input: After his father asked Lasorda to select Piazza as a favor, the Miami-Dade Community College student was drafted by the Dodgers in the 62nd round of the 1988 MLB amateur draft as the 1,390th player picked overall. Lasorda asked Piazza to give up his first base position and learn how to catch to improve his chances of reaching the major leagues, and helped him attend a special training camp for catchers in the Dominican Republic. Piazza became an excellent hitter, especially for a catcher. His MLB debut came with the Dodgers on September 1, 1992, against the Chicago Cubs. He drew a walk in his first plate appearance and then doubled to deep center field in his first official at-bat, against Mike Harkey of the Cubs. He hit his first home run on September 12, 1992, against Steve Reed of the San Francisco Giants. He only appeared in 21 games that season, hitting .232.  He won the NL MLB Rookie of the Year Award in 1993 after appearing in 149 games, hitting .318, slugging 35 home runs, and driving in 112 RBIs. He was also selected to the 1993 Major League Baseball All-Star Game, his first of 10 consecutive (and 12 total) All-Star appearances. Until Joc Pederson passed him in 2015, Piazza's 18 home runs before the All Star break was a Dodgers' rookie record.  In 1996, Piazza hit .336 with 36 home runs and 105 RBIs, finishing second in MVP voting, behind Ken Caminiti.  Piazza's best season with the Dodgers was 1997, when he hit .362, with 40 home runs, 124 RBIs, an on-base percentage of .431, and a slugging percentage of .638. He finished second in voting MVP for the second consecutive season, behind Larry Walker.

Answer this question "Did he receive any other recognition?"
output: In 1996, Piazza hit .336 with 36 home runs and 105 RBIs, finishing second in MVP voting, behind Ken Caminiti.

input: Chris Hillman of the Byrds persuaded the owners of the Whisky a Go Go to give Buffalo Springfield an audition, and they essentially became the house band at the Whisky for seven weeks, from May 2 to June 18, 1966. This series of concerts solidified the band's reputation for live performances and attracted interest from a number of record labels. It also brought an invitation from Friedman to Dickie Davis (who had been the Byrds' lighting manager) to become involved in the group's management. In turn, Davis sought advice from Sonny & Cher's management team, Charlie Greene and Brian Stone; unbeknownst to Davis and Friedman, Greene and Stone then aggressively pitched themselves to the band to be their new managers. Friedman was fired, and Davis was made the group's tour manager. Greene and Stone made a deal with Ahmet Ertegun of Atlantic Records for a four-album contract with a $12,000 advance, following a brief bidding war with Elektra Records and Warner Bros. Records, and arranged for the band to start recording at Gold Star Studios in Hollywood.  The first Buffalo Springfield single, "Nowadays Clancy Can't Even Sing", was released in August, but made little impact outside Los Angeles, where it reached the Top 25. Young and Stills have long maintained that their own mono mix was superior to the stereo mix engineered by Greene and Stone. The band's eponymous album was released by the Atlantic subsidiary Atco in mono and in stereo in December 1966. A revamped version issued both in mono and stereo with a different track order was issued in March of the following year.  In November 1966, Stills composed "For What It's Worth" in response to a protest that had turned into a riot following the closing of a nightclub called Pandora's Box on Sunset Strip. The song was performed on Thanksgiving night at the Whisky a Go Go, recorded within the next few days, and on the air in Los Angeles on radio station KHJ soon afterwards. By March 1967, it was a Top Ten hit. Atco took advantage of this momentum by replacing the song "Baby Don't Scold Me" with "For What It's Worth" and re-releasing the album. "For What It's Worth" sold over one million copies and was awarded a gold disc.,

Answer this question "Who was their manager?"
output: 

input: In 1977, Goodall established the Jane Goodall Institute (JGI), which supports the Gombe research, and she is a global leader in the effort to protect chimpanzees and their habitats. With nineteen offices around the world, the JGI is widely recognised for community-centred conservation and development programs in Africa. Its global youth program, Roots & Shoots began in 1991 when a group of 16 local teenagers met with Goodall on her back porch in Dar es Salaam, Tanzania. They were eager to discuss a range of problems they knew about from first-hand experience that caused them deep concern. The organisation now has over 10,000 groups in over 100 countries.  Due to an overflow of handwritten notes, photographs, and data piling up at Jane's home in Dar es Salaam in the mid-1990s, the Jane Goodall Institute's Center for Primate Studies was created at the University of Minnesota to house and organise this data. Currently all of the original Jane Goodall archives reside there and have been digitised and analysed and placed in an online database. On 17 March 2011, Duke University spokesman Karl Bates announced that the archives will move to Duke, with Anne E. Pusey, Duke's chairman of evolutionary anthropology, overseeing the collection. Pusey, who managed the archives in Minnesota and worked with Goodall in Tanzania, had worked at Duke for a year.  Today, Goodall devotes virtually all of her time to advocacy on behalf of chimpanzees and the environment, travelling nearly 300 days a year. Goodall is also a board member for the world's largest chimpanzee sanctuary outside of Africa, Save the Chimps in Fort Pierce, Florida.

Answer this question "What is the institutes purpose?"
output:
), which supports the Gombe research, and she is a global leader in the effort to protect chimpanzees and their habitats.