Problem: Background: Caray was born Harry Christopher Carabina to an Italian father and Romanian mother in St. Louis. He was an infant when his father died. His mother remarried with a French-American, but after her death when Caray was eight, he went to live with his aunt Doxie at 1909 LaSalle Street in a tough, working-class section of St. Louis. As a young man, Caray played baseball at the semi-pro level for a short time before auditioning for a radio job at the age of 19.
Context: At his funeral, the organ played "Take Me Out to the Ball Game." Harry Caray's body is interred in All Saints Cemetery in Des Plaines, Illinois.  Following his death, during the entire 1998 season the Cubs wore a patch on the sleeves of their uniforms depicting a caricature of Caray. Cubs slugger Sammy Sosa dedicated each of his 66 home runs that season to Caray.  Caray had five children, three with his first wife, Dorothy, and two with his second wife, Marian. He married his third wife Delores "Dutchie" (Goldmann) on May 19, 1975. His son Skip Caray followed him into the booth as a baseball broadcaster with the Atlanta Braves until his death on August 3, 2008. Caray's broadcasting legacy was extended to a third generation, as his grandson Chip Caray replaced Harry as the Cubs' play-by-play announcer from 1998 to 2004. Chip later returned to work with his father Skip on Atlanta Braves broadcasts, where he had worked for a while in the early 1990s.  In what Harry Caray said was one of his proudest moments, he worked some innings in the same broadcast booth with his son and grandson, during a Cubs/Braves game on May 13, 1991. On-air in a professional setting, the younger men would refer to their seniors by their first names. During 1998, Chip would refer to the departed Harry in third person as "Granddad".  When the Cubs defeated the Cleveland Indians in seven games to win the 2016 World Series, Budweiser produced a celebratory commercial entitled "Harry Caray's Last Call" featuring Caray's call of the game using archived footage.
Question: What is another example of his legacy?
Answer: In what Harry Caray said was one of his proudest moments, he worked some innings in the same broadcast booth with his son and grandson,

Problem: Background: Jean-Philippe Rameau (French: [Zafilip Ramo]; (1683-09-25)25 September 1683 - (1764-09-12)12 September 1764) was one of the most important French composers and music theorists of the 18th century. He replaced Jean-Baptiste Lully as the dominant composer of French opera and is also considered the leading French composer for the harpsichord of his time, alongside Francois Couperin. Little is known about Rameau's early years, and it was not until the 1720s that he won fame as a major theorist of music with his Treatise on Harmony (1722) and also in the following years as a composer of masterpieces for the harpsichord, which circulated throughout Europe.
Context: Unlike Lully, who collaborated with Philippe Quinault on almost all his operas, Rameau rarely worked with the same librettist twice. He was highly demanding and bad-tempered, unable to maintain longstanding partnerships with his librettists, with the exception of Louis de Cahusac, who collaborated with him on several operas, including Les fetes de l'Hymen et de l'Amour (1747), Zais (1748), Nais (1749), Zoroastre (1749; revised 1756), La naissance d'Osiris (1754), and Anacreon (the first of Rameau's operas by that name, 1754). He is also credited with writing the libretto of Rameau's final work, Les Boreades (c. 1763).  Many Rameau specialists have regretted that the collaboration with Houdar de la Motte never took place, and that the Samson project with Voltaire came to nothing because the librettists Rameau did work with were second-rate. He made his acquaintance of most of them at La Poupliniere's salon, at the Societe du Caveau, or at the house of the Comte de Livry, all meeting places for leading cultural figures of the day.  Not one of his librettists managed to produce a libretto on the same artistic level as Rameau's music: the plots were often overly complex or unconvincing. But this was standard for the genre, and is probably part of its charm. The versification, too, was mediocre, and Rameau often had to have the libretto modified and rewrite the music after the premiere because of the ensuing criticism. This is why we have two versions of Castor et Pollux (1737 and 1754) and three of Dardanus (1739, 1744, and 1760).
Question: Did he retire ?
Answer: