Problem: Background: Joaquin Rafael Phoenix (; ne Bottom; born October 28, 1974) is an American actor, producer, and activist. For his work as an actor, Phoenix has received a Grammy Award, a Golden Globe Award, and has three Academy Award and British Academy Film Award nominations. Phoenix started acting in television shows with his brother River Phoenix and sister Summer Phoenix.
Context: During the comeback portion of his career, Phoenix went back to his given name Joaquin and was often cast in supporting roles as conflicted, insecure characters with a dark side. In 1995, he co-starred in To Die For, as the disturbed young man Jimmy who gets seduced by Suzanne Stone (Nicole Kidman) to commit murder. Directed by Gus Van Sant, the film was screened out of competition at the 1995 Cannes Film Festival and became a financial and critical success, resulting in a domestic box office total of $21 million. New York Times critic Janet Maslin praised Phoenix's performance, writing "So pity poor Jimmy. Rivetingly played by Mr. Phoenix with a raw, anguished expressiveness that makes him an actor to watch for, Jimmy is both tempted and terrified by Suzanne's slick amorality. In that, he speaks for us all."  In 1997, Phoenix played a small-town troublemaker in Oliver Stone's U Turn, and a poor man in love with a rich woman in Inventing the Abbotts. The films were received with mostly mixed and negative reviews, respectively, and neither performed well at the box office.  The following year, Phoenix starred in Clay Pigeons (1998) as a young man in a small town who befriends a serial killer. Budgeted at $8 million, the film became a box office flop, grossing only $1 million and was, like Phoenix's previous projects, not well received by critics.  In his next film, 8mm (1999), Phoenix co-starred as an adult video store employee who helps Tom Welles (Nicolas Cage) penetrate the underworld of illegal pornography. The film turned out be a box office success, grossing $96 million worldwide, but found few admirers among critics.
Question: what significant event happened in 1996?
Answer: In 1997, Phoenix played a small-town troublemaker in Oliver Stone's U Turn, and a poor man in love with a rich woman in Inventing the Abbotts.

Problem: Background: "Sympathy for the Devil" is a samba rock song by the Rolling Stones, written by Mick Jagger and Keith Richards. Sung by Jagger, the song refers to the Devil, written in the first-person narrative, recounting atrocities committed throughout the history of humanity as if they were somehow "inspired" (or at least witnessed) by him. Although it has been deemed by some as "a homage", in reality, no admiration (or even sympathy, for that matter) is declared for the Devil in the song -other than his "own" request. It is performed in a rock arrangement with a samba rhythm, first appearing as the opening track on their 1968 album Beggars Banquet.
Context: The recording of "Sympathy for the Devil" began at London's Olympic Sound Studios on 4 June 1968 and continued into the next day; overdubs were done on 8, 9 and 10 June. Personnel included on the recording include Nicky Hopkins on piano, Rocky Dijon on congas and Bill Wyman on maracas. Marianne Faithfull, Anita Pallenberg, Brian Jones, Charlie Watts, producer Jimmy Miller, Wyman and Richards performed backup vocals, singing the "woo woos". Richards plays bass on the original recording, and also electric guitar. Brian Jones plays a mostly mixed out acoustic guitar, although in isolated tracks of the studio cut, it is audible playing along with the piano.  In the 2003 book According to the Rolling Stones, Watts commented:  "Sympathy" was one of those sort of songs where we tried everything. The first time I ever heard the song was when Mick was playing it at the front door of a house I lived at in Sussex ... He played it entirely on his own ... and it was fantastic. We had a go at loads of different ways of playing it; in the end I just played a jazz Latin feel in the style of Kenny Clarke would have played on "A Night in Tunisia" - not the actual rhythm he played, but the same styling.  On the overall power of the song, Jagger continued in Rolling Stone:  It has a very hypnotic groove, a samba, which has a tremendous hypnotic power, rather like good dance music. It doesn't speed up or slow down. It keeps this constant groove. Plus, the actual samba rhythm is a great one to sing on, but it is also got some other suggestions in it, an undercurrent of being primitive--because it is a primitive African, South American, Afro-whatever-you-call-that rhythm (candomble). So to white people, it has a very sinister thing about it. But forgetting the cultural colors, it is a very good vehicle for producing a powerful piece. It becomes less pretentious because it is a very unpretentious groove. If it had been done as a ballad, it wouldn't have been as good.
Question: Did the song do well on the charts?
Answer: 

Problem: Background: Andrew "Rube" Foster (September 17, 1879 - December 9, 1930) was an American baseball player, manager, and executive in the Negro leagues. He was elected to the Baseball Hall of Fame in 1981. Foster, considered by historians to have been perhaps the best African-American pitcher of the first decade of the 1900s, also founded and managed the Chicago American Giants, one of the most successful black baseball teams of the pre-integration era. Most notably, he organized the Negro National League, the first long-lasting professional league for African-American ballplayers, which operated from 1920 to 1931.
Context: In 1907, Foster's manager Sol White published his Official Baseball Guide: History of Colored Baseball, with Foster contributing an article on "How to Pitch." However, before the season began, he and several other stars (including, most importantly, the outfielder Pete Hill) left the Philadelphia Giants for the Chicago Leland Giants, with Foster named playing manager. Under his leadership, the Lelands won 110 games (including 48 straight) and lost only ten, and took the Chicago City League pennant. The following season the Lelands tied a national championship series with the Philadelphia Giants, each team winning three games.  Foster suffered a broken leg in July 1909, but rushed himself back into the lineup in time for an October exhibition series against the Chicago Cubs. Foster, pitching the second game, squandered a 5-2 lead in the ninth inning, then lost the game on a controversial play when a Cubs runner stole home while Foster was arguing with the umpire. The Lelands lost the series, three games to nothing. The Lelands also lost the unofficial western black championship to the St. Paul Colored Gophers.  In 1910, Foster wrested legal control of the team from its founder, Frank Leland. He proceeded to put together the team he later considered his finest. He signed John Henry Lloyd away from the Philadelphia Giants; along with Hill, second baseman Grant Johnson, catcher Bruce Petway, and pitchers Frank Wickware and Pat Dougherty, Lloyd sparked the Lelands to a 123-6 record (with Foster himself contributing a 13-2 record on the mound).
Question: Was the team successful
Answer:
123-6 record (with Foster himself contributing