Some context: Wang Leehom (born May 17, 1976), sometimes credited as Leehom Wang, is a Taiwanese-American singer-songwriter, record producer, actor and film director. Formally trained at the Eastman School of Music, Williams College and Berklee College of Music, his musical style is known for fusing Chinese elements (such as Beijing opera, traditional styles of ethnic minorities, Chinese classical orchestra) with hip-hop and R&B. Wang debuted in 1995 and since then has released over 25 albums, with sales of over 50 million copies. He is also a four-time winner and 19-time nominee of Taiwan's Golden Melody Awards, the "Grammys" of Chinese music.
Wang's contract with Decca Records was terminated after the release of his fourth album White Paper in the summer of 1997. After graduating with honors at Williams College, he released his first award-winning album Revolution under Sony Music Entertainment in August 1998. The album became his breakthrough album, immediately selling over 10,000 domestic units in the first week of release. Critics rated the album highly, and it won Wang two Golden Melody Awards--Best Producer and Best Mandarin Male Singer. He was the youngest artist to win in either of the two categories. Wang has been nominated the Best Mandarin Male Singer at the awards every year since the success of Revolution. The singles of Revolution also achieved similar success-"Revolution" became Wang Leehom's first No. 1 single, becoming one of the top 20 songs of the year on Channel V Taiwan.  He continued his studies by attending Berklee College of Music's Professional Music program, with voice as his principal instrument. In 1999, Wang released his sixth album Impossible to Miss You, which combined the catchy pop melodies of Revolution with a quirky style of new-found dance-pop. It became his then best-selling album, selling over 1 million copies. All of the album's promotional singles topped KTV charts and yearly music charts, including the upbeat "Julia" and the ballad "Crying Palm". His album also attracted international attention-Wang won three Best Male Vocalist awards at three different award ceremonies and was also awarded for his musical merit in the album at the 1st annual Asia Chinese Music Awards.  At the beginning of the millennium, Wang began filming for several Cantonese-language Hong Kong blockbusters, which inspired him to study the Cantonese language. He included a Cantonese track, "Love My Song," in the Hong Kong release of Forever's First Day (2000), his seventh album. Unlike his previous two albums, Forever's First Day consisted mainly of melodic R&B tunes. The album's eponymous single is a tragic romantic ballad, speaking of a separation of two individuals. Although raised in New York for most of his life, living in Taiwan made Wang realize the deep roots of his Chinese heritage. Forever's First Day yielded a cover of his uncle's signature song "Descendants of the Dragon"; Wang re-arranged the song with heavier rock and dance elements. The song also included a rap bridge that summarized experiences of his parents living as a Chinese American in New York.
where did he grow up?
A: 
Some context: James Butler Hickok was born May 27, 1837, in Homer, Illinois (present-day Troy Grove, Illinois) to William Alonzo Hickok, a farmer and abolitionist, and his wife Polly Butler. His father was said to have used the family house, now demolished, as a station on the Underground Railroad. He was the fourth of six children.
While in Springfield, Hickok and a local gambler named Davis Tutt had several disagreements over unpaid gambling debts and their mutual affection for the same women. Hickok lost a gold watch to Tutt in a poker game. The watch had great sentimental value to Hickok and he asked Tutt not to wear it in public. They initially agreed not to fight over the watch, but when Hickok saw Tutt wearing it, he warned him to stay away. On July 21, 1865, the two men faced off in Springfield's town square, standing sideways before drawing and firing their weapons. Their quick-draw duel was recorded as the first of its kind. Tutt's shot missed, but Hickok's struck Tutt through the heart from about 75 yards (69 m) away. Tutt called out, "Boys, I'm killed" before he collapsed and died.  Two days later, Hickok was arrested for murder. The charge was later reduced to manslaughter. He was released on $2,000 bail and stood trial on August 3, 1865. At the end of the trial, Judge Sempronius H. Boyd told the jury they could not find Hickok acted in self-defense if he could have reasonably avoided the fight. However, if they felt the threat of danger was real and imminent, he instructed they could apply the unwritten law of the "fair fight" and acquit. The jury voted to clear Hickok, resulting in public backlash and criticism of the verdict.  Several weeks later, an interview Hickok gave to Colonel George Ward Nichols, a journalist known as the creator of the Hickok legend, was published in Harper's New Monthly Magazine. Under the name "Wild Bill Hitchcock" [sic], the article recounted the "hundreds" of men whom Hickok had personally killed and other exaggerated exploits. The article was controversial wherever Hickok was known, and several frontier newspapers wrote rebuttals.
Which other person do Bill have a disagreement with?
A: Under the name "Wild Bill Hitchcock" [sic], the article recounted the "hundreds" of men whom Hickok had personally killed and other exaggerated exploits.
Some context: Matthew Paris, known as Matthew of Paris (Latin: Matthaeus Parisiensis, lit. "Matthew the Parisian"; c. 1200 - 1259), was a Benedictine monk, English chronicler, artist in illuminated manuscripts and cartographer, based at St Albans Abbey in Hertfordshire. He wrote a number of works, mostly historical, which he scribed and illuminated himself, typically in drawings partly coloured with watercolour washes, sometimes called "tinted drawings". Some were written in Latin, some in Anglo-Norman or French verse.
From 1235, the point at which Wendover dropped his pen, Paris continued the history on the plan which his predecessors had followed. He derived much of his information from the letters of important people, which he sometimes inserts, but much more from conversation with the eyewitnesses of events. Among his informants were Richard, Earl of Cornwall and King Henry III, with whom he appears to have been on intimate terms.  The king knew that Paris was writing a history, and wanted it to be as exact as possible. In 1257, in the course of a week's visit to St Albans, Henry kept the chronicler beside him night and day, "and guided my pen," says Paris, "with much goodwill and diligence." It is curious that the Chronica majora gives so unfavourable an account of the king's policy. Henry Richards Luard supposes that Paris never intended his work to be read in its present form. Many passages of the autograph have written next to them, the note offendiculum, which shows that the writer understood the danger which he ran. On the other hand, unexpurgated copies were made in Paris's lifetime. Although the offending passages are duly omitted or softened in his abridgment of his longer work, the Historia Anglorum (written about 1253), Paris's real feelings must have been an open secret. There is no ground for the old theory that he was an official historiographer.  Naturalists have praised his descriptions of the English wildlife of his time, brief though they are: in particular his valuable description of the first irruption into England in 1254 of the common crossbill.
Is there any record of when his final writing may have been?
A:
the Historia Anglorum (written about 1253