input: An application by Sutcliffe for a minimum term to be set, offering the possibility of parole after that date if it is thought safe to release him, was heard by the High Court of Justice on 16 July 2010. The High Court decided that Sutcliffe will never be released. Mr Justice Mitting stated:  This was a campaign of murder which terrorised the population of a large part of Yorkshire for several years. The only explanation for it, on the jury's verdict, was anger, hatred and obsession. Apart from a terrorist outrage, it is difficult to conceive of circumstances in which one man could account for so many victims.  Psychological reports describing his mental state were taken into consideration, as was the severity of his crimes. Barring judicial decisions to the contrary, Sutcliffe will spend the rest of his life in Broadmoor Hospital. On 4 August 2010, a spokeswoman for the Judicial Communications Office confirmed that Sutcliffe had initiated an appeal against the decision.  The hearing for Sutcliffe's appeal against the ruling began on 30 November 2010 at the Court of Appeal. It was rejected on 14 January 2011. On 9 March 2011, the Court of Appeal rejected Sutcliffe's application for leave to appeal to the Supreme Court.  In December 2015 Sutcliffe was assessed as being "no longer mentally ill". In August 2016, a medical tribunal ruled that he no longer required clinical treatment for his mental condition, and could be returned to prison. Sutcliffe is reported to have been transferred from Broadmoor to Frankland Prison in Durham in August 2016.

Answer this question "Was the final appeal successful?"
output: Barring judicial decisions to the contrary, Sutcliffe will spend the rest of his life in Broadmoor Hospital.

input: Nilsson's disregard for commercialism in favor of artistic satisfaction showed itself in his next release, A Little Touch of Schmilsson in the Night (1973). Performing a selection of pop standards by the likes of Berlin, Kalmar and Ruby, Nilsson sang in front of an orchestra arranged and conducted by veteran Gordon Jenkins in sessions produced by Derek Taylor. This musical endeavor did not do well commercially. The session was filmed, and broadcast as a television special by the BBC in the UK.  1973 found Nilsson back in California, and when John Lennon moved there during his separation from Yoko Ono, the two musicians rekindled their earlier friendship. Lennon was intent upon producing Nilsson's next album, much to Nilsson's delight. However, their time together in California became known much more for heavy drinking than it did for musical collaboration. In a widely publicized incident, the two were ejected from the Troubadour nightclub in West Hollywood for drunken heckling of the Smothers Brothers.  To make matters worse, at a late night party and jam session during the recording of the album, attended by Lennon, McCartney, Danny Kortchmar, and other musicians, Nilsson ruptured a vocal cord, but he hid the injury for fear that Lennon would call a halt to the production. The resulting album was Pussy Cats. In an effort to clean up, Lennon, Nilsson and Ringo Starr first rented a house together, then Lennon and Nilsson left for New York. After the relative failure of his latest two albums, RCA Records considered dropping Nilsson's contract. In a show of friendship, Lennon accompanied Nilsson to negotiations, and both intimated to RCA that Lennon and Starr might want to sign with them, once their Apple Records contracts with EMI expired in 1975, but would not be interested if Nilsson were no longer with the label. RCA took the hint and re-signed Nilsson (adding a bonus clause, to apply to each new album completed), but neither Lennon nor Starr signed with RCA.  Nilsson's voice had mostly recovered by his next release, Duit on Mon Dei (1975), but neither it nor its follow-ups, Sandman and ...That's the Way It Is (both 1976), met with chart success. Finally, Nilsson recorded what he later considered to be his favorite album Knnillssonn (1977). With his voice strong again, and his songs exploring musical territory reminiscent of Harry or The Point!, Nilsson anticipated Knnillssonn to be a comeback album. RCA seemed to agree, and promised Nilsson a substantial marketing campaign for the album. However, the death of Elvis Presley caused RCA to ignore everything except meeting demand for Presley's back catalog, and the promised marketing push never happened. This, combined with RCA releasing a Nilsson Greatest Hits collection without consulting him, prompted Nilsson to leave the label.

Answer this question "Did Nilsson record anything good during this time?"
output: This musical endeavor did not do well commercially.

input: Young left the Basie band in late 1940. He is rumored to have refused to play with the band on Friday, December 13 of that year for superstitious reasons spurring his dismissal, although Young and drummer Jo Jones would later state that his departure had been in the works for months. He subsequently led a number of small groups that often included his brother, drummer Lee Young, for the next couple of years; live and broadcast recordings from this period exist.  During this period Young accompanied the singer Billie Holiday in a couple of studio sessions (during 1937 - 1941 period) and also made a small set of recordings with Nat "King" Cole (their first of several collaborations) in June 1942. His studio recordings are relatively sparse during the 1942 to 1943 period, largely due to the recording ban by the American Federation of Musicians. Small record labels not bound by union contracts continued to record and he recorded some sessions for Harry Lim's Keynote label in 1943.  In December 1943 Young returned to the Basie fold for a 10-month stint, cut short by his being drafted into the army during World War II (see below). Recordings made during this and subsequent periods suggest Young was beginning to make much greater use of a plastic reed, which tended to give his playing a somewhat heavier, breathier tone (although still quite smooth compared to that of many other players). While he never abandoned the cane reed, he used the plastic reed a significant share of the time from 1943 until the end of his life. Another cause for the thickening of his tone around this time was a change in saxophone mouthpiece from a metal Otto Link to an ebonite Brilhart. In August 1944 Young appeared alongside drummer Jo Jones, trumpeter Harry "Sweets" Edison, and fellow tenor saxophonist Illinois Jacquet in Gjon Mili's short film Jammin' the Blues.

Answer this question "Why did he leave?"
output:
He is rumored to have refused to play with the band on Friday, December 13 of that year for superstitious reasons spurring his dismissal,