input: Conacher scored the first goal in Pirates history on American Thanksgiving Day Thursday November 26, 1925, against the Boston Bruins. He scored nine goals in 33 games in 1925-26, then returned to Toronto to play professional baseball with the Toronto Maple Leafs. An outfielder on the team, Conacher and the Maple Leafs won the International League championship then defeated the Louisville Colonels to win the Little World Series.  He returned to Pittsburgh for the 1926-27 NHL season, but was dealt early in the year to the New York Americans in exchange for Charlie Langlois and $2,000. The trade nearly proved disastrous for Conacher. He scored 8 goals in 1926-27 and improved to 11 in 1927-28, but playing for a team owned by notorious bootlegger Bill Dwyer resulted in his becoming a heavy drinker. Conacher served as player-coach in 1929-30, but his play and health had deteriorated. Two events in that off-season saved Conacher: he swore off alcohol completely upon the birth of his first child, and his playing rights were sold to the Montreal Maroons.  Conacher periodically struggled with Montreal, and at one point was placed on waivers with no other team willing to take over his contract. Nonetheless, his overall play and point totals increased for three consecutive seasons with the Maroons, peaking at 28 points in 1932-33. He was named to the Second All-Star Team that season, but was traded to the Chicago Black Hawks in exchange for Teddy Graham. Conacher was a key figure in the club's first-ever Stanley Cup victory that season. He finished second to the Canadiens' Aurel Joliat in the voting for the Hart Trophy and earned a spot on the NHL's First All-Star Team.  On Wednesday October 3, 1934, Conacher was involved in one of the largest transactions in league history. He was dealt to the Montreal Canadiens, along with Leroy Goldsworthy and Roger Jenkins in exchange for Montreal superstar Howie Morenz, Lorne Chabot and Marty Burke. The deal was only part of a series of trades involving four teams that represented one of the biggest deals in NHL history. Immediately following the Chicago trade, Conacher was sent back to the Maroons, along with Herb Cain, in exchange for the rights to Nelson Crutchfield. Conacher spent his last three NHL seasons with the Maroons and won his second Stanley Cup in 1935. He ended his hockey career after the team was eliminated from the playoffs by the New York Rangers on April 23, 1937. That final year he was runner-up to Babe Siebert in the 1937 Hart Trophy voting and was placed on the NHL Second All-Star Team.

Answer this question "When did his career end?"
output: He ended his hockey career after the team was eliminated from the playoffs by the New York Rangers on April 23, 1937.

input: 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."

Answer this question "Did she star in any musicals?"
output: she appeared in the role of Molly O'Day in the Broadway production Mrs. O'Brien Entertains (1939

input: Stallman places great importance on the words and labels people use to talk about the world, including the relationship between software and freedom. He asks people to say free software and GNU/Linux, and to avoid the terms intellectual property and piracy (in relation to copyright). One of his criteria for giving an interview to a journalist is that the journalist agree to use his terminology throughout the article. He has been known to turn down speaking requests over some terminology issues.  Stallman argues that the term "intellectual property" is designed to confuse people, and is used to prevent intelligent discussion on the specifics of copyright, patent, trademark, and other laws by lumping together areas of law that are more dissimilar than similar. He also argues that by referring to these laws as property laws, the term biases the discussion when thinking about how to treat these issues.  These laws originated separately, evolved differently, cover different activities, have different rules, and raise different public policy issues. Copyright law was designed to promote authorship and art, and covers the details of a work of authorship or art. Patent law was intended to encourage publication of ideas, at the price of finite monopolies over these ideas - a price that may be worth paying in some fields and not in others. Trademark law was not intended to promote any business activity, but simply to enable buyers to know what they are buying.  An example of cautioning others to avoid other terminology while also offering suggestions for possible alternatives is this sentence of an e-mail by Stallman to a public mailing list:  I think it is ok for authors (please let's not call them creators, they are not gods) to ask for money for copies of their works (please let's not devalue these works by calling them content) in order to gain income (the term compensation falsely implies it is a matter of making up for some kind of damages).

Answer this question "What didn't he like the use of those terms?"
output:
Stallman argues that the term "intellectual property" is designed to confuse people, and is used to prevent intelligent discussion on the specifics of copyright, patent, trademark,