Question: Sergio Santos Mendes (Portuguese pronunciation: ['seRZju 'satuZ 'medZiS]; born February 11, 1941) is a Brazilian musician. He has over 55 releases, and plays bossa nova heavily crossed with jazz and funk. He was nominated for an Academy Award for Best Original Song in 2012 as co-writer of the song "Real in Rio" from the animated film Rio. Mendes is married to Gracinha Leporace, who has performed with him since the early 1970s.

Mendes' career in the U.S. stalled in the mid-1970s, but he remained very popular in South America and Japan. His two albums with Bell Records in 1973 and 1974 followed by several for Elektra from 1975 on, found Mendes continuing to mine the best in American pop music and post-Bossa writers of his native Brazil, while forging new directions in soul with collaborators like Stevie Wonder, who wrote Mendes' R&B-inflected minor hit, "The Real Thing."  In 1983, he rejoined Alpert's A&M records and enjoyed huge success with a self-titled album and several follow-up albums, all of which received considerable adult contemporary airplay with charting singles. "Never Gonna Let You Go", featuring vocals by Joe Pizzulo and Leza Miller, equalled the success of his 1968 single "The Look of Love" by reaching No. 4 on the Billboard Hot 100 chart; it also spent four weeks atop the Billboard adult contemporary chart. In 1984 he recorded the Confetti album, which had the hit songs "Olympia", which was also used as a theme song for the Olympic games that year and "Alibis". The '80s also found Mendes working with singer Lani Hall again on the song "No Place to Hide" from the Brasil '86 album, and as producer of her vocals on the title song for the James Bond film Never Say Never Again.  By the time Mendes released his Grammy-winning Elektra album Brasileiro in 1992, he was the undisputed master of pop-inflected Brazilian jazz. The late-1990s lounge music revival brought retrospection and respect to Mendes' oeuvre, particularly the classic Brasil '66 albums.

Using a quote from the above article, answer the following question: Are there any other interesting aspects about this article?
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Answer: In 1984 he recorded the Confetti album, which had the hit songs "Olympia", which was also used as a theme song for the Olympic games that year and "Alibis".


Question: Wilhelm was one of eleven children born to poor tenant farmers John and Ethel (nee Stanley) Wilhelm in Huntersville, North Carolina. He played baseball at Cornelius High School in Cornelius, North Carolina. There, he began experimenting with a knuckleball after reading about pitcher Dutch Leonard.

After his retirement as a player, Wilhelm managed two minor league teams in the Atlanta Braves system for single seasons. He led the 1973 Greenwood Braves of the Western Carolinas League to a 61-66 record, then had a 33-33 record with the 1975 Kingsport Braves of the Appalachian League. He also worked as a minor league pitching coach for the New York Yankees for 22 years. As a coach, Wilhelm said that he did not teach pitchers the knuckleball, believing that people had to be born with a knack for throwing it. He sometimes worked individually with major league players who wanted to improve their knuckleballs, including Joe Niekro. The Yankees gave Wilhelm permission to work with Mickey Lolich in 1979 even though Lolich pitched for the San Diego Padres.  Wilhelm was on the ballot for the Baseball Hall of Fame for eight years before he was elected. After Wilhelm failed to garner enough votes for induction in 1983, sportswriter Jim Murray criticized the voters, saying that while Wilhelm never had the look of a baseball player, he was "the best player in history at what he does." He fell short by 13 votes in 1984. Wilhelm was inducted into the Baseball Hall of Fame in 1985. At his induction ceremony, he said that he had achieved all three of his initial major league goals: appearing in a World Series, being named to an All-Star team, and throwing a no-hitter.  He and his wife Peggy lived in Sarasota, Florida. They raised three children together: Patti, Pam, and Jim. Wilhelm died of heart failure in a Sarasota nursing home in 2002.

Using a quote from the above article, answer the following question: Why did they have to give him permission?
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Answer: 


Question: Timmons was born in Philadelphia, Pennsylvania, the son of a minister. He had a sister, Eleanor. Both of his parents, and several aunts and uncles, played the piano. From an early age Timmons studied music with an uncle, Robert Habershaw, who also taught McCoy Tyner.

Timmons moved to New York in 1954. He played with Kenny Dorham in 1956, making his recording debut with the trumpeter in a live set in May of that year. He went on to play and record with Chet Baker in 1956-57 (bassist Scott LaFaro was part of this band for a time), Sonny Stitt in 1957, and Maynard Ferguson in 1957-58. He also recorded as a sideman with hornmen Curtis Fuller, Hank Mobley, and Lee Morgan, all for Blue Note Records in 1957.  Timmons became best known as a member of Art Blakey's band the Jazz Messengers, which he was first part of from July 1958 to September 1959, including for a tour of Europe. He was recruited for the Messengers by saxophonist Benny Golson, who said that "He was inventive, [...] He could play bebop and he could play funky - he could play a lot of things, and I thought it was the element that Art needed. He hadn't had anybody quite like Bobby, who could go here or go there, rather than walking in a single corridor." By late 1958 Timmons was sharing bandmate Morgan's East Sixth Street apartment and the pair had bought a piano, allowing Timmons to practice and Morgan to work on composing. From around the time he joined Blakey, Timmons, along with some of his fellow band members, was a heroin user. After leaving Blakey, Timmons joined Cannonball Adderley's band, in October 1959.  Timmons was also known as a composer during this period: The Encyclopedia of Jazz states that his compositions "Moanin'" (from the 1958 album of the same title), "This Here", and "Dat Dere" "helped generate the gospel-tinged 'soul jazz' style of [the] late '50s and early '60s." The first was written when Timmons was first with Blakey; the others were composed when he was with Adderley. "This Here" (sometimes "Dis Here") was a surprise commercial success for Adderley: recorded in concert in 1959, it was released as part of The Cannonball Adderley Quintet in San Francisco album while the band was still on tour, and they discovered its popularity only when they arrived back in New York and found crowds outside the Village Gate, where they were due to play.  Timmons was reported to be dissatisfied with the money he had received from "This Here", and was enticed in February 1960 into leaving Adderley and returning to Blakey's band by the offer of more pay. Timmons then appeared on further well-known albums with the drummer, including A Night in Tunisia, The Freedom Rider and The Witch Doctor. His own recording debut as sole leader was This Here Is Bobby Timmons in 1960, which contained his first versions of his best-known compositions. In the same year, he played on recordings led by Nat Adderley, Arnett Cobb, and Johnny Griffin, among others; on the first of these, Work Song, Timmons did not appear on all of the tracks, because he had been drinking heavily.

Using a quote from the above article, answer the following question: What did he do after that
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Answer:
Timmons became best known as a member of Art Blakey's band the Jazz Messengers, which he was first part of from July 1958