input: Before leaving Atlantic, the Rolling Stones released Undercover (UK 3; US 4) in late 1983. Despite good reviews and the Top Ten peak position of the title track, the record sold below expectations and there was no tour to support it. Subsequently, the Stones' new marketer/distributor CBS Records took over distributing the Stones' Atlantic catalogue.  By this time, the Jagger/Richards rift had grown significantly. To Richards' annoyance, Jagger had signed a solo deal with CBS Records, and he spent much of 1984 writing songs for his first album. He also declared his growing lack of interest in the Rolling Stones. By 1985, Jagger was spending more time on solo recordings, and much of the material on 1986's Dirty Work was generated by Richards, with more contributions by Wood than on previous Rolling Stones albums. The album was recorded in Paris, and Jagger was often absent from the studio, leaving Richards to keep the recording sessions moving forward.  In June 1985, Jagger teamed up with David Bowie for "Dancing in the Street", which was recorded as part of the Live Aid charity movement. This was one of Jagger's first solo performances, and the song reached No. 1 in the UK, and No. 7 in the US. In December 1985, Stewart died of a heart attack. The Rolling Stones played a private tribute concert for him at London's 100 Club in February 1986, two days before they were presented with a Grammy Lifetime Achievement Award.  Dirty Work (UK No. 4; US No. 4) was released in March 1986 to mixed reviews despite the presence of the US Top Five hit "Harlem Shuffle". With relations between Richards and Jagger at a low, Jagger refused to tour to promote the album, and instead undertook his own solo tour, which included Rolling Stones songs. As a result of the animosity within the band during this period, they almost broke up. Jagger's solo records, She's the Boss (UK 6; US 13) (1985) and Primitive Cool (UK 26; US 41) (1987), met with moderate success, and in 1988, with the Rolling Stones mostly inactive, Richards released his first solo album, Talk Is Cheap (UK 37; US 24). It was well received by fans and critics, going gold in the US. Richards has subsequently referred to this late-80s period, where the two were recording solo albums with no obvious reunion of the Stones in sight, as "World War III". The following year 25x5: The Continuing Adventures of the Rolling Stones, a documentary spanning the career of the band was released for their 25th anniversary.

Answer this question "Was there other problems with bandmembers?"
output: much of the material on 1986's Dirty Work was generated by Richards, with more contributions by Wood than on previous Rolling Stones albums.

input: One of Swift's earliest musical memories is listening to her maternal grandmother, Marjorie Finlay, sing in church. As a child, she enjoyed Disney film soundtracks: "My parents noticed that, once I had run out of words, I would just make up my own". Swift has said she owes her confidence to her mother, who helped her prepare for class presentations as a child. She also attributes her "fascination with writing and storytelling" to her mother. Swift was drawn to the storytelling of country music, and was introduced to the genre by "the great female country artists of the '90s"--Shania Twain, Faith Hill and the Dixie Chicks. Twain, both as a songwriter and performer, was her biggest musical influence. Hill was Swift's childhood role model: "Everything she said, did, wore, I tried to copy it". She admired the Dixie Chicks' defiant attitude and their ability to play their own instruments. The band's "Cowboy Take Me Away" was the first song Swift learned to play on the guitar. Swift also explored the music of older country stars, including Patsy Cline, Loretta Lynn, Dolly Parton and Tammy Wynette. She believes Parton is "an amazing example to every female songwriter out there". Alt-country artists such as Ryan Adams, Patty Griffin and Lori McKenna have inspired Swift.  Swift lists Paul McCartney, The Rolling Stones, Bruce Springsteen, Emmylou Harris, Kris Kristofferson, and Carly Simon as her career role models: "They've taken chances, but they've also been the same artist for their entire careers". McCartney, both as a Beatle and a solo artist, makes Swift feel "as if I've been let into his heart and his mind ... Any musician could only dream of a legacy like that". She admires Springsteen for being "so musically relevant after such a long period of time". She aspires to be like Harris as she grows older: "It's not about fame for her, it's about music". "[Kristofferson] shines in songwriting ... He's just one of those people who has been in this business for years but you can tell it hasn't chewed him up and spat him out", Swift says. She admires Simon's "songwriting and honesty ... She's known as an emotional person but a strong person".  Swift has also been influenced by many artists outside the country genre. As a pre-teen, she enjoyed bubblegum pop acts including Hanson and Britney Spears; Swift has said she has "unwavering devotion" for Spears. In her high school years, Swift listened to rock bands such as Dashboard Confessional, Fall Out Boy, and Jimmy Eat World. She has also spoken fondly of singers and songwriters like Michelle Branch, Alanis Morissette, Ashlee Simpson, Fefe Dobson and Justin Timberlake; and the 1960s acts The Shirelles, Doris Troy, and The Beach Boys. Swift's fifth album, the pop-focused 1989, was influenced by some of her favorite 1980s pop acts, including Annie Lennox, Phil Collins and "Like a Prayer-era Madonna".

Answer this question "What else does she have to say about the Beatles?"
output: Any musician could only dream of a legacy like that".

input: Southworth was born in Harvard, Nebraska, to Orlando and Marriah Southworth. He was raised in Columbus, Ohio. He had four older brothers who played baseball. Before he was old enough to play with them, Southworth would give his old socks to his brothers so they could create makeshift balls. Southworth decided to play baseball against his father's wishes. Orlando Southworth had wanted his son to attend college. At the age of 19, he signed a contract with the Portsmouth team in the Ohio State League. He joined the Cleveland Indians in 1913, but only appeared in one game, entering as a replacement on defense.  In 1914, Southworth married Lida Brooks. She was a minister's daughter and they had met while Southworth was playing for Portsmouth. The couple's son, William Brooks Southworth, was born during Southworth's early playing career. Billy Southworth, Jr. later became a professional baseball player for several seasons. The elder Southworth returned to the Cleveland Indians in 1915 and appeared in 60 games. He played for the Birmingham Barons in 1917 and part of 1918, when he made the Pittsburgh Pirates and played in 64 major league games.  Southworth played more regularly in 1919, appearing in 121 games and leading the league with 14 triples. With the exception of two seasons, Southworth played in at least that many games through 1926. In 1926, Southworth's offensive production increased and he finished the season with a .320 batting average, 16 home runs and 99 RBI. He ran into difficulty with New York manager John McGraw that year, as Southworth's independent style became incompatible with McGraw's strict leadership. He was traded from the New York Giants to the St. Louis Cardinals in the middle of the season. Southworth suffered a 1927 rib injury that limited his playing time. The Cardinals' leadership began to look for a role for Southworth beyond his playing career.

Answer this question "Did he play for anyone else?"
output:
The elder Southworth returned to the Cleveland Indians in 1915 and appeared in 60 games.