input: In 1963, a group of high school students started a rock and roll band in Richmond, Kentucky. They called themselves the Exiles. Those original Richmond Exiles were Jimmy Stokley, Ronnie 'Mack' Davenport, Paul Smith, Mike Howard, Billy Luxon, J.P. Pennington, and Buzz Cornelison. Richmond native Danny Williams was also a member in the 1960s. Their chosen name may have resulted from the influx of Cubans into the United States after the Fidel Castro takeover in 1959. According to original Exile Pennington, "There were a lot of Cuban exiles coming across...the word was in the news and we felt we were also somewhat ostracized from the local society. We had long hair back then..." Most of the Exiles were students at Madison Central and Madison High School in Richmond when the band formed and played together from 1963 to 1965. They were an offshoot of Ronnie (Hall) and the Fascinations. They were briefly known in those early years as Jimmy Stokley and the Exiles. Stokley (18 October 1943 - 13 August 1985) was the lead singer of the group and continued in that capacity until 1979. It is Stokley's lead voice that is prominent on Exile's 1978 Billboard pop music chart-topper, "Kiss You All Over". When the Dick Clark Caravan Of Stars hit the road in 1965, they picked up the Exiles to perform on several dates in and around Kentucky. They continued touring nationally with the Caravan of Stars through to 1968; opening the show and providing back-up for headlining stars like Freddy Cannon, B. J. Thomas, Paul Revere and the Raiders and others. In the early 1960s the Exiles recorded their first record in the studios of WEKY Radio Station in Richmond. Side one was named "The Answer to Her Prayers" written by Paul Smith, Jr. and the back side was called "Come On". The recording was produced by WEKY Radio DJ" Jimmy K" (Kincer) on his own record label "JIMBO Records". In the late 1960s, they recorded for both Date Records and Columbia Records, and in the early 1970s for SSS International, Date, Curb and Wooden Nickel record labels. With the help of Cecil Jones of Lemco Sound Studios in Lexington, the Exiles developed and polished their sound. The band scored regional hits such as "Devil's Bite" and "Church Street Soul Revival" (written and produced by Tommy James).

Answer this question "how did the band members meet?"
output: Most of the Exiles were students at Madison Central and Madison High School

input: In 1962 Garner began work on a radio play named Elidor, which would result in the completion of a novel of the same name. Set in contemporary Manchester, Elidor tells the story of four children who enter into a derelict Victorian church, in which they find a portal to the magical realm of Elidor. Here, they are entrusted by King Malebron to help rescue four treasures which have been stolen by the forces of evil who are attempting to take control of the kingdom. Successfully doing so, the children return to Manchester with the treasures, but are pursued by the malevolent forces who need them to seal their victory. Before writing Elidor, Garner had seen a dinner service set which could be arranged to make pictures of either flowers or owls. Inspired by this design, he produced his fourth novel, The Owl Service. The story was also heavily influenced by the Medieval Welsh tale of Math fab Mathonwy from, the Mabinogion. The Owl Service was critically acclaimed, winning both the Carnegie Medal and Guardian Children's Fiction Prize. It also sparked discussions among critics as to whether Garner should properly be considered a children's writer, given that this book in particular was deemed equally suitable for an adult readership. It took Garner six years to write his next novel, Red Shift. In this, he provided three intertwined love stories, one set in the present, another during the English Civil War, and the third in the second century CE. Philip referred to it as "a complex book but not a complicated one: the bare lines of story and emotion stand clear". Academic specialist in children's literature Maria Nikolajeva characterised Red Shift as "a difficult book" for an unprepared reader, identifying its main themes as those of "loneliness and failure to communicate". Ultimately, she thought that repeated re-readings of the novel bring about the realisation that "it is a perfectly realistic story with much more depth and psychologically more credible than the most so-called "realistic" juvenile novels."

Answer this question "What is The Owl Service?"
output: he produced his fourth novel, The Owl Service.

input: While the actual ethno-linguistic affiliation of the Olmec remains unknown, various hypotheses have been put forward. For example, in 1968 Michael D. Coe speculated that the Olmec were Mayan predecessors. In 1976, linguists Lyle Campbell and Terrence Kaufman published a paper in which they argued a core number of loanwords had apparently spread from a Mixe-Zoquean language into many other Mesoamerican languages. Campbell and Kaufman proposed that the presence of these core loanwords indicated that the Olmec - generally regarded as the first "highly civilized" Mesoamerican society - spoke a language ancestral to Mixe-Zoquean. The spread of this vocabulary particular to their culture accompanied the diffusion of other Olmec cultural and artistic traits that appears in the archaeological record of other Mesoamerican societies. Mixe-Zoque specialist Soren Wichmann first critiqued this theory on the basis that most of the Mixe-Zoquean loans seemed to originate only from the Zoquean branch of the family. This implied the loanword transmission occurred in the period after the two branches of the language family split, placing the time of the borrowings outside of the Olmec period. However, new evidence has pushed back the proposed date for the split of Mixean and Zoquean languages to a period within the Olmec era. Based on this dating, the architectural and archaeological patterns and the particulars of the vocabulary loaned to other Mesoamerican languages from Mixe-Zoquean, Wichmann now suggests that the Olmecs of San Lorenzo spoke proto-Mixe and the Olmecs of La Venta spoke proto-Zoque. At least the fact that the Mixe-Zoquean languages are still spoken in an area corresponding roughly to the Olmec heartland, and are historically known to have been spoken there, leads most scholars to assume that the Olmec spoke one or more Mixe-Zoquean languages.

Answer this question "What else did they do as a society?"
output:
The spread of this vocabulary particular to their culture accompanied the diffusion of other Olmec cultural and artistic traits that appears in the archaeological record of other Mesoamerican societies.