input: In 1995, Kennedy started teaching guitar in a store called Rock City Music. By August 1996, he became the lead vocalist and lead guitarist of The Mayfield Four, a rock band he formed with his childhood friends Zia Uddin, Marty Meisner, and Craig Johnson (also of Citizen Swing). They signed a contract with Epic Records thanks to a critically acclaimed demo called Thirty Two Point Five Hours that the band recorded in 1996, followed by a live extended play called Motion in 1997. The Mayfield Four's debut album, Fallout, was supported with a fifteen-month tour with bands such as Creed, Big Wreck, and Stabbing Westward. The album was praised by critics, but it failed to chart, and ultimately became the only album by the band to feature rhythm guitarist Craig Johnson, who was fired from the band due to undisclosed reasons.  Following the Fallout tour, Kennedy made an appearance in the 2001 drama film Rock Star starring Mark Wahlberg and Jennifer Aniston. He said that he got a call from his manager telling him that the filmmakers needed someone who could sing high and that his name was suggested. On the set of the film, he met Wahlberg along with Zakk Wylde and Jason Bonham, who also appeared in the movie alongside several other notable musicians. Kennedy was the only actor in the movie whose actual singing voice was used. In the movie, directly paralleling a scene at the beginning of the film, Kennedy's character (Mike, also known as "Thor") is noticed by Wahlberg's character, Chris "Izzy" Cole, the lead singer of Thor's favorite band, Steel Dragon. Izzy pulls Thor onstage and sings the rest of the song with him, eventually telling him to finish the rest of the band's concert. The film was met with mostly mixed reviews, garnering a 52% "Rotten" score on Rotten Tomatoes.  The Mayfield Four's second and final album, Second Skin, was released in June 2001. Kennedy has since said that it is one of the most personal records he has made. The album has been critically acclaimed and Kennedy has commented on how it and Fallout are much more popular now than when they were released.  Though popular, The Mayfield Four never garnered enough exposure to break into the mainstream. In 2002, the future of the band began to look unlikely, and Kennedy began recording new music, which he described as "Daniel Lanois meets Massive Attack." The band went on hiatus that year, and would ultimately disband. In an interview with Pulse Weekly in 2004, Kennedy said that it was because he was "burned out with the whole rock industry at that point." However, three previously unreleased songs appeared on a fan-run Myspace page dedicated to and approved by The Mayfield Four in early 2010, causing rumors of a possible reunion to begin circulating. However, when asked about this during an interview, Kennedy replied that he does not see it happening.

Answer this question "where did they get their name from?"
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input: There had been films of Wodehouse stories since 1915, when A Gentleman of Leisure was based on his 1910 novel of the same name. Further screen adaptations of his books were made between then and 1927, but it was not until 1929 that Wodehouse went to Hollywood where Bolton was working as a highly paid writer for Metro-Goldwyn-Mayer (MGM). Ethel was taken with both the financial and social aspects of Hollywood life, and she negotiated a contract with MGM on her husband's behalf under which he would be paid $2,000 a week. This large salary was particularly welcome because the couple had lost considerable sums in the Wall Street Crash of 1929.  The contract started in May 1930, but the studio found little for Wodehouse to do, and he had spare time to write a novel and nine short stories. He commented, "It's odd how soon one comes to look on every minute as wasted that is given to earning one's salary." Even when the studio found a project for him to work on, the interventions of committees and constant rewriting by numerous contract authors meant that his ideas were rarely used. In a 2005 study of Wodehouse in Hollywood, Brian Taves writes that Those Three French Girls (1930) was "as close to a success as Wodehouse was to have at MGM. His only other credits were minimal, and the other projects he worked on were not produced."  Wodehouse's contract ended after a year and was not renewed. At MGM's request, he gave an interview to The Los Angeles Times. Wodehouse was described by Herbert Warren Wind as "politically naive [and] fundamentally unworldly," and he caused a sensation by saying publicly what he had already told his friends privately about Hollywood's inefficiency, arbitrary decision-making, and waste of expensive talent. The interview was reprinted in The New York Times, and there was much editorial comment about the state of the film industry. Many writers have considered that the interview precipitated a radical overhaul of the studio system, but Taves believes it to have been "a storm in a teacup", and Donaldson comments that, in the straitened post-crash era, the reforms would have been inevitable.  Wind's view of Wodehouse's naivete is not universally held. Some biographers suggest that his unworldliness was only part of a complex character, and that in some respects he was highly astute. He was unsparing of the studio owners in his early-1930s short stories set in Hollywood, which contain what Taves considers Wodehouse's sharpest and most biting satire.

Answer this question "what did he do for MGM"
output: 

input: Parker's life was riddled with depression and heroin addiction. This addiction caused him to miss performances and be considered unemployable. He frequently resorted to busking, receiving loans from fellow musicians and admirers, and pawning his saxophones for drug money. Heroin use was rampant in the jazz scene, and users could acquire it with little difficulty.  Although he produced many brilliant recordings during this period, Parker's behavior became increasingly erratic. Heroin was difficult to obtain once he moved to California, where the drug was less abundant, so he used alcohol as a substitute. A recording for the Dial label from July 29, 1946, provides evidence of his condition. Before this session, Parker drank a quart of whiskey. According to the liner notes of Charlie Parker on Dial Volume 1, Parker missed most of the first two bars of his first chorus on the track, "Max Making Wax". When he finally did come in, he swayed wildly and once spun all the way around, away from his microphone. On the next tune, "Lover Man", producer Ross Russell physically supported Parker. On "Bebop" (the final track Parker recorded that evening) he begins a solo with a solid first eight bars; on his second eight bars, however, he begins to struggle, and a desperate Howard McGhee, the trumpeter on this session, shouts, "Blow!" at him. Charles Mingus considered this version of "Lover Man" to be among Parker's greatest recordings, despite its flaws. Nevertheless, Parker hated the recording and never forgave Ross Russell for releasing it. He re-recorded the tune in 1951 for Verve.  Parker's life took a turn for the worst when his 2 year old daughter tragically passed away from pneumonia. He attempted suicide twice in 1954, which landed him in a mental hospital.  When Parker received his discharge from the hospital, he was clean and healthy. Before leaving California, he recorded "Relaxin' at Camarillo" in reference to his hospital stay. He returned to New York, resumed his addiction to heroin and recorded dozens of sides for the Savoy and Dial labels, which remain some of the high points of his recorded output. Many of these were with his so-called "classic quintet" including Davis and Roach.

Answer this question "Was Relaxin' a popular song?"
output: