Background: Lester Willis Young (August 27, 1909 - March 15, 1959), nicknamed "Pres" or "Prez", was an American jazz tenor saxophonist and occasional clarinetist. Coming to prominence while a member of Count Basie's orchestra, Young was one of the most influential players on his instrument. In contrast to many of his hard-driving peers, Young played with a relaxed, cool tone and used sophisticated harmonies, using what one critic called "a free-floating style, wheeling and diving like a gull, banking with low, funky riffs that pleased dancers and listeners alike". Known for his hip, introverted style, he invented or popularized much of the hipster jargon which came to be associated with the music.
Context: Young left the Basie band in late 1940. He is rumored to have refused to play with the band on Friday, December 13 of that year for superstitious reasons spurring his dismissal, although Young and drummer Jo Jones would later state that his departure had been in the works for months. He subsequently led a number of small groups that often included his brother, drummer Lee Young, for the next couple of years; live and broadcast recordings from this period exist.  During this period Young accompanied the singer Billie Holiday in a couple of studio sessions (during 1937 - 1941 period) and also made a small set of recordings with Nat "King" Cole (their first of several collaborations) in June 1942. His studio recordings are relatively sparse during the 1942 to 1943 period, largely due to the recording ban by the American Federation of Musicians. Small record labels not bound by union contracts continued to record and he recorded some sessions for Harry Lim's Keynote label in 1943.  In December 1943 Young returned to the Basie fold for a 10-month stint, cut short by his being drafted into the army during World War II (see below). Recordings made during this and subsequent periods suggest Young was beginning to make much greater use of a plastic reed, which tended to give his playing a somewhat heavier, breathier tone (although still quite smooth compared to that of many other players). While he never abandoned the cane reed, he used the plastic reed a significant share of the time from 1943 until the end of his life. Another cause for the thickening of his tone around this time was a change in saxophone mouthpiece from a metal Otto Link to an ebonite Brilhart. In August 1944 Young appeared alongside drummer Jo Jones, trumpeter Harry "Sweets" Edison, and fellow tenor saxophonist Illinois Jacquet in Gjon Mili's short film Jammin' the Blues.
Question: Did he work with any other artists?
Answer: he recorded some sessions for Harry Lim's Keynote label in 1943.

Background: Hopkins was born at 512 Tenth Street in Sioux City, Iowa, the fourth child of four sons and one daughter of David Aldona and Anna (nee Pickett) Hopkins. His father, born in Bangor, Maine, ran a harness shop (after an erratic career as a salesman, prospector, storekeeper and bowling-alley operator), but his real passion was bowling, and he eventually returned to it as a business. Anna Hopkins, born in Hamilton, Ontario, had moved at an early age to Vermillion, South Dakota, where she married David. She was deeply religious and active in the affairs of the Methodist church.
Context: In 1915, New York City Mayor John Purroy Mitchel appointed Hopkins executive secretary of the Bureau of Child Welfare which administered pensions to mothers with dependent children.  Hopkins at first opposed America's entrance into World War I, but, when war was declared in 1917, he supported it enthusiastically. He was rejected for the draft because of a bad eye. Hopkins moved to New Orleans where he worked for the American Red Cross as director of Civilian Relief, Gulf Division. Eventually, the Gulf Division of the Red Cross merged with the Southwestern Division and Hopkins, headquartered now in Atlanta, was appointed general manager in 1921. Hopkins helped draft a charter for the American Association of Social Workers (AASW) and was elected its president in 1923.  In 1922, Hopkins returned to New York City, where the AICP was involved with the Milbank Memorial Fund and the State Charities Aid Association in running three health demonstrations in New York State. Hopkins became manager of the Bellevue-Yorkville health project and assistant director of the AICP. In mid-1924 he became executive director of the New York Tuberculosis Association. During his tenure, the agency grew enormously and absorbed the New York Heart Association.  In 1931, New York Governor Franklin D. Roosevelt named R. H. Macy's department store president Jesse Straus as president of the Temporary Emergency Relief Administration (TERA). Straus named Hopkins, then unknown to Roosevelt, as TERA's executive director. His efficient administration of the initial $20 million outlay to the agency gained Roosevelt's attention, and in 1932, he promoted Hopkins to the presidency of the agency. Hopkins and Eleanor Roosevelt began a long friendship, which strengthened his role in relief programs.
Question: What were some policies he implemented?
Answer: Hopkins helped draft a charter for the American Association of Social Workers (AASW) and was elected its president in 1923.

Background: Sir Henry Irving (6 February 1838 - 13 October 1905), born John Henry Brodribb, sometimes known as J. H. Irving, was an English stage actor in the Victorian era, known as an actor-manager because he took complete responsibility (supervision of sets, lighting, direction, casting, as well as playing the leading roles) for season after season at the Lyceum Theatre, establishing himself and his company as representative of English classical theatre. In 1895 he became the first actor to be awarded a knighthood, indicating full acceptance into the higher circles of British society. Irving is widely acknowledged to be one of the inspirations for Count Dracula, the title character of the 1897 novel Dracula whose author, Bram Stoker, was business manager of the theatre.
Context: In 1878, Irving entered into a partnership with actress Ellen Terry and re-opened the Lyceum under his own management. With Terry as Ophelia and Portia, he revived Hamlet and produced The Merchant of Venice (1879). His Shylock was as much discussed as his Hamlet had been, the dignity with which he invested the vengeful Jewish merchant marking a departure from the traditional interpretation of the role.  After the production of Tennyson's The Cup and revivals of Othello (in which Irving played Iago to Edwin Booth's title character) and Romeo and Juliet, there began a period at the Lyceum which had a potent effect on the English stage.  Much Ado about Nothing (1882) was followed by Twelfth Night (1884); an adaptation of Goldsmith's Vicar of Wakefield by W. G. Wills (1885); Faust (1886); Macbeth (1888, with incidental music by Arthur Sullivan); The Dead Heart, by Watts Phillips (1889); Ravenswood by Herman, and Merivales' dramatic version of Scott's Bride of Lammermoor (1890). Portrayals in 1892 of the characters of Wolsey in Henry VIII and of the title character in King Lear were followed in 1893 by a performance of Becket in Tennyson's play of the same name. During these years, too, Irving, with the whole Lyceum company, paid several successful visits to the United States and Canada, which were repeated in succeeding years. As Terry aged, there seemed to be fewer opportunities for her in his company; that was one reason she eventually left, moving on into less steady but nonetheless beloved stage work, including solo performances of Shakespeare's women.
Question: What did he do when he had no more opportunities for Terry?
Answer:
she eventually left,