Question: Geraldine Anne "Gerry" Ferraro (August 26, 1935 - March 26, 2011) was an American attorney, a Democratic Party politician, and a member of the United States House of Representatives. In 1984, she was the first female vice presidential candidate representing a major American political party. Ferraro grew up in New York City and worked as a public school teacher before training as a lawyer. She joined the Queens County District Attorney's Office in 1974, heading the new Special Victims Bureau that dealt with sex crimes, child abuse, and domestic violence.

In February 1996, Ferraro joined the high-visibility CNN political talk show Crossfire, as the co-host representing the "from the left" vantage. She kept her brassy, rapid-fire speech and New York accent intact, and her trial experience from her prosecutor days was a good fit for the program's format. She sparred effectively with "from the right" co-host Pat Buchanan, for whom she developed a personal liking. The show stayed strong in ratings for CNN, and the job was lucrative. She welcomed how the role "keeps me visible [and] keeps me extremely well informed on the issues."  At the start of 1998, Ferraro left Crossfire and ran for the Democratic nomination again in the 1998 United States Senate election in New York. The other candidates were Congressman Charles Schumer and New York City Public Advocate Mark J. Green. She had done no fundraising, out of fear of conflict of interest with her Crossfire job, but was nonetheless immediately perceived as the front-runner. Indeed, December and January polls had her 25 percentage points ahead of Green in the race and even further ahead of Schumer. Unlike the previous campaigns, her family finances never became an issue. However, she lost ground during the summer, with Schumer catching up in the polls by early August and then soon passing her. Schumer, a tireless fundraiser, outspent her by a five-to-one margin, and Ferraro failed to establish a political image current with the times. In the September 15, 1998 primary, she was beaten soundly by Schumer by a 51 percent to 26 percent margin. Unlike 1992, the contest was not divisive, and Ferraro and third-place finisher Green endorsed Schumer at a unity breakfast the following day. Schumer would go on to decisively unseat D'Amato in the general election.  The 1998 primary defeat brought an end to Ferraro's political career. The New York Times wrote at the time: "If Ms. Ferraro's rise was meteoric, her political career's denouement was protracted, often agonizing and, at first glance, baffling." She still retained admirers, though. Anita Perez Ferguson, president of the National Women's Political Caucus, noted that female New York political figures in the past had been reluctant to enter the state's notoriously fierce primary races, and said: "This woman has probably been more of an opinion maker than most people sitting for six terms straight in the House of Representatives or Senate. Her attempts, and even her losses, have accomplished far beyond what others have accomplished by winning."

Using a quote from the above article, answer the following question: What was notable about her political career?
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Answer: her political career's denouement was protracted, often agonizing and, at first glance, baffling.


Question: Monroe was born on his family's farm near Rosine, Kentucky, the youngest of eight children of James Buchanan "Buck" and Malissa (Vandiver) Monroe. His mother and her brother, Pendleton "Pen" Vandiver, were both musically talented, and Monroe and his family grew up playing and singing at home. Bill was of Scottish heritage. Because his older brothers Birch and Charlie already played the fiddle and guitar, Bill Monroe was resigned to playing the less desirable mandolin.

In 1929, Monroe moved to Indiana to work at an oil refinery with his brothers Birch and Charlie, and childhood friend and guitarist William "Old Hickory" Hardin. Together with a friend Larry Moore, they formed the "Monroe Brothers", to play at local dances and house parties.  Birch Monroe and Larry Moore soon left the group, and Bill and Charlie carried on as a duo, eventually winning spots performing live on radio stations-- first in Indiana and then, sponsored by Texas Crystals, on several radio broadcasts in Iowa, Nebraska, South Carolina and North Carolina from 1934 to 1936. RCA Victor signed the Monroe Brothers to a recording contract in 1936. They scored an immediate hit single with the gospel song "What Would You Give in Exchange For Your Soul?" and ultimately recorded 60 tracks for Victor's Bluebird label between 1936 and 1938.  After the Monroe Brothers disbanded in 1938, Bill Monroe formed The Kentuckians in Little Rock, Arkansas, but the group only lasted for three months. Monroe then left Little Rock for Atlanta, Georgia, to form the first edition of the Blue Grass Boys with singer/guitarist Cleo Davis, fiddler Art Wooten, and bassist Amos Garren. Bill had wanted "Old Hickory" to become one of the original members of his "Blue Grass Boys", however William Hardin had to decline.  In October 1939, Monroe successfully auditioned for a regular spot on the Grand Ole Opry, impressing Opry founder George D. Hay with his energetic performance of Jimmie Rodgers's "Mule Skinner Blues". Monroe recorded that song, along with seven others, at his first solo recording session for RCA Victor in 1940; by this time, the Blue Grass Boys consisted of singer/guitarist Clyde Moody, fiddler Tommy Magness, and bassist Bill Wesbrooks.  While the fast tempos and instrumental virtuosity characteristic of bluegrass music are apparent even on these early tracks, Monroe was still experimenting with the sound of his group. He seldom sang lead vocals on his Victor recordings, often preferring to contribute high tenor harmonies as he had in the Monroe Brothers. A 1945 session for Columbia Records featured an accordion, soon dropped from the band. Most importantly, while Monroe added banjo player David "'Stringbean" Akeman to the Blue Grass Boys in 1942, Akeman played the instrument in a relatively primitive style and was rarely featured in instrumental solos. Monroe's pre-1946 recordings represent a transitional style between the string-band tradition from which he came and the musical innovation to follow.

Using a quote from the above article, answer the following question: Where did he first perform?
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Answer:
local dances and house parties.