Problem: Focus are a Dutch rock band formed in Amsterdam in 1969 by keyboardist, vocalist, and flautist Thijs van Leer. The band have undergone numerous formations in its history; since December 2016 it has comprised van Leer, drummer Pierre van der Linden, guitarist Menno Gootjes, and bassist Udo Pannekeet. Past members include guitarist Jan Akkerman and bassist Bert Ruiter. They have sold one million RIAA-certified albums in the United States.

Focus formed in mid-1969 by keyboardist, vocalist, and flautist Thijs van Leer, who recruited bass guitarist Martijn Dresden and drummer Hans Cleuver after he met them at sessions for the Jazz and Poetry radio program in Hilversum, Netherlands. The three went on to start a new three-piece band initially known as Thijs van Leer and the Rebaptised, playing a set formed mostly of cover songs by Traffic and original material mostly written by van Leer. In November 1969, during rehearsals at the theatre where van Leer performed as part of Ramses Shaffy's theatre group, they were joined by guitarist Jan Akkerman of the rock band Brainbox after Shaffy invited him to play with the trio. Van Leer later recalled the first try out session: "Jan came in and we jammed for hours, and it was really kicking". They then settled on the name Focus for the new band; Akkerman later said, "Focus is a Latin word that is the same in many languages. It means concentration, which is the meaning of what Focus does". Their first live gig as Focus followed at the Bird's Club in Rembrandtplein, and they soon secured a weekly residency playing two shows a night on two days. Early sets were mainly formed of covers, including "I Shall Be Released" by Bob Dylan, "A Whiter Shade of Pale" by Procol Harum and "Nights in White Satin" by The Moody Blues, mixed with original material, including van Leer's first song written with the group in mind, the instrumental "Focus".  In their search for more work and a steady income, Focus was chosen to play as part of the pit band for the Dutch production of the rock musical Hair produced by Welsh actor Victor Spinetti. They were invited to audition at the Victoria Ballroom, London after Dutch lyricist Lennaert Nijgh suggested them to Del Newman, the musical's director. Cast member Robin Lent claimed the production was suffering and Focus, taking part only for the money, "were also pretty rusty ... but this changed and everybody got into it". The show, launched in December 1969, involved six nightly performances a week and gave them space to rehearse in the afternoons for free and store their equipment. An album of the soundtrack featuring the band was recorded in February 1970 and released soon after by Polydor Records.  After Hair ended its run in June 1970, Focus declined an offer to tour the musical across the Netherlands for a year and a half and become a full time band. They had picked up more local gigs and dates across the country by this time, and had performed their first international gigs in Belgium and Spain. Their weekly earnings from gigs, plus their earnings from Hair, had reached 400 guilders though Akkerman recalled the group failed to appreciate its value and were quick to spend it. To manage their finances more carefully, Cleuver was chosen to oversee their earnings and expenses.

why did one band member decline to reunite?

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Problem: Bill "Bojangles" Robinson (May 25, 1878 - November 25, 1949) was an American tap dancer and actor, the best known and most highly paid African-American entertainer in the first half of the twentieth century. His long career mirrored changes in American entertainment tastes and technology. He started in the age of minstrel shows and moved to vaudeville, Broadway, the recording industry, Hollywood, radio, and television.

On March 30, 1900, Robinson entered a buck-and-wing dance contest at the Bijou Theater in Brooklyn, New York, winning a gold medal and defeating Harry Swinton, star of the show In Old Kentucky and considered the best dancer of his day. The resulting publicity helped Robinson to get work in numerous traveling shows, sometimes in a troupe, more frequently with a partner, though not always as a dancer (Robinson also sang and performed two-man comedy routines).  By 1912, Robinson was a full partner in the duo, which had become primarily a tap dancing act, booked on both the Keith and Orpheum Circuits. The team broke up in 1914, and vaudeville performer Rae Samuels, who had performed in shows with Robinson, convinced him to meet with her manager (and husband), Marty Forkins. Under Forkins' tutelage, Robinson matured and began working as a solo act, increasing his earnings to an estimated $3,500 per week. Forkins accomplished this by inventing an alternate history for Robinson, promoting him as already being a solo act. This technique succeeded, making Robinson one of the first performers to break vaudeville's two colored rule, which forbade solo black acts.  When the U.S. entered World War I, the War Department set up a series of Liberty Theaters in the training camps. The Keith and Orpheum Circuits underwrote vaudeville acts at reduced fees, but Robinson volunteered to perform gratis for thousands of troops, in both black and white units of the Expeditionary Forces, receiving a commendation from the War Department in 1918.  Throughout the early 1920s, Robinson continued his career on the road as a solo vaudeville act, touring throughout the country and most frequently visiting Chicago, where Marty Forkins, his manager, lived. From 1919-1923 he was fully booked on the Orpheum Circuit, and was signed full-time by the Keith in 1924 and 1925. In addition to being booked for 50-52 weeks (an avid baseball fan, he took a week off for the World Series), Robinson did multiple shows per night, frequently on two different stages.

Did he do anything else with Vaudeville?

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making Robinson one of the first performers to break vaudeville's two colored rule, which forbade solo black acts.