Problem: Background: Duncan began her dancing career at a very early age by giving lessons in her home to neighbourhood children, and this continued through her teenage years. Her novel approach to dance was evident in these early classes, in which she "followed [her] fantasy and improvised, teaching any pretty thing that came into [her] head". A desire to travel brought her to Chicago, where she auditioned for many theater companies, finally finding a place in Augustin Daly's company. This took her to New York City where her unique vision of dance clashed with the popular pantomimes of theater companies.
Context: Breaking with convention, Duncan imagined she had traced dance to its roots as a sacred art. She developed from this notion a style of free and natural movements inspired by the classical Greek arts, folk dances, social dances, nature and natural forces as well as an approach to the new American athleticism which included skipping, running, jumping, leaping and tossing.  Duncan's philosophy of dance moved away from rigid ballet technique and towards what she perceived as natural movement. To restore dance to a high art form instead of merely entertainment, she strove to connect emotions and movement: "I spent long days and nights in the studio seeking that dance which might be the divine expression of the human spirit through the medium of the body's movement." She believed dance was meant to encircle all that life had to offer--joy and sadness. Duncan took inspiration from ancient Greece and combined it with an American love of freedom. Her movement was feminine and arose from the deepest feelings in her body. This is exemplified in her revolutionary costume of a white Greek tunic and bare feet. Inspired by Greek forms, her tunics also allowed a freedom of movement that corseted ballet costumes and pointe shoes did not. Costumes were not the only inspiration Duncan took from Greece: she was also inspired by ancient Greek art, and utilized some of its forms in her movement (see image).  Duncan wrote of American dancing: "let them come forth with great strides, leaps and bounds, with lifted forehead and far-spread arms, to dance." Her focus on natural movement emphasized steps, such as skipping, outside of codified ballet technique. Duncan also cited the sea as an early inspiration for her movement. Also, she believed movement originated from the solar plexus, which she thought was the source of all movement. It is this philosophy and new dance technique that garnered Duncan the title of the creator of modern dance.
Question: what age did she teach?
Answer: 

Problem: Background: Isaac Hayes, Jr. was born in Covington, Tennessee, in Tipton County. He was the second child of Eula (nee Wade) and Isaac Hayes, Sr. After his mother died young and his father abandoned his family, Isaac, Jr., was raised by his maternal grandparents, Mr. and Mrs. Willie Wade, Sr. The child of a sharecropper family, he grew up working on farms in Shelby County, Tennessee, and in Tipton County.
Context: By 1974, Stax Records was having serious financial problems, stemming from problems with overextension and limited record sales and distribution. Hayes himself was deep in debt to Union Planters Bank, which administered loans for the Stax label and many of its other key employees. In September of that year, Hayes sued Stax for $5.3 million. As Stax was in deep debt and could not pay, the label made an arrangement with Hayes and Union Planters: Stax released Hayes from his recording and production contracts, and Union Planters would collect all of Hayes's income and apply it towards his debts. Hayes formed his own label, Hot Buttered Soul, which released its product through ABC Records.  His new album, 1975's Chocolate Chip, saw Hayes embrace the disco sound with the title track and lead single. "I Can't Turn Around" would prove a popular song as time went on. This would be Hayes's last album to chart in the top 40 for many years. Later in the year, the all-instrumental Disco Connection album fully embraced disco.  In 1976, the album cover of Juicy Fruit featured Hayes in a pool with naked women, and spawned the title track single and the classic "Storm Is Over". Later the same year the Groove-A-Thon album featured the singles "Rock Me Easy Baby" and the title track. However, while all these albums were regarded as solid efforts, Hayes was no longer selling large numbers. He and his wife were forced into bankruptcy in 1976, as they owed over $6 million. By the end of the bankruptcy proceedings in 1977, Hayes had lost his home, much of his personal property, and the rights to all future royalties earned from the music he had written, performed, and produced.
Question: What was his next project
Answer: 1976, the album cover of Juicy Fruit featured Hayes in a pool with naked women, and spawned the title track single and the classic "Storm Is Over

Problem: Background: Quayle was born in Indianapolis, Indiana, to Martha Corinne (nee Pulliam) and James Cline Quayle. He has sometimes been incorrectly referred to as James Danforth Quayle III. In his memoirs, he points out that his birth name was simply James Danforth Quayle. The name Quayle originates from the Isle of Man, where his great-grandfather was born.
Context: Quayle became an investigator for the Consumer Protection Division of the Office of the Indiana Attorney General in July 1971. Later that year, he became an administrative assistant to Governor Edgar Whitcomb. From 1973 to 1974, he was the Director of the Inheritance Tax Division of the Indiana Department of Revenue. Upon receiving his law degree, Quayle worked as associate publisher of his family's newspaper, the Huntington Herald-Press.  In 1976, Quayle was elected to the House of Representatives from Indiana's 4th congressional district, defeating eight-term incumbent Democrat J. Edward Roush by a 55%-to-45% margin. He won reelection in 1978 by the greatest percentage margin achieved to date in that northeast Indiana district. In 1980, at age 33, Quayle became the youngest person ever elected to the Senate from the state of Indiana, defeating three-term incumbent Democrat Birch Bayh by taking 54% of the votes to Bayh's 46%. Making Indiana political history again, Quayle was re-elected to the Senate in 1986 with the largest margin ever achieved to that date by a candidate in a statewide Indiana race, taking 61% of the vote and defeating his Democratic opponent, Jill Long.  In November 1978, Quayle was invited by Congressman Leo Ryan of California to accompany him on a delegation to investigate unsafe conditions at the Jonestown settlement in Guyana, but Quayle was unable to participate. The decision likely saved Quayle's life, because Ryan and his entourage were subsequently murdered at the airstrip in Jonestown as the party tried to escape the massacre.  In 1986, Quayle was criticized for championing the cause of Daniel Anthony Manion, a candidate for a federal appellate judgeship, who was in law school one year above Quayle. The American Bar Association had evaluated Manion as "qualified/unqualified", its lower passing grade. Manion was nominated for the Seventh Circuit of the U.S. Court of Appeals by President Ronald Reagan on February 21, 1986, and confirmed by the Senate on June 26, 1986.
Question: What were his ambitions early on?
Answer:
In 1980, at age 33, Quayle became the youngest person ever elected to the Senate