Problem: I, Claudius (1934) is a novel by English writer Robert Graves, written in the form of an autobiography of the Roman Emperor Claudius. Accordingly, it includes the history of the Julio-Claudian Dynasty and the Roman Empire, from Julius Caesar's assassination in 44 BC to Caligula's assassination in 41 AD. The 'autobiography' of Claudius continues (from Claudius' accession after Caligula's death, to his own death in 54) in Claudius the God (1935). The sequel also includes a section written as a biography of Herod Agrippa, contemporary of Claudius and future King of the Jews.

Claudius was the fourth Emperor of Rome (r. 41-54 AD). Historically, Claudius' family kept him out of public life until his sudden coronation at the age of forty-nine. This was due to his being perceived as being a dolt due to his stammering, limp and other nervous tics. This made others see him as mentally deficient and also therefore not a threat to his ambitious relatives. Even as his symptoms began to wane in his teenage years, he ran into trouble for his work as a budding historian. His work on a history of the civil wars was too truthful and too critical of the reigning emperor Augustus and his mother and grandmother quickly put a stop to it. This episode reinforced their initial suspicions that Claudius was not fit for public office. This is how he was defined by scholars for most of history, and Graves uses these peculiarities to develop a sympathetic character whose survival in a murderous dynasty depends upon his family's incorrect assumption that he is a harmless idiot.  Graves's interpretation of the story owes much to the histories of Gaius Cornelius Tacitus, Plutarch and (especially) Suetonius (Lives of the Twelve Caesars). Graves translated Suetonius before writing the novels. Graves claimed that after he read Suetonius, Claudius came to him in a dream one night and demanded that his real story be told. The life of Claudius provided Graves with a way to write about the first four Emperors of Rome (Augustus, Tiberius, Caligula, and Claudius) from an intimate point of view.  In addition, the real Claudius was a trained historian and is known to have written an autobiography (now lost) in eight books that covered the same time period. I, Claudius is a first-person narrative of Roman history from the reigns of Augustus to Caligula; Claudius the God is written as a later addition documenting Claudius' own reign.  Graves provides a theme for the story by having the fictionalised Claudius describe a visit to Cumae, where he receives a prophecy in verse from the Sibyl, and an additional prophecy contained in a book of "Sibylline Curiosities". The latter concerns the fates of the "hairy ones" (i.e. The Caesars - from the Latin word "caesar", meaning "a fine head of hair") who are to rule Rome. The penultimate verse concerns his own reign, and Claudius assumes that he can tell the identity of the last emperor described. From the outset, then, Graves establishes a fatalistic tone that plays out at the end of Claudius the God, Claudius predicts his own assassination and succession by Nero.  At Cumae, the Sibyl tells Claudius that he will "speak clear." Claudius believes this means that his secret memoirs will be one day found, and that he, having therein written the truth, will speak clearly, while his contemporaries, who had to distort their histories to appease the ruling family, will seem like stammerers. Since he wishes to record his life for posterity, Claudius chooses to write in Greek, since he believes that it will remain "the chief literary language of the world." This enables Graves to offer explanations of Latin wordplay or etymologies that would be unnecessary for native Latin speakers.

How does the story end?

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Problem: King Crimson are an English progressive rock band formed in London in 1968. King Crimson have been influential both on the early 1970s progressive rock movement and numerous contemporary artists. The band has undergone numerous formations throughout its history of which 21 musicians have been members; since October 2017 it has consisted of Robert Fripp, Jakko Jakszyk, Tony Levin, Mel Collins, Pat Mastelotto, Gavin Harrison, Jeremy Stacey and Bill Rieflin. Fripp is the only consistent member of the group and is considered the band's leader and driving force.

After a search for new musicians, Fripp and Sinfield secured a returning Collins and Ian Wallace on drums. Auditions for a singer included those from Bryan Ferry and John Gaydon, the band's manager,. The position went to Raymond "Boz" Burrell. Bassist John Wetton was invited to join, but declined (at the time) in order to play with Family. Rick Kemp also declined an offer to join, leaving Fripp and Wallace teaching Burrell to play bass rather than continue auditions. Though he had not played bass before, Burrell had played enough rhythm guitar to assist him in learning the instrument. With the line-up complete, King Crimson toured in 1971 for the first time since 1969. The concerts were well received, but the musical and lifestyle differences of Collins, Wallace, and Burrell began to alienate the drug-free Fripp, who began to withdraw socially from his bandmates, creating further tension.  In 1971, the new King Crimson formation recorded Islands. Loosely influenced by Miles Davis's orchestral collaborations with Gil Evans and Homer's Odyssey, the album also showed signs of a split in styles between Sinfield (who favoured the softer and more textural jazz-folk approach and wanted the band to move in a Miles Davis direction) and Fripp (who was drawn more towards the harsher instrumental style exemplified by the instrumental "Sailor's Tale", with its dramatic Mellotron and banjo-inspired guitar technique). Islands also featured the band's one-and-only experiment with a string ensemble on "Prelude: Song of the Gulls" and the raunchy rhythm-and-blues-inspired "Ladies of the Road". A hint of trouble to come came when one member of the band allegedly described the more delicate and meditative parts of Islands as "airy-fairy shit". Released in December 1971, Islands charted at No. 30 in the UK and No. 76 in the US. Following a period of touring Islands, Fripp asked Sinfield to leave the band, citing musical differences and a loss of faith in his partner's ideas. The remaining band broke up acrimoniously in rehearsals shortly afterward, owing to Fripp's refusal to incorporate other members' compositions into the band's repertoire. He later cited this as "quality control", with the idea that King Crimson would perform the "right kind" of music.  King Crimson reformed to fulfil touring commitments in 1972, with the intention of disbanding afterwards. Recordings from various North American dates between January and February 1972 were released as Earthbound in June 1972, noted and criticised for its sub-par sound quality and playing style that occasionally veered towards funk, with scat singing on the improvised pieces. By this time, a definite musical rift between Fripp and the rest of the band existed, since Wallace, Burrell and Collins favoured a more rhythm-and-blues style. Though personal relations improved during the 1972 tour (to the point where most of the band wished to continue), Fripp opted to part company with the existing band and to restructure King Crimson with new members, since he felt the current members wouldn't be able to play the new material he had in mind.

Were there any singles released from it?

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