input: In February 2009, the band headlined a tour called The Secret Valentine Tour with The Maine, The Cab, There for Tomorrow, and Versa. We the Kings played in the 2009 Bamboozle Roadshow Tour. It began on April 3 at Hoodwinked in California, touring from April through May 2, ending at The Bamboozle in East Rutherford, NJ. Bands also playing the Bamboozle Road Show tour included Forever the Sickest Kids, The Cab, Never Shout Never, and Mercy Mercedes. On July 8, 2009, the band began its tour as support for All Time Low along with Cartel and Days Difference. The band also performed at Warped Tour 2009. The band was on tour in Fall 2009, again supporting All Time Low on the Glamour Kills Tour, with Hey Monday and The Friday Night Boys. The group's sophomore album, which was released in December 2009, reached 112 on the Billboard 200 and spent three weeks on the chart. It spawned the lead single, "Heaven Can Wait", which peaked at number thirty on the Pop Songs chart, and a second single featuring Demi Lovato titled "We'll Be a Dream", which peaked at seventy-six on the Billboard Hot 100 and number twenty-three on the Pop Songs chart.  The band's second album, Smile Kid, was released on December 8, 2009  In early 2010, the band headlined the Hot Topic Presents: Take Action Tour with There for Tomorrow, A Rocket to the Moon, Mayday Parade, and Stereo Skyline. We the Kings also played with New Found Glory at Fitchburg State College's annual spring concert. In March 2010, We the Kings supported You Me at Six, an English pop rock band, on the group's UK headline tour along with Forever the Sickest Kids. The band has also played in Warped Tour 2010 from June 26 to August 2. After Warped Tour, the band plan on a world tour in 2011. In April 2010 the band performed a benefit concert with fellow pop punk band Voted Most Random at a local venue in New Haven, Connecticut. The event raised thousands of dollars for ClearWater Initiative and was the organization's biggest fundraiser up to that date. In June 2010, We the Kings performed at 93Q Summer Jam, a concert in Baldwinsville, New York at the Papermill island. The band performed with Cartel, Jaicko, Mayday Parade, New Boyz, Shontelle and Spose. The group performed "Secret Valentine" along with a few other songs and closed with "Check Yes Juliet".

Answer this question "What date was Smile Kid released?"
output: December 8, 2009

input: In early 1925, Cooper began his film career in silent pictures such as The Thundering Herd and Wild Horse Mesa with Jack Holt, Riders of the Purple Sage and The Lucky Horseshoe with Tom Mix, and The Trail Rider with Buck Jones. He worked for several Poverty Row studios, including Famous Players-Lasky and Fox Film Corporation. While his skilled horsemanship led to steady work in Westerns, Cooper found the stunt work--which sometimes injured horses and riders--"tough and cruel". Hoping to move beyond the risky stunt work and obtain acting roles, Cooper paid for a screen test and hired casting director Nan Collins to work as his agent. Knowing that other actors were using the name "Frank Cooper", Collins suggested he change his first name to "Gary" after her hometown of Gary, Indiana. Cooper immediately liked the name.  Cooper also found work in a variety of non-Western films, appearing, for example, as a masked Cossack in The Eagle (1925), as a Roman guard in Ben-Hur (1925), and as a flood survivor in The Johnstown Flood (1926). Gradually, he began to land credited roles that offered him more screen time, in films such as Tricks (1925), in which he played the film's antagonist, and the short film Lightnin' Wins (1926). As a featured player, he began to attract the attention of major film studios. On June 1, 1926, Cooper signed a contract with Samuel Goldwyn Productions for fifty dollars a week.  Cooper's first important film role was in The Winning of Barbara Worth (1926) with Ronald Colman and Vilma Banky, in which he plays a young engineer who helps a rival suitor save the woman he loves and her town from an impending dam disaster. Cooper's experience living among the Montana cowboys gave his performance an "instinctive authenticity", according to biographer Jeffrey Meyers. The film was a major success. Critics singled out Cooper as a "dynamic new personality" and future star. Goldwyn rushed to offer Cooper a long-term contract, but he held out for a better deal--finally signing a five-year contract with Jesse L. Lasky at Paramount Pictures for $175 a week. In 1927, with help from Clara Bow, Cooper landed high-profile roles in Children of Divorce and Wings, the latter being the first film to win an Academy Award for Best Picture. That year, Cooper also appeared in his first starring roles in Arizona Bound and Nevada--both films directed by John Waters.  In 1928, Paramount paired Cooper with a youthful Fay Wray in The Legion of the Condemned and The First Kiss--advertising them as the studio's "glorious young lovers". Their on-screen chemistry failed to generate much excitement with audiences. With each new film, Cooper's acting skills improved and his popularity continued to grow, especially among female movie-goers. During this time, he was earning as much as $2,750 per film and receiving a thousand fan letters a week. Looking to exploit Cooper's growing audience appeal, the studio placed him opposite popular leading ladies such as Evelyn Brent in Beau Sabreur, Florence Vidor in Doomsday, and Esther Ralston in Half a Bride. That year, Cooper also made Lilac Time with Colleen Moore for First National Pictures, his first movie with synchronized music and sound effects. It became one of the most commercially successful films of 1928.

Answer this question "Was there a film released in 1928?"
output: Cooper also made Lilac Time with Colleen Moore for First National Pictures, his first movie with synchronized music and sound effects.

input: Cantor's 1874 Crelle paper was the first to invoke the notion of a 1-to-1 correspondence, though he did not use that phrase. He then began looking for a 1-to-1 correspondence between the points of the unit square and the points of a unit line segment. In an 1877 letter to Richard Dedekind, Cantor proved a far stronger result: for any positive integer n, there exists a 1-to-1 correspondence between the points on the unit line segment and all of the points in an n-dimensional space. About this discovery Cantor wrote to Dedekind: "Je le vois, mais je ne le crois pas!" ("I see it, but I don't believe it!") The result that he found so astonishing has implications for geometry and the notion of dimension.  In 1878, Cantor submitted another paper to Crelle's Journal, in which he defined precisely the concept of a 1-to-1 correspondence and introduced the notion of "power" (a term he took from Jakob Steiner) or "equivalence" of sets: two sets are equivalent (have the same power) if there exists a 1-to-1 correspondence between them. Cantor defined countable sets (or denumerable sets) as sets which can be put into a 1-to-1 correspondence with the natural numbers, and proved that the rational numbers are denumerable. He also proved that n-dimensional Euclidean space Rn has the same power as the real numbers R, as does a countably infinite product of copies of R. While he made free use of countability as a concept, he did not write the word "countable" until 1883. Cantor also discussed his thinking about dimension, stressing that his mapping between the unit interval and the unit square was not a continuous one.  This paper displeased Kronecker, and Cantor wanted to withdraw it; however, Dedekind persuaded him not to do so and Weierstrass supported its publication. Nevertheless, Cantor never again submitted anything to Crelle.

Answer this question "Was his work in this field unique?"
output: