input: With the important exception of Four Quartets, Eliot directed much of his creative energies after Ash Wednesday to writing plays in verse, mostly comedies or plays with redemptive endings. He was long a critic and admirer of Elizabethan and Jacobean verse drama; witness his allusions to Webster, Thomas Middleton, William Shakespeare and Thomas Kyd in The Waste Land. In a 1933 lecture he said "Every poet would like, I fancy, to be able to think that he had some direct social utility . . . . He would like to be something of a popular entertainer, and be able to think his own thoughts behind a tragic or a comic mask. He would like to convey the pleasures of poetry, not only to a larger audience, but to larger groups of people collectively; and the theatre is the best place in which to do it."  After The Waste Land (1922), he wrote that he was "now feeling toward a new form and style". One project he had in mind was writing a play in verse, using some of the rhythms of early jazz. The play featured "Sweeney", a character who had appeared in a number of his poems. Although Eliot did not finish the play, he did publish two scenes from the piece. These scenes, titled Fragment of a Prologue (1926) and Fragment of an Agon (1927), were published together in 1932 as Sweeney Agonistes. Although Eliot noted that this was not intended to be a one-act play, it is sometimes performed as one.  A pageant play by Eliot called The Rock was performed in 1934 for the benefit of churches in the Diocese of London. Much of it was a collaborative effort; Eliot accepted credit only for the authorship of one scene and the choruses. George Bell, the Bishop of Chichester, had been instrumental in connecting Eliot with producer E. Martin Browne for the production of The Rock, and later commissioned Eliot to write another play for the Canterbury Festival in 1935. This one, Murder in the Cathedral, concerning the death of the martyr, Thomas Becket, was more under Eliot's control. Eliot biographer Peter Ackroyd comments that "for [Eliot], Murder in the Cathedral and succeeding verse plays offered a double advantage; it allowed him to practice poetry but it also offered a convenient home for his religious sensibility." After this, he worked on more "commercial" plays for more general audiences: The Family Reunion (1939), The Cocktail Party (1949), The Confidential Clerk, (1953) and The Elder Statesman (1958) (the latter three were produced by Henry Sherek and directed by E. Martin Browne). The Broadway production in New York of The Cocktail Party received the 1950 Tony Award for Best Play. Eliot wrote The Cocktail Party while he was a visiting scholar at the Institute for Advanced Study.  Regarding his method of playwriting, Eliot explained, "If I set out to write a play, I start by an act of choice. I settle upon a particular emotional situation, out of which characters and a plot will emerge. And then lines of poetry may come into being: not from the original impulse but from a secondary stimulation of the unconscious mind."

Answer this question "What other awards or recognitions did he receive?"
output: 

input: Borg had one of the most distinctive playing styles in the Open Era. He played from the baseline, with powerful ground-strokes. His highly unorthodox backhand involved taking his racket back with both hands but actually generating his power with his dominant right hand, letting go of the grip with his left hand around point of contact, and following through with his swing as a one-hander. He hit the ball hard and high from the back of the court and brought it down with considerable topspin, which made his ground strokes very consistent. There had been other players, particularly Rod Laver and Arthur Ashe, who played with topspin on both the forehand and backhand, yet Laver and Ashe used topspin only as a way to mix up their shots to pass their opponents at the net easily. Borg was one of the first top players to use heavy topspin on his shots consistently.  Complementing his consistent ground-strokes was his fitness. Both of these factors allowed Borg to be dominant at the French Open.  One of the factors that made Borg unique was his dominance on the grass courts of Wimbledon, where baseliners since World War II did not usually succeed. Some experts attributed his dominance on this surface to his consistency, an underrated serve, equally underrated volleys, and his adaptation to grass courts. Against the best players, he almost always served-and-volleyed on his first serves (but he naturally played from the baseline after his second serves).  Another trait usually associated with Borg is his grace under pressure. His calm court demeanor earned him the nickname of the "Ice Man" or "Ice-Borg."  Borg's physical conditioning was legendary and unrivalled. He could outlast most of his opponents under the most grueling conditions. Contrary to popular belief, however, this wasn't due to his exceptionally low resting heart rate, often reported to be near 35 beats per minute. In his introduction to Borg's autobiography My Life and Game, Eugene Scott relates that this rumor arose from a medical exam the 18-year-old Borg once took for military service, where his pulse was recorded as 38. Scott goes on to reveal Borg's true pulse rate as "about 50 when he wakes up and around 60 in the afternoon." Borg is credited with helping to develop the style of play that has come to dominate the game today.

Answer this question "When did he wrote his autobiography?"
output: Eugene Scott relates that this rumor arose from a medical exam the 18-year-old Borg once took for military service, where his pulse was recorded as 38.

input: After a few months of headlining and selling out small clubs, The Bravery booked a residency at the Lower East side club Arlene's Grocery. The Bravery played every Thursday at 10pm in May 2004. Every show sold out and garnered the attention of many record labels. Around the same time, the band received their first radio airplay on the show 'Alter Ego' hosted by Paul Driscoll on Boston's WFNX. Aaron Axeleson at Live 105 in San Francisco and Zane Lowe at BBC Radio 1 in the UK, also downloaded the MP3 of "An Honest Mistake" from thebravery.com. With three major radio stations around the world playing the MP3 of "An Honest Mistake" and sold out shows in New York, The Bravery signed in August 2004 to Island Def Jam in the United States and Loog Records in the UK.  For the month of November 2004, The Bravery moved to the Stoke Newington part of London. The band imported their residency idea to London playing every Thursday at The Metro Club in Soho. The band toured the entire UK, France and the Netherlands between Thursdays. The band also opened shows for Yeah Yeah Yeahs and Razorlight.  Loog Records released the Unconditional EP, a limited edition 3 song EP on CD and 12" vinyl containing the songs "Unconditional", "No Brakes" and "Out of Line". NME wrote, "Unconditional already has the time-worn feel of an indie classic."  The cover was taken from C. Finley's oil on canvas named "Colab." "Unconditional" received heavy airplay on Radio 1 and XFM London.  The Bravery played New Year's Eve of 2005 at the Motherfucker Party in New York City. Bassist Mike Hindert was almost arrested for stripping naked and exposing his genitalia, displaying a painted smiley face and the words "Happy New Year".  The Village Voice proclaimed the Bravery to be "New York's Official Next Big Thing", while MTV and Rolling Stone hailed them as an artist to watch. The band were also tipped in the BBC News website's Sound of 2005 poll as 2005's #1 most promising act.

Answer this question "Was it popular?"
output:
received heavy airplay on Radio 1 and XFM London.