input: The Imaginarium of Doctor Parnassus, directed and co-written by Gilliam, was released in 2009. In January 2007, Gilliam announced that he had been working on a new project with his writing partner Charles McKeown. One day later, the fansite Dreams reported that the new project was titled The Imaginarium of Doctor Parnassus. In October 2007, Dreams confirmed that this would be Gilliam's next project and was slated to star Christopher Plummer and Tom Waits. Production began in December 2007 in London.  On 22 January 2008, production of the film was disrupted following the death of Heath Ledger in New York City. Variety reported that Ledger's involvement had been a "key factor" in the film's financing. Production was suspended indefinitely by 24 January, but in February the actors Johnny Depp, Jude Law, and Colin Farrell signed on to continue Ledger's role, transforming into multiple incarnations of his character in the "magical" world of the film. Thanks to this arrangement the principal photography was completed on 15 April 2008, on schedule. Editing was completed in November 2008. According to the official ParnassusFilm Twitter channel launched on 30 March 2009, the film's post-production FX work finished on 31 March. During the filming, Gilliam was accidentally hit by a bus and suffered a broken back.  The film had successful screenings including a premiere at the 62nd Cannes Film Festival. The UK release for the film was scheduled for 6 June 2009 but was pushed back to 16 October 2009. The USA release was on 25 December 2009. Eventually, this $30 million-budgeted film had grossed more than $60 million in worldwide theatrical release and received two Academy Award nominations.  The film's end credit states that the film is dedicated to the memories of Ledger and William Vince. Depp, Farrell, and Law donated their proceeds from the film to Ledger's daughter.

Answer this question "Who did he co-write with?"
output: his writing partner Charles McKeown.

input: Maines had a public feud with fellow country music star Toby Keith over the 2002 chart-topping country hit "Courtesy of the Red, White and Blue", as well as a comment Maines made about U.S. President George W. Bush during a March 2003 Dixie Chicks concert in London.  Maines publicly criticized Keith's song "Courtesy of the Red, White and Blue" by saying, "I hate it. It's ignorant, and it makes country music sound ignorant. It targets an entire culture--and not just the bad people who did bad things. You've got to have some tact. Anybody can write, 'We'll put a boot in your ass.'" Keith responded by belittling Maines's songwriting skills with, "I'll bury her. She has never written anything that has been a hit" and, "That's what I do--I write songs." Keith further stated, "she said anyone can write 'We'll put a boot in your ass', but, you know ... she didn't."  After Maines commented at a March 2003 Dixie Chicks concert at the Shepherd's Bush Empire theatre in London that the Chicks didn't want the Iraq War and were "ashamed" President Bush "was from Texas", Keith's 2003 "Shock'n Y'all" tour began displaying a backdrop showing a doctored photo of Maines with Iraqi dictator Saddam Hussein. Shortly thereafter, on May 21, 2003, Maines wore a T-shirt with the letters "F.U.T.K." written on the front while performing for the Academy of Country Music Awards broadcast. The Dixie Chicks website stated that the letters stood for "Freedom, United, Together in Kindness." Some saw it as a veiled insult directed at Keith.  In August 2003, Keith publicly declared that he was done feuding with Maines, explaining, "You know, a best friend of mine ... lost a two-year-old daughter to cancer. ... [Recently] I saw ... a picture of me and Natalie and it said, 'Fight to the Death' or something. It seemed so insignificant. I said, 'Enough is enough.' ... People try to make everything black and white. I didn't start this battle. They started it with me; they came out and just tore me up. One thing I've never, ever done, out of jealousy or anything else, is to bash another artist and their artistic license."  In the 2006 documentary Dixie Chicks: Shut Up and Sing, backstage footage prior to her appearance wearing the F.U.T.K. shirt recorded the conversation between Maines and Simon Renshaw and confirmed that the original intent of the shirt was, in fact, a shot at Keith in response to his criticism of her: the letters stood for "Fuck You Toby Keith". As of January 2007, Keith continues to refuse to say Maines's name and argues that the doctored photo was intended to express his feeling that Maines's criticism was tyrannical and a dictator-like attempt to squelch Keith's free speech.

Answer this question "What was the public response to this?"
output: 

input: Progressive rock (or art rock) grew out of the classically-minded strains of British psychedelia. In 1966, the level of social and artistic correspondence among British and American rock musicians dramatically accelerated for bands like the Beatles, the Beach Boys and the Byrds who fused elements of cultivated music with the vernacular traditions of rock. According to Everett, the Beatles' "experimental timbres, rhythms, tonal structures, and poetic texts" on their albums Rubber Soul and Revolver "encouraged a legion of young bands that were to create progressive rock in the early 1970s". Academics Paul Hegarty and Martin Halliwell identify the Beatles "not merely as precursors of prog but as essential developments of progressiveness in its early days". After the release of Rubber Soul, many "baroque-rock" works would soon appear, particularly due to its track "In My Life".  Citing a quantitative study of tempos in music from the era, musicologist Walter Everett identifies Rubber Soul as a work that was "made more to be thought about than danced to", and an album that "began a far-reaching trend" in its slowing-down of the tempos typically used in pop and rock music. Although the Kinks, the Yardbirds and the Beatles themselves (with "Ticket To Ride") had incorporated droning guitars to mimic the qualities of the sitar, Rubber Soul's "Norwegian Wood (This Bird Has Flown)" is generally credited as sparking a musical craze for the sound of the instrument in the mid-1960s -- a trend which would later be associated with the growth of raga rock, Indian rock, and the essence of psychedelic rock. In terms of bridging the relationship between music and hallucinogens, the Beatles and the Beach Boys were the most pivotal. Revolver ensured that psychedelic pop emerged from its underground roots and into the mainstream.  Author Carys Wyn Jones locates Sgt. Pepper's, along with Pet Sounds, to the beginning of art rock. Both albums are largely viewed as beginnings in the progressive rock genre due to their lyrical unity, extended structure, complexity, eclecticism, experimentalism and influences derived from classical music forms. For several years following Sgt. Pepper's release, straightforward rock and roll was supplanted by a growing interest in extended form. Several of the English psychedelic bands who followed in the wake of the Beatles' Sgt. Pepper's developed characteristics of the Beatles' music (specifically their classical influence) further than either the Beatles or contemporaneous West Coast psychedelic bands. AllMusic states that the first wave of art rock musicians were inspired by Sgt. Pepper's and believed that for rock music to grow artistically, they should incorporate elements of European and classical music to the genre.

Answer this question "Anything else interesting in the article?"
output:
For several years following Sgt. Pepper's release, straightforward rock and roll was supplanted by a growing interest in extended form.