input: In 1973, Cave met Mick Harvey (guitar), Phill Calvert (drums), John Cochivera (guitar), Brett Purcell (bass), and Chris Coyne (saxophone); fellow students at Caulfield Grammar. They founded a band with Cave as singer. Their repertoire consisted of proto-punk cover versions of songs by Lou Reed, David Bowie, Alice Cooper, Roxy Music and Alex Harvey, among others. Later, the line-up slimmed down to four members including Cave's friend Tracy Pew on bass. In 1977, after leaving school, they adopted the name The Boys Next Door and began playing predominantly original material. Guitarist and songwriter Rowland S. Howard joined the band in 1978.  They were a leader of Melbourne's post-punk scene in the late 1970s, playing hundreds of live shows in Australia before changing their name to the Birthday Party in 1980 and moving to London, then West Berlin. Cave's Australian girlfriend and muse Anita Lane accompanied them to London. The band were notorious for their provocative live performances which featured Cave shrieking, bellowing and throwing himself about the stage, backed up by harsh pounding rock music laced with guitar feedback. Cave utilised Old Testament imagery with lyrics about sin, debauchery and damnation. Cave's droll sense of humour and penchant for parody is evident in many of the band's songs, including "Nick the Stripper" and "King Ink". "Release the Bats", one of the band's most famous songs, was intended as an over-the-top "piss-take" on gothic rock, and a "direct attack" on the "stock gothic associations that less informed critics were wont to make". Ironically, it became highly influential on the genre, giving rise to a new generation of bands.  After establishing a cult following in Europe and Australia, the Birthday Party disbanded in 1984. Howard and Cave found it difficult to continue working together and both were rather worn down from alcohol and drug use.

Answer this question "What did Nick Cave study before he turned to music?"
output: 

input: Crazy Horse is commemorated by the incomplete Crazy Horse Memorial in the Black Hills of South Dakota, near the town of Berne. Like the nearby Mount Rushmore National Memorial, it is a monument carved out of a mountainside. The sculpture was begun by Polish-American sculptor Korczak Ziolkowski, who had worked under Gutzon Borglum on Mount Rushmore, in 1948. Plans call for the completed monument to be 641 feet (195 m) wide and 563 feet (172 m) high.  Ziolkowski was inspired to create the Crazy Horse Memorial after receiving a letter from native Lakota chief Henry Standing Bear, who asked if Ziolkowski would be interested in creating a monument for the native North Americans to show that the Indian nations also have their heroes. The Native Americans consider Thunderhead Mountain, where the monument is being carved, to be sacred ground. Thunderhead Mountain is situated between Custer and Hill City. Upon completion, the head of Crazy Horse will be the world's largest sculpture of the human head, measuring approximately 87 feet (27 m) tall, more than 27 feet taller than the 60-foot faces of the U.S. Presidents depicted on Mount Rushmore, and the Crazy Horse Memorial as a whole will be the largest sculpture in the world.  The memorial is funded entirely by private donations, with no assistance from the U.S. federal government. There is no target completion date at this time; however, in 1998, the face of Crazy Horse was completed and dedicated. The Crazy Horse Memorial Foundation regularly takes the lead in cultural, social and educational events, including the Volksmarch, the occasion on which the public is allowed into the actual monument grounds. The foundation generates most of its funds from visitor fees, with visitors numbering more than one million annually.  The monument has been the subject of controversy. In Ziolkowski's vision, the sculpted likeness of Crazy Horse is dedicated to the spirit of Crazy Horse and all Native Americans. It is well-known that Crazy Horse did not want to be photographed during his lifetime and is reportedly buried in an undisclosed location. While Lakota chief Henry Standing Bear believed in the sincerity of the motives, many Native Americans still oppose the intended meaning of the memorial. Opponents of the monument have likened it to pollution and desecration of the landscape and environment of the Black Hills, and of the ideals of Crazy Horse himself.  Aside from the monumental sculpture, Crazy Horse has also been honored by having two highways named after him, both called the Crazy Horse Memorial Highway. In South Dakota, the designation has been applied to a portion of US 16/US 385 between Custer and Hill City, which passes by the Crazy Horse Memorial. In November 2010, Nebraska Governor Dave Heineman approved designating US 20 from Hay Springs to Fort Robinson in honor of Crazy Horse, capping a year-long effort by citizens of Chadron. The designation may extend east another 100 miles through Cherry County to Valentine.

Answer this question "Has there been any controversies or issues associated the the memorial?"
output: While Lakota chief Henry Standing Bear believed in the sincerity of the motives, many Native Americans still oppose the intended meaning of the memorial.

input: From 1936, Ellington began to make recordings with smaller groups (sextets, octets, and nonets) drawn from his then-15-man orchestra and he composed pieces intended to feature a specific instrumentalist, as with "Jeep's Blues" for Johnny Hodges, "Yearning for Love" for Lawrence Brown, "Trumpet in Spades" for Rex Stewart, "Echoes of Harlem" for Cootie Williams and "Clarinet Lament" for Barney Bigard. In 1937, Ellington returned to the Cotton Club which had relocated to the mid-town Theater District. In the summer of that year, his father died, and due to many expenses, Ellington's finances were tight, although his situation improved the following year.  After leaving agent Irving Mills, he signed on with the William Morris Agency. Mills though continued to record Ellington. After only a year, his Master and Variety labels, the small groups had recorded for the latter, collapsed in late 1937, Mills placed Ellington back on Brunswick and those small group units on Vocalion through to 1940. Well known sides continued to be recorded, "Caravan" in 1937, and "I Let a Song Go Out of My Heart" the following year.  Billy Strayhorn, originally hired as a lyricist, began his association with Ellington in 1939. Nicknamed "Swee' Pea" for his mild manner, Strayhorn soon became a vital member of the Ellington organization. Ellington showed great fondness for Strayhorn and never failed to speak glowingly of the man and their collaborative working relationship, "my right arm, my left arm, all the eyes in the back of my head, my brain waves in his head, and his in mine". Strayhorn, with his training in classical music, not only contributed his original lyrics and music, but also arranged and polished many of Ellington's works, becoming a second Ellington or "Duke's doppelganger". It was not uncommon for Strayhorn to fill in for Duke, whether in conducting or rehearsing the band, playing the piano, on stage, and in the recording studio. The 1930s ended with a very successful European tour just as World War II loomed in Europe.

Answer this question "Was he successful with his new agency?"
output:
After only a year, his Master and Variety labels, the small groups had recorded for the latter, collapsed in late 1937,