input: In 1990, LeMond founded LeMond Bicycles to develop machines for himself that would also be marketed and sold to the public. The following year, searching for an equipment edge for Team Z at the 1991 Tour de France, LeMond concluded an exclusive licensing agreement between his company and Carbonframes, Inc., to access the latter's advanced composites technology. While LeMond briefly led the 1991 Tour overall, riding his Carbonframes-produced "Greg LeMond" bicycle, the company eventually faltered, something LeMond blamed on "under-capitalization" and poor management by his father. Carbonframes and LeMond Cycles "parted amiably two years later." In 1995, with his company allegedly nearly bankrupt, LeMond reached a licensing-agreement with Trek Bicycle Corporation, according to which the Wisconsin-based company would manufacture and distribute bicycles designed with LeMond that would be sold under the "LeMond Bicycles" brand. LeMond would later claim that going into business with Trek "destroyed" his relationship with his father. The lucrative partnership, which generated revenue for Trek in excess of $100,000,000 USD, would be renewed several times over the course of 13 years, but it ultimately ended in acrimony after LeMond's relationship with Trek deteriorated over his staunch anti-doping advocacy.  The two parties first found themselves at odds in July 2001, after LeMond expressed public concern over the relationship between Italian doping doctor Michele Ferrari and Trek's star athlete, Lance Armstrong. "When I heard he was working with Michele Ferrari, I was devastated," LeMond was quoted as saying of Armstrong. "If Lance is clean, it is the greatest comeback in the history of sports. If he isn't, it would be the greatest fraud."  Trek's president John Burke pressured LeMond to apologize, claiming, "Greg's public comments hurt the LeMond brand and the Trek brand." Burke allegedly justified his demand for an apology by advising that, "As a contractual partner, he [LeMond] could criticize doping only generally - not point his finger at specific athletes, particularly one that happens to be the company's main cash cow."  In April 2008, Trek announced that it was dropping LeMond Bicycles from its product line and would sue to sever the licensing agreement. It quickly emerged that in March 2008, LeMond had filed a complaint against Trek for breach of contract, claiming that they had not made a "best efforts" attempt to sell his bicycles, as well as describing attempts to 'silence' him about doping, including incidents in 2001 and 2004. His complaint included statistics detailing slow sales in some markets, including the fact that between September 2001 and June 2007, Trek only sold $10,393 worth of LeMond bikes in France, a country in which LeMond was both famous and popular.  As promised, Trek counter-sued and stopped producing bicycles under the LeMond brand. After nearly two years of litigation, in February 2010, LeMond reached an out-of-court settlement with Trek in their breach-of-contract dispute, the terms of which were confidential. The settlement permitted the case to be dismissed with prejudice, meaning, "neither side can produce the same claims against one another in a future lawsuit." And although settlement terms were not disclosed, LeMond reportedly obtained full control over the LeMond Bicycles name, while Trek made a donation of $200,000 USD to the charity 1in6, of which LeMond was a founding member of the board of directors.

Answer this question "Are there any other interesting aspects about this article?"
output: LeMond would later claim that going into business with Trek "destroyed" his relationship with his father.

input: Monroe's fortunes began to improve during the "folk revival" of the early 1960s. Many college students and other young people were beginning to discover Monroe, associating his style more with traditional folk music than with the country-and-western genre with which it had previously been identified.  The word "bluegrass" first appeared around this time to describe the sound of Monroe and similar artists such as Flatt and Scruggs, the Stanley Brothers, Reno and Smiley, Jim and Jesse, and the Osborne Brothers. While Flatt and Scruggs immediately recognized the potential for a lucrative new audience in cities and on college campuses in the North, Monroe was slower to respond. Under the influence of Ralph Rinzler, a young musician and folklorist from New Jersey who briefly became Monroe's manager in 1963, Monroe gradually expanded his geographic reach beyond the traditional southern country music circuit.  Rinzler was also responsible for a lengthy profile and interview in the influential folk music magazine Sing Out! that first publicly referred to Monroe as the "father" of bluegrass. Accordingly, at the first bluegrass festival organized by Carlton Haney at Roanoke, Virginia in 1965, Bill Monroe was the central figure.  The growing national popularity of Monroe's music during the 1960s was also apparent in the increasingly diverse background of musicians recruited into his band. Non-southerners who served as Blue Grass Boys during this period included banjo player Bill Keith and singer/guitarist Peter Rowan from Massachusetts, fiddler Gene Lowinger from New York, banjo player Lamar Grier from Maryland, banjo player Steve Arkin from New York, and singer/guitarist Roland White and fiddler Richard Greene from California.

Answer this question "What was folk revival?"
output: The word "bluegrass" first appeared around this time to describe the sound of Monroe and similar artists

input: In May 1965, Dylan returned from his tour of England feeling exhausted and dissatisfied with his material. He told journalist Nat Hentoff: "I was going to quit singing. I was very drained." The singer added, "It's very tiring having other people tell you how much they dig you if you yourself don't dig you."  As a consequence of his dissatisfaction, Dylan wrote 20 pages of verse he later described as a "long piece of vomit". He reduced this to a song with four verses and a chorus--"Like a Rolling Stone". He told Hentoff that writing and recording the song washed away his dissatisfaction, and restored his enthusiasm for creating music. Describing the experience to Robert Hilburn in 2004, nearly 40 years later, Dylan said: "It's like a ghost is writing a song like that ... You don't know what it means except the ghost picked me to write the song."  Highway 61 Revisited was recorded in two blocks of recording sessions that took place in Studio A of Columbia Records, located in Midtown Manhattan. The first block, June 15 and June 16, was produced by Tom Wilson and resulted in the single "Like a Rolling Stone". On July 25, Dylan performed his controversial electric set at the Newport Folk Festival, where some of the crowd booed his performance. Four days after Newport, Dylan returned to the recording studio. From July 29 to August 4, he and his band completed recording Highway 61 Revisited, but under the supervision of a new producer, Bob Johnston.

Answer this question "What is some background on Highway 61?"
output:
Highway 61 Revisited was recorded in two blocks of recording sessions that took place in Studio A of Columbia Records, located in Midtown Manhattan.