input: Performing for Jamaica in his first Caribbean regional event, Bolt clocked a personal best time of 48.28 s in the 400 metres in the 2001 CARIFTA Games, winning a silver medal. The 200 m also yielded a silver, as Bolt finished in 21.81 s.  He made his first appearance on the world stage at the 2001 IAAF World Youth Championships in Debrecen, Hungary. Running in the 200 m event, he failed to qualify for the finals, but he still set a new personal best of 21.73 s. Bolt still did not take athletics or himself too seriously, however, and he took his mischievousness to new heights by hiding in the back of a van when he was supposed to be preparing for the 200 m finals at the CARIFTA Trials. He was detained by the police for his practical joke, and there was an outcry from the local community, which blamed coach McNeil for the incident. However, the controversy subsided, and both McNeil and Bolt went to the CARIFTA Games, where Bolt set championship records in the 200 m and 400 m with times of 21.12 s and 47.33 s, respectively. He continued to set records with 20.61 s and 47.12 s finishes at the Central American and Caribbean Junior Championships.  Bolt is one of only nine athletes (along with Valerie Adams, Veronica Campbell-Brown, Jacques Freitag, Yelena Isinbayeva, Jana Pittman, Dani Samuels, David Storl, and Kirani James) to win world championships at the youth, junior, and senior level of an athletic event. Former Prime Minister P. J. Patterson recognised Bolt's talent and arranged for him to move to Kingston, along with Jermaine Gonzales, so he could train with the Jamaica Amateur Athletic Association (JAAA) at the University of Technology, Jamaica.

Answer this question "Were there other times he didn't perform well?"
output: to be preparing for the 200 m finals at the CARIFTA Trials. He was detained by the police for his practical joke,

input: In 2005, U.S. art and wine collector Bill Koch, who had bought some of the bottles attributed to Thomas Jefferson, prepared to exhibit items from his collection at the Boston Museum of Fine Arts, including the Jefferson bottles. The museum asked for provenance of the items to be displayed. Koch had bought four bottles in 1988, Chateau Lafite and Branne-Mouton (present-day Chateau Mouton-Rothschild) of the 1784 and 1787 vintages, at a U.S. wine auction house (Chicago Wine Company) and a UK rare wine dealer (Farr Vintners), and paid a total of about 500,000 U.S. dollars for them. When Koch's staff couldn't find anything except Michael Broadbent's authentification of the bottles to confirm their provenance, the Thomas Jefferson Foundation at Monticello, Charlottesville, Virginia was contacted. The foundation's curator replied that based on Jefferson's records, the foundation didn't think that the bottles had been in the possession of Thomas Jefferson. Inquiries at Chicago Wine Company and Farr Vintners came up with the result that all four of Koch's bottles originated with Rodenstock.  After initial attempts at contacts with Rodenstock gave no significant results, Koch hired a retired Federal Bureau of Investigation (FBI) agent to form a team to start private investigations into Rodenstock's sales of wine. David Molyneux-Berry, former head of Sotheby's wine department was hired as a consultant, and several forensic investigations were conducted on the wines, bottles, and engravings; Koch alleges that the engravings were made with an electric power tool, which would not have been possible in the eighteenth century and would indicate modern forgery.  On August 31, 2006, Koch filed a civil lawsuit against Rodenstock (a.k.a. Gorke) in a New York federal court, claiming that he had been the victim of fraud. The reason that Rodenstock personally was named as defendant, rather than Chicago Wine Company or Farr Vintners, was that Koch claimed that Rodenstock had orchestrated an ongoing scheme to defraud wine collectors. Koch's lawsuit included many results from his team's forensic investigations. This lawsuit was then the subject of many legal turns during 2007 and 2008, primarily focused on procedural and statutory issues. A default judgment was entered against Rodenstock in May 2010. Rodenstock refused to participate in the trial.

Answer this question "How much was the judment for?"
output: 

input: Although Innervisions was recorded and released before Wonder's accident, most people associated it with the musician's fast recovery. As with both Music of My Mind and Talking Book the previous year, Innervisions was received warmly by music critics. Wonder's versatile musical skills were praised by critics. Billboard published that "the liner credits Stevie with playing all the instruments on seven of the nine tunes. So in essence this is a one-man band situation and it works. His skill on drums, piano, bass, and arp are outstanding, and all the tracks work within the thematic framework." The New York Times wrote, "Stevie identifies himself as a gang and a genius, producing, composing, arranging, singing, and, on several tracks, playing all the accompanying instruments. But Stevie Wonder, you see and want to know more. At the center of his music is the sound of what is real. Vocally, he remains inventive and unafraid, he sings all the things he hears: rock, folk, and all forms of Black music. The sum total of these varying components is an awesome knowledge, consumed and then shared by an artist who is free enough to do both."  Many others also praised the variety of musical styles and themes present in the album. One reviewer from Playboy wrote, "Stevie Wonder's Innervisions is a beautiful fusion of the lyric and the didactic, telling us about the blind world that Stevie inhabits with a depth of musical insight that is awesome. It's a view that's basically optimistic, a constant search for the 'Higher Ground', but the path is full of snares: dope ('Too High'), lies ('Jesus Children of America') and the starkly rendered poison of the city ('Living for the City'). Wonder seems to say that all people delude themselves but have to be well to pay their dues and existentially accept the present. 'Today's not yesterday,/And all things have an ending' is the way he puts it in 'Visions,' the key tune of the album--pretty yet serious, harmonically vivid. There's a lot of varied music here--Latin, reggae, even a nod to Johnny Mathis ('All in Love is Fair')--but it's all Stevie, unmistakably."  Some reviewers were less enthusiastic. Jon Tiven from Circus argued that there was a lack of memorable material: "Just when Stevie had some momentum going, he went and put together a concept album of homogeneous music and rather typical lyrics. Unlike his last two albums, there are no real low spots on this album, which I suppose is an improvement, but there are no songs on Innervisions which are truly outstanding either. There's no 'Superstition,' no 'I Believe (When I Fall in Love It Will Be Forever).' By constructing a solid ground from which to work, Stevie has lowered the ceiling, and put a damper on his talents."  Musicians also showed consummate respect for the achievements of the album, with Roberta Flack saying to Newsweek that "It's the most sensitive of our decade ... it has tapped the pulse of the people."  Innervisions won Grammy Awards for Album of the Year and Best Engineered Non-Classical Recording in 1974, while "Living for the City" won the Grammy for Best R&B Song.

Answer this question "What else can you tell me interesting"
output:
Musicians also showed consummate respect for the achievements of the album,