input: On August 10, Jericho defeated Stevie Ray to win the World Television Championship (Stevie Ray substituting for the champion Booker T). Soon afterward, Jericho repeatedly called out WCW World Heavyweight Champion Goldberg in an attempt to begin a feud with him, but never actually wrestled him. Jericho cites Eric Bischoff, Goldberg and Hulk Hogan's refusal to book Jericho in a pay-per-view squash match loss against Goldberg, which Jericho felt would be a big draw, as a major reason for leaving the company.  On November 30, Jericho lost the World Television Championship to Konnan. In early 1999, Jericho began a feud with Perry Saturn. The feud saw Jericho and Saturn instigating bizarre stipulation matches, such as at Souled Out, where Jericho defeated Saturn in a "loser must wear a dress" match. At SuperBrawl IX, Jericho and Saturn wrestled in a "dress" match which Jericho won. Saturn finally defeated Jericho at Uncensored in a Dog Collar match. Jericho alternated between WCW and a number of Japanese tours before he signed a contract with the World Wrestling Federation (WWF) on June 30. Jericho's final WCW match came during a Peoria, Illinois house show July 21, where he and Eddie Guerrero lost to Billy Kidman and Rey Mysterio Jr. in a tag team match.  Fifteen years after Jericho's departure from WCW, his best known entrance music within the company, "One Crazed Anarchist", lent its name to the title of the second single from his band Fozzy's 2014 album, Do You Wanna Start a War.

Answer this question "Was this feud ongoing?"
output: Jericho cites Eric Bischoff, Goldberg and Hulk Hogan's refusal to book Jericho in a pay-per-view squash match loss against Goldberg, which Jericho felt would be a big draw,

input: Supported by Guggenheim and university grants, Partch took up residence at the University of Wisconsin from 1944 until 1947. This was a productive period, in which he lectured, trained an ensemble, staged performances, released his first recordings, and completed his book, now called Genesis of a Music. Genesis was completed in 1947 and published in 1949 by the University of Wisconsin Press. He left the university, as it never accepted him as a member of the permanent staff, and there was little space for his growing stock of instruments.  In 1949, pianist Gunnar Johansen allowed Partch to convert a smithy on his ranch to a studio. Partch worked there with support from the Guggenheim Foundation, and did recordings, primarily of his Eleven Intrusions (1949-1950). He was assisted for six months by composer Ben Johnston, who performed on Partch's recordings. In spring 1951, Partch moved to Oakland for health reasons, and prepared for a production of King Oedipus at Mills College, with the support of designer Arch Lauterer. Performances of King Oedipus in March were extensively reviewed, but a planned recording was blocked by the Yeats estate, which refused to grant permission to use Yeats's translation.  In February 1953, Partch founded the studio Gate 5 in an abandoned shipyard in Sausalito, California, where he composed, built instruments and staged performances. Subscriptions to raise money for recordings were organized by the Harry Partch Trust Fund, an organization put together by friends and supporters. The recordings were sold via mail order, as were later releases on the Gate 5 Records label. The money raised from these recordings became his main source of income. Partch's three Plectra and Percussion Dances, Ring Around the Moon (1949-1950), Castor and Pollux, and Even Wild Horses, premiered on Berkeley's KPFA radio in November 1953.  After completing The Bewitched in January 1955, Partch tried to find the means to put on a production of it. Ben Johnston introduced Danlee Mitchell to Partch at the University of Illinois; Mitchell later became Partch's heir. In March 1957, with the help of Johnston and the Fromm Foundation, The Bewitched was performed at the University of Illinois, and later at Washington University in St. Louis, though Partch was displeased with choreographer Alwin Nikolais's interpretation. Later in 1957, Partch provided the music for Madeline Tourtelot's film Windsong, the first of six film collaborations between the two. From 1959 to 1962, Partch received further appointments from the University of Illinois, and staged productions of Revelation in the Courthouse Park in 1961 and Water! Water! in 1962. Though these two works were based, as King Oedipus had been, on Greek mythology, they modernized the settings and incorporated elements of popular music. Partch had support from several departments and organizations at the university, but continuing hostility from the music department convinced him to leave and return to California.

Answer this question "What year did he complete his book"
output: Genesis was completed in 1947 and published in 1949 by the University of Wisconsin Press.

input: By late 1990, Phish's concerts were becoming more and more intricate, often making a consistent effort to involve the audience in the performance. In a special "secret language", the audience would react in a certain manner based on a particular musical cue from the band. For instance, if Anastasio "teased" a motif from The Simpsons theme song, the audience would yell, "D'oh!" in imitation of  Homer Simpson . In 1992, Phish introduced a collaboration between audience and band called the "Big Ball Jam" in which each band member would throw a large beach ball into the audience and play a note each time his ball was hit. In so doing, the audience was helping to create an original composition.  In an experiment known as "The Rotation Jam", each member would switch instruments with the musician on his left. On occasion, a performance of "You Enjoy Myself" involved Gordon and Anastasio performing synchronized maneuvers, jumping on mini-trampolines while simultaneously playing their instruments.  Phish, along with Bob Dylan, the Grateful Dead, and the Beatles, was one of the first bands to have a Usenet newsgroup, rec.music.phish, which launched in 1991. Aware of the band's growing popularity, Elektra Records signed them that year. The following year A Picture of Nectar was complete: their first major studio release, enjoying far more extensive production than either 1988's Junta or 1990's Lawn Boy. These albums were eventually re-released on Elektra, as well.  The first annual H.O.R.D.E. festival in 1992 provided Phish with their first national tour of major amphitheaters. The lineup, among others, included Phish, Blues Traveler, the Spin Doctors, and Widespread Panic. That summer, the band toured Europe with the Violent Femmes and later toured Europe and the U.S. with Carlos Santana.

Answer this question "Did they tour during this time?"
output:
That summer, the band toured Europe with the Violent Femmes and later toured Europe and the U.S. with Carlos Santana.