Problem: Background: Toru Takemitsu (Wu Man  Che , Takemitsu Toru, October 8, 1930 - February 20, 1996) pronounced [takemitsW to:rW] was a Japanese composer and writer on aesthetics and music theory. Largely self-taught, Takemitsu possessed consummate skill in the subtle manipulation of instrumental and orchestral timbre. He is famed for combining elements of oriental and occidental philosophy to create a sound uniquely his own, and for fusing opposites together such as sound with silence and tradition with innovation. He composed several hundred independent works of music, scored more than ninety films and published twenty books.
Context: In 1948, Takemitsu conceived the idea of electronic music technology, or in his own words, to "bring noise into tempered musical tones inside a busy small tube." During the 1950s, Takemitsu had learned that in 1948 "a French [engineer] Pierre Schaeffer invented the method(s) of musique concrete based on the same idea as mine. I was pleased with this coincidence."  In 1951, Takemitsu was a founding member of the anti-academic Jikken Kobo (Shi Yan Gong Fang , "experimental workshop"): an artistic group established for multidisciplinary collaboration on mixed-media projects, who sought to avoid Japanese artistic tradition. The performances and works undertaken by the group introduced several contemporary Western composers to Japanese audiences. During this period he wrote Saegirarenai Kyusoku I ("Uninterrupted Rest I", 1952: a piano work, without a regular rhythmic pulse or barlines); and by 1955 Takemitsu had begun to use electronic tape-recording techniques in such works as Relief Statique (1955) and Vocalism A*I (1956). Takemitsu also studied in the early 1950s with the composer Fumio Hayasaka, perhaps best known for the scores he wrote for films by Kenji Mizoguchi and Akira Kurosawa, the latter of whom Takemitsu would collaborate with decades later.  In the late 1950s chance brought Takemitsu international attention: his Requiem for string orchestra (1957  listen ), written as an homage to Hayasaka, was heard by Igor Stravinsky in 1958 during his visit to Japan. (The NHK had organised opportunities for Stravinsky to listen to some of the latest Japanese music; when Takemitsu's work was put on by mistake, Stravinsky insisted on hearing it to the end.) At a press conference later, Stravinsky expressed his admiration for the work, praising its "sincerity" and "passionate" writing. Stravinsky subsequently invited Takemitsu to lunch; and for Takemitsu this was an "unforgettable" experience. After Stravinsky returned to the U.S., Takemitsu soon received a commission for a new work from the Koussevitsky Foundation which, he assumed, had come as a suggestion from Stravinsky to Aaron Copland. For this he composed Dorian Horizon, (1966), which was premiered by the San Francisco Symphony Orchestra, conducted by Copland.
Question: was he working on his own or did he get help from others?
Answer: Takemitsu also studied in the early 1950s with the composer Fumio Hayasaka, perhaps best known for the scores he wrote for films

Problem: Background: William Roy "Link" Lyman (November 30, 1898 - December 28, 1972), also sometimes known as Roy Lyman, was an American football player and coach. Lyman was born in Nebraska and raised in Kansas. He played college football for the Nebraska Cornhuskers football team in 1918, 1919, and 1921. He played professional football as a tackle in the National Football League (NFL) for the Canton/Cleveland Bulldogs (1922-1925), the Frankford Yellow Jackets (1925), and the Chicago Bears (1926-1928, 1930-1932, and 1933-1934).
Context: In September 1922, Lyman left Lincoln, Nebraska, to play professional football for the Canton Bulldogs. The Bulldogs were coached by Guy Chamberlin, an All-American out of Nebraska, who invited Lyman to join the team. With Lyman and Pete Henry as its star tackles, the 1922 Canton Bulldogs compiled a 10-0-2 record, shut out nine of twelve opponents, outscored all opponents 184 to 15, and won the NFL championship.  Lyman returned to the Bulldogs the following year. The 1923 team had another undefeated season (11-0-1), shut out eight of twelve opponents, outscored all opponents by a combined total of 246 to 19, and won its second consecutive NFL championship. After the season, Lyman was selected as a first-team All-Pro player by the Canton Daily News and a second-team All-Pro by Collyer's Eye magazine.  In August 1924, Cleveland jeweler Samuel Deutsch bought the Canton Bulldogs and moved the team to Cleveland where they became the Cleveland Bulldogs during the 1924 NFL season. The Bulldogs compiled a 7-1-1 record, outscored opponents by a total of 229 to 60, and won their third consecutive NFL championship. After the 1924 season, Lyman was selected as a first-team All-Pro by Collyer's Eye and a second-team All-Pro by the Green Bay Press-Gazette.  In July 1925, Lyman and four of his teammates (Pete Henry, Rudy Comstock, Ben Jones, and Harry Robb) bought the team for $3,500 and moved it back to Canton. Lyman played seven games for the 1925 Bulldogs and then finished the season playing four games for the Frankford Yellow Jackets. Lyman was reunited with Guy Chamberlain who was then Frankford's head coach. After the 1925 season, Lyman was selected as a first-team All-Pro on the team selected by NFL Commissioner Joseph Carr; he was also selected as a second-team All-Pro by Collyer's Eye.
Question: When did Lyman start with the Cleveland Bulldogs?
Answer:
In September 1922, Lyman left Lincoln, Nebraska, to play professional football for the Canton Bulldogs.