input: One of de Forest's areas of research at Federal Telegraph was improving the reception of signals, and he came up with the idea of strengthening the audio frequency output from a grid Audion by feeding it into a second tube for additional amplification. He called this a "cascade amplifier", which eventually consisted of chaining together up to three Audions.  At this time the American Telephone and Telegraph Company was researching ways to amplify telephone signals to provide better long-distance service, and it was recognized that de Forest's device had potential as a telephone line repeater. In mid-1912 an associate, John Stone Stone, contacted AT&T to arrange for de Forest to demonstrate his invention. It was found that de Forest's "gassy" version of the Audion could not handle even the relatively low voltages used by telephone lines. (Due to the way he constructed the tubes, de Forest's Audions would cease to operate with too high a vacuum.) However, careful research by Dr. Harold D. Arnold and his team at AT&T's Western Electric subsidiary determined that by improving the tube's design, it could be more fully evacuated, and the high vacuum allowed it to successfully operate at telephone line voltages. With these changes the Audion evolved into a modern electron-discharge vacuum tube, using electron flows rather than ions. (Dr. Irving Langmuir at the General Electric Corporation made similar findings, and both he and Arnold attempted to patent the "high vacuum" construction, but the U.S. Supreme Court ruled in 1931 that this modification could not be patented).  After a delay of ten months, in July 1913 AT&T, through a third party who disguised his link to the telephone company, purchased the wire rights to seven Audion patents for $50,000. De Forest had hoped for a higher payment, but was again in bad financial shape and was unable to bargain for more. In 1915, AT&T used the innovation to conduct the first transcontinental telephone calls, in conjunction with the Panama-Pacific International Exposition at San Francisco.

Answer this question "did he have other areas of research?"
output: 

input: Jose Marti is usually honored as a great poet, patriot and martyr of Cuban Independence, but he was also a translator of some note. Although he translated literary material for the sheer joy of it, much of the translating he did was imposed on him by economic necessity during his many years of exile in the United States. Marti learned English at an early age, and had begun to translate at thirteen. He continued translating for the rest of his life, including his time as a student in Spain, although the period of his greatest productivity was during his stay in New York from 1880 until he returned to Cuba in 1895.  In New York he was what we would call today a "freelancer" as well as an "in house" translator. He translated several books for the publishing house of D. Appleton, and did a series of translations for newspapers. As a revolutionary activist in Cuba's long struggle for independence he translated into English a number of articles and pamphlets supporting that movement. In addition to fluent English, Marti also spoke French, Italian, Latin and Classical Greek fluently, the latter learned so he could read the Greek classical works in the original.  There was clearly a dichotomy in Marti's feeling about the kind of work he was translating. Like many professionals, he undertook for money translation tasks which had little intellectual or emotional appeal for him. Although Marti never presented a systematic theory of translation nor did he write extensively about his approach to translation, he did jot down occasional thoughts on the subject, showcasing his awareness of the translator's dilemma of the faithful versus the beautiful and stating that "translation should be natural, so that it appears that the book were written in the language to which it has been translated".

Answer this question "Are there any other interesting aspects about this article?"
output: In New York he was what we would call today a "freelancer" as well as an "in house" translator.

input: Carradine's first notable film appearance was in director Robert Altman's McCabe & Mrs. Miller (1971). His next film, Emperor of the North Pole (1973), was re-released with a shorter title Emperor of the North. Carradine played a young aspiring hobo. The film was directed by Robert Aldrich and also starred Lee Marvin and Ernest Borgnine. Carradine then starred in Altman's film Thieves Like Us (1974), then played a principal character, a callow, womanizing folk singer, Tom Frank, in Altman's critically acclaimed film Nashville (1975; see "Music and song writing"). He had difficulty shaking the image of Tom Frank following the popularity of the film. He felt the role gave him the reputation of being "a cad."  In 1977, Carradine starred opposite Harvey Keitel in Ridley Scott's The Duellists. Pretty Baby followed in 1978. He has acted in several offbeat films of Altman's protege Alan Rudolph, playing a disarmingly candid madman in Choose Me (1984), an incompetent petty criminal in Trouble in Mind (1985), and an American artist in 1930s Paris in The Moderns (1988).  He appeared with brothers David and Robert as the Younger brothers in Walter Hill's film The Long Riders (1980). Keith played Jim Younger in that film. In 1981, he appeared again under Hill's direction in Southern Comfort. In 1994, he had a cameo role as Will Rogers in Rudolph's film about Dorothy Parker, Mrs. Parker and the Vicious Circle. He co-starred with Daryl Hannah as homicidal sociopath John Netherwood in the thriller The Tie That Binds (1995). In 2011, he starred in Cowboys and Aliens, an American science fiction western film directed by Jon Favreau also starring Daniel Craig, Harrison Ford, and Olivia Wilde. Carradine traveled to Tuscany in 2012 to executive produce and star in John Charles Jopson's Edgar Allan Poe inspired film 'Terroir'. In 2013, he starred in Ain't Them Bodies Saints, which won the 2013 Sundance Film Festival award for cinematography. In 2016 Keith played Edward Dickinson father of Emily Dickinson in A Quiet Passion the biographical film directed and written by Terence Davies about the life of the American poet.  In 2016 Carradine returned to star in his fourth Alan Rudolph film Ray Meets Helen alongside actress Sondra Locke.

Answer this question "What was his biggest film?"
output:
Carradine then starred in Altman's film Thieves Like Us (1974),