input: In 1885, Cellier composed a song, "There once was a time, my darling", for a piece produced by George Edwardes, Little Jack Sheppard (1885). Meanwhile he had composed what would become his greatest success, the comic opera Dorothy, with a libretto by B. C. Stephenson. To create the score, Cellier repurposed some of his music from his 1876 failure, Nell Gwynne, which had, nevertheless, received praise for its music. Dorothy had been announced for production at the Royalty Theatre in 1884, but ultimately Edwardes mounted it at his Gaiety Theatre on 25 September 1886. Cellier was in Australia from February 1886 to February 1887, conducting The Mikado and other Gilbert and Sullivan operas for the J. C. Williamson organization and was absent from London during the productions of The Carp, at the Savoy, and Dorothy. Neither the music nor the libretto of Dorothy initially attracted critical praise. The Times wrote, "Gentility reigns supreme, and with it unfortunately also a good deal of the refined feebleness and the ineptitude which are the defects of that quality." Stephenson rewrote the lyrics of one of Cellier's old songs, "Old Dreams" as "Queen of My Heart"; this helped the work to find success after it transferred in December to the Prince of Wales Theatre. The following year H. J. Leslie took over the production from Edwardes and introduced new stars, including Marie Tempest. Dorothy became an even greater success at the box office and transferred in December 1888 to the Lyric Theatre, built using the profits from the production, where it ran into 1889. Its initial run of a total of 931 performances was the longest of any piece of musical theatre up to that time, longer than even The Mikado, a fact that caused consternation to Cellier's friend Arthur Sullivan. Some critics reconsidered their earlier condemnation, the work became regarded as a classic Victorian piece, and the initially despised plot was traced seriously back to the Restoration playwrights David Garrick and Aphra Behn, and to Oliver Goldsmith and even Shakespeare. Its success led to revivals of some of Cellier's earlier works.  Cellier returned to Australia in 1888 to conduct Dorothy and made a final brief visit there for health reasons in early 1891, together with Stephenson. His last comic operas, Doris (1889, with Stephenson) and The Mountebanks (with Gilbert, produced in January 1892, a few days after the composer's death), were both modestly successful. Also after Cellier's death, Rutland Barrington used some of his music in his 1902 adaptation of Water Babies. Often in ill health throughout his life, Cellier was unable to finish The Mountebanks, and Ivan Caryll completed the score.  Cellier owed much to the influence of Sullivan. He was a fertile melodist, and his writing exhibited elegance and refinement, although he was not able to infuse his music with humour in the way that Sullivan did.  Cellier died at his home in Bloomsbury, London, at the age of 47. He was buried in West Norwood Cemetery.

Answer this question "Did it ever achieve acclaim after this initial lack of response?"
output: Dorothy became an even greater success at the box office

input: According to Szwed, Sun Ra's view of his relationship to black people and black cultures "changed drastically" over time. Initially, Sun Ra identified closely with broader struggles for black power, black political influence, and black identity, and saw his own music as a key element in educating and liberating blacks. But by the heyday of Black Power radicalism in the 1960s, Sun Ra was expressing disillusionment with these aims. He denied feeling closely connected to any race. In 1970 he said:  I couldn't approach black people with the truth because they like lies. They live lies... At one time I felt that white people were to blame for everything, but then I found out that they were just puppets and pawns of some greater force, which has been using them... Some force is having a good time [manipulating black and white people] and looking, enjoying itself up in a reserved seat, wondering, "I wonder when they're going to wake up."  Sun Ra is considered to be an early pioneer of the Afrofuturist movement due to his music, writings and other works.  The influence of Sun Ra can be seen throughout many aspects of black music. He grounded his practice of Afrofuturism in a musical tradition of performing blackness that remains relevant today. Sun Ra lived out his beliefs of Afrofuturism in his daily life by embodying the movement not only in his music, but also in his clothes and actions. This embodiment of the narrative allowed him to demonstrate black nationalism as a counternarrative to the present culture. It was in Chicago, as well, in the mid-fifties, that Ra began experimenting with extraterrestriality in his stage show, sometimes playing regular cocktail lounges dressed in space suits and ancient Egyptian regalia. By placing his band and performances in space and extraterrestrial environments Sun Ra built a world that was his own view of how the African diaspora connected.

Answer this question "What did Ra do to change the black culture?"
output: Sun Ra identified closely with broader struggles for black power, black political influence, and black identity, and saw his own music as a key element in educating and liberating blacks.

input: Heyer was born in Wimbledon, London, in 1902. She was named after her father, George Heyer. Her mother, Sylvia Watkins, studied both cello and piano and was one of the top three students in her class at the Royal College of Music. Heyer's paternal grandfather had emigrated from Russia, while her maternal grandparents owned tugboats on the River Thames.  Heyer was the eldest of three children; her brothers George Boris (known as Boris) and Frank were four and nine years younger than her. For part of her childhood, the family lived in Paris but they returned to England shortly after World War I broke out in 1914. Although the family's surname had been pronounced "higher", the advent of war led her father to switch to the pronunciation "hair" so they would not be mistaken for Germans. During the war, her father served as a requisitions officer for the British Army in France. After the war ended he was appointed a Member of the Order of the British Empire (MBE). He left the army in 1920 with the rank of captain, taught at King's College London and sometimes wrote for The Granta.  George Heyer strongly encouraged his children to read and never forbade any book. Georgette read widely and often met with her friends Joanna Cannan and Carola Oman to discuss books. Heyer and Oman later shared their works-in-progress with each other and offered criticism.  When she was 17, Heyer began a serial story to amuse her brother Boris, who suffered from a form of haemophilia and was often weak. Her father enjoyed listening to her story and asked her to prepare it for publication. His agent found a publisher for her book, and The Black Moth, about the adventures of a young man who took responsibility for his brother's card-cheating, was released in 1921. According to her biographer Jane Aiken Hodge, the novel contained many of the elements that would become standard for Heyer's novels, the "saturnine male lead, the marriage in danger, the extravagant wife, and the group of idle, entertaining young men". The following year one of her contemporary short stories, "A Proposal to Cicely", was published in Happy Magazine.

Answer this question "did she become a full time writer after the publication of this book?"
output:
The following year one of her contemporary short stories, "A Proposal to Cicely", was published in Happy Magazine.