input: As a result of performing his early songwriting efforts in cabarets around Manhattan, he was invited to write with such composers as Stephen Schwartz, Alan Menken and Rupert Holmes. In 1979, he collaborated with recording artist and cabaret performer Peter Allen to write new songs for Allen's one-man Broadway revue, Up In One.  With composer Michael Gore, Pitchford collaborated on three songs for Alan Parker's 1980 motion picture Fame; these were "Red Light," a disco hit for singer Linda Clifford; the symphonic/rock finale "I Sing the Body Electric;" and the title song "Fame," which became a multi-platinum, international best seller for Irene Cara. That song earned Gore and Pitchford an Oscar, a Golden Globe, and a Grammy nomination for Song of the Year (1981). They also received a Grammy nomination for Best Soundtrack Album for a Motion Picture, Television or Other Visual Media.  When Pitchford was signed by Warner Brothers Publishing (1981) he began collaborating with a variety of songwriters. Among the first songs whose lyrics he wrote in collaboration with composer Tom Snow was "Don't Call It Love," which was first recorded by Kim Carnes on her 1981 album Mistaken Identity; the selection charted in the U.S. country singles top-ten for Dolly Parton in 1985 and was named the BMI Country Song of the Year.  For the ill-fated 1981 movie The Legend of the Lone Ranger, Pitchford wrote a narrative ballad, "The Man In the Mask." This was spoken (throughout the movie) and sung (at its beginning and end) by Merle Haggard.  "You Should Hear How She Talks About You," another Snow/Pitchford composition, was a Top 5 hit for Melissa Manchester for which she won the Grammy Award for Best Female Pop Vocal Performance in 1983. That same year, Pitchford, Kenny Loggins and Steve Perry wrote and composed "Don't Fight It," a Top 20 hit that was Grammy-nominated in the Best Pop Vocal Duo category. With musical director Michael Miller, he wrote the theme song for the weekly dance-music show Solid Gold (1980-88).

Answer this question "Did he receive any awards for his songs?"
output: the selection charted in the U.S. country singles top-ten for Dolly Parton in 1985 and was named the BMI Country Song of the Year.

input: The Joker was one of the few popular villains continuing to appear regularly in Batman comics from the Golden Age into the Silver Age, as the series continued during the rise in popularity of mystery and romance comics. In 1951, Finger wrote an origin story for the Joker in Detective Comics #168, which introduced the characteristic of him formerly being the criminal Red Hood, and his disfigurement the result of a fall into a chemical vat.  By 1954, the Comics Code Authority had been established in response to increasing public disapproval of comic book content. The backlash was inspired by Frederic Wertham, who hypothesized that mass media (especially comic books) was responsible for the rise in juvenile delinquency, violence and homosexuality, particularly in young males. Parents forbade their children from reading comic books, and there were several mass burnings. The Comics Code banned gore, innuendo and excessive violence, stripping Batman of his menace and transforming the Joker into a goofy, thieving trickster without his original homicidal tendencies.  The character appeared less frequently after 1964, when Julius Schwartz (who disliked the Joker) became editor of the Batman comics. The character risked becoming an obscure figure of the preceding era until this goofy prankster version of the character was adapted into the 1966 television series Batman, in which he was played by Cesar Romero. The show's popularity compelled Schwartz to keep the comics in a similar vein. As the show's popularity waned, however, so did that of the Batman comics. After the TV series ended in 1968, the increase in public visibility had not stopped the comic's sales decline; editorial director Carmine Infantino resolved to turn things around, moving stories away from schoolboy-friendly adventures. The Silver Age introduced several of the Joker's defining character traits: lethal joy buzzers, acid-squirting flowers, trick guns, and goofy, elaborate crimes.

Answer this question "What made the end of the silver age?"
output: the 1966 television series Batman,

input: When Michael Davies, one of January Thirst's original vocalists, quit in December 2001, Matthew Evans (vocals) and Johnny Phillips (drums) invited Matt Davies (later Davies-Kreye) to try out for the vacated singer position. Soon afterward, the band reformed as Funeral for a Friend; the name is derived from a song by Planes Mistaken for Stars, one of Davies' favourite bands at the time.  During the start of the New Year they parted ways with second guitarist Kerry Roberts (Kris Coombs-Roberts's brother) and found a suitable replacement in Darran Smith (ex-Tripcage). The band recorded four tracks at Mighty Atom Studios for a proposed self-financed EP with another Welsh band From This Moment On. Upon hearing the tracks, Mighty Atom Records approached the band and offered a two-album deal, resulting in their debut EP, Between Order and Model (2002). Before the EP's release, Andi Morris (bass) quit, with Phillips and Evans also leaving. The band then recruited Gareth Davies (later Ellis-Davies) on bass and Ryan Richards on drums. Matt Davies became the band's only primary vocalist, with Gareth Davies performing backing melodies and Richards taking over Evans' screaming role.  In 2003, Funeral for a Friend recorded their second EP, Four Ways to Scream Your Name, produced and mixed by Colin Richardson. In mid-2003, the band secured their first Kerrang! award, winning the award for "Best UK Newcomer", beating The Darkness, who won in all other nominated categories. Funeral for a Friend's win was largely attributed to their fervent fan base, as the awards winner was decided by public vote online at the official Kerrang! Web site. In August 2003, Funeral for a Friend opened the Concrete Jungle stage at the Reading and Leeds Festivals.

Answer this question "did they win any awards?"
output:
In mid-2003, the band secured their first Kerrang! award, winning the award for "Best UK Newcomer",