input: Two young female millworkers in 1873 Maine visit the town's carousel after work. One of them, Julie Jordan, attracts the attention of the barker, Billy Bigelow ("The Carousel Waltz"). When Julie lets Billy put his arm around her during the ride, Mrs. Mullin, the widowed owner of the carousel, tells Julie never to return. Julie and her friend, Carrie Pipperidge, argue with Mrs. Mullin. Billy arrives and, seeing that Mrs. Mullin is jealous, mocks her; he is fired from his job. Billy, unconcerned, invites Julie to join him for a drink. As he goes to get his belongings, Carrie presses Julie about her feelings toward him, but Julie is evasive ("You're a Queer One, Julie Jordan"). Carrie has a beau too, fisherman Enoch Snow ("(When I Marry) Mister Snow"), to whom she is newly engaged. Billy returns for Julie as the departing Carrie warns that staying out late means the loss of Julie's job. Mr. Bascombe, owner of the mill, happens by along with a policeman, and offers to escort Julie to her home, but she refuses and is fired. Left alone, she and Billy talk about what life might be like if they were in love, but neither quite confesses to the growing attraction they feel for each other ("If I Loved You").  Over a month passes, and preparations for the summer clambake are under way ("June Is Bustin' Out All Over"). Julie and Billy, now married, live at Julie's cousin Nettie's spa. Julie confides in Carrie that Billy, frustrated over being unemployed, hit her. Carrie has happier news--she is engaged to Enoch, who enters as she discusses him ("(When I Marry) Mister Snow (reprise))". Billy arrives with his ne'er-do-well whaler friend, Jigger. The former barker is openly rude to Enoch and Julie, then leaves with Jigger, followed by a distraught Julie. Enoch tells Carrie that he expects to become rich selling herring and to have a large family, larger perhaps than Carrie is comfortable having ("When the Children Are Asleep").  Jigger and his shipmates, joined by Billy, then sing about life on the sea ("Blow High, Blow Low"). The whaler tries to recruit Billy to help with a robbery, but Billy declines, as the victim--Julie's former boss, Mr. Bascombe--might have to be killed. Mrs. Mullin enters and tries to tempt Billy back to the carousel (and to her). He would have to abandon Julie; a married barker cannot evoke the same sexual tension as one who is single. Billy reluctantly mulls it over as Julie arrives and the others leave. She tells him that she is pregnant, and Billy is overwhelmed with happiness, ending all thoughts of returning to the carousel. Once alone, Billy imagines the fun he will have with Bill Jr.--until he realizes that his child might be a girl, and reflects soberly that "you've got to be a father to a girl" ("Soliloquy"). Determined to provide financially for his future child, whatever the means, Billy decides to be Jigger's accomplice.  The whole town leaves for the clambake. Billy, who had earlier refused to go, agrees to join in, to Julie's delight, as he realizes that being seen at the clambake is integral to his and Jigger's alibi ("Act I Finale").

Answer this question "what was interesting about act 1?"
output: neither quite confesses to the growing attraction they feel for each other

input: Under the strict supervision of Hawkins, the Hawks became an accomplished band. They split from Hawkins in 1963, recorded two singles and toured almost continually, playing in bars and clubs, usually billed as Levon and the Hawks. Hudson started work as a session musician in 1965, playing on John Hammond, Jr.'s So Many Roads along with Robertson (guitar) and Helm (drums).  In August 1965, they were introduced to Bob Dylan by manager Albert Grossman's assistant, Mary Martin. In October, Dylan and the Hawks recorded the single "Can You Please Crawl Out Your Window?", and in January 1966 they recorded material with Dylan for what would turn into the Blonde on Blonde album. Dylan recruited the band to accompany him on his controversial 1966 "electric" tour of the United States, Australia and Europe. (An album of Dylan's 1966 performance with his band, The "Royal Albert Hall" Concert, was finally released in 1998.) Subsequent to Bob Dylan's motorcycle accident in July 1966, the group settled in a pink house in West Saugerties, New York, near Woodstock. Dylan was a frequent visitor, and Hudson's recordings of their collaborations resulted in The Basement Tapes.  By 1968, the group recorded its debut album, Music from Big Pink. The album was recorded in Los Angeles (at Capitol) and New York (at A&R Studio). Capitol originally announced that the group would be called the Crackers, but when Music From Big Pink was released they were officially named the Band. The album includes Hudson's organ showcase, "Chest Fever", a song that in the Band's live shows would be vastly expanded by a solo organ introduction, entitled "The Genetic Method", an improvisational work that would be played differently at each performance. An example can be heard on the live album Rock of Ages. Hudson is also adept at the accordion, which he played on some of the group's recordings, such as "Rockin Chair", from "The Band"; the traditional "Ain't No More Cane", from "The Basement Tapes"; Dylan's "When I Paint My Masterpiece"; and Bobby Charles's "Down South in New Orleans" during the Last Waltz. His saxophone solo work can be heard on such songs as "Tears of Rage" (from Big Pink) and "Unfaithful Servant" (from The Band). Hudson is credited with playing all of the brass and woodwinds on the studio version of "Ophelia", from the 1975 album Northern Lights - Southern Cross as well. This album, the first to be recorded in the Band's Shangri-La recording studio in Malibu, California, also saw Hudson adding synthesizers to his arsenal of instruments.  Hudson provided innovative accompaniment. For example, the song "Up on Cripple Creek" features Hudson playing a clavinet through a wah-wah pedal to create a swampy sound reminiscent of a Jew's harp or the croak of a frog. This clavinet-wah wah pedal configuration was later adopted by many funk musicians.  After years of continuous touring, the Band made its final bow as a touring band with a lavish final concert on Thanksgiving Day 1976 at the Winterland Ballroom in San Francisco, an all-star tribute concert documented in The Last Waltz.

Answer this question "was it successful?"
output: