input: In April 2001, John Butler Trio released Three and relocated to Melbourne to promote the record on the east coast. The track, "Betterman", was on high rotation by Triple J. Three peaked at No. 24 on the ARIA Charts. It also remained on the alternative charts for nine months reaching No. 3. At the ARIA Music Awards of 2001 the album won an award for 'Best Independent Release'. "Betterman" reached No. 5 on the Triple J Hottest 100, 2001.  Shoesmith left the trio to form his own band, The Groovesmiths, Butler replaced him with 19-year-old Rory Quirk, who was on their first tour of the United States in 2001. Quirk, in turn, left in 2002 to pursue a career with his band, Quirk. Andrew Fry joined as the next bass player.  The success of Three led to its release in the US in 2002 and two tours of the US followed. The band supported the Dave Matthews Band and John Mayer as well as playing at the Bonnaroo Music Festival and the South by Southwest Festival. The band also played at the Splendour in the Grass Festival in Australia. Butler, his manager Phil Stevens and fellow Western Australian folk artists, The Waifs, founded Jarrah Records in July 2002.  As a result of intensive touring, the band developed a great live reputation in Australia. The band released Living 2001-2002 in February 2003, a double live album which had a top ten debut in the ARIA album charts and went on to achieve platinum sales. Butler took a brief break after five years of solid work since 1997 for the birth of his daughter Banjo.

Answer this question "What else did they do?"
output: The band also played at the Splendour in the Grass Festival in Australia.

input: During Eastertide 1830, he heard the Italian violinist, violist, guitarist, and composer Niccolo Paganini play in Frankfurt. In July he wrote to his mother, "My whole life has been a struggle between Poetry and Prose, or call it Music and Law." By Christmas he was back in Leipzig, at age 20 taking piano lessons from his old master Friedrich Wieck, who assured him that he would be a successful concert pianist after a few years' study with him.  During his studies with Wieck, it has been claimed that Schumann permanently injured a finger on his right hand. Wieck claimed that Schumann damaged his finger by the use of a mechanical device designed to strengthen the weakest fingers, a device which held back one finger while he exercised the others. This claim has been discredited by Clara Schumann, who said that the disability was not due to a mechanical device, and Robert Schumann himself refers to it as "an affliction of the whole hand". Some have argued that, as the disability appeared to have been chronic and have affected the hand, and not just a finger, it was unlikely to have been caused by a finger strengthening device.  Schumann abandoned the idea of a concert career and devoted himself instead to composition. To this end he began a study of music theory under Heinrich Dorn, a German composer six years his senior and, at that time, conductor of the Leipzig Opera. About this time Schumann considered composing an opera on the subject of Hamlet.

Answer this question "How did this affect his ability to play the piano and other instruments?"
output: Schumann abandoned the idea of a concert career and devoted himself instead to composition. To this end he began a study of music theory under Heinrich Dorn, a German

input: With professionalism far from foremost concern, The Aquabats' earliest band line-ups changed with almost every concert, occasionally featuring as many as twelve to fourteen musicians at a time onstage, with the majority typically playing brass instruments. As they gradually developed a steady following and began playing shows with more regularity, the band settled into a tighter and more manageable unit consisting of around eight to nine musicians, filled out by a horn section, two guitarists and a keyboardist. It was with this type of line-up that The Aquabats began recording, independently producing the demo tapes The Revenge of the Midget Punchers in 1994 and Bat Boy in 1995.  Initially, The Aquabats intended to make each of their performances unique by wearing a different set of matching costumes for every concert, ranging from chef's uniforms to grass skirts and fezzes, all with an individual persona -- during one show wearing chef outfits, for instance, the band hosted an actual onstage barbecue. When the group's props and get-ups soon became more cumbersome to transport than their musical equipment, it was ultimately decided a singular costume was required. Terry, a future apparel designer who was employed by the wetsuit manufacturing company Aleeda at the time, acquired a large amount of spare rubber and neoprene and fashioned together a set of helmets and rashguards for the band members. The addition of customized vinyl belts, donated to the band by then-unknown artist Paul Frank, effectively completed the style The Aquabats would maintain for the rest of their career.  To accompany their distinct new uniforms, The Aquabats constructed a backstory which alleged they were actually superheroes hailing from the distant island of "Aquabania", though Larson admits the entire mythology was simply made up piece by piece as they went along from one interviewer to the next. As their mythology grew, the members soon adopted superhero stage names and identities, and began tailoring their live shows around a comic book aesthetic by incorporating onstage stunts and mock battles with costumed villains, antics which were originally ploys to get the band's friends into shows for free. Jacobs' brothers Parker and Tyler, a cartoonist and graphic artist, respectively, were brought in to help develop the band's cartoon-influenced visual style, designing their logos and promotional material as well as playing characters in The Aquabats' stage shows and mythology.  In 1995, The Aquabats independently produced and recorded their debut album, The Return of The Aquabats, pressing the CDs themselves. Having already amassed a sizable cult following for their increasingly eccentric live shows, the band managed to sell a respectable 20,000 copies of their album without any marketing or distribution. With the growing mainstream popularity of ska music, The Aquabats quickly rose to prominence within Orange County's booming ska scene, regularly touring alongside the likes of such commercially successful bands as No Doubt, Sublime and Reel Big Fish and bringing them to the brink of achieving mainstream recognition.  In early 1996, the Aquabats first drummer, Rod Arellano was forced to quit due to touring schedule conflicts and was replaced by a young 20 year-old named Travis Barker. Travis played his first show as the Baron Von Tito opening up for Fishbone at the Glass House in Pomona.

Answer this question "Did they release any albums?"
output:
the band managed to sell a respectable 20,000 copies of their album without any marketing or distribution.