input: Kiraly joined the national team in 1981. Playing outside hitter, he proved to be an extremely solid passer. Along with teammate Aldis Berzins, Kiraly was the foundation for the "two-man" serve reception system Doug Beal created in 1983. Along with covering half the court on serve receive and consistently delivering the ball to team setter Dusty Dvorak, Kiraly proved to be an excellent defender and a highly productive outside hitter. Kiraly led U.S National Team to the gold medal at the 1984 Summer Olympics, overcoming a pool play loss to Brazil to defeat Brazil in the finals. Kiraly was the youngest player on the gold medal team.  The 1984 Olympics were marred by the boycott of the Soviet and eastern bloc teams. The US National team showed their place as the world's best team by winning the 1985 FIVB World Cup, followed by the 1986 FIVB World Championship. In the 1988 Summer Olympics the team won its second Olympic gold medal, this time defeating the USSR in the championship match. Kiraly was selected as a captain for the 1988 team at Seoul. FIVB named Kiraly the top player in the world in 1986 and 1988.  Following the 1988 Olympics, Kiraly retired from the national team. He and teammate Steve Timmons played professional volleyball for Il Messaggero Ravenna in Italy from 1990 to 1992. The team included Italians Fabio Vullo and Andrea Gardini, Roberto Masciarelli and Stefano Margutti as team members. In two seasons the team won a series of titles, including the Italian Volleyball League (1991), the Italian Cup (1991), FIVB Volleyball Men's Club World Championship (1991), CEV Champions League (1992), and the European Supercup (1992).

Answer this question "Did he play well?"
output: Playing outside hitter, he proved to be an extremely solid passer.

Problem: Background: A disc jockey, often abbreviated as DJ, is a person who plays existing recorded music for a live audience. Most common types of DJs include radio DJ, club DJ who performs at a nightclub or music festival, and turntablist who uses record players, usually turntables, to manipulate sounds on phonograph records. Originally, the "disc" in "disc jockey" referred to gramophone records, but now "DJ" is used as an all-encompassing term to describe someone who mixes recorded music from any source, including cassettes, CDs, or digital audio files on a CDJ or laptop. The title "DJ" is commonly used by DJs in front of their real names or adopted pseudonyms or stage names.
Context: Several techniques are used by DJs as a means to better mix and blend recorded music. These techniques primarily include the cueing, equalization and audio mixing of two or more sound sources. The complexity and frequency of special techniques depends largely on the setting in which a DJ is working. Radio DJs are less likely to focus on advanced music-mixing procedures than club DJs, who rely on a smooth transition between songs using a range of techniques. However, some radio DJs are experienced club DJs, so they use the same sophisticated mixing techniques.  Club DJ turntable techniques include beatmatching, phrasing and slip-cueing to preserve energy on a dance floor. Turntablism embodies the art of cutting, beat juggling, scratching, needle drops, phase shifting, back spinning and more to perform the transitions and overdubs of samples in a more creative manner (although turntablism is often considered a use of the turntable as a musical instrument rather than a tool for blending recorded music). Professional DJs may use harmonic mixing to choose songs that are in compatible musical keys.  Recent advances in technology in both DJ hardware and software can provide assisted or automatic completion of some traditional DJ techniques and skills. Examples include phrasing and beatmatching, which can be partially or completely automated by utilizing DJ software that performs automatic synchronization of sound recordings, a feature commonly labelled "sync". Most DJ mixers now include a beat-counter which analyzes the tempo of an incoming sound source and displays its tempo in beats per minute (BPM), which may assist with beatmatching analog sound sources.  In the past, being a DJ has largely been a self-taught craft but with the complexities of new technologies and the convergence with music production methods, there are a growing number of schools and organizations that offer instruction on the techniques.
Question: What is the biggest DJ School?
Answer: 

Question: Povenmire was born in San Diego, California on September 18, 1963, and grew up in the city of Mobile, Alabama. A child prodigy, he began drawing at age two; by the time he was ten, his work was displayed in local art shows. His first efforts in animation included a series of flip books that he produced in his school text books. As a child, Povenmire considered animator Chuck Jones his hero; in a 2009 interview, he stated that "every drawing he [Jones] did was beautiful to look at and had so much energy in it".

In 1993, Povenmire and Marsh conceived the series Phineas and Ferb, based on their similar experiences of childhood summers spent outdoors. Povenmire spent 14-16 years pitching Phineas and Ferb to several networks. Most rejected it as unfeasible for the complexity of its plots, but Povenmire persevered, later observing "It was really the show we wanted to see: if this was on the air, I'd watch it, and I don't always feel that about every show I work on." Even the Walt Disney Company initially rejected Povenmire's pitch, but asked to keep the proposal packet: "Usually that means they throw it in the trash later," Povenmire recalled. Eventually Disney called Povenmire back with an acceptance, on the condition that he would produce an 11-minute pilot. He called Marsh, who was living in England, to ask him if he would like to work on the pilot; Marsh accepted immediately and moved back to the United States.  Instead of a conventional script, the pair pitched the pilot by recording reels of its storyboard, which Povenmire then mixed and dubbed to produce action and vocals. The network approved the show for a 26-episode season. Povenmire left Family Guy to create the series.  Povenmire and Marsh wanted to incorporate into Phineas and Ferb the kind of humor they had developed in their work on Rocko's Modern Life. They included action sequences and, with Disney's encouragement, featured musical numbers in every episode subsequent to "Flop Starz". Povenmire described the songs as his and Marsh's "jab at immortality", but the pair have earned two Emmy nominations for Phineas and Ferb songs to-date. A third Emmy nomination, for the episode "The Monster of Phineas-n-Ferbenstein" (2008), pitted the show against SpongeBob SquarePants, although neither nominee received the award due to a technicality. In 2010, Povenmire was nominated amongst several other Phineas and Ferb crew members for the Daytime Emmy Award for both "Outstanding Writing in Animation" and "Outstanding Original Song - Children's and Animation" for their work on the show, winning for "Outstanding Writing in Animation".  The distinctive style of the animation legend Tex Avery influenced the show's artistic look. Like Avery, Povermire employed geometric shapes to build both the characters and the background. The style developed almost accidentally, with Povenmire's first sketch of title character, Phineas Flynn, which he produced while eating dinner with his family in a restaurant in South Pasadena, California. He doodled a triangle-shaped child on the butcher paper covering the table. He was so taken with sketch he tore it out, kept it, and used it as the prototype for Phineas and as the stylistic blueprint for the entire show.

Using a quote from the above article, answer the following question: Were there any other awards or accolades?
HHHHHH
Answer: