Question: Giuseppe Fortunino Francesco Verdi (Italian: [dZu'zeppe 'verdi]; 9 or 10 October 1813 - 27 January 1901) was an Italian opera composer. He was born near Busseto to a provincial family of moderate means, and developed a musical education with the help of a local patron. Verdi came to dominate the Italian opera scene after the era of Vincenzo Bellini, Gaetano Donizetti, and Gioachino Rossini, whose works significantly influenced him. By his 30s, he had become one of the pre-eminent opera composers in history.

Having achieved some fame and prosperity, Verdi began in 1859 to take an active interest in Italian politics. His early commitment to the Risorgimento movement is difficult to estimate accurately; in the words of the music historian Philip Gossett "myths intensifying and exaggerating [such] sentiment began circulating" during the nineteenth century. An example is the claim that when the "Va, pensiero" chorus in Nabucco was first sung in Milan, the audience, responding with nationalistic fervour, demanded an encore. As encores were expressly forbidden by the government at the time, such a gesture would have been extremely significant. But in fact the piece encored was not "Va, pensiero" but the hymn "Immenso Jehova".  The growth of the "identification of Verdi's music with Italian nationalist politics" perhaps began in the 1840s. In 1848, the nationalist leader Giuseppe Mazzini, (whom Verdi had met in London the previous year) requested Verdi (who complied) to write a patriotic hymn. The opera historian Charles Osborne describes the 1849 La battaglia di Legnano as "an opera with a purpose" and maintains that "while parts of Verdi's earlier operas had frequently been taken up by the fighters of the Risorgimento...this time the composer had given the movement its own opera" It was not until 1859 in Naples, and only then spreading throughout Italy, that the slogan "Viva Verdi" was used as an acronym for Viva Vittorio Emanuele Re D'Italia (Viva Victor Emmanuel King of Italy), (who was then king of Piedmont). After Italy was unified in 1861, many of Verdi's early operas were increasingly re-interpreted as Risorgimento works with hidden Revolutionary messages that perhaps had not been originally intended by either the composer or his librettists.  In 1859, Verdi was elected as a member of the new provincial council, and was appointed to head a group of five who would meet with King Vittorio Emanuele II in Turin. They were enthusiastically greeted along the way and in Turin Verdi himself received much of the publicity. On 17 October Verdi met with Cavour, the architect of the initial stages of Italian unification. Later that year the government of Emilia was subsumed under the United Provinces of Central Italy, and Verdi's political life temporarily came to an end. Whilst still maintaining nationalist feelings, he declined in 1860 the office of provincial council member to which he had been elected in absentia. Cavour however was anxious to convince a man of Verdi's stature that running for political office was essential to strengthening and securing Italy's future. The composer confided to Piave some years later that "I accepted on the condition that after a few months I would resign." Verdi was elected on 3 February 1861 for the town of Borgo San Donnino (Fidenza) to the Parliament of Piedmont-Sardinia in Turin (which from March 1861 became the Parliament of the Kingdom of Italy), but following the death of Cavour in 1861, which deeply distressed him, he scarcely attended. Later, in 1874, Verdi was appointed a member of the Italian Senate, but did not participate in its activities.

Using a quote from the above article, answer the following question: What years did his politics take place?
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Answer: The growth of the "identification of Verdi's music with Italian nationalist politics" perhaps began in the 1840s.

Problem: John Florence Sullivan (May 31, 1894 - March 17, 1956), known professionally as Fred Allen, was an American comedian whose absurdist, topically pointed radio program The Fred Allen Show (1932-1949) made him one of the most popular and forward-looking humorists in the Golden Age of American radio. His best-remembered gag was his long-running mock feud with friend and fellow comedian Jack Benny, but it was only part of his appeal; radio historian John Dunning (in On the Air: The Encyclopedia of Old-Time Radio) wrote that Allen was radio's most admired comedian and most frequently censored. A master ad libber, Allen often tangled with his network's executives (and often barbed them on the air over the battles) while developing routines whose style and substance influenced fellow comic talents, including Groucho Marx, Stan Freberg, Henry Morgan and Johnny Carson; his avowed fans also included President Franklin D. Roosevelt and novelists William Faulkner, John Steinbeck and Herman Wouk (who began his career writing for Allen).

Allen first hosted The Linit Bath Club Revue on CBS, moving the show to NBC and becoming The Salad Bowl Revue (in a nod to new sponsor Hellmann's Mayonnaise, which was marketed by the parent company of Linit) later in the year. The show became The Sal Hepatica Revue (1933-34), The Hour of Smiles (1934-35), and finally Town Hall Tonight (1935-39). In 1939-40, however, sponsor Bristol-Myers, which advertised Ipana toothpaste as well as Sal Hepatica during the program, altered the title to The Fred Allen Show, over his objections. Allen's perfectionism (odd to some, considering his deft ad-libs) caused him to leap from sponsor to sponsor until Town Hall Tonight allowed him to set his chosen small-town milieu and establish himself as a bona fide radio star.  The hour-long show featured segments that would influence radio and, much later, television; news satires such as Rowan and Martin's Laugh-In's "Laugh-In Looks at the News" and Saturday Night Live's "Weekend Update" were influenced by Town Hall Tonight's "The News Reel", later renamed "Town Hall News" (and in 1939-40, as a sop to his sponsor, "Ipana News"). The Tonight Show Starring Johnny Carson's "Mighty Carson Art Players" routines referenced Allen's Mighty Allen Art Players, in name and sometimes in routines. Allen and company also satirized popular musical comedies and films of the day, including and especially Oklahoma!. Allen also did semi-satirical interpretations of well-known lives--including his own.  The show that became Town Hall Tonight was the longest-running hour-long comedy-based show in classic radio history. In 1940, Allen moved back to CBS Radio with a new sponsor and show name, Texaco Star Theater, airing every Wednesday at 9:00 pm ET on CBS, then Sundays at 9:00 pm in the fall of 1941. By 1942, he shortened the show to half an hour, at 9:30 pm ET--under network and sponsor edict, not his own. He also chafed under being forced to give up a Town Hall Tonight signature, using barely known and amateur guests effectively, in favor of booking more recognizable guests, though he liked many of those. Guests included singers from Kingston, New York, the original woman behind the "Aunt Jemima" on pancake boxes, and more guests up the road--from Saugerties, like the singer, Donald Gardner.

Did he host with any one?

Answer with quotes:
Allen first hosted The Linit Bath Club Revue on CBS, moving the show to NBC and becoming The Salad Bowl Revue