input: In 2012, amongst a wide range of American and international centennial celebrations, an eight-day festival was held in Washington DC, with venues found notably more amongst the city's art museums and universities than performance spaces. Earlier in the centennial year, conductor Michael Tilson Thomas presented Cage's Song Books with the San Francisco Symphony at Carnegie Hall in New York. Another celebration came, for instance, in Darmstadt, Germany, which in July 2012 renamed its central station the John Cage Railway Station during the term of its annual new-music courses. At the Ruhrtriennale in Germany, Heiner Goebbels staged a production of Europeras 1 & 2 in a 36,000 sq ft converted factory and commissioned a production of Lecture on Nothing created and performed by Robert Wilson. Jacaranda Music had four concerts planned in Santa Monica, California, for the centennial week. John Cage Day was the name given to several events held during 2012 to mark the centenary of his birth.  A 2012 project was curated by Juraj Kojs to celebrate the centenary of Cage's birth, titled On Silence: Homage to Cage. It consisted of 13 commissioned works created by composers from around the global such as Kasia Glowicka, Adrian Knight and Henry Vega, each being 4 minutes and 33 seconds long in honor of Cage's famous 1952 opus, 4'33''. The program was supported by the Foundation for Emerging Technologies and Arts, Laura Kuhn and the John Cage Trust.  In a homage to Cage's dance work, the Bill T. Jones/Arnie Zane Dance Company in July 2012 "performed an engrossing piece called 'Story/Time'. It was modeled on Cage's 1958 work 'Indeterminacy', in which [Cage and then Jones, respectively,] sat alone onstage, reading aloud ... series of one-minute stories [they]'d written. Dancers from Jones's company performed as [Jones] read."

Answer this question "Were any other works played for the commemoration?"
output: A 2012 project was curated by Juraj Kojs to celebrate the centenary of Cage's birth, titled On Silence: Homage to Cage.

input: Ferry continued to record as a solo artist, and released his sixth solo album, Boys and Girls, in 1985. The album reached number one in the UK, his first and only solo recording to do so, and also became his biggest selling album in the US.  In July 1985, Ferry performed at the London Live Aid show, accompanied by Pink Floyd guitarist David Gilmour. He was hit with technical difficulties on sound, the drummer's drumstick broke at the start of the first song "Sensation" and Gilmour's Fender Stratocaster went dead, so he had to switch to his candy-apple red Stratocaster for the rest of the performance. The difficulties in sound were overcome for "Slave to Love" and "Jealous Guy". As with other successful Live Aid acts, his then current album, Boys and Girls, remained in the UK chart for almost a year.  After the Avalon promotional tours, Ferry was rather reluctant to return to live touring on the road; however, a change of management persuaded him to try touring again in 1988 to promote the previous year's Bete Noire release. Following the tour, Ferry teamed up again with Brian Eno for Mamouna (collaborating with Robin Trower on guitar and as producer). The album took more than five years to produce, and was created under the working title Horoscope. During production, Ferry simultaneously recorded and released another covers album, Taxi in 1993, which proved to be a greater commercial and critical success than Mamouna would be when it was finally released in 1994. In 1996 Ferry performed the song "Dance With Life" for the Phenomenon soundtrack, which was written by Bernie Taupin and Martin Page. In 1999 Ferry appeared with Alan Partridge (played by Steve Coogan) on BBC's Comic Relief.  After taking some time off from music, Ferry returned in 1999 when he released an album of 1930s songs, As Time Goes By, which was nominated for a Grammy Award.

Answer this question "What else did he do?"
output: After the Avalon promotional tours, Ferry was rather reluctant to return to live touring on the road; however, a change of management persuaded him to try touring again in 1988

input: McCartney, Harrison and Starr originally intended to record some incidental background music, as a trio, for the Anthology project, but later realised, according to Starr, that they wanted to record "new music". According to Harrison, they had always agreed that if one of them was not in the band, the others would never replace them and, "... go out as the Beatles", and that the "only other person that could be in it was John."  McCartney then asked Ono if she had any unreleased recordings by Lennon, so she sent him cassette tapes of four songs. "Free as a Bird" was recorded by Lennon in 1977, in his and Ono's Dakota building apartment in New York City, but was not complete. Lennon introduced the song on the cassette by imitating a New York accent and saying, "Free--as a boid" (bird). The other songs were "Grow Old With Me", "Real Love", and "Now and Then". Ono says that it was Harrison and former Beatles road manager Neil Aspinall who initially asked her about the concept of adding vocals and instrumentation to Lennon's demo tapes. Ono stated: "People have said it was all agreed when Paul came over to New York to induct John into the Rock and Roll Hall of Fame, but it was all settled before then. I just used that occasion to hand over the tapes personally to Paul."  McCartney went to Ono's home after the induction ceremony at the Rock and Roll Hall of Fame to listen to, and receive, the Lennon demo tapes; he recalls the meeting with Ono:  She was there with Sean ... and she played us a couple of tracks. There were two newies on mono cassettes which he did at home ... [s]o I checked it out with Sean, because I didn't want him to have a problem with it. He said, "Well, it'll be weird hearing a dead guy on lead vocal. But give it a try." I said to them both, "If it doesn't work out, you can veto it." When I told George and Ringo I'd agreed to that they were going, "What? What if we love it?" It didn't come to that, luckily. I said to Yoko, "Don't impose too many conditions on us, it's really difficult to do this, spiritually. We don't know, we may hate each other after two hours in the studio and just walk out. So don't put any conditions, it's tough enough."  During an interview for the Anthology project, McCartney revealed that he was surprised to learn that Lennon's demos of "Grow Old With Me" and "Real Love" had already been released and were well known by Lennon fans. Starr admitted that when he first listened to the recording he found it very emotional.

Answer this question "What did they realized?"
output:
according to Starr, that they wanted to record "new music".