Question:
Vaughan's father, Asbury "Jake" Vaughan, was a carpenter by trade and played guitar and piano. Her mother, Ada Vaughan, was a laundress and sang in the church choir. Jake and Ada Vaughan had migrated to Newark, New Jersey from Virginia during the First World War. Sarah was their only biological child, although in the 1960s they adopted Donna, the child of a woman who traveled on the road with Sarah Vaughan.
Vaughan spent the remainder of 1943 and part of 1944 touring the country with the Earl Hines big band, which featured baritone Billy Eckstine. Vaughan was hired as a pianist, reputedly so Hines could hire her under the jurisdiction of the musicians' union (American Federation of Musicians) rather than the singers union (American Guild of Variety Artists), but after Cliff Smalls joined the band as a trombonist and pianist, Sarah's duties were limited exclusively to singing. The Earl Hines band in this period is remembered as an incubator of bebop, as it included trumpeter Dizzy Gillespie, saxophonist Charlie Parker (playing tenor rather than the alto, for which he is remembered), and trombonist Bennie Green. Gillespie arranged for the band, although the contemporary recording ban by the musicians' union meant that no commercial recordings exist.  Eckstine quit the Hines band in late 1943 and formed his own big band with Gillespie, leaving Hines to become the new band's musical director. Parker joined Eckstine, and the band would, over the next few years, host a startling cast of jazz talent, including Miles Davis, Kenny Dorham, Art Blakey, Lucky Thompson, Gene Ammons, and Dexter Gordon, among others.  Vaughan accepted Eckstine's invitation to join his new band in 1944, giving her an opportunity to develop her musicianship with the seminal figures in this era of jazz. Eckstine's band afforded her first recording opportunity, a December 5, 1944 date that yielded the song "I'll Wait and Pray" for the De Luxe label. That date led critic and producer Leonard Feather to ask her to cut four sides under her own name later that month for Continental, backed by a septet that included Dizzy Gillespie and Georgie Auld.  Band pianist John Malachi is credited with giving Vaughan the moniker "Sassy", a nickname that matched her personality. Vaughan liked it, and the name (and its shortened variant "Sass") stuck with colleagues and, eventually, the press. In written communications, Vaughan often spelled it "Sassie".  Vaughan officially left the Eckstine band in late 1944 to pursue a solo career, although she remained very close to Eckstine personally and recorded with him frequently throughout her life.
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how did that turn out?

Answer:
Vaughan accepted Eckstine's invitation to join his new band in 1944, giving her an opportunity to develop her musicianship with the seminal figures in this era of jazz.


Question:
Sir Pelham Grenville Wodehouse  (; 15 October 1881 - 14 February 1975) was an English author and one of the most widely read humorists of the 20th century. Born in Guildford, the son of a British magistrate based in Hong Kong, Wodehouse spent happy teenage years at Dulwich College, to which he remained devoted all his life. After leaving school, he was employed by a bank but disliked the work and turned to writing in his spare time.
A third milestone in Wodehouse's life came towards the end of 1915: his old songwriting partner Jerome Kern introduced him to the writer Guy Bolton, who became Wodehouse's closest friend and a regular collaborator. Bolton and Kern had a musical, Very Good Eddie, running at the Princess Theatre in New York. The show was successful, but they thought the song lyrics weak and invited Wodehouse to join them on its successor. This was Miss Springtime (1916), which ran for 227 performances--a good run by the standards of the day. The team produced several more successes, including Leave It to Jane (1917), Oh, Boy! (1917-18) and Oh, Lady! Lady!! (1918), and Wodehouse and Bolton wrote a few more shows with other composers. In these musicals Wodehouse's lyrics won high praise from critics as well as fellow lyricists such as Ira Gershwin.  Unlike his original model, Gilbert, Wodehouse preferred the music to be written first, fitting his words into the melodies. Donaldson suggests that this is the reason why his lyrics have largely been overlooked in recent years: they fit the music perfectly, but do not stand on their own in verse form as Gilbert's do. Nonetheless, Donaldson adds, the book and lyrics for the Princess Theatre shows made the collaborators an enormous fortune and played an important part in the development of the American musical. In the Grove Dictionary of American Music Larry Stempel writes, "By presenting naturalistic stories and characters and attempting to integrate the songs and lyrics into the action of the libretto, these works brought a new level of intimacy, cohesion, and sophistication to American musical comedy." The theatre writer Gerald Bordman calls Wodehouse "the most observant, literate, and witty lyricist of his day". The composer Richard Rodgers wrote, "Before Larry Hart, only P.G. Wodehouse had made any real assault on the intelligence of the song-listening public."  In the years after the war, Wodehouse steadily increased his sales, polished his existing characters and introduced new ones. Bertie and Jeeves, Lord Emsworth and his circle, and Ukridge appeared in novels and short stories; Psmith made his fourth and last appearance; two new characters were the Oldest Member, narrating his series of golfing stories, and Mr Mulliner, telling his particularly tall tales to fellow patrons of the bar at the Angler's Rest. Various other young men-about-town appeared in short stories about members of the Drones Club.  The Wodehouses returned to England, where they had a house in London for some years, but Wodehouse continued to cross the Atlantic frequently, spending substantial periods in New York. He continued to work in the theatre. During the 1920s he collaborated on nine musical comedies produced on Broadway or in the West End, including the long-running Sally (1920, New York), The Cabaret Girl (1922, London) and Rosalie (1928, New York). He also wrote non-musical plays, including The Play's the Thing (1926), adapted from Ferenc Molnar, and A Damsel in Distress (1928), a dramatisation of his 1919 novel.  Though never a naturally gregarious man, Wodehouse was more sociable in the 1920s than at other periods. Donaldson lists among those with whom he was on friendly terms writers including A.A. Milne, Ian Hay, Frederick Lonsdale and E. Phillips Oppenheim, and stage performers including George Grossmith, Jr., Heather Thatcher and Dorothy Dickson.
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What prompted him to go to Broadway?

Answer:
they thought the song lyrics weak and invited Wodehouse to join them on its successor.