input: Although Owen made brief visits to the United States, London became his permanent home and the centre of his activities in 1828. After an extended period of friction with William Allen and some of his other business partners, Owen relinquished all of connections to New Lanark. He is often quoted as comment Allen at the time, "All the world is queer save thee and me, and even thou art a little queer". Having invested most of his personal fortune in the failed New Harmony communal experiment, Owen was no longer a wealthy capitalist; however, he remained the head of a vigorous propaganda effort to promote industrial equality, free education for children, and adequate living conditions in factory towns. In addition, he delivered lectures in Europe and published a weekly newspaper to gain support for his ideas.  In 1832 Owen opened the National Equitable Labour Exchange system, a time-based currency in which the exchange of goods was effected by means of labour notes; this system superseded the usual means of exchange and middlemen. The London exchange continued until 1833; a Birmingham branch operated for only a few months until July 1833. Owen also became involved in trade unionism. He briefly served as the leader of the Grand National Consolidated Trade Union (GNCTU) before its collapse in 1834.  Socialism first became current in British terminology in the discussions of the Association of all Classes of all Nations, which Owen formed in 1835 and served as its initial leader. Owen's secular views also gained enough influence among the working classes to cause the Westminster Review to comment in 1839 that his principles were the actual creed of a great portion of them. However, by 1846, the only long-lasting result of Owen's agitation for social change, carried on through public meetings, pamphlets, periodicals, and occasional treatises, remained the co-operative movement, and for a time even that seemed to have utterly collapsed.

Answer this question "wha happened between him and allen"
output: an extended period of friction with William Allen and some of his other business partners,

Problem: Background: Johan August Strindberg (; Swedish: [2strInd,baerj] ( listen); 22 January 1849 - 14 May 1912) was a Swedish playwright, novelist, poet, essayist and painter. A prolific writer who often drew directly on his personal experience, Strindberg's career spanned four decades, during which time he wrote over sixty plays and more than thirty works of fiction, autobiography, history, cultural analysis, and politics.
Context: Influenced by the history of the Paris Commune, during 1871, young Strindberg embraced the view, that politics is a conflict between the upper and lower classes. He was admired by many as a far-left writer. He was a socialist (or perhaps more of an anarchist, meaning a libertarian socialist, which he himself claimed on at least one occasion). Strindberg's political opinions nevertheless changed considerably within this category over the years, and he was never primarily a political writer. Nor did he often campaign for any one issue, preferring instead to scorn his enemies manifesto-style - the military, the church, the monarchy, the politicians, the stingy publishers, the incompetent reviewers, the narrow-minded, the idiots - and he was not loyal to any party or ideology. Many of his works, however, had at least some politics and sometimes an abundance of it. They often displayed that life and the prevailing system were profoundly unjust and injurious to ordinary citizens.  The changing nature of his political positions shows in his changing stance on the women's rights issue. Early on, Strindberg was sympathetic to women of 19th-century Sweden, calling for women's suffrage as early as 1884. However, during other periods he had strongly misogynistic opinions, calling for lawmakers to reconsider the emancipation of these "half-apes ... mad ... criminal, instinctively evil animals." This is controversial in contemporary assessments of Strindberg, as have his antisemitic descriptions of Jews (and, in particular, Jewish enemies of his in Swedish cultural life) in some works (e.g., Det nya riket), particularly during the early 1880s. Strindberg's antisemitic pronouncements, just like his opinions of women, have been debated, and also seem to have varied considerably. Many of these attitudes, passions and behaviours may have been developed for literary reasons and ended as soon as he had exploited them in books.  In satirizing Swedish society - in particular the upper classes, the cultural and political establishment, and his many personal and professional foes - he could be very confrontational, with scarcely concealed caricatures of political opponents. This could take the form of brutal character disparagement or mockery, and while the presentation was generally skilful, it was not necessarily subtle.  His daughter Karin Strindberg married a Russian Bolshevik of partially Swedish ancestry, Vladimir Smirnov ("Paulsson"). Because of his political views, Strindberg was promoted strongly in socialist countries in Central and Eastern Europe, as well as in the Soviet Union and Cuba.
Question: What were Strindberg's politics?
Answer: politics is a conflict between the upper and lower classes.

Question: Santana is a Latin music and rock band formed in San Francisco, California in 1966 by Mexican-American guitarist Carlos Santana. The band came to public attention with their performance of "Soul Sacrifice" at Woodstock in 1969. This exposure helped propel their first album, also named Santana, into a hit, followed in the next two years by Abraxas and Santana III. Lineup changes were common.

13 months after Caravanserai, Santana released Welcome. Welcome was the first of four consecutive albums to achieve gold certification, as opposed to the previous four, which all at least reached platinum status. The album peaked at number 25 on the Billboard 200, the lowest of the band's career so far. The next few albums contained a more experimental style than their previous work, beginning with Borboletta, which fared arguably worse than its predecessor, despite climbing five spots on the US charts.  The group's 1976 release, Amigos, was far more successful. Reaching number 10 on the US charts, and also hitting the top 10 in France, Australia, New Zealand, Austria and The Netherlands, it was a form of return to the success of their early albums. Festival, somewhat contradicted that new-found success, but was a short blip before another successful album, Moonflower, released in 1977. The album was possibly the most successful since Santana III, achieving 2x platinum in the US, and being the first album since 1974's Borboletta, to break the top 10 in the UK. It was characterized by a stylistic shift for the band, as it contained heavier influences from the more conventional sound of the group's early work, while still maintaining the experimental sound of their last few albums.  Their next two releases, Inner Secrets and Marathon, released in 1978 and '79, respectively, were a further musical shift for the band, moving away from the Latin-fused rock music that had characterized their work in the late 1960s and the majority of the '70s, to move towards a more album-oriented, conventional rock sound. These albums, however, fared poorly commercially, although both achieved gold status in the US.

Using a quote from the above article, answer the following question: Did they win any awards?
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Answer:
The album was possibly the most successful since Santana III, achieving 2x platinum in the US,