input: The plot of Hello, Dolly! originated in an 1835 English play, A Day Well Spent by John Oxenford, which Johann Nestroy adapted into the farce Einen Jux will er sich machen (He Will Go on a Spree or He'll Have Himself a Good Time). Thornton Wilder adapted Nestroy's play into his 1938 farcical play The Merchant of Yonkers, a flop which he revised and retitled The Matchmaker in 1955, expanding the role of Dolly, played by Ruth Gordon. The Matchmaker became a hit and was much revived and made into a 1958 film of the same name starring Shirley Booth. The story of a meddlesome widow who strives to bring romance to several couples and herself in a big city restaurant also features prominently in the 1891 hit musical A Trip to Chinatown.  The role of Dolly Gallagher Levi in the musical was originally written for Ethel Merman, but Merman turned it down, as did Mary Martin (although each eventually played it). Merrick then auditioned Nancy Walker. Eventually, he hired Carol Channing, who then created in Dolly her signature role. Director Gower Champion was not the producer's first choice, as Hal Prince and others (among them Jerome Robbins and Joe Layton) all turned down the job of directing the musical.  Hello, Dolly! had rocky out-of-town tryouts in Detroit and Washington, D.C. After receiving the reviews, the creators made major changes to the script and score, including the addition of the song "Before the Parade Passes By". The show was originally entitled Dolly, A Damned Exasperating Woman and Call on Dolly but Merrick changed the title upon hearing Louis Armstrong's version of "Hello, Dolly." The show became one of the most iconic Broadway shows of its era, the latter half of the 1960s, running for 2,844 performances, and was for a time the longest-running musical in Broadway history. During that decade, ten "blockbuster" musicals played over 1,000 performances and three played over 2,000, helping to redefine "success" for the Broadway musical genre.

Answer this question "How did people view this play?"
output: Thornton Wilder adapted Nestroy's play into his 1938 farcical play The Merchant of Yonkers, a flop which he revised and retitled The Matchmaker in 1955,

input: Cantrell has been most famously seen playing a G&L Guitars' Rampage model. The two models most closely identified with Cantrell are instruments manufactured in the 1980s. They feature a maple body, maple neck and ebony fingerboard. The bridge is a Kahler Tremolo as opposed to a Floyd Rose tremolo which was commonly seen on instruments made throughout the 1980s and 90s. The guitars feature a single-bridge humbucker wired to a volume pickup.  G&L Guitars makes two Jerry Cantrell Signature guitars available to the general public for purchase. The first is a Rampage model which is very similar to the instrument most closely identified with Cantrell, known as the "Blue Dress Rampage" for having an image of a vintage pin-up girl wearing a blue dress, which Cantrell taped to the top of his first guitar. The second is a guitar called the 'Superhawk'. This guitar features a fixed bridge and the addition of a neck pickup.  Cantrell used the original "Blue Dress" guitar on the music videos for "Man in the Box", "We Die Young", "Sea of Sorrow", "Grind", and "Again". The guitar can also be seen in the movie Singles. In 2011, Cantrell told that he had to retire the guitar due to a hairline crack from the neck all the way through the back of the body. Before that, he had never gone on tour without it.  Apart from his signature G&L Guitars, Cantrell has also been seen playing a Les Paul and a Telecaster  Cantrell used a variety of amplifiers such as those made by Bogner, Mesa Boogie and Marshall throughout his career. He has most recently been using a signature amp called the, 'JJ100' made for him by Friedman Amplification.

Answer this question "What equipment did he use mostly?"
output: Cantrell has been most famously seen playing a G&L Guitars' Rampage model.

input: Koolhaas's next landmark publications were a product of his position as professor at Harvard University, in the Design school's "Project on the City"; firstly the 720-page Mutations, followed by The Harvard Design School Guide to Shopping (2002) and The Great Leap Forward (2002). All three books involved Koolhaas's students analysing what others would regard as "non-cities", sprawling conglomerates such as Lagos in Nigeria, west Africa, which the authors argue are highly functional despite a lack of infrastructure. The authors also examine the influence of shopping habits and the recent rapid growth of cities in China. Critics of the books have criticised Koolhaas for being cynical - as if Western capitalism and globalization demolish all cultural identity - highlighted in the notion expounded in the books that "In the end, there will be little else for us to do but shop". However, such cynicism can alternatively be read as a "realism" about the transformation of cultural life, where airports and even museums (due to finance problems) rely just as much on operating gift shops.  When it comes to transforming these observations into practice, Koolhaas mobilizes what he regards as the omnipotent forces of urbanism into unique design forms and connections organised along the lines of present-day society. Koolhaas continuously incorporates his observations of the contemporary city within his design activities: calling such a condition the 'culture of congestion'. Again, shopping is examined for "intellectual comfort", whilst the unregulated taste and densification of Chinese cities is analysed according to "performance", a criterion involving variables with debatable credibility: density, newness, shape, size, money etc. For example, in his design for the new CCTV headquarters in Beijing (2009), Koolhaas did not opt for the stereotypical skyscraper, often used to symbolise and landmark such government enterprises, but instead designed a series of volumes which not only tie together the numerous departments onto the nebulous site, but also introduced routes (again, the concept of cross-programming) for the general public through the site, allowing them some degree of access to the production procedure. Through his ruthlessly raw approach, Koolhaas hopes to extract the architect from the anxiety of a dead profession and resurrect a contemporary interpretation of the sublime, however fleeting it may be.  In 2003, Content, a 544-page magazine-style book designed by &&& Creative and published by Koolhaas, gives an overview of the last decade of OMA projects including his designs for the Prada shops, the Seattle Public Library, a plan to save Cambridge from Harvard by rechanneling the Charles River, Lagos' future as Earth's third-biggest city, as well as interviews with Martha Stewart and Robert Venturi and Denise Scott Brown.

Answer this question "What did the great leap forward consist of?"
output:
All three books involved Koolhaas's students analysing what others would regard as "non-cities",