input: The group held their first tour in Asia from March to June, with a series of concerts in Taiwan, Thailand, South Korea, and Japan. It was also announced that they will be releasing their first single of the year and tenth in all, on February 22, titled "SUPER DELICATE". The single was a theme song for Risou no Musuko, in which Ryosuke Yamada stars in alongside Yuto Nakajima.  On March 15, it was announced that Hong Kong leg tour would be postponed until May and that the Bangkok tour was cancelled respectively due to unknown reason. On the 22nd, it was announced that a new musical called Johnny's World will be produced and directed by Johnny Kitagawa which would start its run at the Imperial Garden Theater during the months of November through December. Hey! Say! JUMP would be the main cast while 100 others would be making an appearance including Kis-My-Ft2, Sexy Zone, A.B.C-Z and Johnny's Jr.. Kamenashi Kazuya, Takizawa Hideaki and Domoto Koichi will be making guest appearances as well.  On April 25, almost two years since the released of their first album JUMP No. 1, the group announced that they will be releasing their second album on June 6. The album is called JUMP World and it contains their singles from "Arigato (Sekai no Doko ni Ite mo)" onwards. In the same month, Yuya Takaki starred as Shohei Tatsunami in the TV drama, Shiritsu Bakaleya Koukou. In the same year, Takaki returned as Shohei Tatsunami in the Shiritsu Bakaleya Koko movie.  Hey! Say! JUMP kicked off their first Asian tour at the Yokohama Arena on 3 May.  At the end of 2012, it was announced that Ryosuke Yamada will be making his solo debut with the single "Mystery Virgin" on January 9, 2013. The song was first solicited to mainstream on the radio on November 30, 2012 and was available for digital download on December 26, 2012.

Answer this question "what was jump world?"
output: the group announced that they will be releasing their second album on June 6. The album is called JUMP World

input: In the early years of BT's career, he became a pioneering artist in the trance genre, this despite the fact that he doesn't consider himself a DJ, since he infrequently spins records and comes from an eclectic music background. He was creating trance music before it was known by that name. When he started out, such common elements as a build, breakdown and drop were unclassified. BT's was a unique interpretation of what electronic music could be. His first trance recordings, "A Moment of Truth" and "Relativity", became hits in dance clubs in the UK. His productions were not yet popular in the US, and he was initially unaware that he had become popular across the Atlantic, where UK DJs like Sasha were regularly spinning his music for crowds. Sasha bought BT a ticket to London, where BT witnessed his own success in the clubs, with several thousand clubbers responding dramatically when Sasha played BT's song. He also met Paul Oakenfold, playing him tracks that would make up his first album. He was quickly signed to Oakenfold's record label, a subsidiary of Warner Brothers.  BT's 1995 debut album Ima, released on Oakenfold's label, was a progressive house effort. The opening track, "Nocturnal Transmission", was featured in The Fast and the Furious. The album also featured a song with Vincent Covello. Blending house beats with sweeping New Age sounds, Ima helped to create the trance sound. "Ima (Jin )" is the Japanese word for "now". BT has stated that it also means many other things and that the intention of the album is to have a different effect for everyone.  Following the release of Ima, BT began traveling to England regularly. It was during this time that he met Tori Amos. They would collaborate on his song "Blue Skies", which reached the number one spot on Billboard magazine's Dance Club Songs chart in January 1997. This track helped expand BT's notability beyond Europe, into North America. He soon began to produce songs for well-known artists such as Sting, Madonna, Seal, Sarah McLachlan, NSYNC, Britney Spears, Diana Ross and Mike Oldfield.

Answer this question "Was there a negative points during the making of this album?"
output: 

input: A third milestone in Wodehouse's life came towards the end of 1915: his old songwriting partner Jerome Kern introduced him to the writer Guy Bolton, who became Wodehouse's closest friend and a regular collaborator. Bolton and Kern had a musical, Very Good Eddie, running at the Princess Theatre in New York. The show was successful, but they thought the song lyrics weak and invited Wodehouse to join them on its successor. This was Miss Springtime (1916), which ran for 227 performances--a good run by the standards of the day. The team produced several more successes, including Leave It to Jane (1917), Oh, Boy! (1917-18) and Oh, Lady! Lady!! (1918), and Wodehouse and Bolton wrote a few more shows with other composers. In these musicals Wodehouse's lyrics won high praise from critics as well as fellow lyricists such as Ira Gershwin.  Unlike his original model, Gilbert, Wodehouse preferred the music to be written first, fitting his words into the melodies. Donaldson suggests that this is the reason why his lyrics have largely been overlooked in recent years: they fit the music perfectly, but do not stand on their own in verse form as Gilbert's do. Nonetheless, Donaldson adds, the book and lyrics for the Princess Theatre shows made the collaborators an enormous fortune and played an important part in the development of the American musical. In the Grove Dictionary of American Music Larry Stempel writes, "By presenting naturalistic stories and characters and attempting to integrate the songs and lyrics into the action of the libretto, these works brought a new level of intimacy, cohesion, and sophistication to American musical comedy." The theatre writer Gerald Bordman calls Wodehouse "the most observant, literate, and witty lyricist of his day". The composer Richard Rodgers wrote, "Before Larry Hart, only P.G. Wodehouse had made any real assault on the intelligence of the song-listening public."  In the years after the war, Wodehouse steadily increased his sales, polished his existing characters and introduced new ones. Bertie and Jeeves, Lord Emsworth and his circle, and Ukridge appeared in novels and short stories; Psmith made his fourth and last appearance; two new characters were the Oldest Member, narrating his series of golfing stories, and Mr Mulliner, telling his particularly tall tales to fellow patrons of the bar at the Angler's Rest. Various other young men-about-town appeared in short stories about members of the Drones Club.  The Wodehouses returned to England, where they had a house in London for some years, but Wodehouse continued to cross the Atlantic frequently, spending substantial periods in New York. He continued to work in the theatre. During the 1920s he collaborated on nine musical comedies produced on Broadway or in the West End, including the long-running Sally (1920, New York), The Cabaret Girl (1922, London) and Rosalie (1928, New York). He also wrote non-musical plays, including The Play's the Thing (1926), adapted from Ferenc Molnar, and A Damsel in Distress (1928), a dramatisation of his 1919 novel.  Though never a naturally gregarious man, Wodehouse was more sociable in the 1920s than at other periods. Donaldson lists among those with whom he was on friendly terms writers including A.A. Milne, Ian Hay, Frederick Lonsdale and E. Phillips Oppenheim, and stage performers including George Grossmith, Jr., Heather Thatcher and Dorothy Dickson.

Answer this question "were they successful?"
output:
He also wrote non-musical plays, including The Play's the Thing (1926), adapted from Ferenc Molnar, and A Damsel in Distress (1928), a dramatisation of his 1919 novel.