input: On returning to England, Drake moved into his sister's flat in Hampstead, London, before enrolling at Fitzwilliam College, Cambridge University that October to study English Literature. His tutors found him to be a bright student, but unenthusiastic and unwilling to apply himself. His biographer, Trevor Dann, notes that he had difficulty connecting with staff and fellow students alike, and points out that official matriculation photographs from this time reveal a sullen young man. Cambridge placed much emphasis on its rugby and cricket teams, yet by this time Drake had lost interest in playing sport, preferring to stay in his college room smoking cannabis, and listening to and playing music. According to fellow student (now psychiatrist) Brian Wells: "they were the rugger buggers and we were the cool people smoking dope."  In September 1967, he met Robert Kirby, a music student who went on to orchestrate many of the string and woodwind arrangements for Drake's first two albums. By this time, Drake had discovered the British and American folk music scenes, and was influenced by performers such as Bob Dylan, Donovan, Van Morrison, Josh White and Phil Ochs. He began performing in local clubs and coffee houses around London, and in February 1968, while playing support to Country Joe and the Fish at the Roundhouse in Camden Town, made an impression on Ashley Hutchings, bass player with Fairport Convention. Hutchings recalls being impressed by Drake's skill as a guitarist, but even more so by "the image. He looked like a star. He looked wonderful, he seemed to be 7 ft [tall]."  Hutchings introduced Drake to the 25-year-old American producer Joe Boyd, owner of the production and management company Witchseason Productions. The company was, at the time, licensed to Island Records, and Boyd, the man who had discovered Fairport Convention and been responsible for introducing John Martyn and The Incredible String Band to a mainstream audience, was a significant and respected figure on the UK folk scene. He and Drake formed an immediate bond, and the producer acted as a mentor to Drake throughout his career. A four-track demo, recorded in Drake's college room in the spring of 1968, led Boyd to offer a management, publishing, and production contract to the 20-year-old, and to initiate work on a debut album. According to Boyd:  In those days you didn't have cassettes--he brought a reel-to-reel tape [to me] that he'd done at home. Half way through the first song, I felt this was pretty special. And I called him up, and he came back in, and we talked, and I just said, "I'd like to make a record." He stammered, "Oh, well, yeah. Okay." Nick was a man of few words.  In a 2004 interview, Drake's friend Paul Wheeler remembered the excitement caused by his seeming big break, and recalled that the singer had already decided not to complete his third year at Cambridge.

Answer this question "Are there any other interesting aspects about this article?"
output: Hutchings introduced Drake to the 25-year-old American producer Joe Boyd, owner of the production and management company Witchseason Productions.

input: Rubinstein was born to Jewish parents in the village of Vikhvatinets in the Podolia Governorate, Russian Empire (now known as Ofatinti in Transnistria, Republic of Moldova), on the Dniestr River, about 150 kilometres (93 mi) northwest of Odessa. Before he was 5 years old, his paternal grandfather ordered all members of the Rubinstein family to convert from Judaism to Russian Orthodoxy. Although he was raised as a Christian, Rubinstein would later return to being atheist.  Rubinstein's father opened a pencil factory in Moscow. His mother, a competent musician, began giving him piano lessons at five, until the teacher Alexander Villoing heard and accepted Rubinstein as a non-paying student. Rubinstein made his first public appearance at a charity benefit concert at the age of nine. Later that year Rubinstein's mother sent him, accompanied by Villoing, to Paris where he sought unsuccessfully to enroll at the Paris Conservatoire.  Rubinstein and Villoing remained in Paris for a year. In December 1840, Rubinstein played in the Salle Erard for an audience that included Frederic Chopin and Franz Liszt. Chopin invited Rubinstein to his studio and played for him. Liszt advised Villoing to take him to Germany to study composition; however, Villoing took Rubinstein on an extended concert tour of Europe and Western Russia. They finally returned to Moscow in June 1843. Determined to raise money to further the musical careers of both Anton and his younger brother Nikolai, their mother sent Rubinstein and Villoing on a tour of Russia, following which the brothers were dispatched to Saint Petersburg to play for Tsar Nicholas I and the Imperial family at the Winter Palace. Anton was 14 years old; Nikolai was eight.

Answer this question "what year was that again?"
output: Rubinstein and Villoing remained in Paris for a year. In December 1840, Rubinstein played in the Salle Erard for an audience that included Frederic Chopin and Franz Liszt.

input: The earliest sources on the Battle of Kosovo, which generally favour the cult of Prince Lazar, do not mention Milos or his assassination of the sultan. The assassination itself is first recorded by Deacon Ignjatije on 9 July 1389, only 12 days after the battle. The assassination of sultan Murad and one of his sons was also mentioned in the instructions of the Venetian Senate issued to Andrea Bembo on 23 July 1389, although Venetians were uncertain if news about the assassination were true. On 1 August 1389 King Tvrtko I of Bosnia (r. 1353-1391) wrote a letter to Trogir to inform its citizens about Ottoman defeat. Victory over the Turks (Latin: ob victoriam de Turcis) was also reported by Coluccio Salutati (died 1406), Chancellor of Florence, in his letter to King Tvrtko, dated 20 October 1389, on behalf of the Florentine Senate. The killer is not named but he is described as one of twelve Christian noblemen who managed to break through the Ottoman ranks:  "Fortunate, most fortunate are those hands of the twelve loyal lords who, having opened their way with the sword and having penetrated the enemy lines and the circle of chained camels, heroically reached the tent of Amurat [Murad] himself. Fortunate above all is that one who so forcefully killed such a strong vojvoda by stabbing him with a sword in the throat and belly. And blessed are all those who gave their lives and blood through the glorious manner of martyrdom as victims of the dead leader over his ugly corpse."  Another Italian account, Mignanelli's 1416 work, asserted that it was Lazar who killed the Ottoman sultan.  The assassin's first appearance in Serbian sources is in the biography of Stefan Lazarevic, Lazar's son, by Constantine the Philosopher, written in the 1440s. The hero, still anonymous, is described as a man of noble birth whom envious tongues had sought to defame before the prince. To prove his loyalty and courage, he left the front line on the pretext of being a deserter, seized the opportunity to stab the sultan to death and was killed himself shortly afterwards. The initial phase of ignominy and its redemption by a courageous plot of slaying the sultan are narrative ingredients which would become essential to the Serbian legend as it evolved in later times.

Answer this question "What was the assassination of the sultan?"
output:
The assassination itself is first recorded by Deacon Ignjatije on 9 July 1389, only 12 days after the battle.