input: Gerry was from an early time a vocal opponent of Parliamentary efforts to tax the colonies after the French and Indian War ended in 1763. In 1770 he sat on a Marblehead committee that sought to enforce importation bans on taxed British goods. He frequently communicated with other Massachusetts opponents of British policy, including Samuel Adams, John Adams, Mercy Otis Warren, and others.  In May 1772 he won election to the Great and General Court of the Province of Massachusetts Bay (its legislative assembly). There he worked closely with Samuel Adams to advance colonial opposition to Parliamentary colonial policies. He was responsible for establishing Marblehead's committee of correspondence, one of the first to be set up after that of Boston. However, an incident of mob action prompted him to resign from the committee the next year. Gerry and other prominent Marbleheaders had established a hospital for performing smallpox inoculations on Cat Island; because the means of transmission of the disease were not known at the time, fears amongst the local population led to protests which escalated into violence that wrecked the facilities and threatened the proprietors' other properties.  Gerry reentered politics after the Boston Port Act closed that city's port in 1774, and Marblehead became a port to which relief supplies from other colonies could be delivered. As one of the town's leading merchants and Patriots, Gerry played a major role in ensuring the storage and delivery of supplies from Marblehead to Boston, interrupting those activities only to care for his dying father. He was elected as a representative to the First Continental Congress in September 1774, but refused, still grieving the loss of his father.

Answer this question "What happened with the mob?"
output: the local population led to protests which escalated into violence that wrecked the facilities and threatened the proprietors' other properties.

input: The Soul Giants were formed in 1964. In 1964, Frank Zappa was approached by Ray Collins who asked him to take over as the guitarist following a fight between Collins and the group's original guitarist. Zappa accepted, and convinced the other members that they should play his music to increase the chances of getting a record contract. Original leader David Coronado did not think that the band would be employable if they played original material, and left the band. Zappa soon assumed leadership and the role as co-lead singer, even though he never considered himself a singer.  The band was renamed the Mothers, coincidentally on Mother's Day. The group increased their bookings after beginning an association with manager Herb Cohen, while they gradually gained attention on the burgeoning Los Angeles underground music scene. In early 1966, they were spotted by leading record producer Tom Wilson when playing Zappa's "Trouble Every Day," a song about the Watts Riots. Wilson had earned acclaim as the producer for singer-songwriter Bob Dylan and the folk-rock act Simon & Garfunkel, and was notable as one of the few African Americans working as a major label pop music producer at this time.  Wilson signed the Mothers to the Verve Records division of MGM Records, which had built up a strong reputation in the music industry for its releases of modern jazz recordings in the 1940s and 1950s, but was attempting to diversify into pop and rock audiences. Verve insisted that the band officially rename themselves because "Mother" in slang terminology was short for "motherfucker"--a term that apart from its profanity, in a jazz context connotes a very skilled musical instrumentalist. The label suggested the name "The Mothers Auxiliary", which prompted Zappa to come up with the name "The Mothers of Invention".  The Mothers of Invention played in New York in late 1966 and were offered a contract at the Garrick Theater during Easter 1967. This proved successful and Herb Cohen extended the booking, which eventually lasted half a year. As a result, Zappa and his wife, along with the Mothers of Invention, moved to New York. Their shows became a combination of improvised acts showcasing individual talents of the band as well as tight performances of Zappa's music. Everything was directed by Zappa's famous hand signals. Guest performers and audience participation became a regular part of the Garrick Theater shows. One evening, Zappa managed to entice some U.S. Marines from the audience onto the stage, where they proceeded to dismember a big baby doll, having been told by Zappa to pretend that it was a "gook baby".  Situated in New York, and only interrupted by the band's first European tour, the Mothers of Invention recorded the album widely regarded as the peak of the group's late 1960s work, We're Only in It for the Money (released 1968). It was produced by Zappa, with Wilson credited as executive producer. From then on, Zappa produced all albums released by the Mothers of Invention and as a solo artist. We're Only in It for the Money featured some of the most creative audio editing and production yet heard in pop music, and the songs ruthlessly satirized the hippie and flower power phenomena. The cover photo parodied that of the Beatles' Sgt Pepper's Lonely Hearts Club Band, its art provided by Cal Schenkel whom Zappa had met in New York. This initiated a lifelong collaboration in which Schenkel designed covers for numerous Zappa and Mothers albums.  Reflecting Zappa's eclectic approach to music, the next album, Cruising with Ruben & the Jets (1968), was very different. It represented a collection of doo-wop songs; listeners and critics were not sure whether the album was a satire or a tribute. Zappa has noted that the album was conceived in the way Stravinsky's compositions were in his neo-classical period: "If he could take the forms and cliches of the classical era and pervert them, why not do the same ... to doo-wop in the fifties?" A theme from Stravinsky's The Rite of Spring is heard during one song.  Zappa and the Mothers of Invention returned to Los Angeles in the summer of 1968. Despite being a success with fans in Europe, the Mothers of Invention were not faring well financially. Their first records were vocally oriented, but Zappa wrote more instrumental jazz and classical oriented music for the band's concerts, which confused audiences. Zappa felt that audiences failed to appreciate his "electrical chamber music". Recorded from September 1967 to September 1968 and released in early 1969 Uncle Meat was a double album of varied music and the final release by the original Mothers and was intended as a soundtrack for a proposed film of the same name.  In 1969 there were nine band members and Zappa was supporting the group himself from his publishing royalties whether they played or not. 1969 was also the year Zappa, fed up with the label's interference, left MGM Records for Warner Bros.' Reprise subsidiary where Zappa/Mothers recordings would bear the Bizarre Records imprint.  In late 1969, Zappa broke up the band. He often cited the financial strain as the main reason, but also commented on the band members' lack of sufficient effort. Many band members were bitter about Zappa's decision, and some took it as a sign of Zappa's concern for perfection at the expense of human feeling. Others were irritated by 'his autocratic ways', exemplified by Zappa's never staying at the same hotel as the band members. Several members would, however, play for Zappa in years to come. He did, however, start recruiting new band members at this time, even asking Micky Dolenz from The Monkees to join. Zappa had appeared on the series and in the movie Head. Remaining recordings with the band from this period were collected on Weasels Ripped My Flesh and Burnt Weeny Sandwich (both released in 1970).

Answer this question "Why did he ask others to join the band?"
output: