input: Strindberg died shortly after the first of his plays was staged in the United States--The Father opened on 9 April 1912 at the Berkeley Theatre in New York, in a translation by Edith and Warner Oland.  During Christmas 1911, Strindberg became sick with pneumonia and he never recovered completely. He also started to suffer from a stomach cancer. The last weeks of his life were painful, and the daily papers in Stockholm reported on his health in every edition. He received many letters and telegrams from admirers across the country. He died on 14 May 1912 at the age of 63.  Strindberg was interred at Norra begravningsplatsen in Stockholm. He had given strict instructions concerning his funeral and how his body should be treated after death: only members of his immediate family were allowed to view his body, there would be no obduction, no photographs were taken, and no death mask was made. Strindberg had also requested that his funeral should take place as soon as possible after his death to avoid crowds of onlookers. However, the workers' organisations requested that the funeral should take place on a Sunday to make it possible for working men to pay their respects, and the funeral was postponed for five days, until Sunday, 19 May. According to Strindberg's last wish, the funeral procession was to start at 8am, again to avoid crowds, but large groups of people were nevertheless waiting outside his home as well as at the cemetery, as early as 7am. A short service was conducted by Nathan Soderblom by the bier in Strindberg's home, in the presence of three of Strindberg's children and his housekeeper, after which the coffin was taken outside for the funeral procession. The procession was followed by groups of students, workers, and members of Parliament, and it was estimated that up to 60,000 people lined the streets. King Gustaf V sent a wreath for the bier.

Answer this question "Did he have a wife"
output: the presence of three of Strindberg's children and his housekeeper,

input: In the late 1970s, Capote was in and out of drug rehabilitation clinics, and news of his various breakdowns frequently reached the public. In 1978, talk show host Stanley Siegel did an on-air interview with Capote, who, in an extraordinarily intoxicated state, confessed that he had been awake for 48 hours and when questioned by Siegel, "What's going to happen unless you lick this problem of drugs and alcohol?", Capote responded: "The obvious answer is that eventually, I mean, I'll kill myself ... without meaning to." The live broadcast made national headlines. One year later, when he felt betrayed by Lee Radziwill in a feud with perpetual nemesis Gore Vidal, Capote arranged a return visit to Stanley Siegel's show, this time to deliver a bizarrely comic performance revealing an incident wherein Vidal was thrown out of the Kennedy White House due to intoxication. Capote also went into salacious details regarding the personal life of Lee Radziwill and her sister, Jacqueline Kennedy Onassis.  Andy Warhol, who had looked up to the writer as a mentor in his early days in New York and often partied with Capote at Studio 54, agreed to paint Capote's portrait as "a personal gift" in exchange for Capote's contributing short pieces to Warhol's Interview magazine every month for a year in the form of a column, Conversations with Capote. Initially the pieces were to consist of tape-recorded conversations, but soon Capote eschewed the tape recorder in favor of semi-fictionalized "conversational portraits". These pieces formed the basis for the bestselling Music for Chameleons (1980). Capote underwent a facelift, lost weight and experimented with hair transplants. Despite this, Capote was unable to overcome his reliance upon drugs and liquor and had grown bored with New York by the beginning of the 1980s.  After the revocation of his driver's license (the result of speeding near his Long Island residence) and a hallucinatory seizure in 1980 that required hospitalization, Capote became fairly reclusive. These hallucinations continued unabated and medical scans eventually revealed that his brain mass had perceptibly shrunk. On the rare occasions when he was lucid, he continued to promote Answered Prayers as being nearly complete and was reportedly planning a reprise of the Black and White Ball to be held either in Los Angeles or a more exotic locale in South America. On a few occasions, he was still able to write. In 1982, a new short story, "One Christmas," appeared in the December issue of Ladies' Home Journal; the following year it became, like its predecessors A Christmas Memory and The Thanksgiving Visitor, a holiday gift book. In 1983, "Remembering Tennessee," an essay in tribute to Tennessee Williams, who had died in February of that year, appeared in Playboy magazine.

Answer this question "What else did he do aside from rehab?"
output: After the revocation of his driver's license (the result of speeding near his Long Island residence) and a hallucinatory seizure in 1980 that required hospitalization,

input: Monroe's fortunes began to improve during the "folk revival" of the early 1960s. Many college students and other young people were beginning to discover Monroe, associating his style more with traditional folk music than with the country-and-western genre with which it had previously been identified.  The word "bluegrass" first appeared around this time to describe the sound of Monroe and similar artists such as Flatt and Scruggs, the Stanley Brothers, Reno and Smiley, Jim and Jesse, and the Osborne Brothers. While Flatt and Scruggs immediately recognized the potential for a lucrative new audience in cities and on college campuses in the North, Monroe was slower to respond. Under the influence of Ralph Rinzler, a young musician and folklorist from New Jersey who briefly became Monroe's manager in 1963, Monroe gradually expanded his geographic reach beyond the traditional southern country music circuit.  Rinzler was also responsible for a lengthy profile and interview in the influential folk music magazine Sing Out! that first publicly referred to Monroe as the "father" of bluegrass. Accordingly, at the first bluegrass festival organized by Carlton Haney at Roanoke, Virginia in 1965, Bill Monroe was the central figure.  The growing national popularity of Monroe's music during the 1960s was also apparent in the increasingly diverse background of musicians recruited into his band. Non-southerners who served as Blue Grass Boys during this period included banjo player Bill Keith and singer/guitarist Peter Rowan from Massachusetts, fiddler Gene Lowinger from New York, banjo player Lamar Grier from Maryland, banjo player Steve Arkin from New York, and singer/guitarist Roland White and fiddler Richard Greene from California.

Answer this question "Anything else you found interesting?"
output:
referred to Monroe as the "father" of bluegrass.