input: Steiner's father, Johann(es) Steiner (1829 - 1910), left a position as a gamekeeper in the service of Count Hoyos in Geras, northeast Lower Austria to marry one of the Hoyos family's housemaids, Franziska Blie (1834 Horn - 1918, Horn), a marriage for which the Count had refused his permission. Johann became a telegraph operator on the Southern Austrian Railway, and at the time of Rudolf's birth was stationed in Kraljevec in the Murakoz region of the Austrian Empire (present-day Donji Kraljevec in the Medimurje region of northernmost Croatia). In the first two years of Rudolf's life, the family moved twice, first to Modling, near Vienna, and then, through the promotion of his father to stationmaster, to Pottschach, located in the foothills of the eastern Austrian Alps in Lower Austria.  Steiner entered the village school; following a disagreement between his father and the schoolmaster, he was briefly educated at home. In 1869, when Steiner was eight years old, the family moved to the village of Neudorfl and in October 1872 Steiner proceeded from the village school there to the realschule in Wiener Neustadt.  In 1879, the family moved to Inzersdorf to enable Steiner to attend the Vienna Institute of Technology, where he studied mathematics, physics, chemistry, botany, biology, literature, and philosophy on an academic scholarship from 1879 to 1883, at the end of which time he withdrew from the institute without graduating. In 1882, one of Steiner's teachers, Karl Julius Schroer, suggested Steiner's name to Joseph Kurschner, chief editor of a new edition of Goethe's works, who asked Steiner to become the edition's natural science editor, a truly astonishing opportunity for a young student without any form of academic credentials or previous publications.  Before attending the Vienna Institute of Technology, Steiner had studied Kant, Fichte and Schelling.

Answer this question "did he finish school?"
output: he withdrew from the institute without graduating.

input: Winchell's best-known ventriloquist dummies were Jerry Mahoney and Knucklehead Smiff. Mahoney was carved by Chicago-based figure maker Frank Marshall. Sometime later Winchell had basswood copies of Jerry's head made by a commercial duplicating service. One became the upgraded Jerry Mahoney that is seen primarily throughout Winchell's television career. The television versions of Jerry and Knucklehead also featured Winchell's innovation of actors slipping their hands into the sleeves of the dummies, giving the visual effect of gesturing with their hands while "conversing" with each other. He modified two other copies to create Knucklehead Smiff. The original Marshall Jerry Mahoney and one copy of Knucklehead Smiff are in storage at the Smithsonian Institution. The other two figures are in the collection of illusionist David Copperfield.  Winchell's first show as a ventriloquist was on radio with Jerry Mahoney in 1943. The program was short-lived, however, as he was overshadowed by Edgar Bergen. Winchell also created Ozwald, a character that resembled Humpty Dumpty. The effect was accomplished by painting eyes and a nose on his chin, then adding a "body" covering the rest of his face, and finally electronically turning the camera image upside down. In 1961, Berwin Novelties introduced a home version of the character that included an Oswald body, creative pencils to draw the eyes and nose and a "magic mirror" that automatically turned a reflection upside down.  In 1948, Winchell and Joseph Dunninger were featured on Floor Show on NBC. Recorded via kinescope and replayed on WNBQ-TV in Chicago, Illinois, the 8:30-9 p.m. Central Time show on Thursdays was the station's first mid-week program.  During the 1950s, Winchell hosted children's and adult programs with his figures for NBC Television, and later for syndication. The NBC Saturday morning program, sponsored by Tootsie Roll, featured a clubhouse motif and a theme song co-written by Winchell and his longtime bandleader and on-air sidekick, Milton DeLugg. The theme song was entitled "HOORAY, HOORAH" which featured the secret password "SCOLLY WALLY DOO DOO". An ending song entitled "Friends, Friends, Friends" was sung by the children in the audience. On one episode, The Three Stooges appeared on the show to promote their joint feature film venture, Stop, Look, and Laugh, in late 1959. He made an appearance on Nanny and the Professor (Season 2, Episode 13) as a "mean old man" (a puppeteer who had retired into seclusion after losing his wife in an accident). In 1996, Winchell contracted with figure maker Tim Selberg to construct a more contemporary version of Jerry Mahoney, which Winch described as "Disney-esque". Winchell used the new figure version to pitch a new TV series idea to Michael Eisner. In 2009 Winchell was featured in the comedy documentary I'm No Dummy, directed by Bryan W. Simon.

Answer this question "Did it have more than one sponsor"
output: 

input: In the mid-1970s, as Pink Floyd gained mainstream fame, Waters began feeling increasingly alienated from their audiences:  Audiences at those vast concerts are there for an excitement which, I think, has to do with the love of success. When a band or a person becomes an idol, it can have to do with the success that that person manifests, not the quality of work he produces. You don't become a fanatic because somebody's work is good, you become a fanatic to be touched vicariously by their glamour and fame. Stars--film stars, rock 'n' roll stars--represent, in myth anyway, the life as we'd all like to live it. They seem at the very centre of life. And that's why audiences still spend large sums of money at concerts where they are a long, long way from the stage, where they are often very uncomfortable, and where the sound is often very bad.  Waters was also dismayed by the "executive approach", which was only about success, not even attempting to get acquainted with the actual persons of whom the band was comprised (addressed in an earlier song from Wish You Were Here, "Have a Cigar"). The concept of the wall, along with the decision to name the lead character "Pink", partly grew out of that approach, combined with the issue of the growing alienation between the band and their fans. This symbolised a new era for rock bands, as Pink Floyd "explored (... ) the hard realities of 'being where we are'", drawing upon existentialists, namely Jean-Paul Sartre.

Answer this question "what happened after this/"
output:
When a band or a person becomes an idol, it can have to do with the success that that person manifests, not the quality of work he produces.