input: Over half a century since their last short film was released, the Three Stooges remain popular with audiences. Their films have never left American television since first appearing in 1958, and they continue to delight old fans while attracting new admirers. They were a hard-working group of comedians who were never the critics' darlings, a durable act who endured several personnel changes in their careers that would have permanently sidelined a less persistent act. The Stooges would not have lasted as long as they did as a unit without Moe Howard's guiding hand. The Ted Okuda and Edward Watz book The Columbia Comedy Shorts puts the Stooges' legacy in critical perspective: Many scholarly studies of motion picture comedy have overlooked the Three Stooges entirely - and not without valid reasoning. Aesthetically, the Stooges violated every rule that constitutes "good" comedic style. Their characters lacked the emotional depth of Charlie Chaplin and Harry Langdon; they were never as witty or subtle as Buster Keaton. They were not disciplined enough to sustain lengthy comic sequences; far too often, they were willing to suspend what little narrative structure their pictures possessed in order to insert a number of gratuitous jokes. Nearly every premise they have employed (spoofs of westerns, horror films, costume melodramas) has been done to better effect by other comedians. And yet, in spite of the overwhelming artistic odds against them, they were responsible for some of the finest comedies ever made. Their humor was the most undistilled form of low comedy; they were not great innovators, but as quick laugh practitioners, they place second to none. If public taste is any criterion, the Stooges have been the reigning kings of comedy for over fifty years. Beginning in the 1980s, the Stooges finally began to receive critical recognition. The release of nearly all their films on DVD by 2010 has allowed critics of Joe Besser and Joe DeRita - often the recipients of significant fan backlash - to appreciate the unique style of comedy that both men brought to the Stooges. In addition, the DVD market has allowed fans to view the entire Stooge film corpus as distinct periods in their long, distinguished career rather than unfairly comparing one Stooge to another (the Curly vs. Shemp debate continues to this day). The team appeared in 220 films, but it is the durability of the 190 short films the Stooges made at Columbia Pictures that acts as an enduring tribute to the comedy team. American television personality Steve Allen went on record in 1984 saying, "Although they never achieved widespread critical acclaim, they did succeed in accomplishing what they had always intended to do: they made people laugh."

Answer this question "What else was they legacy known for"
output: "Although they never achieved widespread critical acclaim, they did succeed in accomplishing what they had always intended to do: they made people laugh.

input: Although ideologically tied to the straight edge movement, the initial musical influences of Earth Crisis were mainly from New York hardcore bands such as Agnostic Front, Cro-Mags and Sick Of It All. After the All Out War EP, they developed an increasingly technical and heavier style, citing death metal bands Napalm Death, Bolt Thrower and Obituary as prime inspirations. Buechner's vocals became rougher with each release as well, culminating in the completely gutturally screamed Gomorrah's Season Ends. Terrorizer magazine referred to this album as "heavy hardcore taken to a new level, all the blackness that was hinted at on Firestorm realized in all its formidable glory." In this period, many of their songs were built on Merrick's drum beats. Their third studio album, Breed the Killers, maintained the previous aggressiveness and its growled vocals were "taken about as far as possible", but it followed a structure more akin to the "post-Judge hardcore of the Path of Resistance record Who Dares Wins", according to Shawn Macomber of Decibel. Dennis Merrick said: "On Breed the Killers I think we achieved the most honest representation of our sound without sounding too raw or too slick". Its follow-up, Slither, had a change of style that steered towards nu metal. Buechner declared that, rather than being influenced by other styles, they "resurrected" the sound of All Out War in a proper way, which also had melodic choruses and spoken word verses. Their first post-reunion album, To the Death, was described by Buechner as "a mixture between Destroying the Machines and Breed the Killers." According to Stereo Killer, it was "arguably the band's heaviest offering" but with "more traditional verse/chorus/verse" material. Neutralize the Threat followed a similar path, but "with a Gomorrah's Season Ends vibe thrown in", the band stated. Scott Crouse said that he always tried "to get the perfect blend of heaviness, imagery and listenability" and that these two albums were the first to "hit that mark". Salvation of Innocents included, in addition, some clean vocals that were compared by one reviewer to the sludge metal band Crowbar, as well as "some elements of European melodic metalcore" and faster songs. When asked what ten bands inspired Earth Crisis over the years in a 2016 interview, Scott Crouse named DYS, Judge, Corrosion of Conformity, Agnostic Front, Slayer, Sepultura, Metallica, Conviction, Zero Tolerance and Iron Maiden.

Answer this question "what were the titles of their releases?"
output: Their third studio album, Breed the Killers,

input: Along with the A Psychedelic Psauna compilation, which featured the Porcupine Tree track "Linton Samuel Dawson", the newly formed Delerium label, formed by Freakbeat editors Richard Allen and Ivor Trueman, offered to reissue the cassettes Tarquin's Seaweed Farm and The Nostalgia Factory. Two hundred copies of each cassette were sold through Freakbeat's mail order, The Freak Emporium, and soon Porcupine Tree became known as a mysterious new act amongst the then UK underground psychedelic music scene. Shortly thereafter, Delerium invited Wilson to sign with as one of the label's founder artists. The first release after this, a double vinyl album and single CD compiling the best material from his two cassettes, was released in mid-1992 as On the Sunday of Life, a title chosen from a long list of possible nonsense titles compiled by Richard Allen. The rest of the music from the initial tapes was released on the limited edition compilation album Yellow Hedgerow Dreamscape. In 1992, Delerium released On the Sunday of Life as an edition of 1,000 copies, complete with a deluxe gatefold sleeve. The album sold very well, particularly in Italy, and it was briefly repressed on vinyl and has remained in print on CD ever since its release. The album featured future concert favourite and frequent encore song "Radioactive Toy". By 2000, On the Sunday of Life... had accumulated sales of more than 20,000 copies. On the Sunday of Life was originally meant to be a quadruple (LP)/double (CD) album compiling both cassettes in full, but changed to the best (according to Wilson) songs from the tapes. In 2004, Wilson remixed and remastered all three tapes, releasing them as a three-CD box set called Footprints: Cassette Music 1988-1992. This box was only distributed to family and friends.

Answer this question "Is it collectable?"
output:
three-CD box set called Footprints: Cassette Music 1988-1992. This box was only distributed to family and friends.