Problem: Background: Crane was born in Waterbury, Connecticut, and spent his childhood and teenaged years in Stamford. He began playing drums, and by junior high was organizing local drum and bugle parades with his neighborhood friends. He later joined his high school's marching and jazz bands and the orchestra. He played for the Connecticut and Norwalk Symphony Orchestras as part of their youth orchestra program.
Context: At the 1994 trial, Crane's son Robert testified that in the weeks before his father's death, Crane had repeatedly expressed a desire to sever his friendship with Carpenter. He said Carpenter had become "a hanger-on" and "a nuisance to the point of being obnoxious". "My dad expressed that he just didn't need Carpenter kind of hanging around him anymore," he said. He testified that Crane had called Carpenter the night before the murder and ended their friendship.  Carpenter's attorneys attacked the prosecution's case as circumstantial and inconclusive. They presented evidence, including witnesses from the restaurant where the two men had dined the evening prior to the murder, that Carpenter and Crane were still the best of friends. They noted that the murder weapon had never been identified or found; the prosecution's camera tripod theory was sheer speculation, they said, based solely on Carpenter's occupation. They disputed the claim that the newly discovered evidence photo showed brain tissue, and presented many examples of "sloppy work" by police, such as the mishandling and misplacing of evidence--including the crucial tissue sample itself. They pointed out that Crane had been videotaped and photographed in compromising sexual positions with numerous women, implying that any one of them, fearing blackmail, might have been the killer. Other potential suspects proposed by defense attorneys included angry husbands and boyfriends of the seduced women, and an actor who had sworn vengeance after a violent argument with Crane in Texas several months earlier.  Carpenter was acquitted. He continued to maintain his innocence until his death four years later, in 1998. After the trial, Robert Crane speculated publicly that Crane's widow, Patricia Olson, might have had a role in instigating the crime. "Nobody got a dime out of [the murder]," he said, "except for one person," alluding to Crane's will, which excluded him, his siblings, and his mother, and left the entire estate to Olson. Robert Crane repeated his suspicions in a 2015 book. Maricopa County District Attorney Rick Romley, who prosecuted the case, responded, "We never characterized Patty as a suspect." He added, "I am convinced John Carpenter murdered Bob Crane." Officially, Crane's murder remains unsolved.
Question: What was his role in the Trial?
Answer: Crane's son Robert testified that in the weeks before his father's death,

Problem: Background: Vaslav Nijinsky (also Vatslav; Russian: Vatslav Fomich Nizhinskii; Russian: ['vatsl@f f@'mjitc njI'zinskjIj]; Polish: Waclaw Nizynski; 12 March 1889/1890 - 8 April 1950) was a ballet dancer and choreographer cited as the greatest male dancer of the early 20th century.
Context: Nijinsky spent his summer after graduation rehearsing and then performing at Krasnoe Selo in a makeshift theatre with an audience mainly of army officers. These performances frequently included members of the Imperial family and other nobility, whose support and interest were essential to a career. Each dancer who performed before the Tsar received a gold watch inscribed with the Imperial Eagle. Buoyed by Nijinsky's salary, his new earnings from giving dance classes, and his sister Bronia's employment with the ballet company, the family moved to a larger flat on Torgovaya Ulitsa. The new season at the Mariinsky theatre began in September 1907, with Nijinsky employed as coryphee on a salary of 780 roubles per year.  He appeared with Sedova, Lydia Kyasht and Karsavina. Kchessinska partnered him in La Fille Mal Gardee, where he succeeded in an atypical role for him involving humour and flirtation. Designer Alexandre Benois proposed a ballet based upon Le Pavillon d'Armide, choreographed by Fokine to music by Nikolai Tcherepnin. Nijinsky had a minor role, but it allowed him to show off his technical abilities with leaps and pirouettes. The partnership of Fokine, Benois and Nijinsky was repeated throughout his career. Shortly after, he upstaged his own performance, appearing in the Bluebird pas de deux from the Sleeping Beauty, partnering Lydia Kyasht. The Mariinsky audience was deeply familiar with the piece, but exploded with enthusiasm for his performance and his appearing to fly, an effect he continued to have on audiences with the piece during his career.  In subsequent years, Nijinsky was given several soloist roles. In 1910, Mathilde Kschessinska selected Nijinsky to dance in a revival of Petipa's Le Talisman. Nijinsky created a sensation in the role of the Wind God Vayou.
Question: anything else?
Answer:
Shortly after, he upstaged his own performance, appearing in the Bluebird pas de deux from the Sleeping Beauty, partnering Lydia Kyasht.