Problem: Background: Killing Joke are an English rock band formed in October 1978 in Notting Hill, London, England. The original line-up included Jaz Coleman (vocals, keyboards), Paul Ferguson (drums), Geordie Walker (guitars) and Youth (bass). Their first album, Killing Joke, was released in 1980. After the release of Revelations in 1982, bassist Youth was replaced by Paul Raven.
Context: A Killing Joke anthology, Laugh? I Nearly Bought One!, was released in 1992; during its production, Walker became reacquainted with Youth, who suggested that they reform the band with himself back on bass. That same year, two singles (on cassette and CD) appeared featuring the early songs "Change" and "Wardance" in several new versions remixed by Youth, who was by then a very successful producer.  Coleman produced the 1993 debut album Churn by the New Zealand band Shihad, and Shihad drummer Tom Larkin played on some of the songs on the next Killing Joke album, Pandemonium. Relations later soured between Coleman and Shihad due to a dispute over Coleman's production fee for Churn.  The reactivated Killing Joke released two strong and well-received albums on Youth's Butterfly Recordings label, Pandemonium and Democracy, which saw the band shifting back to the simpler arrangements of their early albums. They also employed young talent like Waxworth Industries for 12-inch remixes in order to provide an alternative inroad to the band's new and evolving sound. Pandemonium (1994) melded a metallic, ritualistic sound with mosh beats and loops, and earned Killing Joke a memorable Top of the Pops appearance for the single "Millennium", which was a UK Top 40 hit (the album itself made the Top 20). The title track was also released as a single and made the UK Top 30. In 1995, the band recorded the song "Hollywood Babylon" for the soundtrack of Paul Verhoeven's movie Showgirls. Democracy (1996) successfully introduced acoustic guitar into the mix, as well as adopting more of a "live band" sound again. The title track was again released as a single and made the UK Top 40. Much of Pandemonium and all of Democracy featured session drummer Geoff Dugmore. He also played live with the band throughout this era. Nick Holywell-Walker joined the band on keyboards and programming for 11 years from 1994 to 2005, notably on Democracy and XXV Gathering. Youth bowed out of live performance early in the Democracy tour and was replaced by Troy Gregory previously of Prong.  After the Democracy tour, the band went on an extended hiatus. Coleman and Youth produced a string of well-received orchestral rock albums based on the music of legends such as Led Zeppelin, Pink Floyd and the Doors. Coleman became composer-in-residence for New Zealand and Czech symphony orchestras, and made his acting debut with the main role in the film Rok dabla (Year of the Devil) by Czech filmmaker Petr Zelenka.
Question: Did they go on tour during this time frame?
Answer: Democracy tour

Problem: Background: The Royal Philharmonic Orchestra (RPO), based in London, was formed by Sir Thomas Beecham in 1946. In its early days the orchestra secured profitable recording contracts and important engagements including the Glyndebourne Festival Opera and the concerts of the Royal Philharmonic Society. After Beecham's death in 1961 the orchestra's fortunes declined steeply; it battled for survival until the mid-1960s, when its future was secured after an Arts Council report recommended that it should receive public subsidy; a further crisis arose in the same era when it seemed that the orchestra's right to call itself "Royal" could be withdrawn. Since Beecham's death the RPO has had seven chief conductors, including Rudolf Kempe, Antal Dorati, Andre Previn and Vladimir Ashkenazy, and most recently Charles Dutoit.
Context: In 1932 the conductor Sir Thomas Beecham had founded the London Philharmonic Orchestra (LPO), which, with the backing of rich supporters, he ran until 1940, when finances dried up in wartime. Beecham left to conduct in Australia and then the US; the orchestra continued without him after reorganising itself as a self-governing body. On Beecham's return to England in September 1944 the LPO welcomed him back, and in October they gave a concert together that drew superlatives from the critics. Over the next months Beecham and the orchestra gave further concerts with considerable success, but the LPO players, now their own employers, declined to give him the unfettered control he had exercised in the 1930s. If he were to become chief conductor again it would be as a paid employee of the orchestra. Beecham responded, "I emphatically refuse to be wagged by any orchestra ... I am going to found one more great orchestra to round off my career." In 1945 he conducted the first concert of Walter Legge's new Philharmonia Orchestra, but was not disposed to accept a salaried position from Legge, his former assistant, any more than from his former players in the LPO. His new orchestra to rival the Philharmonia would, he told Legge, be launched in "the most auspicious circumstances and eclat".  In 1946 Beecham reached an agreement with the Royal Philharmonic Society: his new orchestra would replace the LPO at all the Society's concerts. He thus gained the right to name the new ensemble the "Royal Philharmonic Orchestra", an arrangement approved by George VI. Beecham arranged with the Glyndebourne Festival that the RPO should be the resident orchestra at Glyndebourne seasons. He secured backing, including that of record companies in the US as well as Britain, with whom lucrative recording contracts were negotiated. The music critic Lyndon Jenkins writes:  Naturally, it quickly became known that he was planning another orchestra, at which the cry "He'll never get the players!" went up just as it had done in 1932. Beecham was unmoved: "I always get the players," he retorted. "Among other considerations, they are so good they refuse to play under anybody but me".
Question: Who took over?
Answer:
Beecham left to conduct in Australia and then the US; the orchestra continued without him