input: Dean's first television appearance was in a Pepsi Cola commercial. He quit college to act full-time and was cast in his first speaking part, as John the Beloved Disciple, in Hill Number One, an Easter television special dramatizing the Resurrection of Jesus. Dean worked at the widely filmed Iverson Movie Ranch in the Chatsworth area of Los Angeles during production of the program, for which a replica of the tomb of Jesus was built on location at the ranch. Dean subsequently obtained three walk-on roles in movies: as a soldier in Fixed Bayonets!, a boxing cornerman in Sailor Beware, and a youth in Has Anybody Seen My Gal?  While struggling to get jobs in Hollywood, Dean also worked as a parking lot attendant at CBS Studios, during which time he met Rogers Brackett, a radio director for an advertising agency, who offered him professional help and guidance in his chosen career, as well as a place to stay.  In July 1951, Dean appeared on Alias Jane Doe, which was produced by Brackett. In October 1951, following the encouragement of actor James Whitmore and the advice of his mentor Rogers Brackett, Dean moved to New York City. There, he worked as a stunt tester for the game show Beat the Clock, but was subsequently fired for allegedly performing the tasks too quickly. He also appeared in episodes of several CBS television series The Web, Studio One, and Lux Video Theatre, before gaining admission to the Actors Studio to study method acting under Lee Strasberg.  Proud of this accomplishment, Dean referred to the Actors Studio in a 1952 letter to his family as "the greatest school of the theater. It houses great people like Marlon Brando, Julie Harris, Arthur Kennedy, Mildred Dunnock, Eli Wallach... Very few get into it ... It is the best thing that can happen to an actor. I am one of the youngest to belong." There, he was classmates and close friends with Carroll Baker, alongside whom he would eventually star in Giant (1956).  Dean's career picked up and he performed in further episodes of such early 1950s television shows as Kraft Television Theatre, Robert Montgomery Presents, The United States Steel Hour, Danger, and General Electric Theater. One early role, for the CBS series Omnibus in the episode "Glory in the Flower", saw Dean portraying the type of disaffected youth he would later portray in Rebel Without a Cause. This summer 1953 program was also notable for featuring the song "Crazy Man, Crazy", one of the first dramatic TV programs to feature rock and roll. Positive reviews for Dean's 1954 theatrical role as Bachir, a pandering North African houseboy, in an adaptation of Andre Gide's book The Immoralist, led to calls from Hollywood.

Answer this question "Did he do anything other than acting?"
output: 

input: Refused started as a "fresh-faced positive hardcore band" and their music became increasingly progressive and radical, as did their lyrics. The record This Just Might Be the Truth was characterized for its "massive hardcore sound", mostly influenced by various bands from the New York hardcore scene (such as Earth Crisis). On its follow-up, Songs to Fan the Flames of Discontent, the band had a heavier, more intricate style, which is generally attributed to their Slayer inspiration, and Lyxzen adopted screaming vocals rather than shouting. With the third album, The Shape of Punk to Come, "came the leap into the unknown" as the band mixed their previous style with unorthodox chord progressions, sampling, "ambient textures, jazz breakdowns", electronica and monologues, and other deviations from the hardcore punk music.  Refused's lyrics soon began to focus on far-left politics, drawing on anarchism, socialism, among others ideologies. By the time of their first album, the band already had a strong anti-establishment profile. The group's members were all vegan straight edge until their last show in 1998 and a couple of their songs dealt with these topics. Today, some of them no longer follow these lifestyles. In their live performances, vocalist Lyxzen usually delivers political speeches between songs. Before the Umea hardcore phenomenon went into full bloom, the band was seen as part of the scene centered around youth-oriented venue Galaxen, along with the punk-rock scene as well as metal bands such as Meshuggah.  Among the biggest influences of Refused were ManLiftingBanner, Born Against, Slayer, and Ian Svenonius's projects (The Make-Up, The Nation of Ulysses and Cupid Car Club). Other bands that have influenced them are Fugazi, Inside Out, and Snapcase.

Answer this question "What else can you tell me about their influences?"
output: Among the biggest influences of Refused were ManLiftingBanner, Born Against, Slayer, and Ian Svenonius's projects

input: In 1894 Herbert composed his first operetta, Prince Ananias, for a popular troupe known as The Bostonians. The piece was well received, and Herbert soon composed three more operettas for Broadway, The Wizard of the Nile (1895), The Serenade (1897), which enjoyed international success, and The Fortune Teller (1898), starring Alice Nielsen. Although these achieved popularity, Herbert did not produce any more stage works for several years, focusing on his work with the Pittsburgh Symphony until 1904. Just before leaving that orchestra, he returned to Broadway with his first major hit, Babes in Toyland (1903). Two more successes followed, Mlle. Modiste (1905) and The Red Mill (1906), which solidified Herbert as one of the best-known American composers. He was elected to the National Institute of Arts and Letters in 1908.  Although Herbert's reputation lies with his operettas, he also composed two grand operas. He searched for several years for a libretto that appealed to him, finally finding one by Joseph D. Redding called Natoma that concerned a historical story set in California. He composed the work from 1909 to 1910, and it premiered in Philadelphia on 25 February 1911 with soprano Mary Garden in the title role and the young Irish tenor John McCormack in his opera debut. The opera was well received and was repeated as part of the company's repertory during the next three seasons. It also enjoyed performances in New York City, making its debut there on February 28, 1911. Herbert's other opera, Madeleine, was a much lighter work in one act. On 24 January 1914, it had its premiere at the Metropolitan Opera, but it was not revived beyond that season.  During this period, Herbert continued to compose operettas, producing two of his most successful works, Naughty Marietta (1910) and Sweethearts (1913). Another operetta, Eileen (1917, originally entitled Hearts of Erin), was the fulfillment of Herbert's desire to compose an Irish-themed operetta. The piece treats the Irish Rebellion of 1798 and boasts a rich score. This was the end of Herbert's greatest period of producing full scores for operettas.  By World War I, with the birth of jazz, ragtime and new dance styles like the foxtrot and tango, Herbert reluctantly switched to writing musical comedies. These featured less elaborate ensembles and simpler songs for less classically trained singers than the European-style operettas that had dominated his earlier career. Herbert, during the last years of his career, was frequently asked to compose ballet music for the elaborate production numbers in Broadway revues and the shows of Irving Berlin and Jerome Kern, among others. He was also a contributor to the Ziegfeld Follies every year from 1917 to 1924.

Answer this question "Was he sucessful?"
output:
Just before leaving that orchestra, he returned to Broadway with his first major hit, Babes in Toyland (1903). Two more successes followed,