input: At age 49 in the 1989 Masters, Trevino shot an opening round five-under-par 67 to become the oldest man ever to lead the field after a round in the tournament. It came despite Trevino's words 20 years earlier, when he said after the 1969 Masters: "Don't talk to me about the Masters. I'm never going to play there again. They can invite me all they want, but I'm not going back. It's just not my type of course." Trevino said that he felt uncomfortable with the atmosphere at the Augusta National club and that he disliked the course because his style of play, where he liked to fade shots left to right, was not suited to the course.  Trevino did not accept invitations to the Masters in 1970, 1971 and again in 1974. In 1972, after forgoing the previous two Masters tournaments, he stored his shoes and other items in the trunk of his car, rather than use the locker room facilities in the clubhouse. Trevino complained that had he not qualified as a player, the club would not have let him onto the grounds except through the kitchen. But he later described his boycott of the Masters as "the greatest mistake I've made in my career" and called Augusta National "the eighth wonder of the world."  After his opening round of 67 in the 1989 Masters, Trevino finished the tournament tied for 18th place. His best finish at the Masters was a tie for 10th place twice: in 1975 and in 1985.

Answer this question "Are there any other interesting aspects about this article?"
output: Trevino did not accept invitations to the Masters in 1970, 1971 and again in 1974. In 1972, after forgoing the previous two Masters tournaments,

input: In 1974-1975, Kunstler defended a prisoner charged with killing a guard during the Attica Prison riot. Under cross-examination, Kunstler forced Correction Officer Donald Melven to retract his sworn identification of John Hill, Kunstler's client, and Charles Pernasilice (defended by Richard Miller), admitting he still retained "slight" doubts that he confessed to investigators at the time of the incident. Kunstler focused on pointing out that all the other prosecution witnesses were testifying under reduced-sentencing agreements and called five prison inmates as defense witnesses (Miller called none), who testified that other prisoners hit the guard.  Despite Justice King's repeated warnings to Kunstler to "be careful, sir", Kunstler quickly became "the star of the trial, the man the jurors watch most attentively, and the lawyer whose voice carries most forcefully". Although the prosecution was careful to avoid personal confrontation with Kunstler, who frequently charmed the jury with jokes, on one occasion Kunstler provoked a shouting match with the lead prosecutor, allegedly to wake up a sleeping jury member. The jury convicted Hill of murder and Pernasilice of attempted assault. When Kunstler protested that the defendants would risk being murdered due to the judges remanding them, King threatened to send Kunstler with them. New York Governor Hugh Carey granted executive clemency to Hill and the other inmates in 1976, even though Hill's name was not on the recommended list of pardons delivered to the governor and his appeals were still pending.  In June, Kunstler and Barbara Handshu, representing another inmate at Attica, Mariano Gonzales, asked for a new hearing on the role of FBI informant Mary Jo Cook.

Answer this question "Did Kunstler have any key points during the trial?"
output: Kunstler forced Correction Officer Donald Melven to retract his sworn identification of John Hill, Kunstler's client,

input: The French playwright Victorien Sardou wrote more than 70 plays, almost all of them successful, and none of them performed today. In the early 1880s Sardou began a collaboration with actress Sarah Bernhardt, whom he provided with a series of historical melodramas. His third Bernhardt play, La Tosca, which premiered in Paris on 24 November 1887, and in which she starred throughout Europe, was an outstanding success, with more than 3,000 performances in France alone.  Puccini had seen La Tosca at least twice, in Milan and Turin. On 7 May 1889 he wrote to his publisher, Giulio Ricordi, begging him to get Sardou's permission for the work to be made into an opera: "I see in this Tosca the opera I need, with no overblown proportions, no elaborate spectacle, nor will it call for the usual excessive amount of music."  Ricordi sent his agent in Paris, Emanuele Muzio, to negotiate with Sardou, who preferred that his play be adapted by a French composer. He complained about the reception La Tosca had received in Italy, particularly in Milan, and warned that other composers were interested in the piece. Nonetheless, Ricordi reached terms with Sardou and assigned the librettist Luigi Illica to write a scenario for an adaptation.  In 1891, Illica advised Puccini against the project, most likely because he felt the play could not be successfully adapted to a musical form. When Sardou expressed his unease at entrusting his most successful work to a relatively new composer whose music he did not like, Puccini took offence. He withdrew from the agreement, which Ricordi then assigned to the composer Alberto Franchetti. Illica wrote a libretto for Franchetti, who was never at ease with the assignment.  When Puccini once again became interested in Tosca, Ricordi was able to get Franchetti to surrender the rights so he could recommission Puccini. One story relates that Ricordi convinced Franchetti that the work was too violent to be successfully staged. A Franchetti family tradition holds that Franchetti gave the work back as a grand gesture, saying, "He has more talent than I do." American scholar Deborah Burton contends that Franchetti gave it up simply because he saw little merit in it and could not feel the music in the play. Whatever the reason, Franchetti surrendered the rights in May 1895, and in August Puccini signed a contract to resume control of the project.

Answer this question "What made him come around?"
output:
Puccini took offence. He withdrew from the agreement, which Ricordi then assigned to the composer Alberto Franchetti.