input: In February 1860, he went to England for the New York Illustrated News to depict one of the major sporting events of the era, the prize fight between the American John C. Heenan and the English Thomas Sayers sponsored by George Wilkes, publisher of Wilkes' Spirit of the Times. A few months later, as artist for The Illustrated London News, he joined Garibaldi in Italy. Nast's cartoons and articles about the Garibaldi military campaign to unify Italy captured the popular imagination in the U.S. In February 1861, he arrived back in New York. In September of that year, he married Sarah Edwards, whom he had met two years earlier.  He left the New York Illustrated News to work again, briefly, for Frank Leslie's Illustrated News. In 1862, he became a staff illustrator for Harper's Weekly. In his first years with Harper's, Nast became known especially for compositions that appealed to the sentiment of the viewer. An example is "Christmas Eve" (1862), in which a wreath frames a scene of a soldier's praying wife and sleeping children at home; a second wreath frames the soldier seated by a campfire, gazing longingly at small pictures of his loved ones. One of his most celebrated cartoons was "Compromise with the South" (1864), directed against those in the North who opposed the prosecution of the American Civil War. He was known for drawing battlefields in border and southern states. These attracted great attention, and Nast was called by President Abraham Lincoln "our best recruiting sergeant".  After the war, Nast strongly opposed the Reconstruction policy of President Andrew Johnson, whom he depicted in a series of trenchant cartoons that marked "Nast's great beginning in the field of caricature".

Answer this question "What sporting event was he depicting?"
output: the prize fight between the American John C. Heenan and the English Thomas Sayers sponsored

input: Takemitsu frequently expressed his indebtedness to Claude Debussy, referring to the French composer as his "great mentor". As Arnold Whittall puts it:  Given the enthusiasm for the exotic and the Orient in these [Debussy and Messiaen] and other French composers, it is understandable that Takemitsu should have been attracted to the expressive and formal qualities of music in which flexibility of rhythm and richness of harmony count for so much.  For Takemitsu, Debussy's "greatest contribution was his unique orchestration which emphasizes colour, light and shadow ... the orchestration of Debussy has many musical focuses." He was fully aware of Debussy's own interest in Japanese art, (the cover of the first edition of La mer, for example, was famously adorned by Hokusai's The Great Wave off Kanagawa). For Takemitsu, this interest in Japanese culture, combined with his unique personality, and perhaps most importantly, his lineage as a composer of the French musical tradition running from Rameau and Lully through Berlioz in which colour is given special attention, gave Debussy his unique style and sense of orchestration.  During the composition of Green (November Steps II, for orchestra, 1967: "steeped in the sound-color world of the orchestral music of Claude Debussy") Takemitsu said he had taken the scores of Debussy's Prelude a l'Apres-midi d'un Faune and Jeux to the mountain villa where both this work and November Steps I were composed. For Oliver Knussen, "the final appearance of the main theme irresistibly prompts the thought that Takemitsu may, quite unconsciously, have been attempting a latter-day Japanese Apres-midi d'un Faune". Details of orchestration in Green, such as the prominent use of antique cymbals, and tremolandi harmonies in the strings, clearly point to the influence of Takemitsu's compositional mentor, and of these works in particular.  In Quotation of Dream (1991), direct quotations from Debussy's La Mer and Takemitsu's earlier works relating to the sea are incorporated into the musical flow ("stylistic jolts were not intended"), depicting the landscape outside the Japanese garden of his own music.

Answer this question "How did Debussy influence Takemitsu?"
output: Debussy's "greatest contribution was his unique orchestration which emphasizes colour, light and shadow

input: In 1980, Nicklaus recorded only four top-10 finishes in 14 events, but two of these were record-setting victories in majors (the U.S. Open and the PGA Championship); the other two were a tie for fourth in The Open Championship and a runner-up finish in the Doral-Eastern Open to Raymond Floyd via his chip-in birdie on the second hole of a sudden-death playoff. These victories and placements more than justified the work Nicklaus put in toward his game during the off-season.  Nicklaus set a new scoring record for the 1980 U.S. Open with an aggregate of 272, eclipsing his earlier record of 275 from 1967 over the same golf course. That record, while since having been tied by three other players, stood until Rory McIlroy's 268 in winning the 2011 US Open. This was Nicklaus's second major win at Baltusrol Golf Club. Nicklaus opened with a record-tying 63 in round one and fought off his playing partner of all four rounds, 1978 Colgate World Match Play Championship winner, Isao Aoki. Entering the final round, Aoki had caught Nicklaus after three consecutive rounds of 68, but over the course of the last day, Nicklaus pulled away by two shots. Each player birdied the final two holes for a dramatic finish. Aoki's aggregate of 274 was the lowest score for a U.S. Open runner-up. Nicklaus' win was his fourth and final victory in the championship, tying him with Willie Anderson, Bobby Jones, and Ben Hogan. Nicklaus referred to this win as "by far the most emotional and warmest reaction to any of my wins in my own country".  In the 1980 PGA Championship, Nicklaus set another record in winning the championship by seven shots over Andy Bean at the Oak Hill Country Club, largely due to exceptional putting. Nicklaus shot an even-par 70 in the first round followed by three successive rounds in the 60s over the difficult course, and was the only player to break par for the 72 holes. For the week, the field averaged 74.60 strokes while Nicklaus averaged 68.50. This was Nicklaus' fifth and final victory in the PGA Championship, which elevated him to record-holder for the most wins in the stroke-play era, and which tied him with Walter Hagen for the most wins overall, since Hagen's victories were all during the match-play era. Nicklaus' seven-shot winning margin remained the largest for the stroke-play version of the championship until Rory's McIroy's 2012 victory. This victory also made Nicklaus the only player since Gene Sarazen in 1922 and Ben Hogan in 1948 to win the U.S. Open and PGA Championship the same year (subsequently equaled by Tiger Woods in 2000).

Answer this question "Who did he play against?"
output:
finish in the Doral-Eastern Open to Raymond Floyd via his chip-in birdie on the second hole of a sudden-death playoff.