input: When AIDS appeared in France's news around 1982, Nureyev took little notice. The dancer tested positive for HIV in 1984, but for several years he simply denied that anything was wrong with his health. However, by the late 1980s his diminished capabilities disappointed his admirers who had fond memories of his outstanding prowess and skill. Nureyev began a marked decline only in the summer of 1991 and entered the final phase of the disease in the spring of 1992.  In March 1992, living with advanced AIDS, he visited Kazan and appeared as a conductor in front of the audience at Musa Calil Tatar Academic Opera and Ballet Theater, which now presents the Rudolf Nureyev Festival in Tatarstan. Returning to Paris, with a high fever, he was admitted to the hospital Notre Dame du Perpetuel Secours in Levallois-Perret, a suburb northwest of Paris, and was operated on for pericarditis, an inflammation of the membranous sac around the heart. At that time, what inspired him to fight his illness was the hope that he could fulfill an invitation to conduct Prokofiev's Romeo and Juliet at an American Ballet Theatre benefit on 6 May 1992 at the Metropolitan Opera House in New York. He did so and was elated at the reception.  In July 1992, Nureyev showed renewed signs of pericarditis but determined to forswear further treatment. His last public appearance was on 8 October 1992, at the premiere at Palais Garnier of a new production of La Bayadere that he choreographed after Marius Petipa for the Paris Opera Ballet. Nureyev had managed to obtain a photocopy of the original score by Minkus when in Russia in 1989. The ballet was a personal triumph although the gravity of his condition was evident. The French Culture Minister, Jack Lang, presented him that evening on stage with France's highest cultural award, the Commandeur de l'Ordre des Arts et des Lettres.

Answer this question "Are there any other interesting aspects about this article?"
output: In March 1992, living with advanced AIDS, he visited Kazan and appeared as a conductor in front of the audience at Musa Calil Tatar Academic Opera and Ballet Theater,

input: Celtic Frost's frontman, guitarist and singer Tom Gabriel Fischer, adopted the alias Tom Warrior. With Steve Warrior on bass, he formed one of the earliest extreme metal bands, Hellhammer, in 1981. Steve Warrior was later replaced by Martin Eric Ain - also a pseudonym. The band attracted a small international fan-base, got signed to Noise Records in Germany and recorded their debut EP Apocalyptic Raids in March 1984, now a rare find on eBay or second-hand record stores around the world.  Metal publications were also skeptical of Hellhammer's musical endeavor. Metal Forces loathed the group; that started a long-lasting feud between that zine and Warrior, which kept Celtic Frost from playing in England for a couple of years. Rock Power was not fond of Hellhammer either - they considered it "the most terrible, abhorrent, and atrocious thing 'musicians' were ever allowed to record". In fact, they were "receiving miserable reviews everywhere", Warrior concluded.  Regarding the controversial status of his former band, Thomas said:  Way back in 1984 and 85, when Martin Eric Ain and I recorded Celtic Frost's first two albums Morbid Tales and To Mega Therion, Hellhammer lasted on us almost like a curse. Even though Hellhammer was the very reason we had thought over our goals and conceived the Frost, HH's left-overs kept being mighty rocks in our way. Many voices saw Frost as the same band with just a name-change. The lack of musical quality in HH made it almost impossible for us to get an unbiased reaction for Frost. To make a long story short, it almost killed all our work and dreams.  By May 1984, Hellhammer had disbanded. Fischer and Ain, along with session drummer Stephen Priestly, regrouped as Celtic Frost. Their 1984 debut mini-LP, Morbid Tales was a hit in the underground metal scene, and the band set out on its first tour, through Germany and Austria. This was followed with an EP Emperor's Return. Both early releases are now available on the one CD.

Answer this question "What kind of band they formed in 1981?"
output: he formed one of the earliest extreme metal bands,

input: When composer/arranger Pete Rugolo joined the Stan Kenton Orchestra as staff arranger in late 1945 he brought with him his love of jazz, Stravinsky and Bartok. Given free rein by Kenton, he experimented constantly, creating a sound that was at the same time innovative and popular. Although Kenton himself was already creating somewhat experimental scores prior to Rugolo's tenure, it was Rugolo who brought to the band the extra-jazz influences and the ultra-experimental approach that were to dominate the band through much of its existence.  During his first six months on the staff Rugolo tried to copy Kenton's sound. But on encouragement from the leader, he explored his own voice. By incorporating compositional techniques borrowed from the modern classical music he had studied, with the dramatic excitement of the Kenton sound, Rugolo helped catapult the Kenton band into one of its most fertile and creative periods.  After a string of mostly arrangements, Rugolo turned out three originals that Kenton featured on the band's first album in 1946: (Artistry in Rhythm): "Artistry in Percussion", "Safranski" and "Artistry in Bolero". Added to this mix came "Machito", "Rhythm Incorporated", "Monotony" and "Interlude" in early 1947 (though some were not recorded until later in the year). These compositions, along with June Christy's voice, came to define the Artistry in Rhythm band.  It was during this period that Cuban rhythms started infiltrating the Kenton sound. Rugolo's 1946 composition "Machito", named after the great Cuban band leader that had impressed Kenton, was a regular on concerts in 1947 and 1948. During the subsequent Progressive Jazz era the Cuban sound would become more profound, an influence that was to remain with Kenton until his death.  The Artistry in Rhythm outfit was a powerful band, with outstanding soloists, but with one foot firmly in the tradition. By early 1947, the Stan Kenton Orchestra had reached its highest point of financial and popular success. They played in the best theaters and ballrooms in America, they had hit records ... and the schedule was killing Kenton. Dances at the many ballrooms were typically four hours a night. Theater dates generally involved playing mini concerts between each showing of the movie, sometimes five or six a day, stretching from morning to late night. Most days not on location were spent in buses or cars, racing from town to town. Days off from performing were rare. And for Kenton they just allowed for more record signing, radio station interviews, and pushing the Capitol brand. He was beat. Following an April performance in Tuscaloosa, he broke up the band.

Answer this question "Did Kenton do any composing/arranging on the album?"
output: