input: At the end of the 1947 season, Cronin succeeded Eddie Collins as general manager of the Red Sox and held the post for over 11 years, through mid-January 1959. The Red Sox challenged for the AL pennant in 1948-49 (finishing second by a single game both seasons) thanks to Cronin's aggressive trades. In his first off-season, he acquired shortstop Vern Stephens and pitchers Ellis Kinder and Jack Kramer from the St. Louis Browns; all played major roles in Boston's contending 1948 season, and Kinder and Stephens were centerpieces of the Red Sox' 1949-50 contenders as well.  But the Red Sox began a slow decline during the 1950s and did not seriously contend after 1950. With the exception of Ted Williams (who missed most of the 1952-53 seasons while serving in the Korean War), the 1946-50 core of the team aged quickly and the Red Sox faced a significant rebuilding job starting in 1952. Cronin's acquisition of future American League Most Valuable Player Jackie Jensen from Washington in 1954 represented a coup, but the club misfired on several "bonus babies" who never lived up to their potential.  Most attention has been focused on Cronin and Yawkey's refusal to integrate the Red Sox roster; by January 1959, when Cronin's GM term ended, the Red Sox were the only team in the big leagues without an African-American or Afro-Caribbean player. Notably, Cronin once passed on signing a young Willie Mays and never traded for an African-American player. The Red Sox did not break the baseball color line until six months after Cronin's departure for the AL presidency, when they promoted Pumpsie Green, a utility infielder, from their Triple-A affiliate, the Minneapolis Millers, in July 1959.

Answer this question "What made Joe retire as a general manager?"
output: Most attention has been focused on Cronin and Yawkey's refusal to integrate the Red Sox roster; by January 1959, when Cronin's GM term ended,

input: Deerskin trade was at its most profitable in the mid-18th century. The Creeks rose up as the largest deerskin supplier, and the increase in supply only intensified European demand for deerskins. Native Americans continued to negotiate the most lucrative trade deals by forcing England, France, and Spain to compete for their supply of deerskins. In the 1750s and 1760s, the Seven Years' War disrupted France's ability to provide manufactures goods to its allies, the Choctaws and Chickasaw. The French and Indian War further disrupted trade, as the British blockaded French goods. The Cherokees allied themselves with France, who were driven out from the southeast in accordance with the Treaty of Paris in 1763. The British were now the dominant trading power in the southeast.  While both the Cherokee and the Creek were the main trading partners of the British, their relationships with the British were different. The Creeks adapted to the new economic trade system, and managed to hold onto their old social structures. Originally Cherokee land was divided into five districts; however, the number soon grew to thirteen districts with 200 hunters assigned per district due to deerskin demand.  Charleston and Savannah were the main trading ports for the export of deerskins. Deerskins became the most popular export, and monetarily supported the colonies with the revenue produced by taxes on deerskins. Charleston's trade was regulated by the Indian Trade Commission, composed of traders who monopolized the market and profited off the sale of deerskins. From the beginning of the 18th century to mid-century, the deerskin exports of Charleston more than doubled in exports. Charleston received tobacco and sugar from the West Indies and rum from the North in exchange for deerskins. In return for deerskins, Great Britain sent woolens, guns, ammunition, iron tools, clothing, and other manufactured goods that were traded to the Native Americans.

Answer this question "Who was trading?"
output: Native Americans continued to negotiate the most lucrative trade deals by forcing England,

input: In 1995, En Vogue was amongst numerous African-American female vocalists featured on the song "Freedom" for the soundtrack to Mario Van Peebles' drama film Panther (1995). Also in 1995, while band members Cindy Herron and Maxine Jones went on maternity leave, Ellis recorded and released a solo album entitled Southern Gal, which spun off the top ten R&B single "Where Ever You Are." The same year, the band also made a cameo appearance in Joel Schumachers superhero film Batman Forever. In 1996, En Vogue recorded "Don't Let Go (Love)" for the soundtrack to the motion picture Set It Off, directed by F. Gary Gray. Released as the soundtrack's lead single in the fall 1996, it became the group's biggest hit yet, selling over 1.8 million copies worldwide and becoming certified platinum by the RIAA. In response to the large commercial success of "Don't Let Go (Love)," the group steadfastly went to work on their third studio album. As the album was nearing completion, Robinson chose to leave the group in April 1997 after difficult contractual negotiations reached a stalemate. Despite Robinson's abrupt departure, Ellis, Herron, and Jones resolved to continue on as a trio.  Robinson's abrupt departure from En Vogue forced the remaining trio to re-record several of her original lead vocals on their forthcoming album EV3, which was released in June 1997. A breakaway from previous projects, it marked En Vogue's first project to include a diverse roster of collaborators including credits from Babyface, David Foster, Diane Warren, Andrea Martin, and Ivan Matias along with regular contributors Foster & McElroy. Upon its release, EV3 received mixed reviews from critics, many of whom praised the band's vocal performances but were critical with overall production of the album. In the US, it reached the top ten in Germany, Switzerland, and the United Kingdom and debuted at number eight on both Billboard's Top R&B/Hip-Hop Albums chart and the Billboard 200 with sales of 76,500 units, the band's highest first-week numbers. Two further singles released from the album, "Whatever" and "Too Gone, Too Long", entered the top twenty and top forty the Billboard Hot 100, respectively.  In 1998, En Vogue recorded the song "No Fool No More" for the soundtrack to Gregory Nava's romantic drama film Why Do Fools Fall In Love (1998). A top forty entry on the New Zealand Singles Chart, it was later included on the band's first compilation album Best of En Vogue, released in June 1999. A moderate success, the album reached the top forty in Austria and the United Kingdom.

Answer this question "What happened in 1998?"
output:
In 1998, En Vogue recorded the song "No Fool No More" for the soundtrack to Gregory Nava's romantic drama