input: After leaving college, Isaacson formed a double act with his best friend Manny Glasser called "Donny and the Duke". The duo worked in local New York nightclubs for a few months before Isaacson was drafted into the US Army at age 21. He was commissioned as an officer and served in the artillery. While in the army he formed a double act with fellow soldier Murray Levine, Isaacson usually playing the comic while his partner was the straight man. The double act went on to win the All-Army entertainment contest and earned them an appearance on The Ed Sullivan Show in 1955. One year later Isaacson won the All-Army entertainment contest again as a solo act. After his mandatory service in the army, he later toured for two years entertaining troops all over the United States.  After touring the country entertaining the troops as a solo performer, Isaacson started to work his act in the New York nightclubs. It was at this time that he adopted the stage name of "Don Lane", after fellow entertainer Frankie Laine. Lane worked his act in nightclubs throughout New York, Los Angeles and the showrooms in Las Vegas. During his stint in Las Vegas, he worked alongside Wayne Newton and was often a supporting act for performers such as Sammy Davis Jr.. While in Los Angeles, Lane also worked as an actor and featured in national commercials for Coca-Cola, which Lane said "paid the bills for years". He then returned to New York and performed at weddings, nightclubs and parties.  In 1964 Lane was offered a contract to be the headline act at The Dunes Nightclub in Honolulu, Hawaii. This was his first offer to become a headliner and first guaranteed contract as a solo performer. Due to the lucrative offer The Dunes Nightclub made to him, he quickly relocated to Honolulu, where he first started to enjoy success as a headline performer. It was in Hawaii that he met his first wife, Gina, who was an exotic dancer.

Answer this question "was the duo popular?"
output: The double act went on to win the All-Army entertainment contest and earned them an appearance on The Ed Sullivan Show in 1955.

input: In November 1966, during a return flight to London from Kenya, where he had been on holiday with Beatles tour manager Mal Evans, McCartney had an idea for a song that eventually formed the impetus of the Sgt. Pepper concept. His idea involved an Edwardian-era military band, for which Evans invented a name in the style of contemporary San Francisco-based groups such as Big Brother and the Holding Company and Quicksilver Messenger Service. In February 1967, McCartney suggested that the Beatles should record an entire album that would represent a performance by the fictional band. This alter ego group would give them the freedom to experiment musically. He explained: "I thought, let's not be ourselves. Let's develop alter egos." Martin remembered:  "Sergeant Pepper" itself didn't appear until halfway through making the album. It was Paul's song, just an ordinary rock number ... but when we had finished it, Paul said, "Why don't we make the album as though the Pepper band really existed, as though Sergeant Pepper was making the record? We'll dub in effects and things." I loved the idea, and from that moment on it was as though Pepper had a life of its own.  In 1966, the American musician and bandleader Brian Wilson's growing interest in the aesthetics of recording and his admiration for both record producer Phil Spector's Wall of Sound and the Beatles' album Rubber Soul resulted in the Beach Boys' Pet Sounds LP, which demonstrated his production expertise and his mastery of composition and arrangement. The author Thomas MacFarlane credits the release with influencing many musicians of the time, with McCartney in particular singing its praises and drawing inspiration to "expand the focus of the Beatles' work with sounds and textures not usually associated with popular music". McCartney thought that his constant playing of the album made it difficult for Lennon to "escape the influence", adding: "It's very cleverly done ... so we were inspired by it and nicked a few ideas." Martin stated: "Without Pet Sounds, Sgt. Pepper never would have happened ... Pepper was an attempt to equal Pet Sounds."  Freak Out! by the Mothers of Invention has also been cited as having influenced Sgt. Pepper. According to the author Philip Norman, during the Sgt. Pepper recording sessions McCartney repeatedly stated: "This is our Freak Out!" The music journalist Chet Flippo states that McCartney was inspired to record a concept album after hearing Freak Out!, considered the first rock concept album.

Answer this question "What else is interesting about the album?"
output: Freak Out!, considered the first rock concept album.

input: There had been films of Wodehouse stories since 1915, when A Gentleman of Leisure was based on his 1910 novel of the same name. Further screen adaptations of his books were made between then and 1927, but it was not until 1929 that Wodehouse went to Hollywood where Bolton was working as a highly paid writer for Metro-Goldwyn-Mayer (MGM). Ethel was taken with both the financial and social aspects of Hollywood life, and she negotiated a contract with MGM on her husband's behalf under which he would be paid $2,000 a week. This large salary was particularly welcome because the couple had lost considerable sums in the Wall Street Crash of 1929.  The contract started in May 1930, but the studio found little for Wodehouse to do, and he had spare time to write a novel and nine short stories. He commented, "It's odd how soon one comes to look on every minute as wasted that is given to earning one's salary." Even when the studio found a project for him to work on, the interventions of committees and constant rewriting by numerous contract authors meant that his ideas were rarely used. In a 2005 study of Wodehouse in Hollywood, Brian Taves writes that Those Three French Girls (1930) was "as close to a success as Wodehouse was to have at MGM. His only other credits were minimal, and the other projects he worked on were not produced."  Wodehouse's contract ended after a year and was not renewed. At MGM's request, he gave an interview to The Los Angeles Times. Wodehouse was described by Herbert Warren Wind as "politically naive [and] fundamentally unworldly," and he caused a sensation by saying publicly what he had already told his friends privately about Hollywood's inefficiency, arbitrary decision-making, and waste of expensive talent. The interview was reprinted in The New York Times, and there was much editorial comment about the state of the film industry. Many writers have considered that the interview precipitated a radical overhaul of the studio system, but Taves believes it to have been "a storm in a teacup", and Donaldson comments that, in the straitened post-crash era, the reforms would have been inevitable.  Wind's view of Wodehouse's naivete is not universally held. Some biographers suggest that his unworldliness was only part of a complex character, and that in some respects he was highly astute. He was unsparing of the studio owners in his early-1930s short stories set in Hollywood, which contain what Taves considers Wodehouse's sharpest and most biting satire.

Answer this question "What novel did he write?"
output:
Those Three French Girls (1930) was "as close to a success as Wodehouse was to have at MGM. His only other credits were minimal,