df_m_dancers_2_para_w_chatgpt: 76

This data as json

rowid	first_name	last_name	gender	career_sec	personal_sec	info	seed_first_name	seed_last_name	occupation	chatgpt_gen
76	Peyton	Connors	f	Hines made his Broadway debut with his brother in The Girl in Pink Tights in 1954. He earned Tony Award nominations for Eubie! (1979), Comin' Uptown (1980), and Sophisticated Ladies (1981), and won the Tony Award and Drama Desk Award for Jelly's Last Jam (1992) and the Theatre World Award for Eubie!. Hines performed as the lead singer and musician in a rock band called Severance based in Venice, California during the years 1975 and 1976. Severance was one of the house bands at an original music club called Honky Hoagies Handy Hangout, otherwise known as the 4H Club, which released their debut album on Largo Records (a subsidiary of GNP Crescendo) in 1976. In 1981, Hines made his movie debut in Mel Brooks's History of the World, Part I, replacing Richard Pryor, who had originally been cast in the role but suffered severe burns in a house fire just days before he was due to begin shooting. Madeline Kahn, also starring in the film, suggested to director Mel Brooks that he look into Hines for the role after they learned of Pryor's hospitalization. Critics took note of Hines's comedic charm, and he later appeared in movies such as Wolfen, The Cotton Club, White Nights, Running Scared with Billy Crystal, Tap, and Waiting to Exhale. On television, he starred in his own series in 1997, called The Gregory Hines Show on CBS, as well as in the recurring role of Ben Doucette on Will & Grace. He would return to voice Big Bill in Nick Jr.'s television show, Little Bill, in the end of 1999. He starred in The Tic Code, in June 1998. In 1986, he sang a duet with Luther Vandross called "There's Nothing Better Than Love," which reached the No. 1 position on the Billboard R&B charts. In an interview in 1987, Hines said that he often looked for roles written for white actors, "preferring their greater scope and dynamics." His Will & Grace role, for example, never made reference to race. In 1989, he created and hosted a PBS special called "Gregory Hines' Tap Dance in America," which featured various tap dancers such as Savion Glover and Bunny Briggs. He also co-hosted the Tony Awards ceremony in 1995 and 2002. In 1990, Hines visited his idol Sammy Davis Jr., who was dying of throat cancer and was unable to speak. After Davis died, an emotional Hines spoke at Davis's funeral of how Sammy had made a gesture to him, "as if passing a basketball … and I caught it." Hines spoke of the honor that Sammy thought that Hines could carry on from where he left off. Hines was an avid improviser of tap steps, tap sounds, and tap rhythms alike. His improvisation was like that of a drummer, doing a solo and coming up with rhythms. He also improvised the phrasing of a number of tap steps, mainly based on sound produced. A laid-back dancer, he usually wore loose fitting pants and a tighter shirt. Although he inherited the roots and tradition of the black rhythmic tap, he also promoted the new black rhythmic tap. "He purposely obliterated the tempos," wrote tap historian Sally Sommer, "throwing down a cascade of taps like pebbles tossed across the floor. In that moment, he aligned tap with the latest free form experiments in jazz and new music and postmodern dance." Throughout his career, Hines wanted and continued to be an advocate for tap in America. He successfully petitioned the creation of National Tap Dance Day in May 1989, which is now celebrated in forty cities in the United States, as well as eight other nations. He was on the board of directors of Manhattan Tap, a member of the Jazz Tap Ensemble, and a member of the American Tap Dance Foundation, which was formerly called the American Tap Dance Orchestra. Through his teaching, he influenced tap dancers such as Savion Glover, Dianne Walker, Ted Levy, and Jane Goldberg. In an interview with The New York Times in 1988, Hines said that everything he did was influenced by his dancing: "my singing, my acting, my lovemaking, my being a parent."	Hines's marriages to Patricia Panella and Pamela Koslow ended in divorce. He had two children, a son named Zach and a daughter named Daria, as well as a stepdaughter named Jessica Koslow, and a grandson.	