input: Abbott formed Pantera in 1981 with his brother Vinnie Paul on drums. Originally, he called himself Diamond Darrell Lance. The band was influenced with thrash metal acts such as Slayer, Megadeth, Venom, and Metallica as well as traditional metal bands such as Black Sabbath, Iron Maiden, Motorhead, and Judas Priest. Shortly after singer Phil Anselmo joined Pantera, Darrell was invited by Dave Mustaine to join Megadeth. Darrell was willing to join, but on the condition that Mustaine also hire his brother Vinnie on drums. As Mustaine already had a drummer, Chuck Behler, Darrell decided to stay with Pantera.  Pantera would go on to become a key formulator of the post-thrash subgenre of "groove" metal. It would not be until nine years after forming that Pantera saw its first piece of commercial success in its 1990 major label debut, Cowboys from Hell. Pantera's "groove" style came to fruition in its breakthrough album Vulgar Display of Power, released on February 25, 1992, which saw the replacement of the power metal falsetto vocals with a hardcore-influenced shouted delivery and heavier guitar sound. On Pantera's 1994 album Far Beyond Driven, Abbott, who'd been listed on all prior albums under the moniker "Diamond Darrell", was listed as "Dimebag Darrell". On the night before Pantera's live appearance at the Monsters of Rock in England's Donington Park, the Abbott brothers got involved in altercations at a local club with journalists from magazines Kerrang! and Raw.  Pantera began to suffer from mounting tensions between band members in the mid-1990s, largely due to vocalist Phil Anselmo's rampant drug abuse.  In 2001, the group went on hiatus, during which time Anselmo worked on side projects, such as Superjoint Ritual and Down. This caused more friction within the band, as the Abbott brothers kept waiting for Anselmo to become available to work with them again. The frustration with Anselmo led to their decision to disband Pantera in 2003.

Answer this question "When was Pantera formed?"
output: 1981

input: Early in his recording career, Jara showed a knack for antagonizing conservative Chileans, releasing a traditional comic song called "La beata" that depicted a religious woman with a crush on the priest to whom she goes for confession. The song was banned on radio stations and removed from record shops, but the controversy only added to Jara's reputation among young and progressive Chileans. More serious in the eyes of the Chilean right wing was Jara's growing identification with the socialist movement led by Salvador Allende. After visits to Cuba and the Soviet Union in the early 1960s, Jara had joined the Communist Party. The personal met the political in his songs about the poverty he had experienced firsthand.  Jara's songs spread outside Chile and were performed by American folk artists. His popularity was due not only to his songwriting skills but also to his exceptional power as a performer. He took a decisive turn toward political confrontation with his 1969 song "Preguntas por Puerto Montt" ("Questions About Puerto Montt"), which took direct aim at a government official who had ordered police to attack squatters in the town of Puerto Montt. The Chilean political situation deteriorated after the official was assassinated, and right-wing thugs beat up Jara on one occasion.  In 1970, Jara supported Allende, the Popular Unity coalition candidate for president, volunteering for political work and playing free concerts. He composed "Venceremos" ("We Will Triumph"), the theme song of Allende's Popular Unity movement, and welcomed Allende's election to the Chilean presidency in 1970. After the election, Jara continued to speak in support of Allende and played an important role in the new administration's efforts to reorient Chilean culture.  He and his wife, Joan Jara, were key participants in a cultural renaissance that swept Chile, organizing cultural events that supported the country's new socialist government. He set poems by Pablo Neruda to music and performed at a ceremony honoring him after Neruda received the Nobel Prize in Literature in 1972. Throughout rumblings of a right-wing coup, Jara held on to his teaching job at Chile's Technical University. His popular success during this time, as both a musician and a Communist, earned him a concert in Moscow. So successful was he that the Soviet Union tried to latch onto his popularity, claiming in their media that his vocal prowess was the result of surgery he had undergone while in Moscow.  Backed by the United States, which opposed Allende's socialist politics, the Chilean right wing staged a coup d'etat on September 11, 1973, resulting in the death of Allende and the installation of Augusto Pinochet as dictator. At the moment of the coup, Jara was on his way to the Technical University (today the Universidad de Santiago). That night, he slept at the university along with other teachers and students, and sang to raise morale.

Answer this question "What song was banned?"
output: "La beata

input: When his drummer Sonny Greer was invited to join the Wilber Sweatman Orchestra in New York City, Ellington made the fateful decision to leave behind his successful career in Washington, D.C., and move to Harlem, ultimately becoming part of the Harlem Renaissance. New dance crazes such as the Charleston emerged in Harlem, as well as African-American musical theater, including Eubie Blake's Shuffle Along. After the young musicians left the Sweatman Orchestra to strike out on their own, they found an emerging jazz scene that was highly competitive and hard to crack. They hustled pool by day and played whatever gigs they could find. The young band met stride pianist Willie "The Lion" Smith, who introduced them to the scene and gave them some money. They played at rent-house parties for income. After a few months, the young musicians returned to Washington, D.C., feeling discouraged.  In June 1923, a gig in Atlantic City, New Jersey, led to a play date at the prestigious Exclusive Club in Harlem. This was followed in September 1923 by a move to the Hollywood Club - 49th and Broadway - and a four-year engagement, which gave Ellington a solid artistic base. He was known to play the bugle at the end of each performance. The group was initially called Elmer Snowden and his Black Sox Orchestra and had seven members, including trumpeter James "Bubber" Miley. They renamed themselves The Washingtonians. Snowden left the group in early 1924 and Ellington took over as bandleader. After a fire, the club was re-opened as the Club Kentucky (often referred to as the Kentucky Club).  Ellington made eight records in 1924, receiving composing credit on three including "Choo Choo". In 1925, Ellington contributed four songs to Chocolate Kiddies starring Lottie Gee and Adelaide Hall, an all-African-American revue which introduced European audiences to African-American styles and performers. Duke Ellington and his Kentucky Club Orchestra grew to a group of ten players; they developed their own sound by displaying the non-traditional expression of Ellington's arrangements, the street rhythms of Harlem, and the exotic-sounding trombone growls and wah-wahs, high-squealing trumpets, and sultry saxophone blues licks of the band members. For a short time soprano saxophonist Sidney Bechet played with them, imparting his propulsive swing and superior musicianship to the young band members.

Answer this question "When did he do this?"
output: