input: In 1969, television producer Joan Ganz Cooney and her staff at the Children's Television Workshop, impressed by the quality and creativity of the Henson-led team, asked Henson and staff to work full-time on Sesame Street, a visionary children's program for public television. This union of talents would become legendary in television entertainment.  Part of the show was set aside for a series of funny, colorful, puppet characters living on the titular street. These included Grover, Bert and Ernie, Cookie Monster, Elmo, Oscar the Grouch, and Big Bird. Henson performed the characters of Ernie, game-show host Guy Smiley, and Kermit, who appeared as a roving television news reporter. It was around this time that a frill was added around Kermit's neck to make him more frog-like. The collar was functional as well: it covered the joint where the Muppet's neck and body met.  At first, Henson's Muppets appeared separately from the realistic segments on the Street, but after a poor test-screening in Philadelphia, the show was revamped to integrate the two, placing much greater emphasis on Henson's work. Though Henson would often downplay his role in Sesame Street's success, Cooney frequently praised Jim's work and, in 1990, the Public Broadcasting Service called him "the spark that ignited our fledgling broadcast service." The success of Sesame Street also allowed Henson to stop producing commercials. He later remembered that "it was a pleasure to get out of that world".  In addition to creating and performing Muppet characters, Henson was involved in producing various shows and animation insets during the first two seasons. During the first, Henson produced a series of counting films for the numbers 1 through 10, which always ended with a baker (voiced by Henson) falling down the stairs while carrying the featured number of desserts. For seasons two to seven, Henson worked on a variety of inserts for the numbers 2 through 12, in a number of different styles, including film ("Dollhouse", "Number Three Ball Film"), stop-motion ("King of Eight", "Queen of Six"), cut-out animation ("Eleven Cheer"), and computer animation ("Nobody Counts To 10"). He also directed the original C Is For Cookie.  Concurrently with the first years of Sesame Street, Henson directed Tales from Muppetland, a short series of TV movie specials: comic retellings of classic fairy tales, aimed at a young audience and hosted by Kermit the Frog. The series included Hey, Cinderella!, The Frog Prince, and The Muppet Musicians of Bremen.

Answer this question "What else did he do on the show?"
output: In addition to creating and performing Muppet characters, Henson was involved in producing various shows and animation insets during the first two seasons.

input: Prior to the start of the 2010-11 season, Durant announced via Twitter that he had signed a five-year contract extension with the Thunder worth approximately $86 million. For the second consecutive year, he led the NBA in scoring, averaging 27.7 points a game. Behind his leadership, the Thunder won 55 games and earned the fourth seed in the Western Conference. In the playoffs, Oklahoma City defeated the Denver Nuggets and Memphis Grizzlies en route to a Conference Finals match-up versus the Dallas Mavericks, losing in five games.  On February 19 of the lockout-shortened 2011-12 season, Durant recorded his first career 50-point game, scoring 51 points against the Denver Nuggets. At the All-Star Game, he scored 36 points and was awarded the NBA All-Star Game Most Valuable Player Award. He finished the year with a scoring average of 28 points per game, representing his third straight scoring title. Behind his play, the Thunder won 47 games and entered the playoffs as the Western Conference's second seed. In Game 1 of the first round against the Mavericks, Durant hit a game-winner with 1.5 seconds remaining. Oklahoma City would go on to defeat Dallas, the Lakers, and the San Antonio Spurs before losing to the Miami Heat in the Finals. For the NBA Finals, Durant led all players with 30.6 points per game, doing so on a 54.8 shooting rate.  With a scoring average of 28.1 points per game to finish the 2012-13 season, Durant failed to defend his scoring title; however, with a 51 percent shooting rate, a 41.6 percent three point shooting rate, and a 90.5 free throw shooting rate, he became the youngest player in NBA history to join the 50-40-90 club. Finishing the year with a 60-22 record, Oklahoma City earned the first seed in the Western Conference. In the first round of the playoffs against the Houston Rockets, Russell Westbrook tore his meniscus, forcing him to miss the remainder of the postseason. Without Westbrook, Durant was given more responsibility, averaging a career-high 30.8 points per game throughout the playoffs, but Oklahoma City were eventually eliminated in the second round by the Memphis Grizzlies in five games.

Answer this question "did he set any records?"
output: he became the youngest player in NBA history to join the 50-40-90 club.

input: Once he returned to Nigeria, Achebe was promoted at the NBS to the position of Director of External Broadcasting. One of his first duties was to help create the Voice of Nigeria network. The station broadcast its first transmission on New Year's Day 1962, and worked to maintain an objective perspective during the turbulent era immediately following independence. This objectivity was put to the test when Nigerian Prime Minister Abubakar Tafawa Balewa declared a state of emergency in the Western Region, responding to a series of conflicts between officials of varying parties. Achebe became saddened by the evidence of corruption and silencing of political opposition.  In 1962 he attended an executive conference of African writers in English at the Makerere University College in Kampala, Uganda. He met with important literary figures from around the continent and the world, including Ghanaian poet Kofi Awoonor, Nigerian playwright and poet Wole Soyinka, and US poet-author Langston Hughes. Among the topics of discussion was an attempt to determine whether the term African literature ought to include work from the diaspora, or solely that writing composed by people living within the continent itself. Achebe indicated that it was not "a very significant question", and that scholars would do well to wait until a body of work were large enough to judge. Writing about the conference in several journals, Achebe hailed it as a milestone for the literature of Africa, and highlighted the importance of community among isolated voices on the continent and beyond.  While at Makerere, Achebe was asked to read a novel written by a student (James Ngugi, later known as Ngugi wa Thiong'o) called Weep Not, Child. Impressed, he sent it to Alan Hill at Heinemann, which published it two years later to coincide with its paperback line of books from African writers. Hill indicated this was to remedy a situation where British publishers "regarded West Africa only as a place where you sold books." Achebe was chosen to be General Editor of the African Writers Series, which became a significant force in bringing postcolonial literature from Africa to the rest of the world, and he continued in that role until 1972.  As these works became more widely available, reviews and essays about African literature - especially from Europe - began to flourish. Bristling against the commentary flooding his home country, Achebe published an essay entitled "Where Angels Fear to Tread" in the December 1962 issue of Nigeria Magazine. In it, he distinguished between the hostile critic (entirely negative), the amazed critic (entirely positive), and the conscious critic (who seeks a balance). He lashed out at those who critiqued African writers from the outside, saying: "no man can understand another whose language he does not speak (and 'language' here does not mean simply words, but a man's entire world view)." In September 1964 he attended the Commonwealth Literature conference at the University of Leeds, presenting his essay "The Novelist as Teacher".

Answer this question "How did he feel about the subject?"
output:
Writing about the conference in several journals, Achebe hailed it as a milestone for the literature of Africa,