input: In December 1499, King Manuel I of Portugal rewarded Vasco da Gama with the town of Sines as a hereditary fief (the town his father, Estevao, had once held as a commenda). This turned out to be a complicated affair, for Sines still belonged to the Order of Santiago. The master of the Order, Jorge de Lencastre, might have endorsed the reward - after all, da Gama was a Santiago knight, one of their own, and a close associate of Lencastre himself. But the fact that Sines was awarded by the king provoked Lencastre to refuse out of principle, lest it encourage the king to make other donations of the Order's properties. Da Gama would spend the next few years attempting to take hold of Sines, an effort that would estrange him from Lencastre and eventually prompt da Gama to abandon his beloved Order of Santiago, switching over to the rival Order of Christ in 1507.  In the meantime, da Gama made do with a substantial hereditary royal pension of 300,000 reis. He was awarded the noble title of Dom (lord) in perpetuity for himself, his siblings and their descendants. On 30 January 1502, da Gama was awarded the title of Almirante dos mares de Arabia, Persia, India e de todo o Oriente ("Admiral of the Seas of Arabia, Persia, India and all the Orient") - an overwrought title reminiscent of the ornate Castilian title borne by Christopher Columbus (evidently, Manuel must have reckoned that if Castile had an 'Admiral of the Ocean Seas', then surely Portugal should have one too). Another royal letter, dated October 1501, gave da Gama the personal right to intervene and exercise a determining role on any future India-bound fleet.  Around 1501, Vasco da Gama married Catarina de Ataide, daughter of Alvaro de Ataide, the alcaide-mor of Alvor (Algarve), and a prominent nobleman connected by kinship with the powerful Almeida family (Catarina was a first cousin of D. Francisco de Almeida).

Answer this question "What is the origin of this title?"
output: an overwrought title reminiscent of the ornate Castilian title borne by Christopher Columbus (

Problem: Background: Rosemary's Baby is a 1968 American psychological horror film written and directed by Roman Polanski, based on the bestselling 1967 novel of the same name by Ira Levin. The cast features Mia Farrow, John Cassavetes, Ruth Gordon, Sidney Blackmer, Maurice Evans, Ralph Bellamy, Angela Dorian, Clay Tanner, and, in his feature film debut, Charles Grodin. The film chronicles the story of a pregnant woman who suspects that an evil cult wants to take her baby for use in their rituals. Rosemary's Baby earned almost universal acclaim from film critics and won numerous nominations and awards.
Context: In Rosemary's Baby: A Retrospective, a featurette on the DVD release of the film, screenwriter/director Roman Polanski, Paramount Pictures executive Robert Evans, and production designer Richard Sylbert reminisce at length about the production. Evans recalled William Castle brought him the galley proofs of the book and asked him to purchase the film rights even before Random House released the publication. The studio head recognized the commercial potential of the project and agreed with the stipulation that Castle, who had a reputation for low-budget horror films, could produce but not direct the film adaptation. He makes a cameo appearance as the man at the phone booth waiting for Mia Farrow to finish her call.  Evans admired Polanski's European films and hoped he could convince him to make his American debut with Rosemary's Baby. He knew the director was a ski buff who was anxious to make a film with the sport as its basis, so he sent him the script for Downhill Racer along with the galleys for Rosemary. Polanski read the latter book non-stop through the night and called Evans the following morning to tell him he thought Rosemary was the more interesting project, and would like the opportunity to write as well as direct it.  The script was modeled very closely on the original novel and incorporated large sections of the novel's dialogue and details, so much so that nearly every line of dialogue was taken from the novel's text. Author Ira Levin claimed that during a scene in which Guy mentions wanting to buy a particular shirt advertised in The New Yorker, Polanski was unable to find the specific issue with the shirt advertised and phoned Levin for help. Levin, who had assumed while writing that any given issue of The New Yorker would contain an ad for men's shirts, admitted that he had made it up.
Question: What was his inspiration for the story?
Answer: The script was modeled very closely on the original novel and incorporated large sections of the novel's dialogue and details,

Question: Mal Waldron was born in New York City on August 16, 1925, to West Indian immigrants. His father was a mechanical engineer who worked on the Long Island Rail Road. The family moved to Jamaica, Queens when Mal was four years old. Waldron's parents discouraged his initial interest in jazz, but he was able to maintain it by listening to swing on the radio.

When he first played with Mingus, Waldron was a follower of Horace Silver's style, which used added chords and passing notes, as well as Bud Powell's, which contained many runs. Mingus encouraged him to strip away these things and concentrate on basic and altered harmonies. Before his breakdown, Waldron played in a lyrical way, but after it, "I couldn't find that lyricism inside myself any more, so I became a very angular player", becoming more like Thelonious Monk in playing and composition style.  From the time he moved to Europe, Waldron played mostly in a free style, while being able to play in a more traditional style when the audience or situation required it. He used thick chords in the lower bass register; his emphasis on weight, texture and frequent repetition of a single and simple motif as opposed to linear and melodic improvisation gave a heavy and dark color to his sound. One facet of his playing was, according to The Penguin Guide to Jazz, "likened to American minimalism: a slow accretion of almost subliminal harmonic and rhythmic shifts steadily pile up until the music seems ready to overbalance".  As an accompanist to vocalists Holiday, Lincoln, Lee and others, Waldron was described by critic and musician Alyn Shipton as "one of the most sublime accompanists in jazz".  Waldron's own assessment of his style was that it was partly a reflection of his personality: "It's part of my personality to be very economical with what I have and to use it in all variations before I move to the next set of notes". He acknowledged the influences of Holiday (on his conception of space and playing behind the beat), Mingus (for the importance of individuality), and Roach (on the value of time signatures other than the usual 4/4), as well as pianists Duke Ellington, Monk, Powell and Art Tatum.

Using a quote from the above article, answer the following question: what did he play?
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Answer: