IN: McGinnity's father, Peter, was born in Dublin, Ireland. His last name was McGinity before he came to United States. He changed it by adding an "n" after he emigrated to the United States in 1861. Peter worked in coal mines and on the farm owned by John and Rebecca Denning, and they accepted him, allowing him to move in with them in their Henry County farm.

McGinnity purchased the Newark Indians of the Class-A Eastern League (EL) for $50,000 ($1,361,852 in current dollar terms) in 1909 from Frank J. Farrell. The press reported that McGinnity would operate the team as a farm team of the Giants, though he denied these reports. When McGinnity could not retain manager Harry Wolverton, he stepped in as player-manager for the Indians. That season, he had a 29-16 record. His 422 innings pitched and 11 shutouts set EL single-season records. He also won both games of doubleheaders on August 27, 1909, and July 23, 1912.  McGinnity played for and managed the Indians through 1912. The Indians finished second in the EL in 1909 and 1910. McGinnity sold his interests in the Indians to Ebbets and Ed McKeever and purchased the Tacoma Tigers of the Class-B Northwestern League for $8,500 ($215,548 in current dollar terms), spending another $50,000 ($1,267,931 in current dollar terms) on the franchise in renovating the stadium. He served as player-manager the Tigers at the start of the 1913 season, but stepped down as manager, hiring Russ Hall to serve as manager in June. McGinnity sold stock in the team in 1915 in order to afford operating expenses. He also briefly played for the Venice Tigers of the Class-A Pacific Coast League in 1914.  McGinnity sold the Tigers and purchased the Butte Miners of the Northwestern League in 1916, serving as player-manager and bringing with him several players from Tacoma. In June 1917, he sold his stock in the team and secured his release. He played for the Great Falls Electrics of the Northwestern League for the remainder of the 1917 season. He later became the manager of the A. E. Staley factory baseball team.  McGinnity served as player-manager of the Danville Veterans of the Class-B Illinois-Indiana-Iowa League in the 1922 season and Dubuque Climbers of the Class-D Mississippi Valley League during the 1923 season. With Dubuque, McGinnity won 15 games at age 52. One of those wins was a shutout, pitched in a record one hour and seven minutes. Two years later, he returned to play for Dubuque and Springfield Senators of the Illinois-Indiana-Iowa League during the 1925 season. He pitched in his final professional game on July 28, 1925, after participating in an old-timers game earlier in the day.  McGinnity joined the coaching staff of former teammate Wilbert Robinson, along with Kelley, for the Brooklyn Dodgers during the 1926 MLB season. McGinnity and Kelley were not retained after the season.

was he married?

OUT: 

Answer the question at the end by quoting:

"Bohemian Rhapsody" is a song by the British rock band Queen. It was written by Freddie Mercury for the band's 1975 album A Night at the Opera. It is a six-minute suite, consisting of several sections without a chorus: an intro, a ballad segment, an operatic passage, a hard rock part and a reflective coda. The song is a more accessible take on the 1970s progressive rock genre.
I'm going to shatter some illusions, it was just one of those pieces I wrote for the album: just writing my batch of songs. In its early stages I almost rejected it, but then it grew. We started deciding on a single about halfway through. There were a few contenders - we were thinking of "The Prophet's Song" at one point - but then "Bohemian Rhapsody" seemed the one. There was a time when the others wanted to chop it around a bit, but I refused. If it was going to be released, it would be in its entirety. We knew it was very risky, but we had so much confidence in that song - I did anyway. I felt, underneath it all, that if it was successful it would earn a lot of respect. People were all going, You're joking, they'll never play it, you'll only hear the first few bars and then they'll fade it out. We had numerous rows. EMI were shocked - a six-minute single? You must be joking! The same in America - oh, you just got away with it in Britain.  When we finished the album, the Night at the Opera album, that was the track on it that we thought we were gonna release as a single in the UK first. And when we released it in Britain we didn't necessarily think it'd be released in America, cause we know even over here, you know, the AM tastes are even more [hesitates] stricter. Anyway we did have thoughts about even in the UK, perhaps editing it down at all, but we listened to it over and over again and there was no way we could edit it. We tried a few ideas, but if you edited it, you always lost some part of the song, so we had to leave it all in. And luckily it took off anyway.  The vocal harmonies was something we wanted to do from the beginning, as we are always keen to do that kind of thing. We wanted to be a group that could do the heaviness of hard rock, but also have harmonies swooping around all over the place. We thought there was some real power and emotion in that combination. The guitar solo was pretty much off the cuff, except I think I had plenty of time to think about that one. I remember playing along with it in the studio for a while when other things were being done. I knew what kind of melody I wanted to play.

How did some of the members feel about the record?

it was just one of those pieces I wrote for the album: just writing my batch of songs. In its early stages I almost rejected it,

input: In 1999, a new production had its pre-Broadway engagement at the Kennedy Center, Washington, D.C., from December 29, 1998 to January 24, 1999. Previews began on Broadway on February 2, 1999 at the Marquis Theatre, with an official opening on March 4, 1999, and closed on September 1, 2001 after 35 previews and 1,045 performances.  This revival starred Bernadette Peters as Annie and Tom Wopat as Frank, and Ron Holgate as Buffalo Bill, with direction by Graciela Daniele, choreographey by Jeff Calhoun, and music arrangements by John McDaniel. Peters won the 1999 Tony Award for Best Leading Actress in a Musical and the production won the Tony for Best Revival of a Musical.  This production had a revised book by Peter Stone and new orchestrations, and was structured as a "show-within-a-show", set as a Big Top travelling circus. "Frank Butler" is alone on stage and Buffalo Bill introduces the main characters, singing "There's No Business Like Show Business", which is reprised when "Annie" agrees to join the traveling Wild West show. The production dropped several songs (including "Colonel Buffalo Bill", "I'm A Bad, Bad Man", and "I'm an Indian Too"), but included "An Old-Fashioned Wedding". There were several major dance numbers added, including a ballroom scene. A sub-plot which had been dropped from the 1966 revival, the romance between Winnie and Tommy, her part-Native-American boyfriend, was also included. In the 1946 production, Winnie was Dolly's daughter, but the 1966 &1999 productions she is Dolly's younger sister. In this version, the final shooting match between Annie and Frank ends in a tie.

Answer this question "what happened in 1999"
output:
Previews began on Broadway on February 2, 1999 at the Marquis Theatre,