input: The band originated as a group called Soft White Underbelly (a name the band would occasionally revive in the 1970s and 1980s to play small club gigs around the United States and UK) in 1967 in the vicinity of Stony Brook University on Long Island, New York, at the prompting of critic and manager Sandy Pearlman. The group consisted of guitarist Buck Dharma, drummer Albert Bouchard, keyboardist Allen Lanier, singer Les Braunstein and bassist Andrew Winters. Pearlman wanted the group to be the American answer to Black Sabbath. Pearlman was important to the band - he was able to get them gigs and recording contracts with Elektra and Columbia, and he provided them with his poetry for use as lyrics for many of their songs, including "Astronomy". Writer Richard Meltzer also provided the band with lyrics from their early days up through their most recent studio album. Pearlman also gave stage names to each of the band members (Jesse Python for Eric Bloom, Andy Panda for Andy Winters, Prince Omega for Albert Bouchard, La Verne for Allen Lanier) but only Buck Dharma kept his. The band recorded an album's worth of material for Elektra Records in 1968. When Braunstein departed in early 1969, Elektra shelved the album.  Eric Bloom got hired by the band as their acoustic engineer and eventually became lead singer, replacing Braunstein, through a series of three unlikely coincidences, one in which Lanier decided to join Bloom on a drive to an upstate gig where he spent the night with Bloom's old college bandmates and got to hear old tapes of Bloom's talent as lead vocalist. Because of this, Bloom was offered the job of lead singer for Soft White Underbelly. However, a bad review of a 1969 Fillmore East show caused Pearlman to change the name of the band - first to Oaxaca, then to the Stalk-Forrest Group. The band recorded yet another album's worth of material for Elektra, but only one single ("What Is Quicksand?" b/w "Arthur Comics") was released (and only in a promo edition of 300 copies) on Elektra Records (this album was eventually released, with additional outtakes, by Rhino Handmade Records as St. Cecilia: The Elektra Recordings in 2001). The album featured Bloom as their main lead singer, but Roeser also sang lead on a few songs, a pattern of sharing lead vocals that has continued throughout the band's career.  After a few more temporary band names, including the Santos Sisters, the band settled on Blue Oyster Cult in 1971 (see below for its origin).  New York City producer/composer and jingle writer David Lucas saw the band perform and took them into his Warehouse Recording Studio and produced four demos, with which Pearlman was able to get the renamed band another audition with Columbia Records. Clive Davis liked what he heard, and signed the band to the label. The first album was subsequently produced and recorded by Lucas on eight track at Lucas' studio. Winters would leave the band and be replaced by Bouchard's brother, Joe Bouchard.

Answer this question "what year did they originate?"
output: 1967

input: Lawton played his first game for Burnley Reserves against Manchester City Reserves in September 1935, and though he struggled in this game he went on to become a regular Reserve team player by the age of 16. After a poor run of form from Cecil Smith, Lawton was selected ahead of Smith for the Second Division game against Doncaster Rovers at Turf Moor on 28 March 1936; aged 16 years and 174 days, this made him the youngest centre-forward ever to play in the Football League. Rovers centre-half Syd Bycroft, also making his league debut, marked Lawton out of the game, which ended in a 1-1 draw. Burnley had played poorly, though Lawton was praised for his "keen and fearless" performance by the Express & News newspaper. He retained his place for the following game, and scored two goals in a 3-1 victory over Swansea Town at Vetch Field. He picked up a groin strain in his third appearance which caused him to miss two fixtures, before he returned to the first team for the final four games of the 1935-36 season; he claimed three more goals to take his season tally to five goals from seven games.  Lawton continued to train his heading skills intensely in the summer of 1936, and also played cricket for Burnley Cricket Club as a batsman in the Lancashire League. He scored a six against both Learie Constantine and Amar Singh. He scored 369 runs in 15 completed innings for an average of 24.06.  He turned professional at Burnley at the age of 17 on wages of PS7 a week. His grandfather attempted to negotiate a PS500 signing-on fee on his behalf but was rebuffed after the club alerted Charles Sutcliffe, Secretary of the Football League, who informed them that any attempt to circumvent the league's maximum wage was illegal. Lawton scored in his first appearance since signing the contract after just 30 seconds, before going on to record a hat-trick in a 3-1 win over Tottenham Hotspur, scoring a goal with either foot and one with his head.

Answer this question "Who struggled"
output: Cecil Smith,

input: In 2012, amongst a wide range of American and international centennial celebrations, an eight-day festival was held in Washington DC, with venues found notably more amongst the city's art museums and universities than performance spaces. Earlier in the centennial year, conductor Michael Tilson Thomas presented Cage's Song Books with the San Francisco Symphony at Carnegie Hall in New York. Another celebration came, for instance, in Darmstadt, Germany, which in July 2012 renamed its central station the John Cage Railway Station during the term of its annual new-music courses. At the Ruhrtriennale in Germany, Heiner Goebbels staged a production of Europeras 1 & 2 in a 36,000 sq ft converted factory and commissioned a production of Lecture on Nothing created and performed by Robert Wilson. Jacaranda Music had four concerts planned in Santa Monica, California, for the centennial week. John Cage Day was the name given to several events held during 2012 to mark the centenary of his birth.  A 2012 project was curated by Juraj Kojs to celebrate the centenary of Cage's birth, titled On Silence: Homage to Cage. It consisted of 13 commissioned works created by composers from around the global such as Kasia Glowicka, Adrian Knight and Henry Vega, each being 4 minutes and 33 seconds long in honor of Cage's famous 1952 opus, 4'33''. The program was supported by the Foundation for Emerging Technologies and Arts, Laura Kuhn and the John Cage Trust.  In a homage to Cage's dance work, the Bill T. Jones/Arnie Zane Dance Company in July 2012 "performed an engrossing piece called 'Story/Time'. It was modeled on Cage's 1958 work 'Indeterminacy', in which [Cage and then Jones, respectively,] sat alone onstage, reading aloud ... series of one-minute stories [they]'d written. Dancers from Jones's company performed as [Jones] read."

Answer this question "Were these commemoration performances well-attended?"
output: