Problem: Kurt Julian Weill (March 2, 1900 - April 3, 1950) was a German composer, active from the 1920s in his native country, and in his later years in the United States. He was a leading composer for the stage who was best known for his fruitful collaborations with Bertolt Brecht. With Brecht, he developed productions such as his best-known work The Threepenny Opera, which included the ballad "Mack the Knife". Weill held the ideal of writing music that served a socially useful purpose.

In 1922 he joined the Novembergruppe, a group of leftist Berlin artists that included Hanns Eisler and Stefan Wolpe. In February 1924 the conductor Fritz Busch introduced him to the dramatist Georg Kaiser, with whom Weill would have a long-lasting creative partnership resulting in several one-act operas. At Kaiser's house in Grunheide, Weill first met singer/actress Lotte Lenya in the summer of 1924. The couple were married twice: in 1926 and again in 1937 (following their divorce in 1933). She took great care to support Weill's work, and after his death she took it upon herself to increase awareness of his music, forming the Kurt Weill Foundation. From November 1924 to May 1929, Weill wrote hundreds of reviews for the influential and comprehensive radio program guide Der deutsche Rundfunk. Hans Siebert von Heister had already worked with Weill in the November Group, and offered Weill the job shortly after becoming editor-in-chief.  Although he had some success with his first mature non-stage works (such as the String Quartet, Op. 8, or the Concerto for Violin and Wind Orchestra, Op. 12), which were influenced by Gustav Mahler, Arnold Schoenberg and Igor Stravinsky, Weill tended more and more to vocal music and musical theatre. His musical theatre work and his songs were extremely popular with the wider public in Germany at the end of the 1920s and the beginning of the 1930s. Weill's music was admired by composers such as Alban Berg, Alexander von Zemlinsky, Darius Milhaud and Stravinsky, but it was also criticised by others: by Schoenberg, who later revised his opinion, and by Anton Webern.  His best-known work is The Threepenny Opera (1928), a reworking of John Gay's The Beggar's Opera written in collaboration with Bertolt Brecht. Engel directed the original production of The Threepenny Opera in 1928. It contains Weill's most famous song, "Mack the Knife" ("Die Moritat von Mackie Messer"). The stage success was filmed by G. W. Pabst in two language versions: Die 3-Groschen-Oper and L'opera de quat' sous. Weill and Brecht tried to stop the film adaptation through a well publicised lawsuit--which Weill won and Brecht lost. Weill's working association with Brecht, although successful, came to an end over politics in 1930. Though Weill associated with socialism, after Brecht tried to push the play even further into a left wing direction, Weill commented, according to his wife Lotte Lenya, that he was unable to "set the communist party manifesto to music."

What happen to him how did he die

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Problem: Orci was born in Mexico City on July 20, 1973, to a Mexican father and a Cuban mother. His mother immigrated to the United States with her parents after Fidel Castro came to power. Orci grew up in Mexico, and moved with his family to the United States at the age of 10. He was raised in Texas, Los Angeles and Canada.

Orci and Kurtzman were asked to write the script for a new Star Trek film, but initially turned it down despite Orci being a fan of the series. Orci suggested rebooting the timeline as seen previously in the films and television series, and adding the return of Leonard Nimoy as Spock from Star Trek: The Original Series. He considered the first two films in the reboot series to be the origin story for the crew, and that the third film would start where the crew was at the beginning of Star Trek: The Original Series. Orci felt that the relationship between the James T. Kirk and the younger Spock was reflective of the partnership of himself and Kurtzman, he said that "We didn't even realize we were writing about ourselves until we were halfway through the script, that was a little embarrassing.  Star Trek was profitable at the domestic box-office, resulting in a sequel being greenlit by the studio and Kurtzman and Orci being asked to write it. The studio set aside a larger budget for the sequel, which was revealed by Orci in an interview with TrekMovie.com. Orci ruled out the "hero quitting" staple of a second movie, which had featured in the Transformers sequel, saying that the crew of the Enterprise were committed and that type of story does not have to apply to all sequels. During the buildup to the film, called Star Trek Into Darkness, Orci was one of the production team who didn't give much away about the villain in the film and denied that Benedict Cumberbatch was to play Khan Noonian Singh.  The criticism of the sequel resulted in Orci posting controversial comments on a Star Trek fan site. In response to a fan upset over Into Darkness, Orci called him a "shitty fan". He later apologized and deactivated his Twitter account.

Are there any other interesting aspects about this article?

Answer with quotes: Orci and Kurtzman were asked to write the script for a new Star Trek film, but initially turned it down despite Orci being a fan of the series.


Problem: That Was the Week That Was, informally TWTWTW or TW3, was a satirical television comedy programme on BBC Television in 1962 and 1963. It was devised, produced and directed by Ned Sherrin and presented by David Frost. An American version by the same name aired on NBC from 1964 to 1965, also featuring Frost. The programme is considered a significant element of the satire boom in the UK in the early 1960s.

A Canadian show, This Hour Has Seven Days, aired from 1964 to 1966 on CBC. Although partially inspired by That Was The Week That Was, the Canadian show mixed satirical aspects with more serious journalism. It proved controversial and was cancelled after two series amid allegations of political interference. This Hour Has 22 Minutes, created by Newfoundland comic Mary Walsh, has been running since 1992 although the two are not related.  An Australian show, The Mavis Bramston Show, aired from 1964 to 1968 on the Seven Network. It grew out of the recent local theatrical tradition of topical satirical revue--most notably the popular revues staged at Sydney's Phillip Street Theatre in the 1950s and 1960s--but it was also strongly influenced by the British satire boom and especially TW3 and Not Only... But Also.  The New Zealand show A Week Of It ran from 1977 to 1979, hosted by Ken Ellis, and featuring comedians David McPhail, Peter Rowley and Chris McVeigh and comedian/musicians Jon Gadsby and Annie Whittle. The series lampooned news and politics and featured songs, usually by McPhail and Gadsby, who continued with their own show, McPhail and Gadsby in similar vein.  A Dutch version, Zo is het toevallig ook nog 's een keer, aired from November 1963 to 1966. It became controversial after the fourth edition, which included a parody of the Lord's Prayer ("Give us this day our daily television"). Angry viewers directed their protests especially against the most popular cast member: Mies Bouwman. After receiving several threats to her life she decided to quit the show. The show was praised as well: in 1966 it received the Gouden Televizier-ring, a prestigious audience award--though it turned out afterward that the election was rigged.  An Indian version titled The Week That Wasn't was launched and hosted by Cyrus Broacha.

Is there another country that had its own version of the show ?

Answer with quotes:
The New Zealand show A Week Of It