input: Dali employed extensive symbolism in his work. For instance, the hallmark "melting watches" that first appear in The Persistence of Memory suggest Einstein's theory that time is relative and not fixed. The idea for clocks functioning symbolically in this way came to Dali when he was staring at a runny piece of Camembert cheese on a hot August day.  The elephant is also a recurring image in Dali's works. It appeared in his 1944 work Dream Caused by the Flight of a Bee Around a Pomegranate a Second Before Awakening. The elephants, inspired by Gian Lorenzo Bernini's sculpture base in Rome of an elephant carrying an ancient obelisk, are portrayed "with long, multijointed, almost invisible legs of desire" along with obelisks on their backs. Coupled with the image of their brittle legs, these encumbrances, noted for their phallic overtones, create a sense of phantom reality. "The elephant is a distortion in space", one analysis explains, "its spindly legs contrasting the idea of weightlessness with structure." "I am painting pictures which make me die for joy, I am creating with an absolute naturalness, without the slightest aesthetic concern, I am making things that inspire me with a profound emotion and I am trying to paint them honestly." --Salvador Dali, in Dawn Ades, Dali and Surrealism.  The egg is another common Daliesque image. He connects the egg to the prenatal and intrauterine, thus using it to symbolize hope and love; it appears in The Great Masturbator and The Metamorphosis of Narcissus. The Metamorphosis of Narcissus also symbolized death and petrification. There are also giant sculptures of eggs in various locations at Dali's house in Port Lligat as well as at the Dali Theatre and Museum in Figueres.  Various other animals appear throughout his work as well: ants point to death, decay, and immense sexual desire; the snail is connected to the human head (he saw a snail on a bicycle outside Freud's house when he first met Sigmund Freud); and locusts are a symbol of waste and fear.  Both Dali and his father enjoyed eating sea urchins, freshly caught in the sea near Cadaques. The radial symmetry of the sea urchin fascinated Dali, and he adapted its form to many art works. Other foods also appear throughout his work.

Answer this question "Are there any other interesting aspects about this article?"
output: The egg is another common Daliesque image.

input: A photo of a dazed Tittle in the end zone taken by Morris Berman of the Pittsburgh Post-Gazette on September 20, 1964, is regarded among the most iconic images in the history of American sports and journalism. Tittle, in his 17th and final season, was photographed helmet-less, bloodied and kneeling immediately after having been knocked to the ground by John Baker of the Pittsburgh Steelers and throwing an interception that was returned for a touchdown at the old Pitt Stadium. He suffered a concussion and cracked sternum on the play, but went on to play the rest of the season.  Post-Gazette editors declined to publish the photo, looking for "action shots" instead, but Berman entered the image into contests where it took on a life of its own, winning a National Headliner Award. The photo was published in the October 2, 1964, issue of Life magazine. It is regarded as having changed the way that photographers look at sports, having shown the power of capturing a moment of reaction. It became one of three photos to hang in the lobby of the National Press Photographers Association headquarters, alongside Raising the Flag on Iwo Jima and the Hindenburg disaster. A copy now hangs in the Pro Football Hall of Fame.  After at first having failed to see the appeal of the image, Tittle eventually grew to embrace it, putting it on the back cover of his 2009 autobiography. "That was the end of the road," he told the Los Angeles Times in 2008. "It was the end of my dream. It was over." Pittsburgh player John Baker, who hit Tittle right before the picture was taken, ran for sheriff in his native Wake County, North Carolina in 1978, and used the photo as a campaign tool. He was elected and went on to serve for 24 years. Tittle also held a fundraiser to assist Baker in his bid for a fourth term in 1989.

Answer this question "When did they publish the photo?"
output: October 2, 1964,

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 "Was it successful?"
output:
The program was short-lived, however, as he was overshadowed by Edgar Bergen.