input: An American version was on NBC, initially as a pilot episode on 10 November 1963, then as a series from 10 January 1964 to May 1965. The pilot featured Henry Fonda and Henry Morgan, guests Mike Nichols and Elaine May, and supporting performers including Gene Hackman. The recurring cast included Frost, Morgan, Buck Henry and Alan Alda, with Nancy Ames singing the opening song and Stanley Grover and Ames performing solos and duets; regular contributors included Gloria Steinem, William F. Brown, Tom Lehrer and Calvin Trillin. The announcer was Jerry Damon. Also a guest was Woody Allen, performing stand-up comedy; the guest star on the final broadcast was Steve Allen. A running gag was a mock feud with Jack Paar, whose own programme followed TW3 on the NBC Friday schedule; Paar repeatedly referred to TW3 as "Henry Morgan's Amateur Hour."  The American version is largely a lost program, although the pilot survives and was donated to the Library of Congress by a collector. Amateur audio recordings of most episodes also survive. After the series' cancellation, Lehrer recorded a collection of his songs used on the show, That Was The Year That Was, released by Reprise Records in September 1965.  In the American version, an episode showed a smiling U.S. President Lyndon B. Johnson contemplating an easy 1964 campaign against the Republican nominee, U.S. Senator Barry M. Goldwater of Arizona. The satirists sang that Goldwater could not win because he "does not know the dance of the liberal Republicans", then a substantial component of the GOP, many of whose members had supported Governor Nelson A. Rockefeller of New York for the Republican nomination.  On April 21, 1985 in the United States, the ABC network aired That Was The Week That Was as a special, hosted by David Frost (also serving as an executive producer) and Anne Bancroft, and featuring future Saturday Night Live cast members Jan Hooks and A. Whitney Brown and puppetry from Spitting Image.  Kristy Glass and Kevin Ruf starred in a remake of TW3 for ABC's Primetime Live in the fall of 2004. Soon after its premiere, Shelley Ross, the executive producer, was fired and TW3 ended with her dismissal.

Answer this question "Why did they stop showing it?"
output: 

input: When composer/arranger Pete Rugolo joined the Stan Kenton Orchestra as staff arranger in late 1945 he brought with him his love of jazz, Stravinsky and Bartok. Given free rein by Kenton, he experimented constantly, creating a sound that was at the same time innovative and popular. Although Kenton himself was already creating somewhat experimental scores prior to Rugolo's tenure, it was Rugolo who brought to the band the extra-jazz influences and the ultra-experimental approach that were to dominate the band through much of its existence.  During his first six months on the staff Rugolo tried to copy Kenton's sound. But on encouragement from the leader, he explored his own voice. By incorporating compositional techniques borrowed from the modern classical music he had studied, with the dramatic excitement of the Kenton sound, Rugolo helped catapult the Kenton band into one of its most fertile and creative periods.  After a string of mostly arrangements, Rugolo turned out three originals that Kenton featured on the band's first album in 1946: (Artistry in Rhythm): "Artistry in Percussion", "Safranski" and "Artistry in Bolero". Added to this mix came "Machito", "Rhythm Incorporated", "Monotony" and "Interlude" in early 1947 (though some were not recorded until later in the year). These compositions, along with June Christy's voice, came to define the Artistry in Rhythm band.  It was during this period that Cuban rhythms started infiltrating the Kenton sound. Rugolo's 1946 composition "Machito", named after the great Cuban band leader that had impressed Kenton, was a regular on concerts in 1947 and 1948. During the subsequent Progressive Jazz era the Cuban sound would become more profound, an influence that was to remain with Kenton until his death.  The Artistry in Rhythm outfit was a powerful band, with outstanding soloists, but with one foot firmly in the tradition. By early 1947, the Stan Kenton Orchestra had reached its highest point of financial and popular success. They played in the best theaters and ballrooms in America, they had hit records ... and the schedule was killing Kenton. Dances at the many ballrooms were typically four hours a night. Theater dates generally involved playing mini concerts between each showing of the movie, sometimes five or six a day, stretching from morning to late night. Most days not on location were spent in buses or cars, racing from town to town. Days off from performing were rare. And for Kenton they just allowed for more record signing, radio station interviews, and pushing the Capitol brand. He was beat. Following an April performance in Tuscaloosa, he broke up the band.

Answer this question "Who was Rugolo?"
output: composer/arranger Pete Rugolo joined the Stan Kenton Orchestra as staff arranger in late 1945

input: Auchinleck attended the Staff College, Quetta between 1920 and 1921. He married Jessie Stewart in 1921. Jessie had been born in 1900 in Tacoma, Washington, to Alexander Stewart, head of the Blue Funnel Line that plied the west coast of the United States. When he died about 1919, their mother took her, her twin brother Alan and her younger brother Hepburne back to Bun Rannoch, the family estate at Innerhadden in Perthshire. Holidaying at Grasse on the French Riviera, Auchinleck, who was on leave from India at the time, met Jessie on the tennis courts. She was a high-spirited, blue-eyed beauty. Things moved quickly, and they were married within five months. Sixteen years younger than Auchinleck, Jessie became known as 'the little American girl' in India, but adapted readily to life there.  Auchinleck became temporary Deputy Assistant Quartermaster-General at Army Headquarters in February 1923 and then second-in-command of his regiment, which in the 1923 reorganisation of the Indian Army had become the 1st battalion, 1st Punjab Regiment, in September 1925. He attended the Imperial Defence College in 1927 and, having been promoted to lieutenant-colonel on 21 January 1929 he was appointed to command his regiment. Promoted to full colonel on 1 February 1930 with seniority from 15 November 1923, he became an instructor at the Staff College, Quetta in February 1930 where he remained until April 1933. He was promoted to temporary brigadier on 1 July 1933 and given command of the Peshawar Brigade, which was active in the pacification of the adjacent tribal areas during the Mohmand and Bajaur Operations between July and October 1933: during his period of command he was mentioned in despatches. He led a second punitive expedition during the Second Mohmand Campaign in August 1935 for which he was again mentioned in despatches, promoted to Major-General on 30 November 1935 and appointed a Companion of the Order of the Star of India on 8 May 1936.  On leaving his brigade command in April 1936 Auchinleck was on the unemployed list (on half pay) until September 1936 when he was appointed Deputy Chief of the General Staff and Director of Staff Duties in Delhi. He was then appointed to command the Meerut District in India in July 1938. In 1938 Auchinleck was appointed to chair a committee to consider the modernisation, composition and re-equipment of the British Indian Army: the committee's recommendations formed the basis of the 1939 Chatfield Report which outlined the transformation of the Indian Army - it grew from 183,000 in 1939 to over 2,250,000 men by the end of the war.

Answer this question "what was his greatest accomplishment?"
output:
He attended the Imperial Defence College in 1927 and, having been promoted to lieutenant-colonel on 21 January 1929