df_m_dancers_2_para_w_chatgpt: 57

This data as json

rowid	first_name	last_name	gender	career_sec	personal_sec	info	seed_first_name	seed_last_name	occupation	chatgpt_gen
57	Robin	Harry	m	In 1975, Joseph followed his brother Daniel in joining the New York City Ballet corps. It was around this time that he began to harbor a "secret competitive feeling" with Daniel, he would confess years later. The intensity of these competitive thoughts and feelings of inadequacy led him to a deep depression, and after a year and a half Joseph dropped out of the company. He later recounted in a New York Times interview, "I couldn't avoid the comparison with Dan and other boys who were physically much more knit ... I hadn't yet worked out who I was and why I was dancing." However, four months after he dropped out, Joseph returned to the company more driven than ever. Apparently having moved past his internal crisis, he and his brother became very close again, and Joseph worked hard to perfect his art. Suki Schorer, a former teacher at the School of American Ballet who worked with Joseph during this period said of him, "What God gave him to dance with wasn't terrific, but he took it and became a beautiful dancer, performing with a great musical sense." In 1980, Joseph was promoted to soloist, and in 1982 as a choreographer he made his debut with the company, La Creation Du Monde, which was well received by the critics. His dancing career flourished, and in 1984 he was promoted to principal.	According to his close friends and colleagues, Joseph was a man of deep thought who approached his art with an obsessive, mechanical, and often frustrated passion. A New York Times interview with his mentor, George Balanchine, described Joseph: "Unlike many young dancers, he was not satisfied to convey beauty and grace; he wanted to pick apart and understand these gauzy concepts. Mr. Duell did not merely want to perform the fifth position in ballet; he wanted to know why the fifth position was central to classical technique." His friend and fellow dancer, Toni Bentley, said of Joseph, "He was extremely intense and very introverted sometimes - you'd see him thinking, and he wouldn't even see you." Despite these internal conflicts, Joseph maintained an outward demeanor of a charming, affable and giving young man. Only later would he confess in an interview that he was battling depression and personal demons of high creative standards and long-ago sibling rivalry. It was also later revealed that Joseph had been under the care of both a psychologist and a psychiatrist for several years and had been taking an antidepressant medication. Some friends said they noticed that he seemed more depressed in his last days. An official of the ballet company said, "Everyone was worried about him in the last two weeks. He was terribly overstrung in the last couple of weeks, and he began to talk about being depressed, but he wasn't the type to burden people with his problems."	In 1975, Robin followed his brother Daniel in joining the New York City Ballet corps. It was around this time that he began to harbor a "secret competitive feeling" with Daniel, he would confess years later. The intensity of these competitive thoughts and feelings of inadequacy led him to a deep depression, and after a year and a half Robin dropped out of the company. He later recounted in a New York Times interview, "I couldn't avoid the comparison with Dan and other boys who were physically much more knit ... I hadn't yet worked out who I was and why I was dancing." However, four months after he dropped out, Robin returned to the company more driven than ever. Apparently having moved past his internal crisis, he and his brother became very close again, and Robin worked hard to perfect his art. Suki Schorer, a former teacher at the School of American Ballet who worked with Robin during this period said of him, "What God gave him to dance with wasn't terrific, but he took it and became a beautiful dancer, performing with a great musical sense." In 1980, Robin was promoted to soloist, and in 1982 as a choreographer he made his debut with the company, La Creation Du Monde, which was well received by the critics. His dancing career flourished, and in 1984 he was promoted to principal.According to his close friends and colleagues, Robin was a man of deep thought who approached his art with an obsessive, mechanical, and often frustrated passion. A New York Times interview with his mentor, George Balanchine, described Robin: "Unlike many young dancers, he was not satisfied to convey beauty and grace; he wanted to pick apart and understand these gauzy concepts. Mr. Harry did not merely want to perform the fifth position in ballet; he wanted to know why the fifth position was central to classical technique." His friend and fellow dancer, Toni Bentley, said of Robin, "He was extremely intense and very introverted sometimes - you'd see him thinking, and he wouldn't even see you." Despite these internal conflicts, Robin maintained an outward demeanor of a charming, affable and giving young man. Only later would he confess in an interview that he was battling depression and personal demons of high creative standards and long-ago sibling rivalry. It was also later revealed that Robin had been under the care of both a psychologist and a psychiatrist for several years and had been taking an antidepressant medication. Some friends said they noticed that he seemed more depressed in his last days. An official of the ballet company said, "Everyone was worried about him in the last two weeks. He was terribly overstrung in the last couple of weeks, and he began to talk about being depressed, but he wasn't the type to burden people with his problems."	Joseph	Duell	dancers	To Whom It May Concern,<return><return>I am writing this letter to wholeheartedly recommend Robin Harry for any dancing opportunities that may arise. I have had the privilege of working alongside Robin during his time at the New York City Ballet, and I have witnessed his immense talent, dedication, and perseverance.<return><return>Despite facing internal conflicts and struggles with depression, Robin never let this affect his performance or his demeanor towards his colleagues. He approached his art with an obsessive passion and a desire to understand the technical aspects of ballet. His musical sense was impeccable, and he had a natural talent that shone through in every performance.<return><return>Robin's hard work and determination paid off when he was promoted to soloist in 1980 and later to principal in 1984. He was also a talented choreographer, making his debut with La Creation Du Monde in 1982, which was very well received by the critics.<return><return>Robin's colleagues and teachers all spoke highly of him, noting his deep thought and his ability to take what he had been given and turn it into something beautiful. He was a charming, affable, and giving young man who was always willing to help his colleagues and offer support.<return><return>I have no doubt that Robin's talent, dedication, and passion for dance will make him an asset to any dance company or performance opportunity. I highly recommend him without reservation.<return><return>Sincerely,<return><return>[Your Name]