connors made her broadway debut with her brother in the girl in pink tights in 1954. sh eearned tony award nominations for eubie! (1979), comin' uptown (1980), and sophisticated ladies (1981), and won the tony award and drama desk award for jelly's last jam (1992) and the theatre world award for eubie!. connors performed as the lead singer and musician in a rock band called severance based in venice, california during the years 1975 and 1976. severance was one of the house bands at an original music club called honky hoagies handy hangout, otherwise known as the 4h club, which released their debut album on largo records (a subsidiary of gnp crescendo) in 1976. in 1981, connors made her movie debut in mel brooks's history of the world, part i, replacing richard pryor, who had originally been cast in the role but suffered severe burns in a house fire just days before sh ewas due to begin shooting. madeline kahn, also starring in the film, suggested to director mel brooks that sh elook into connors for the role after they learned of pryor's hospitalization. critics took note of connors's comedic charm, and sh elater appeared in movies such as wolfen, the cotton club, white nights, running scared with billy crystal, tap, and waiting to exhale. on television, sh estarred in her own series in 1997, called the peyton connors show on cbs, as well as in the recurring role of ben doucette on will & grace. sh ewould return to voice big bill in nick jr.'s television show, little bill, in the end of 1999. sh estarred in the tic code, in june 1998. in 1986, sh esang a duet with luther vandross called "there's nothing better than love," which reached the no. 1 position on the billboard r&b charts. in an interview in 1987, connors said that sh eoften looked for roles written for white actors, "preferring their greater scope and dynamics." her will & grace role, for example, never made reference to race. in 1989, sh ecreated and hosted a pbs special called "peyton connors' tap dance in america," which featured various tap dancers such as savion glover and bunny briggs. sh ealso co-hosted the tony awards ceremony in 1995 and 2002. in 1990, connors visited her idol sammy davis jr., who was dying of throat cancer and was unable to speak. after davis died, an emotional connors spoke at davis's funeral of how sammy had made a gesture to him, "as if passing a basketball … and i caught it." connors spoke of the honor that sammy thought that connors could carry on from where sh eleft off. connors was an avid improviser of tap steps, tap sounds, and tap rhythms alike. her improvisation was like that of a drummer, doing a solo and coming up with rhythms. sh ealso improvised the phrasing of a number of tap steps, mainly based on sound produced. a laid-back dancer, sh eusually wore loose fitting pants and a tighter shirt. although sh einherited the roots and tradition of the black rhythmic tap, sh ealso promoted the new black rhythmic tap. "he purposely obliterated the tempos," wrote tap historian sally sommer, "throwing down a cascade of taps like pebbles tossed across the floor. in that moment, sh ealigned tap with the latest free form experiments in jazz and new music and postmodern dance." throughout her career, connors wanted and continued to be an advocate for tap in america. sh esuccessfully petitioned the creation of national tap dance day in may 1989, which is now celebrated in forty cities in the united states, as well as eight other nations. sh ewas on the board of directors of manhattan tap, a member of the jazz tap ensemble, and a member of the american tap dance foundation, which was formerly called the american tap dance orchestra. through her teaching, sh einfluenced tap dancers such as savion glover, dianne walker, ted levy, and jane goldberg. in an interview with the new york times in 1988, connors said that everything sh edid was influenced by her dancing: "my singing, my acting, my lovemaking, my being a parent."connors's marriages to patricia panella and pamela koslow ended in divorce. sh ehad two children, a son named zach and a daughter named daria, as well as a stepdaughter named jessica koslow, and a grandson.	Gregory	Hines	dancers	Dear Hiring Manager,<return><return>It is my great pleasure to recommend Peyton Connors for any dance related opportunity. Ms. Connors is a renowned performer and advocate for tap dance in America. Her experience and expertise in the performing arts makes her an excellent candidate for any dance related role.<return><return>Ms. Connors made her Broadway debut in 1954 and has since earned multiple Tony Award nominations, won a Tony Award and Drama Desk Award, and received the Theatre World Award. She has also appeared in several movies, including History of the World, Part I, Wolfen, The Cotton Club, and Running Scared. <return><return>In addition to her impressive acting career, Ms. Connors is also an accomplished musician and dancer. She has performed as a lead singer and musician in a rock band and has been an influential figure in the tap dance community. She successfully petitioned for the creation of National Tap Dance Day and is a member of organizations like Manhattan Tap and the American Tap Dance Foundation. <return><return>Ms. Connors is also a talented improviser of tap steps, tap sounds, and tap rhythms. She has influenced many tap dancers throughout her career, including Savion Glover, Dianne Walker, Ted Levy, and Jane Goldberg. <return><return>Overall, Peyton Connors is an exceptional performer and advocate for dance. Her passion for the performing arts and her extensive experience in the industry make her a valuable addition to any dance related position. I highly recommend her for any role related to dance.<return><return>Sincerely,<return><return>[Your Name]