input: William Patrick Corgan Jr. was born at Columbus Hospital in Chicago's Lincoln Park neighborhood on March 17, 1967 as the oldest son of William Corgan Sr., a blues/rock guitarist, and Martha Louise Maes Corgan Lutz. He was raised Catholic. His parents had one more son, Ricky, before divorcing in 1970. His father was soon remarried to a flight attendant, and Corgan and his brother went to live with them in Glendale Heights, Illinois. During this time, Corgan alleges he was subject to much physical and emotional abuse by his stepmother. Corgan also developed a protective bond with his younger paternal half-brother, who had special needs as a child. When Corgan's father and stepmother separated, all three boys would live alone with the stepmother, with both of Corgan's birth parents living separately within an hour's drive.  Corgan, who grew much faster than his fellow students, was a strong athlete in elementary school. In addition to being a member of his Marquardt Middle School baseball team, he collected baseball cards (amassing over 10,000) and listened to every Chicago Cubs game. However, by the time he began attending Glenbard North High School in Carol Stream, Illinois, he had become only an average athlete. He decided to start playing guitar when he went over to a friend's house and saw his friend's Flying V. Corgan gave his savings to his father, who bought him a used Les Paul knock-off. Corgan, Sr. steered his son stylistically, encouraging him to listen to Jeff Beck and Jimi Hendrix, but offered little other support, and the younger Corgan taught himself to play the instrument. His musical interests in his formative years included hard rock like Guts-era John Cale, heavy metal pioneers Black Sabbath, and mainstream rock like Queen, Boston, ELO, Rush, and Cheap Trick. In high school, Corgan discovered alternative rock through Bauhaus and The Cure.  Corgan performed in a string of bands in high school, and graduated as an honor student. Despite grant and scholarship offers from a number of schools, and a tuition fund left by his grandmother, Corgan decided to pursue music full-time. Not finding the Chicago music scene to his liking, he moved from Chicago to St. Petersburg, Florida in 1985 with his first major band, The Marked (so named for the conspicuous birthmarks of both Corgan and drummer Ron Roesing). Not finding success in St. Petersburg, the band dissolved; Corgan moved back to Chicago to live with his father.  Corgan performed with Wayne Static in Static's first band Deep Blue Dream, in 1987/88.

Answer this question "Did he play any other instruments?"
output: 

input: In June 1990, King Diamond began recording fifth studio album at Sweet Silence Studios in Copenhagen, Denmark. The drums on the album were played by Snowy Shaw using drum pads. Released on October 30, 1990, The Eye debuted at number 179 on Billboard 200. However, the band did not tour in support of the album, due to lack of label support. Following The Eye, Hal Patino and Pete Blakk were replaced by Sharlee D'Angelo and Mike Wead respectively. However this line-up ended-up not recording any material, as vocalist King Diamond reunited with Mercyful Fate in 1993 (King Diamond would balance recording and touring with both Mercyful Fate and his eponymous band throughout the 1990s).  After recording and touring with Mercyful Fate, King Diamond reformed his eponymous band in 1994. With the line-up of King Diamond, Andy La Rocque, as well as guitarist Herb Simonsen, bassist Chris Estes and drummer Darrin Anthony, the band spent September through October, 1994, recording their next album. Released on June 6, 1995, The Spider's Lullabye was the band's first album on Metal Blade Records, as well as their first studio release since Fatal Portrait to not be a concept album. The album went on to peak at number 31 on the Finnish album charts. In March 1996, King Diamond began recording their seventh studio album at the Dallas Sound Lab. Released on October 1, 1996, The Graveyard saw King Diamond returning to writing concept albums. The album also charted at number 23 in Finland. After the album's release, drummer Darrin Anthony was forced to leave the band due to a car accident and was subsequently replaced by John Luke Hebert.  On February 24, 1998, King Diamond released the album Voodoo, which charted at number 27 on the Finnish album chart and at number 55 on the Swedish album chart. After the album's release, guitarist Herb Simonsen was replaced by Glen Drover. When Mercyful Fate was put on hold in 1999, King Diamond began recording the album House of God at the Nomad Recording Studio in Carrollton, Dallas, Texas, with their new bassist Paul David Harbour, who had replaced Chris Estes. Released on June 20, 2000, the album peaked at number 60 in Sweden. After the album's release, guitarist Glen Drover and drummer John Luke Hebert were replaced by Mike Wead and Matt Thompson respectively.

Answer this question "What were some of their hit singles?"
output: Released on October 30, 1990, The Eye debuted at number 179 on Billboard 200.

input: Standing six feet tall, O'Neill was compared to Don Bradman upon his entry into Test cricket. At his best, he was a dynamic stroke maker who was a crowd favourite because of his ability to score at a high pace, in particular with his power off the back foot. He was noted for his nimble footwork, which he used to negate spin bowling; however this slowed in his later career as he put on weight. O'Neill particularly liked to sweep the slower bowlers. He often put too much emphasis on his right hand, allowing a large space between his hands on the bat handle, and then turning his right shoulder too square towards the bowler. The renowned English batsman and captain Wally Hammond said that O'Neill was the best all-round batsman he had seen since World War II. O'Neill's tall build, strength and good looks also drew comparison to his boyhood idol Keith Miller. Despite the comparisons to Bradman, O'Neill was much taller and broader, and was often impetuous whereas Bradman was known for his patience and lack of rashness. O'Neill was also criticised for hitting across the line early in his innings.  O'Neill was highly regarded for his style and entertainment values. Teammate Alan Davidson said "once set he was the most exhilarating player you'd ever want to see--he was dynamite. He'd play attacking shots off balls other people would only think of defending. He had wonderful skill and technique. His shots off the back foot down the ground off fast bowlers--you can't really describe how good they were." His captain for Australia and New South Wales, Richie Benaud said that he was "one of the greatest entertainers we've had in Australian cricket". O'Neill's style led the British writer EW Swanton to say "the art of batting, he reminded us, was not dead, merely inexplicably dormant" Wisden opined that "A high innings by O'Neill is a thing of masterful beauty. His stroking is delectable, immense in its power."  Later in his career, O'Neill became a nervous and superstitious batsman, particular at the start of an innings. He wrote "batting is a lonely business" in his 1964 autobiography Ins and Outs, opining that he sometimes found first-class cricket to be "depressing and lonely".  He was regarded as an excellent fieldsman at cover, with a powerful and accurate throw, described by Wisden as a "dream throw" honed from a junior career as a baseballer. He was named as utility player in the 1957 All Australian baseball team, and his ability was such that he was approached by Major League Baseball scouts. Before the retirement of Neil Harvey, he and O'Neill fielded in tandem in the covers and the pair were regarded as the finest fielding combination of the time.

Answer this question "Most interesting observations about his career?"
output:
He was regarded as an excellent fieldsman at cover, with a powerful and accurate throw, described by Wisden as a "dream throw" honed from a junior career as a baseballer.