input: He found work as an office secretary at Universal Pictures' New York office, and later became personal secretary to the studio's founder and president, Carl Laemmle. Among Thalberg's duties were transcribing and editing notes that Laemmle had written during screenings of his films. He earned $25 weekly, becoming adept at making insightful observations, which impressed Laemmle.  Laemmle took Thalberg to see his Los Angeles production facility, where he spent a month watching how movie production worked. Before returning to New York, Laemmle told Thalberg to remain and "keep an eye on things for me." Two months later, Laemmle returned to California, partly to see how well Thalberg was able to handle the responsibilities he was given. Thalberg gave him suggestions, which impressed Laemmle by his ability to understand and explain problems.  Thalberg suggested, "The first thing you should do is establish a new job of studio manager and give him the responsibility of watching day-to-day operations." Laemmle immediately agreed, "All right. You're it." In shock, Thalberg replied, "I'm what?" Laemmle told him to take charge of the Los Angeles studio, which he did in early 1919. At age 20, Thalberg became responsible for immediately overseeing the nine ongoing film productions and nearly thirty scenarios then under development.  In describing the rationale for this early appointment as studio manager, film historian David Thomson writes that his new job "owed nothing to nepotism, private wealth, or experience in the film industry." He reasons that despite "Thalberg's youth, modest education, and frail appearance . . . it is clear that he had the charm, insight, and ability, or the appearance of it, to captivate the film world."  Thalberg was one among the majority of Hollywood film industry workers who migrated from the East Coast, primarily from New York. Some film actors, such as Conrad Nagel, did not like the 5-day train trip or the sudden warmth of the California climate. Neither did Marion Davies, who was not used to such "big wide spaces." Samuel Marx, a close friend of Thalberg's from New York, recalled how easily Thalberg adapted to Southern California, often standing outside his doorway during moments of contemplation to enjoy the scenery. "We were all young," said comedian Buster Keaton. "The air in California was like wine. Our business was also young--and growing like nothing ever seen before."

Answer this question "Did he do anything else?"
output: Among Thalberg's duties were transcribing and editing notes that Laemmle had written during screenings of his films.

Problem: Background: Kulwicki grew up in Greenfield, Wisconsin, a suburb of Milwaukee known for its Polish-American neighborhoods, near the Milwaukee Mile racetrack. After his mother died, his family moved in with his grandmother, who died when Kulwicki was in seventh grade. A year later, his only brother died of a hemophilia-related illness. Kulwicki attended Pius XI High School, a Roman Catholic high school in Milwaukee, and received a bachelor of science degree in mechanical engineering from the University of Wisconsin-Milwaukee in 1977.
Context: Kulwicki died in an airplane crash on Thursday April 1, 1993. He was returning from an appearance at the Knoxville Hooters in a Hooters corporate plane on a short flight across Tennessee before the Sunday spring race at Bristol. The plane slowed and crashed just before final approach at Tri-Cities Regional Airport near Blountville. The National Transportation Safety Board attributed the crash to the pilot's failure to use the airplane's anti-ice system to clear ice from the engine inlet system.  Kulwicki was buried at St. Adalbert's Cemetery in Milwaukee; the funeral was attended by NASCAR President Bill France, Jr. and numerous drivers. Kulwicki's racecar transporter was driven from the rainy track later that Friday morning while other teams and the media watched it travel slowly around the track with a black wreath on its grille. In 2008, Kyle Petty described the slow laps as "the saddest thing I've ever seen at a racetrack... We just sat and cried." Kulwicki had competed in five NASCAR races that season with two Top 5 finishes, and was ranked ninth in points at his death. In his career, he had won five NASCAR Winston Cup races, 24 pole positions, 75 Top 10 finishes, and one championship in 207 races.  His car was driven by road course specialist Tommy Kendall on road courses and by Jimmy Hensley at the other tracks. It was raced for most of the 1993 season until the team was sold to Geoff Bodine, who operated it as Geoff Bodine Racing.  Kulwicki had been selected to compete in the 1993 International Race of Champions (IROC) series as the reigning Winston Cup champion. He competed in two IROC races before his death, finishing ninth at Daytona and eleventh at Darlington. Dale Earnhardt raced for Kulwicki in the final two IROC races, and the prize money for those races and their fifth place combined points finish was given to the Winston Cup Racing Wives Auxiliary, Brenner Children's Hospital and St. Thomas Aquinas Church charities.
Question: What was his record?
Answer: Kulwicki had competed in five NASCAR races that season with two Top 5 finishes, and was ranked ninth in points

Question: Jose Julian Marti Perez (January 28, 1853 - May 19, 1895) was a Cuban National Hero and an important figure in Latin American literature. During his life, he worked as a poet, essayist, journalist, translator, professor, and publisher. He was very politically active, and is considered an important revolutionary philosopher and political theorist. Through his writings and political activity, he became a symbol of Cuba's bid for independence against Spain in the 19th century, and is referred to as the "Apostle of Cuban Independence."

Jose Marti is usually honored as a great poet, patriot and martyr of Cuban Independence, but he was also a translator of some note. Although he translated literary material for the sheer joy of it, much of the translating he did was imposed on him by economic necessity during his many years of exile in the United States. Marti learned English at an early age, and had begun to translate at thirteen. He continued translating for the rest of his life, including his time as a student in Spain, although the period of his greatest productivity was during his stay in New York from 1880 until he returned to Cuba in 1895.  In New York he was what we would call today a "freelancer" as well as an "in house" translator. He translated several books for the publishing house of D. Appleton, and did a series of translations for newspapers. As a revolutionary activist in Cuba's long struggle for independence he translated into English a number of articles and pamphlets supporting that movement. In addition to fluent English, Marti also spoke French, Italian, Latin and Classical Greek fluently, the latter learned so he could read the Greek classical works in the original.  There was clearly a dichotomy in Marti's feeling about the kind of work he was translating. Like many professionals, he undertook for money translation tasks which had little intellectual or emotional appeal for him. Although Marti never presented a systematic theory of translation nor did he write extensively about his approach to translation, he did jot down occasional thoughts on the subject, showcasing his awareness of the translator's dilemma of the faithful versus the beautiful and stating that "translation should be natural, so that it appears that the book were written in the language to which it has been translated".

Using a quote from the above article, answer the following question: Is that why he came to the US, to translate?
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Answer:
was what we would call today a "freelancer" as well as an "in house" translator. He translated several books for the publishing house