input: As a young child Carpentier was exposed to a great deal of music. Carpentier himself played the piano, as did his mother; his father played cello, studying under Pablo Casals, and his grandmother played the organ. Carpentier studied music theory at the Lycee Jeanson de Sailly when he lived in Paris for the first time. Carpentier's own compositions made him an important part of the contemporary Cuban musical landscape, but he also studied the origins and political nuances of Cuban music. His devotion to the adaptations of European artistic styles into Latin American music styles can also be seen in his admiration for Afro-Cuban musical themes.  Early in his career Carpentier collaborated with other young musicians eager to explore Cuban musical roots. One such collaborator was Amadeo Roldan, a French musician of Cuban background. They helped to organize the Cuban premiere of popular orchestral music of the era Conciertos de musica nueva (Concerts of New Music), featuring composers such as Stravinsky, Milhaud, Ravel, Malipiero, Poulenc and Erik Satie. In regards to their own music, Carpentier and Roldan were far more interested in integrating African rhythms and melodies into their works and abandoned imitation of European musical styles. "!Abajo la lira, arriba el bongo!" (Down with the lyre, up with the bongo!) was the popular slogan for their style of music. Carpentier and Roldan collaborated on numerous works, including the 1925 orchestral piece Obertura sobre temas cubanos (Overture on Cuban Themes) which was regarded as scandalous for its betrayal of what was seen as the proper European-style symphony in favor of Afro-Cuban inspired music. Other well-known collaborations between the two included Tres pequenas poemas: Oriente, Pregon, Fiesta negra (Three little poems) produced in 1926, and two Afro-Cuban ballets: La Rebambaramba, a colonial ballet in two parts (1928) and El milagro de Anaquille (1929).  Carpentier's interest in music had great influence on his prose writing. Navarro suggests that readers of Carpentier's works are more listeners than they are readers. Lyrical use of colloquial dialects, literary rhythms such as alliteration and assonance and the theme of music within the world of the narrative (drums, footsteps, etc.) are a few examples of music's influence over Carpentier's work. In an interview the author himself was quoted as saying "Music is present in all of my work." For Carpentier, analysis of Cuban identity was grounded in the analysis of Cuban music. As such, for Carpentier to better understand Cuban identity through his work, he eagerly integrated music into his writing.

Answer this question "Who else did he work with?"
output: featuring composers such as Stravinsky, Milhaud, Ravel, Malipiero, Poulenc and Erik Satie.

input: The three constants throughout Lombardi's life were sports--particularly football--family and religion. His father was a daily Communicant throughout his life and his mother's favorite picture of Vince as a child was on his Confirmation. When Lombardi was 12, while serving as an altar boy on Easter Sunday, "... amid the color and pageantry scarlet and white vestments, golden cross, scepters, the wafers and wine, body and blood ... that the inspiration came to him that he should become a priest ...",. When his mother, Matty, got wind of it she bragged about her son's plan to her neighbors. Lombardi attended Mass on a daily basis throughout his life.  During his tenure at St. Cecilia, Lombardi attended Mass every day and "prayed for calm and control: of his temper and ..." his wife's drinking. When Lombardi became head coach of football in 1942, he would lead his team to Sunday Mass before each home game. At St. Cecilia, Lombardi shared an office with Father Tim Moore wherein it was not unusual for Lombardi to interrupt a conversation and request to go to Confession and which Father Tim would oblige him right in the office.  During his stay at Green Bay, Lombardi once emerged from his office and appeared before his secretary, Ruth McKloskey, wearing "... all these priest robes on, and he had a miter with a tassel, everything." Each day on his way to work for the Green Bay Packers, Lombardi would stop at St. Willebrord Church and "offer a prayer in case of unexpected death: 'My God, if I am to die today, or suddenly at any time, I wish to receive this Communion as my viaticum ...'". He regularly attended Sunday Mass at Resurrection Church in the Allouez neighborhood of Green Bay's southeast side, always sitting with his wife in the middle of the ninth pew.  On the morning of the dedication of Lombardi Avenue, Lombardi remarked to his 37-member entourage that he was pleased to have gotten them all up to attend morning Mass. Lombardi was also a 4th degree in the Knights of Columbus.

Answer this question "and what?"
output: which Father Tim would oblige him right in the office.

input: At age 20, Fonda started his acting career at the Omaha Community Playhouse, when his mother's friend Dodie Brando (mother of Marlon Brando) recommended that he try out for a juvenile part in You and I, in which he was cast as Ricky. He was fascinated by the stage, learning everything from set construction to stage production, and embarrassed by his acting ability. When he received the lead in Merton of the Movies, he realized the beauty of acting as a profession, as it allowed him to deflect attention from his own tongue-tied personality and create stage characters relying on someone else's scripted words. Fonda decided to quit his job and go east in 1928 to seek his fortune.  He arrived on Cape Cod and played a minor role at the Cape Playhouse in Dennis, Massachusetts. A friend took him to Falmouth, MA where he joined and quickly became a valued member of the University Players, an intercollegiate summer stock company. There he worked with Margaret Sullavan, his future wife. James Stewart joined the Players a few months after Fonda left, though they were soon to become lifelong friends. Fonda left the Players at the end of their 1931-1932 season after appearing in his first professional role in The Jest, by Sem Benelli. Joshua Logan, a young sophomore at Princeton who had been double-cast in the show, gave Fonda the part of Tornaquinci, "an elderly Italian man with a long white beard and even longer hair." Also in the cast of The Jest with Fonda and Logan were Bretaigne Windust, Kent Smith, and Eleanor Phelps.  The tall (6 ft, 1.5 in) Fonda headed for New York City, to be with his then wife, Margaret Sullavan. The marriage was brief, but when James Stewart came to New York his luck changed. Getting contact information from Joshua Logan, Jimmy, as he was called, found Hank Fonda and these small town boys found they had a lot in common, as long as they didn't discuss politics. The two men became roommates and honed their skills on Broadway. Fonda appeared in theatrical productions from 1926 to 1934. They fared no better than many Americans in and out of work during the Great Depression, sometimes lacking enough money to take the subway.

Answer this question "Are there any other interesting aspects about this article?"
output:
He was fascinated by the stage, learning everything from set construction to stage production, and embarrassed by his acting ability.