input: Simultaneously with his work in the theatre, Welles worked extensively in radio as an actor, writer, director and producer, often without credit. Between 1935 and 1937 he was earning as much as $2,000 a week, shuttling between radio studios at such a pace that he would arrive barely in time for a quick scan of his lines before he was on the air. While he was directing the Voodoo Macbeth Welles was dashing between Harlem and midtown Manhattan three times a day to meet his radio commitments.  In addition to continuing as a repertory player on The March of Time, in the fall of 1936 Welles adapted and performed Hamlet in an early two-part episode of CBS Radio's Columbia Workshop. His performance as the announcer in the series' April 1937 presentation of Archibald MacLeish's verse drama The Fall of the City was an important development in his radio career and made the 21-year-old Welles an overnight star.  In July 1937, the Mutual Network gave Welles a seven-week series to adapt Les Miserables. It was his first job as a writer-director for radio, the radio debut of the Mercury Theatre, and one of Welles's earliest and finest achievements. He invented the use of narration in radio.  "By making himself the center of the storytelling process, Welles fostered the impression of self-adulation that was to haunt his career to his dying day," wrote critic Andrew Sarris. "For the most part, however, Welles was singularly generous to the other members of his cast and inspired loyalty from them above and beyond the call of professionalism."  That September, Mutual chose Welles to play Lamont Cranston, also known as The Shadow. He performed the role anonymously through mid-September 1938.

Answer this question "What happened after that development?"
output: made the 21-year-old Welles an overnight star.

input: Jones was not only a consummately skilled golfer but exemplified the principles of sportsmanship and fair play. In the first round of the 1925 U.S. Open at the Worcester Country Club near Boston, his approach shot to the 11th hole's elevated green fell short into the deep rough of the embankment. As he took his stance to pitch onto the green, the head of his club brushed the grass and caused a slight movement of the ball. He took the shot, then informed his playing partner Walter Hagen and the USGA official covering their match that he was calling a penalty on himself. Hagen was unable to talk him out of it, and they continued play. After the round and before he signed his scorecard, officials argued with Jones but he insisted that he had violated Rule 18, moving a ball at rest after address, and took a 77 instead of the 76 he otherwise would have carded. Jones' self-imposed one-stroke penalty eventually cost him the win by a stroke in regulation, necessitating a playoff, which he then lost. Although praised by many sports writers for his gesture, Jones was reported to have said, "You might as well praise me for not robbing banks."  A similar event occurred in the next U.S. Open, played at the Scioto Country Club in Columbus, Ohio. In the second round, after his opening round put him in second place, Jones was putting on the 15th green in the face of a strong wind. After grounding his putter during address to square up the club face, the ball rolled a half turn in the wind when Jones lifted the club head to place it behind the ball. Although no one else observed this movement of the ball either, again Jones called a penalty on himself, but this time Jones went on to win the tournament, the second of his four U.S. Open victories.  The USGA's sportsmanship award is named the Bob Jones Award in his honor.

Answer this question "Did Jones contribute to any charitable organizations?"
output: 

input: Taylor spent most of 1973 enjoying his new life as a married man and did not return to the recording studio until January 1974, when sessions for his fifth album began. Walking Man was released in June and featured appearances of Paul and Linda McCartney and guitarist David Spinozza. The album was a critical and commercial disaster and was his first album to miss the Top 5 since his contract with Warner. It received poor reviews and sold only 300,000 copies in the United States. The title track failed to appear on the Top 100.  However, James Taylor's artistic fortunes spiked again in 1975 when the Gold album Gorilla reached #6 and provided one of his biggest hit singles, a cover version of Marvin Gaye's "How Sweet It Is (To Be Loved by You)", featuring wife Carly on backing vocals and reached #5 in America and #1 in Canada. On the Billboard Adult Contemporary chart, the track also reached the top, and the follow-up single, the feelgood "Mexico" also reached the Top 5 of that list. A well-received album, Gorilla showcased Taylor's electric, lighter side that was evident on Walking Man. However, it was arguably a more consistent and fresher-sounding Taylor, with classics such as "Mexico", "Wandering" and "Angry Blues". It also featured a song about his daughter Sally, "Sarah Maria".  Gorilla was followed in 1976 by In the Pocket, Taylor's last studio album to be released under Warner Bros. Records. The album found him with many colleagues and friends, including Art Garfunkel, David Crosby, Bonnie Raitt and Stevie Wonder (who co-wrote a song with Taylor and contributed a harmonica solo). A melodic album, it was highlighted with the single "Shower the People", an enduring classic that hit #1 on the Adult Contemporary chart and almost hit the Top 20 of the Pop Charts. However, the album was not well received, reaching #16 and being criticized, particularly by Rolling Stone. Still, In The Pocket went on to be certified gold.  With the close of Taylor's contract with Warner, in November, the label released Greatest Hits, the album that comprised most of his best work between 1970 and 1976. With time, it became his best-selling album ever. It was certified 11x Platinum in the US, earned a Diamond certification by the RIAA, and eventually sold close to 20 million copies worldwide.

Answer this question "what was some of his downs?"
output:
The album was a critical and commercial disaster and was his first album to miss the Top 5 since his contract with Warner.