Lindy Hop became popular again and young people took an interest in big band styles again. Big bands maintained a presence on American television, particularly through the late-night talk show, which has historically used big bands as house accompaniment. Typically the most prominent shows with the earliest time slots and largest audiences have bigger bands with horn sections while those in later time slots go with smaller, leaner ensembles.

Are there any other interesting facts about the article?

Big bands maintained a presence on American television, particularly through the late-night talk show,

input: After releasing four albums in barely four years, the group went into hiatus, and nearly three years passed before their next release, although Frantz and Weymouth continued to record with the Tom Tom Club. In the meantime, Talking Heads released a live album The Name of This Band Is Talking Heads, toured the United States and Europe as an eight-piece group, and parted ways with Eno, who went on to produce albums with U2. 1983 saw the release of Speaking in Tongues, a commercial breakthrough that produced the band's only American Top 10 hit, "Burning Down the House". Once again, a striking video was inescapable owing to its heavy rotation on MTV. The following tour was documented in Jonathan Demme's Stop Making Sense, which generated another live album of the same name. The tour in support of Speaking in Tongues was their last. Three more albums followed: 1985's Little Creatures (which featured the hit singles "And She Was" and "Road to Nowhere"), 1986's True Stories (Talking Heads covering all the soundtrack songs of Byrne's musical comedy film, in which the band also appeared), and 1988's Naked. Little Creatures offered a much more American pop-rock sound as opposed to previous efforts. Similar in genre, True Stories hatched one of the group's most successful hits, "Wild Wild Life", and the accordion-driven track "Radio Head", which became the etymon of the band of the same name. Naked explored politics, sex, and death, and showed heavy African influence with polyrhythmic styles like those seen on Remain in Light. During that time, the group was falling increasingly under David Byrne's control and, after Naked, the band went on "hiatus". It took until December 1991 for an official announcement to be made that Talking Heads had broken up. Their final release was "Sax and Violins", an original song that had appeared earlier that year on the soundtrack to Wim Wenders' Until the End of the World. During this breakup period, Byrne continued his solo career, releasing Rei Momo in 1989 and The Forest in 1991. This period also saw a revived flourish from both Tom Tom Club (Boom Boom Chi Boom Boom and Dark Sneak Love Action) and Harrison (Casual Gods and Walk on Water), who toured together in the summer of 1990.

Answer this question "What was one of their albums?"
output:
Talking Heads released a live album The Name of This Band Is Talking Heads,