Background: Tierney was born on November 19, 1920 in Brooklyn, New York, the daughter of Howard Sherwood Tierney and Belle Lavinia Taylor. She was named after a beloved uncle, who died young. She had an elder brother, Howard Sherwood "Butch" Tierney, Jr., and a younger sister, Patricia "Pat" Tierney. Their father was a successful insurance broker of Irish descent, their mother a former physical education instructor.
Context: In Tierney's first role on Broadway, she carried a bucket of water across the stage in What a Life! (1938). A Variety magazine critic declared, "Miss Tierney is certainly the most beautiful water carrier I've ever seen!" She also worked as an understudy in The Primrose Path (1938).  The following year, she appeared in the role of Molly O'Day in the Broadway production Mrs. O'Brien Entertains (1939). The New York Times critic Brooks Atkinson wrote, "As an Irish maiden fresh from the old country, Gene Tierney in her first stage performance is very pretty and refreshingly modest." That same year, Tierney appeared as Peggy Carr in Ring Two (1939) to favorable reviews. Theater critic Richard Watts, Jr. of the New York Herald Tribune wrote, "I see no reason why Miss Tierney should not have an interesting theatrical career - that is, if cinema does not kidnap her away."  Tierney's father set up a corporation, Belle-Tier, to fund and promote her acting career. Columbia Pictures signed her to a six-month contract in 1939. She met Howard Hughes, who tried unsuccessfully to seduce her. From a well-to-do family herself, she was not impressed by his wealth. Hughes eventually became a lifelong friend.  After a cameraman advised Tierney to lose a little weight, she wrote to Harper's Bazaar magazine for a diet, which she followed for the next 25 years. Tierney was initially offered the lead role in National Velvet, but production was delayed. When Columbia Pictures failed to find Tierney a project, she returned to Broadway and starred as Patricia Stanley to critical and commercial success in The Male Animal (1940). In The New York Times, Brooks Atkinson wrote, "Tierney blazes with animation in the best performance she has yet given". She was the toast of Broadway before her 20th birthday. The Male Animal was a hit, and Tierney was featured in Life magazine. She was also photographed by Harper's Bazaar, Vogue, and Collier's Weekly.  Two weeks after The Male Animal opened, Darryl F. Zanuck, the head of 20th Century Fox, was rumored to have been in the audience. During the performance, he told an assistant to note Tierney's name. Later that night, Zanuck dropped by the Stork Club, where he saw a young lady on the dance floor. He told his assistant, "Forget the girl from the play. See if you can sign that one." It was Tierney. At first, Zanuck did not think she was the actress he had seen. Tierney was quoted (after the fact), saying: "I always had several different 'looks', a quality that proved useful in my career."
Question: How long did she perform on Broadway?
Answer: Tierney's father set up a corporation, Belle-Tier, to fund and promote her acting career.

Background: Bradley Joseph (born 1965) is an American composer, arranger, and producer of contemporary instrumental music. His compositions include works for orchestra, quartet, and solo piano, while his musical style ranges from "quietly pensive mood music to a rich orchestration of classical depth and breadth". Active since 1983, Joseph has performed in front of millions of people around the world. He played various instruments in rock bands throughout the Midwest until 1989 when Greek composer Yanni hired him for his core band after hearing a tape of his original compositions.
Context: In 1989, Joseph recorded his first demo tape and sent it off to Greek composer Yanni, who was looking for someone to replace keyboardist John Tesh, as Tesh was launching his own solo career. When Yanni heard Joseph's compositions and arrangements, he was hired over the phone to join his core band, without ever meeting.  After moving to Los Angeles at age 23, he composed, arranged, and performed alongside Yanni for more than six years, performing in-concert with a number of notable symphony orchestras, touring throughout the U.S. and abroad as Yanni gained worldwide fame. His first show was at the Starplex in Dallas with the Dallas Symphony Orchestra filming a video project. "It was a real trial by fire for me", said Joseph. "First show + 10,000 people + TV cameras equals NERVOUS." He told Jane Fredericksen of the St. Croix Valley Press that "It was a big jump, you don't really realize it at the time, but there's no in-between -- going from playing nightclubs to arenas." Some of these early tours included the Reflections of Passion, Revolution in Sound, Dare to Dream, Yanni Live, The Symphony Concerts 1993 and 1994 concert tours, as well as a performance in Germany that was broadcast throughout Europe and seen by 30 to 40 million viewers. Joseph appears on the 1994 multi-platinum album and video, Live at the Acropolis. He recounts, "When I reflect back over the years, one of the high points that stand out include performing at the Acropolis with Yanni. Imagine all these different cultures coming together with the challenges of language, equipment, travel, and weather problems. I still picture the police running their dogs through the dressing rooms to sniff out any bomb possibilities right before the show. People still come up to me and comment how that show has affected their lives."  In the band, Joseph covered a lot of the keyboard parts that Yanni could not for lack of hands in the shows. He assisted with the task of managing the 30 or more synthesizers onstage, and helped layer with the orchestra to create a "full-bodied, live-effect sound". He did have to adjust some parts that did not work well in a live situation and worked extensively on programming sounds for all keyboardists. Joseph said that "Yanni gave us musicians a great deal of freedom to expand the music as well. If you listen to the original recordings he did and what we ended up with in our live recordings, you can really hear the musician's input." He readily credits Yanni's role in his professional development, and for five years of irreplaceable experiences and memories.  Between tours, Joseph worked extensively in recording studios on music ranging from rock and pop to rhythm and blues and orchestration with numerous artists from RCA, Epic, Warner Brothers, and Polygram Records, in addition to performing in an elaborate national keyboard show tour with various musicians. In 2003, he returned for the 60-city Ethnicity tour.
Question: Did Yanni like the demo?
Answer:
When Yanni heard Joseph's compositions and arrangements, he was hired over the phone