input: Clemens unexpectedly appeared in the owner's box at Yankee Stadium on May 6, 2007, during the seventh-inning stretch of a game against the Seattle Mariners, and made a brief statement: "Thank y'all. Well they came and got me out of Texas, and uhh, I can tell you it's a privilege to be back. I'll be talkin' to y'all soon." It was simultaneously announced that Clemens had rejoined the Yankees roster, agreeing to a pro-rated one-year deal worth $28,000,022, or about $4.7 million per month. Over the contract life, he would make $18.7 million. This equated to just over $1 million per start that season.  Clemens made his 2007 return on June 9, defeating the Pittsburgh Pirates by pitching six innings with seven strikeouts and 3 runs allowed. On June 21, with a single in the 5th inning against the Colorado Rockies, Clemens became the oldest New York Yankee to record a hit (44 years, 321 days). On June 24, Clemens pitched an inning in relief against the San Francisco Giants. It had been 22 years and 341 days since his previous regular-season relief appearance, the longest such gap in major league history.  On July 2, Clemens collected his 350th win against the Minnesota Twins at Yankee Stadium, giving up just two hits and one run over eight innings. Clemens is one of only three pitchers to pitch his entire career in the live-ball era and reach 350 wins. The other two are Warren Spahn (whose catcher for his 350th win was Joe Torre, Clemens's manager for his 350th), and Greg Maddux, who earned his 350th win in 2008. His final regular season appearance was a start against the Red Sox at Fenway Park, in which he allowed 2 hits and 1 unearned run in 6 innings, and received a no-decision. Clemens finished the 2007 regular season with a record of 6-6 and a 4.18 ERA.  Clemens was forced to leave Game 3 of the 2007 ALDS in the third inning after aggravating a hamstring injury. He struck out Victor Martinez of the Cleveland Indians with his final pitch, and was replaced by right-hander Phil Hughes. Yankees manager Joe Torre removed Clemens from the roster due to his injury, and replaced him with left-hander Ron Villone.

Answer this question "Did anyone else make a statement regarding his return?"
output: It was simultaneously announced that Clemens had rejoined the Yankees roster, agreeing to a pro-rated one-year deal worth $28,000,022,

input: Robin Pecknold and Skyler Skjelset both attended Lake Washington High School in Kirkland, a suburb of Seattle, and soon became close friends. Pecknold and Skjelset bonded over a mutual appreciation of Bob Dylan and Neil Young and began making music together. Their parents influenced their musical tastes early on--Skjelset's mother Peggi was a keen listener to both Dylan and Hank Williams while Pecknold's father Greg was a member of The Fathoms, a local 1960s soul group. The two shared an interest in the music of Dylan and Brian Wilson. Pecknold played bass for Seattle's Dolour on a US tour in 2005, shortly before forming the first incarnation of Fleet Foxes.  Originally going by the name "The Pineapples", a name clash with another local band prompted a change and Pecknold decided upon "Fleet Foxes", suggesting that it was "evocative of some weird English activity like fox hunting". Pecknold took up the role of principal songwriter, both singing and playing guitar, while Skjelset played lead guitar. The original lineup was filled out by Casey Wescott on keyboards and backing vocals, Bryn Lumsden on bass and Nicholas Peterson on drums and backing vocals. Pecknold's late-sixties pop style caught the attention of the Seattle producer Phil Ek and he helped them record their first demo in 2006, the self-released Fleet Foxes EP. Ek was impressed with the band's songwriting, and on hearing Pecknold for the first time, noted, "It was obvious he had talent coming out of his ass." By late 2006 the Seattle press began to take notice of the band; Tom Scanlon of the Seattle Times stated that he was impressed with the band's lyrics and musical maturity. By the end of the year, Lumsden had been replaced on bass by Craig Curran, who would also handle many of the band's vocal harmonies.  With growing popularity on the local circuit, the band set about making their first album in early 2007, spending time in the studio with producer Ek in addition to recording material at home. However, funds for recording were tight, so the band members cobbled together what funds they had, which limited the time they had in the studio, and so the majority of the tracks were recorded in various band members' apartments, other spaces, or the basement of Pecknold's parents' house.

Answer this question "What was the title of their album"
output: the self-released Fleet Foxes EP.

input: Friml wrote his most famous operettas in the 1920s. In 1924, he wrote Rose-Marie. This operetta, on which Friml collaborated with lyricists Oscar Hammerstein II and Otto Harbach and co-composer Herbert Stothart, was a hit worldwide, and a few of the songs from it also became hits including "The Mounties" and "Indian Love Call". The use of murder as part of the plot was ground-breaking among operettas and musical theatre pieces at the time.  After Rose-Marie's success came two other hit operettas, The Vagabond King in 1925, with lyrics by Brian Hooker and William H. Post, and The Three Musketeers in 1928, with lyrics by P. G. Wodehouse and Clifford Grey, based on Alexandre Dumas's famous swashbuckling novel. In addition, Friml contributed to the Ziegfeld Follies of 1921 and 1923.  Friml wrote music for many films during the 1930s, often songs adapted from previous work. The Vagabond King, Rose-Marie and The Firefly were all made into films and included at least some of Friml's music. Oddly enough, his operetta version of The Three Musketeers was never filmed, despite the fact that the novel itself has been filmed many times. In 1930, he wrote a new operetta score for film, The Lottery Bride. Like his contemporary, Ivor Novello, Friml was sometimes ridiculed for the sentimental and insubstantial nature of his compositions and was often called trite. Friml was also criticized for the old-fashioned, Old World sentiments found in his works. Friml's last stage musical was Music Hath Charms in 1934. During the 1930s, Friml's music fell out of fashion on Broadway and in Hollywood.

Answer this question "What was his greatest piece he released?"
output:
In 1924, he wrote Rose-Marie.