input: Kulwicki died in an airplane crash on Thursday April 1, 1993. He was returning from an appearance at the Knoxville Hooters in a Hooters corporate plane on a short flight across Tennessee before the Sunday spring race at Bristol. The plane slowed and crashed just before final approach at Tri-Cities Regional Airport near Blountville. The National Transportation Safety Board attributed the crash to the pilot's failure to use the airplane's anti-ice system to clear ice from the engine inlet system.  Kulwicki was buried at St. Adalbert's Cemetery in Milwaukee; the funeral was attended by NASCAR President Bill France, Jr. and numerous drivers. Kulwicki's racecar transporter was driven from the rainy track later that Friday morning while other teams and the media watched it travel slowly around the track with a black wreath on its grille. In 2008, Kyle Petty described the slow laps as "the saddest thing I've ever seen at a racetrack... We just sat and cried." Kulwicki had competed in five NASCAR races that season with two Top 5 finishes, and was ranked ninth in points at his death. In his career, he had won five NASCAR Winston Cup races, 24 pole positions, 75 Top 10 finishes, and one championship in 207 races.  His car was driven by road course specialist Tommy Kendall on road courses and by Jimmy Hensley at the other tracks. It was raced for most of the 1993 season until the team was sold to Geoff Bodine, who operated it as Geoff Bodine Racing.  Kulwicki had been selected to compete in the 1993 International Race of Champions (IROC) series as the reigning Winston Cup champion. He competed in two IROC races before his death, finishing ninth at Daytona and eleventh at Darlington. Dale Earnhardt raced for Kulwicki in the final two IROC races, and the prize money for those races and their fifth place combined points finish was given to the Winston Cup Racing Wives Auxiliary, Brenner Children's Hospital and St. Thomas Aquinas Church charities.

Answer this question "Did Kulwicki die while driving a race car?"
output: Kulwicki died in an airplane crash

input: From 1974 to 1976, Dierdorf started every game at right tackle for the Cardinals during a three-year span in which the team compiled records of 10-4, 11-3, and 10-4 under head coach Don Coryell. In 1977, Dierdorf sustained a broken jaw and missed two games to injury as the Cardinals fell to 7-7. In 1978, Dierdorf started all 16 games at right tackle for the Cardinals.  During his peak years from 1974 to 1978, Dierdorf was regarded as one of the best offensive lineman in the NFL. He was selected by the National Football League Players Association as the Offensive Lineman of the Year for three consecutive years from 1976 to 1978. The Cardinals' offensive line, led by Dierdorf, Conrad Dobler, and Tom Banks, led the NFL with the fewest sacks allowed for three years (and the National Football Conference for five years) in the mid-1970s. In 1975, the group set an NFL record, allowing only eight sacks in 14 games.  Dierdorf did not allow a sack during the entire 1976 and 1977 seasons. His streak ended in the first game of the 1978 season when Chicago Bears defensive end Tommy Hart tallied two sacks against Dierdorf. Dierdorf had not given up a sack since the 1975 NFC Divisional playoff game when Jack Youngblood sacked Jim Hart.  Dierdorf was selected to play in the Pro Bowl for five consecutive years from 1974 to 1978. Dierdorf also received first-team All-NFL honors as follows: in 1975 from the Pro Football Writers Association (PFWA); in 1976 from the Associated Press (AP), PFWA, Newspaper Enterprise Association (NEA), and Pro Football Weekly (PFW); in 1977 from AP, PFWA, NEA, and PFW; and in 1978 from AP, PFWA, NEA, PFW. He was named as the NFC choice for the NFLPA/Coca-Cola Offensive Lineman of the Year Award three straight years (1976-78) and was the Seagram's Seven Crowns of Sports Offensive Lineman of the Year in 1975. He also won the Forrest Gregg Award for NFL Offensive Lineman of the Year in 1975.

Answer this question "Did he ever swith teams?"
output: 

input: Victorian burlesque, sometimes known as "travesty" or "extravaganza", was popular in London theatres between the 1830s and the 1890s. It took the form of musical theatre parody in which a well-known opera, play or ballet was adapted into a broad comic play, usually a musical play, often risque in style, mocking the theatrical and musical conventions and styles of the original work, and quoting or pastiching text or music from the original work. The comedy often stemmed from the incongruity and absurdity of the classical subjects, with realistic historical dress and settings, being juxtaposed with the modern activities portrayed by the actors. Madame Vestris produced burlesques at the Olympic Theatre beginning in 1831 with Olympic Revels by J. R. Planche. Other authors of burlesques included H. J. Byron, G. R. Sims, F. C. Burnand, W. S. Gilbert and Fred Leslie.  Victorian burlesque related to and in part derived from traditional English pantomime "with the addition of gags and 'turns'." In the early burlesques, following the example of ballad opera, the words of the songs were written to popular music; later burlesques mixed the music of opera, operetta, music hall and revue, and some of the more ambitious shows had original music composed for them. This English style of burlesque was successfully introduced to New York in the 1840s.  Some of the most frequent subjects for burlesque were the plays of Shakespeare and grand opera. The dialogue was generally written in rhyming couplets, liberally peppered with bad puns. A typical example from a burlesque of Macbeth: Macbeth and Banquo enter under an umbrella, and the witches greet them with "Hail! hail! hail!" Macbeth asks Banquo, "What mean these salutations, noble thane?" and is told, "These showers of 'Hail' anticipate your 'reign'". A staple of burlesque was the display of attractive women in travesty roles, dressed in tights to show off their legs, but the plays themselves were seldom more than modestly risque.  Burlesque became the speciality of certain London theatres, including the Gaiety and Royal Strand Theatre from the 1860s to the early 1890s. Until the 1870s, burlesques were often one-act pieces running less than an hour and using pastiches and parodies of popular songs, opera arias and other music that the audience would readily recognize. The house stars included Nellie Farren, John D'Auban, Edward Terry and Fred Leslie. From about 1880, Victorian burlesques grew longer, until they were a whole evening's entertainment rather than part of a double- or triple-bill. In the early 1890s, these burlesques went out of fashion in London, and the focus of the Gaiety and other burlesque theatres changed to the new more wholesome but less literary genre of Edwardian musical comedy.

Answer this question "how was it received?"
output:
popular in London theatres between the 1830s and the 1890s.