input: Young left the Basie band in late 1940. He is rumored to have refused to play with the band on Friday, December 13 of that year for superstitious reasons spurring his dismissal, although Young and drummer Jo Jones would later state that his departure had been in the works for months. He subsequently led a number of small groups that often included his brother, drummer Lee Young, for the next couple of years; live and broadcast recordings from this period exist.  During this period Young accompanied the singer Billie Holiday in a couple of studio sessions (during 1937 - 1941 period) and also made a small set of recordings with Nat "King" Cole (their first of several collaborations) in June 1942. His studio recordings are relatively sparse during the 1942 to 1943 period, largely due to the recording ban by the American Federation of Musicians. Small record labels not bound by union contracts continued to record and he recorded some sessions for Harry Lim's Keynote label in 1943.  In December 1943 Young returned to the Basie fold for a 10-month stint, cut short by his being drafted into the army during World War II (see below). Recordings made during this and subsequent periods suggest Young was beginning to make much greater use of a plastic reed, which tended to give his playing a somewhat heavier, breathier tone (although still quite smooth compared to that of many other players). While he never abandoned the cane reed, he used the plastic reed a significant share of the time from 1943 until the end of his life. Another cause for the thickening of his tone around this time was a change in saxophone mouthpiece from a metal Otto Link to an ebonite Brilhart. In August 1944 Young appeared alongside drummer Jo Jones, trumpeter Harry "Sweets" Edison, and fellow tenor saxophonist Illinois Jacquet in Gjon Mili's short film Jammin' the Blues.

Answer this question "Did he work with any other musicians?"
output: In December 1943 Young returned to the Basie fold for a 10-month stint,

input: Having achieved some fame and prosperity, Verdi began in 1859 to take an active interest in Italian politics. His early commitment to the Risorgimento movement is difficult to estimate accurately; in the words of the music historian Philip Gossett "myths intensifying and exaggerating [such] sentiment began circulating" during the nineteenth century. An example is the claim that when the "Va, pensiero" chorus in Nabucco was first sung in Milan, the audience, responding with nationalistic fervour, demanded an encore. As encores were expressly forbidden by the government at the time, such a gesture would have been extremely significant. But in fact the piece encored was not "Va, pensiero" but the hymn "Immenso Jehova".  The growth of the "identification of Verdi's music with Italian nationalist politics" perhaps began in the 1840s. In 1848, the nationalist leader Giuseppe Mazzini, (whom Verdi had met in London the previous year) requested Verdi (who complied) to write a patriotic hymn. The opera historian Charles Osborne describes the 1849 La battaglia di Legnano as "an opera with a purpose" and maintains that "while parts of Verdi's earlier operas had frequently been taken up by the fighters of the Risorgimento...this time the composer had given the movement its own opera" It was not until 1859 in Naples, and only then spreading throughout Italy, that the slogan "Viva Verdi" was used as an acronym for Viva Vittorio Emanuele Re D'Italia (Viva Victor Emmanuel King of Italy), (who was then king of Piedmont). After Italy was unified in 1861, many of Verdi's early operas were increasingly re-interpreted as Risorgimento works with hidden Revolutionary messages that perhaps had not been originally intended by either the composer or his librettists.  In 1859, Verdi was elected as a member of the new provincial council, and was appointed to head a group of five who would meet with King Vittorio Emanuele II in Turin. They were enthusiastically greeted along the way and in Turin Verdi himself received much of the publicity. On 17 October Verdi met with Cavour, the architect of the initial stages of Italian unification. Later that year the government of Emilia was subsumed under the United Provinces of Central Italy, and Verdi's political life temporarily came to an end. Whilst still maintaining nationalist feelings, he declined in 1860 the office of provincial council member to which he had been elected in absentia. Cavour however was anxious to convince a man of Verdi's stature that running for political office was essential to strengthening and securing Italy's future. The composer confided to Piave some years later that "I accepted on the condition that after a few months I would resign." Verdi was elected on 3 February 1861 for the town of Borgo San Donnino (Fidenza) to the Parliament of Piedmont-Sardinia in Turin (which from March 1861 became the Parliament of the Kingdom of Italy), but following the death of Cavour in 1861, which deeply distressed him, he scarcely attended. Later, in 1874, Verdi was appointed a member of the Italian Senate, but did not participate in its activities.

Answer this question "What type of action did he take in politics?"
output: After Italy was unified in 1861, many of Verdi's early operas were increasingly re-interpreted as Risorgimento works with hidden Revolutionary messages

input: In 1485, following his death in battle against Henry Tudor at Bosworth Field, Richard III's body was buried in Greyfriars Church in Leicester.  Following the discoveries of Richard's remains in 2012, it was decided that they should be reburied at Leicester Cathedral, despite feelings in some quarters that he should have been reburied in York Minster. His remains were carried in procession to the cathedral on 22 March 2015, and reburied on 26 March 2015 at a religious re-burial service at which both the Right Reverend Tim Stevens, the Bishop of Leicester, and the Most Reverend Justin Welby, the Archbishop of Canterbury, officiated. The British Royal Family was represented by the Duke and Duchess of Gloucester and the Countess of Wessex. The actor Benedict Cumberbatch, who is a distant relation of the king and later portrayed him in The Hollow Crown television series, read a poem by Poet Laureate Carol Ann Duffy.  His cathedral tomb was designed by the architects van Heyningen and Haward. The tombstone is deeply incised with a cross, and consists of a rectangular block of white Swaledale fossil stone, quarried in North Yorkshire. It sits on a low plinth made of dark Kilkenny marble, incised with Richard's name, dates and motto (Loyaulte me lie - loyalty binds me). The plinth also carries his coat of arms in pietra dura. The remains of Richard III are in a lead-lined coffin, inside an outer English oak coffin crafted by Michael Ibsen, a direct descendant of Richard's sister Anne of York, and laid in a brick-lined vault below the floor, and below the plinth and tombstone. The original 2010 raised tomb design had been proposed by Langley`s "Looking For Richard Project" and fully funded by members of the Richard III Society. The proposal was publicly launched by the Society on 13 February 2013 but rejected by Leicester Cathedral in favour of a memorial slab. However, following a public outcry, the Cathedral changed its position and on 18 July 2013 announced its agreement to give King Richard III a raised tomb monument.

Answer this question "When was he reburied?"
output:
His remains were carried in procession to the cathedral on 22 March 2015, and reburied on 26 March 2015