Answer the question at the end by quoting:

Tu Youyou (Chinese: Tu You You ; pinyin: Tu Youyou; born 30 December 1930) is a Chinese pharmaceutical chemist and educator. She is best known for discovering artemisinin (also known as qinghaosu) and dihydroartemisinin, used to treat malaria, which has saved millions of lives.
Tu Youyou carried on her work in the 1960s and 70s during China's Cultural Revolution, when scientists were denigrated as one of the nine black categories in society according to Maoist theory (or possibly that of the Gang of Four).  In 1967, during the Vietnam War, Ho Chi Minh, the leader of North Vietnam, which was at war against South Vietnam and the United States, asked Chinese Premier Zhou Enlai for help in developing a malaria treatment for his soldiers trooping down the Ho Chi Minh trail, where a majority came down with a form of malaria which is resistant to chloroquine. Because malaria was also a major cause of death in China's southern provinces including Hainan, Yunnan, Guangxi, and Guangdong, Zhou Enlai convinced Mao Zedong to set up a secret drug discovery project, named Project 523 after its starting date, 23 May 1967. Upon joining the project unit, Tu was initially sent to Hainan where she studied patients who had been infected with the disease. During the time she spent there, her husband was banished to the countryside, meaning that her daughter had to be entrusted to a nursery in Beijing.  Scientists worldwide had screened over 240,000 compounds without success. In 1969, Tu Youyou, then 39 years old, had an idea of screening Chinese herbs. She first investigated the Chinese medical classics in history, visiting practitioners of traditional Chinese medicine all over the country on her own. She gathered her findings in a notebook called A Collection of Single Practical Prescriptions for Anti-Malaria. Her notebook summarized 640 prescriptions. Her team also screened over 2,000 traditional Chinese recipes and made 380 herbal extracts, which were tested on mice.  One compound was effective, sweet wormwood (Artemisia annua), which was used for "intermittent fevers," a hallmark of malaria. As Tu also presented at the project seminar, its preparation was described in a 1,600-year-old text, in a recipe titled, "Emergency Prescriptions Kept Up One's Sleeve". At first, it didn't work, because they extracted it with traditional boiling water. Tu Youyou discovered that a low-temperature extraction process could be used to isolate an effective antimalarial substance from the plant; Tu says she was influenced by a traditional Chinese herbal medicine source, The Handbook of Prescriptions for Emergency Treatments, written in 340 by Ge Hong, which states that this herb should be steeped in cold water. This book contained the useful reference to the herb: "A handful of qinghao immersed with two litres of water, wring out the juice and drink it all." After rereading the recipe, Tu realised the hot water had already damaged the active ingredient in the plant; therefore she proposed a method using low-temperature ether to extract the effective compound instead. The animal tests showed it was completely effective in mice and monkeys.  Furthermore, Tu volunteered to be the first human subject. "As head of this research group, I had the responsibility" she said. It was safe, so she conducted successful clinical trials with human patients. Her work was published anonymously in 1977. In 1981, she presented the findings relating to artemisinin at a meeting with the World Health Organization.

What other herb did she find medicinal?

Her notebook summarized 640 prescriptions. Her team also screened over 2,000 traditional Chinese recipes and made 380 herbal extracts, which were tested on mice.



Answer the question at the end by quoting:

Sir Pelham Grenville Wodehouse  (; 15 October 1881 - 14 February 1975) was an English author and one of the most widely read humorists of the 20th century. Born in Guildford, the son of a British magistrate based in Hong Kong, Wodehouse spent happy teenage years at Dulwich College, to which he remained devoted all his life. After leaving school, he was employed by a bank but disliked the work and turned to writing in his spare time.
A third milestone in Wodehouse's life came towards the end of 1915: his old songwriting partner Jerome Kern introduced him to the writer Guy Bolton, who became Wodehouse's closest friend and a regular collaborator. Bolton and Kern had a musical, Very Good Eddie, running at the Princess Theatre in New York. The show was successful, but they thought the song lyrics weak and invited Wodehouse to join them on its successor. This was Miss Springtime (1916), which ran for 227 performances--a good run by the standards of the day. The team produced several more successes, including Leave It to Jane (1917), Oh, Boy! (1917-18) and Oh, Lady! Lady!! (1918), and Wodehouse and Bolton wrote a few more shows with other composers. In these musicals Wodehouse's lyrics won high praise from critics as well as fellow lyricists such as Ira Gershwin.  Unlike his original model, Gilbert, Wodehouse preferred the music to be written first, fitting his words into the melodies. Donaldson suggests that this is the reason why his lyrics have largely been overlooked in recent years: they fit the music perfectly, but do not stand on their own in verse form as Gilbert's do. Nonetheless, Donaldson adds, the book and lyrics for the Princess Theatre shows made the collaborators an enormous fortune and played an important part in the development of the American musical. In the Grove Dictionary of American Music Larry Stempel writes, "By presenting naturalistic stories and characters and attempting to integrate the songs and lyrics into the action of the libretto, these works brought a new level of intimacy, cohesion, and sophistication to American musical comedy." The theatre writer Gerald Bordman calls Wodehouse "the most observant, literate, and witty lyricist of his day". The composer Richard Rodgers wrote, "Before Larry Hart, only P.G. Wodehouse had made any real assault on the intelligence of the song-listening public."  In the years after the war, Wodehouse steadily increased his sales, polished his existing characters and introduced new ones. Bertie and Jeeves, Lord Emsworth and his circle, and Ukridge appeared in novels and short stories; Psmith made his fourth and last appearance; two new characters were the Oldest Member, narrating his series of golfing stories, and Mr Mulliner, telling his particularly tall tales to fellow patrons of the bar at the Angler's Rest. Various other young men-about-town appeared in short stories about members of the Drones Club.  The Wodehouses returned to England, where they had a house in London for some years, but Wodehouse continued to cross the Atlantic frequently, spending substantial periods in New York. He continued to work in the theatre. During the 1920s he collaborated on nine musical comedies produced on Broadway or in the West End, including the long-running Sally (1920, New York), The Cabaret Girl (1922, London) and Rosalie (1928, New York). He also wrote non-musical plays, including The Play's the Thing (1926), adapted from Ferenc Molnar, and A Damsel in Distress (1928), a dramatisation of his 1919 novel.  Though never a naturally gregarious man, Wodehouse was more sociable in the 1920s than at other periods. Donaldson lists among those with whom he was on friendly terms writers including A.A. Milne, Ian Hay, Frederick Lonsdale and E. Phillips Oppenheim, and stage performers including George Grossmith, Jr., Heather Thatcher and Dorothy Dickson.

did he collaborate with anyone else?
During the 1920s he collaborated on nine musical comedies produced on Broadway or in the West End,