Problem: Background: John Bordley Rawls (; February 21, 1921 - November 24, 2002) was an American moral and political philosopher in the liberal tradition. He held the James Bryant Conant University Professorship at Harvard University and the Fulbright Fellowship at the University of Oxford. Rawls received both the Schock Prize for Logic and Philosophy and the National Humanities Medal in 1999, the latter presented by President Bill Clinton, in recognition of how Rawls's work "helped a whole generation of learned Americans revive their faith in democracy itself." In his 1990 introduction to the field, Will Kymlicka wrote that "it is generally accepted that the recent rebirth of normative political philosophy began with the publication of John Rawls's A Theory of Justice in 1971."
Context: Rawls derives two principles of justice from the original position. The first of these is the Liberty Principle, which establishes equal basic liberties for all citizens. 'Basic' liberty entails the (familiar in the liberal tradition) freedoms of conscience, association and expression as well as democratic rights; Rawls also includes a personal property right, but this is defended in terms of moral capacities and self-respect, rather than an appeal to a natural right of self-ownership (this distinguishes Rawls's account from the classical liberalism of John Locke and the libertarianism of Robert Nozick).  Rawls argues that a second principle of equality would be agreed upon to guarantee liberties that represent meaningful options for all in society and ensure distributive justice. For example, formal guarantees of political voice and freedom of assembly are of little real worth to the desperately poor and marginalized in society. Demanding that everyone have exactly the same effective opportunities in life would almost certainly offend the very liberties that are supposedly being equalized. Nonetheless, we would want to ensure at least the "fair worth" of our liberties: wherever one ends up in society, one wants life to be worth living, with enough effective freedom to pursue personal goals. Thus participants would be moved to affirm a two-part second principle comprising Fair Equality of Opportunity and the famous (and controversial) difference principle. This second principle ensures that those with comparable talents and motivation face roughly similar life chances and that inequalities in society work to the benefit of the least advantaged.  Rawls held that these principles of justice apply to the "basic structure" of fundamental social institutions (such as the judiciary, the economic structure and the political constitution), a qualification that has been the source of some controversy and constructive debate (see the work of Gerald Cohen).  Rawls further argued that these principles were to be 'lexically ordered' to award priority to basic liberties over the more equality-oriented demands of the second principle. This has also been a topic of much debate among moral and political philosophers.  Finally, Rawls took his approach as applying in the first instance to what he called a "well-ordered society ... designed to advance the good of its members and effectively regulated by a public conception of justice". In this respect, he understood justice as fairness as a contribution to "ideal theory", the determination of "principles that characterize a well-ordered society under favorable circumstances". Much recent work in political philosophy has asked what justice as fairness might dictate (or indeed, whether it is very useful at all) for problems of "partial compliance" under "nonideal theory".
Question: What else did Rawls do?
Answer: 

IN: Jack Benny - played himself. Protagonist of the show, Benny is a comic, vain, penny-pinching miser, insisting on remaining 39 years old on stage despite his actual age, and often playing the violin badly. Eddie Anderson - Rochester Van Jones, Jack's valet and chauffeur. Early in the show's run, he often talked of gambling or going out with women.

The radio series was one of the most extensively preserved programs of its era, with the archive almost complete from 1936 onward and several episodes existing from before that (including the 1932 premiere). As with the radio shows, most of the television series has lapsed into the public domain, although several episodes (particularly those made from 1961 onward, including the entire NBC-TV run) remain under copyright. During his lone NBC season, CBS aired repeats on weekdays and Sunday afternoons. 104 episodes personally selected by Benny and Irving Fein, Benny's associate since 1947, were placed into syndication in 1965 by Universal/MCA television. Telecasts of the shows in the late evening were running as late as 1966.  Four early 1960s episodes were rerun on CBS during the summer of 1977. Edited 16mm prints ran on the CBN Cable Network in the mid 1980s. Restored versions first appeared on the short lived HA! network in 1990. As of 2011, the series has run on Antenna TV, part of a long term official syndication distribution deal. The public domain television episodes have appeared on numerous stations, including PBS, while the radio series episodes have appeared in radio drama anthology series such as When Radio Was.  Public domain episodes have been available on budget VHS/Beta tapes (and later DVDs) since the late seventies. MCA home video issued a 1960 version of the classic "Christmas Shopping" show in 1982 and a VHS set of ten filmed episodes in 1990. In 2008, 25 public domain episodes of the show, long thought lost, were located in a CBS vault. The Jack Benny Fan Club, with the blessing of the Benny estate, offered to fund the digital preservation and release of these sealed episodes. CBS issued a press statement that any release was unlikely. June 2013 saw the first official release of 18 rare live Benny programs from 1956 to 1964 by Shout Factory. This set, part of Benny's private collection at the UCLA film and television library, included guest shots by Jack Paar, John Wayne, Tony Curtis, Gary Cooper, Dick Van Dyke, Rock Hudson, Natalie Wood, President Harry Truman and the only TV appearance with longtime radio foe Ronald Colman.

Did it when any awards?

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Background: Born in Prague, Czech Republic (then part of the Austro Hungarian empire) Friml showed aptitude for music at an early age. He entered the Prague Conservatory in 1895, where he studied the piano and composition with Antonin Dvorak. Friml was expelled from the conservatory in 1901 for performing without permission.
Context: Friml wrote his most famous operettas in the 1920s. In 1924, he wrote Rose-Marie. This operetta, on which Friml collaborated with lyricists Oscar Hammerstein II and Otto Harbach and co-composer Herbert Stothart, was a hit worldwide, and a few of the songs from it also became hits including "The Mounties" and "Indian Love Call". The use of murder as part of the plot was ground-breaking among operettas and musical theatre pieces at the time.  After Rose-Marie's success came two other hit operettas, The Vagabond King in 1925, with lyrics by Brian Hooker and William H. Post, and The Three Musketeers in 1928, with lyrics by P. G. Wodehouse and Clifford Grey, based on Alexandre Dumas's famous swashbuckling novel. In addition, Friml contributed to the Ziegfeld Follies of 1921 and 1923.  Friml wrote music for many films during the 1930s, often songs adapted from previous work. The Vagabond King, Rose-Marie and The Firefly were all made into films and included at least some of Friml's music. Oddly enough, his operetta version of The Three Musketeers was never filmed, despite the fact that the novel itself has been filmed many times. In 1930, he wrote a new operetta score for film, The Lottery Bride. Like his contemporary, Ivor Novello, Friml was sometimes ridiculed for the sentimental and insubstantial nature of his compositions and was often called trite. Friml was also criticized for the old-fashioned, Old World sentiments found in his works. Friml's last stage musical was Music Hath Charms in 1934. During the 1930s, Friml's music fell out of fashion on Broadway and in Hollywood.
Question: What was it about?
Answer:
This operetta, on which Friml collaborated with lyricists Oscar Hammerstein II and Otto Harbach and co-composer Herbert Stothart, was a hit worldwide,