Question:
Sgt. Pepper's Lonely Hearts Club Band is the eighth studio album by English rock band the Beatles. Released on 26 May 1967 in the United Kingdom and 2 June 1967 in the United States, it was an immediate commercial and critical success, spending 27 weeks at the top of the UK albums chart and 15 weeks at number one in the US. On release, the album was lauded by the vast majority of critics for its innovations in music production, songwriting and graphic design, for bridging a cultural divide between popular music and high art, and for providing a musical representation of its generation and the contemporary counterculture.
In November 1966, during a return flight to London from Kenya, where he had been on holiday with Beatles tour manager Mal Evans, McCartney had an idea for a song that eventually formed the impetus of the Sgt. Pepper concept. His idea involved an Edwardian-era military band, for which Evans invented a name in the style of contemporary San Francisco-based groups such as Big Brother and the Holding Company and Quicksilver Messenger Service. In February 1967, McCartney suggested that the Beatles should record an entire album that would represent a performance by the fictional band. This alter ego group would give them the freedom to experiment musically. He explained: "I thought, let's not be ourselves. Let's develop alter egos." Martin remembered: "Sergeant Pepper" itself didn't appear until halfway through making the album. It was Paul's song, just an ordinary rock number ... but when we had finished it, Paul said, "Why don't we make the album as though the Pepper band really existed, as though Sergeant Pepper was making the record? We'll dub in effects and things." I loved the idea, and from that moment on it was as though Pepper had a life of its own. In 1966, the American musician and bandleader Brian Wilson's growing interest in the aesthetics of recording and his admiration for both record producer Phil Spector's Wall of Sound and the Beatles' album Rubber Soul resulted in the Beach Boys' Pet Sounds LP, which demonstrated his production expertise and his mastery of composition and arrangement. The author Thomas MacFarlane credits the release with influencing many musicians of the time, with McCartney in particular singing its praises and drawing inspiration to "expand the focus of the Beatles' work with sounds and textures not usually associated with popular music". McCartney thought that his constant playing of the album made it difficult for Lennon to "escape the influence", adding: "It's very cleverly done ... so we were inspired by it and nicked a few ideas." Martin stated: "Without Pet Sounds, Sgt. Pepper never would have happened ... Pepper was an attempt to equal Pet Sounds." Freak Out! by the Mothers of Invention has also been cited as having influenced Sgt. Pepper. According to the author Philip Norman, during the Sgt. Pepper recording sessions McCartney repeatedly stated: "This is our Freak Out!" The music journalist Chet Flippo states that McCartney was inspired to record a concept album after hearing Freak Out!, considered the first rock concept album.
Answer this question using a quote from the text above:

What inspired the album Sgt. Pepper's Lonely Hearts Club Band?

Answer:
during a return flight to London from Kenya, where he had been on holiday with Beatles tour manager Mal Evans,

input: With the same line-up still in place, the band released The Cult in October 1994, produced by Bob Rock. The self-titled 'Cult' album is commonly referred to as the 'Black Sheep' album by fans of the group. Astbury referred to the record as "very personal and very revealing" songs about his life, with the subject matter ranging from sexual abuse at the age of 15, to the death of Nigel Preston, to his directionless years spent in Glasgow in the late 1970s. The record achieved little success, only reaching No. 69 in the US and No. 21 in the UK. Duffy remarked that he thought that the record wouldn't sell well due to the offensive lyrics. The record went to number one in Portugal also, but quickly dropped out of sight. The single "Coming Down (Drug Tongue)" was released with the band going on tour in support of the new album. Only one more single, "Star", was officially released with a live appearance on UK TV show The Word. "Star" began life in 1986 as "Tom Petty" and was recorded at the "Sonic Temple" demo sessions as "Starchild", being dropped by the band during rehearsals. In 1993 the song was resurrected and was finally completed for the record in 1994 as, just simply, "Star". When the band began the Beauty's On The Streets tour in winter 1994, they augmented the line up with James Stevenson on rhythm guitar. As with the Ceremony record several years earlier, no other official singles were released, but several other songs were released on a strictly limited basis: "Sacred Life" was released in Spain and the Netherlands, "Be Free" was issued in Canada and France, "Saints Are Down" was issued in Greece, but none of the songs gained much commercial success. During this tour, the Cult made their first ever appearance in Norway.

Answer this question "How did it do?"
output: commonly referred to as the 'Black Sheep' album by fans of the group.

Answer the question at the end by quoting:

Ben Hecht (February 28, 1894 - April 18, 1964) was an American screenwriter, director, producer, playwright, journalist, and novelist. A journalist in his youth, he went on to write thirty-five books and some of the most entertaining screenplays and plays in America. He received screen credits, alone or in collaboration, for the stories or screenplays of some seventy films. At the age of 16, Hecht ran away to Chicago, where, in his own words, he "haunted streets, whorehouses, police stations, courtrooms, theater stages, jails, saloons, slums, madhouses, fires, murders, riots, banquet halls, and bookshops".
From 1918 to 1919, Hecht served as war correspondent in Berlin for the Chicago Daily News. According to Barbara and Scott Siegel, "Besides being a war reporter, he was noted for being a tough crime reporter while also becoming known in Chicago literary circles." In 1921, Hecht inaugurated a Daily News column called, One Thousand and One Afternoons in Chicago. While it lasted, the column was enormously influential. His editor, Henry Justin Smith, later said it represented a new concept in journalism: the idea that just under the edge of the news as commonly understood, the news often flatly unimaginatively told, lay life; that in this urban life there dwelt the stuff of literature, not hidden in remote places, either, but walking the downtown streets, peering from the windows of sky scrapers, sunning itself in parks and boulevards. He was going to be its interpreter. His was to be the lens throwing city life into new colors, his the microscope revealing its contortions in life and death. While at the Chicago Daily News, Hecht famously broke the 1921 "Ragged Stranger Murder Case" story, about the murder of Carl Wanderer's wife, which led to the trial and execution of war hero Carl Wanderer. In Chicago, he also met and befriended Maxwell Bodenheim, an American poet and novelist, later known as the King of Greenwich Village Bohemians, and with whom he became a life-long friend. After concluding One Thousand and One Afternoons, Hecht went on to produce novels, plays, screenplays, and memoirs, but none of these eclipsed his early success in finding the stuff of literature in city life. Recalling that period, Hecht wrote, "I haunted streets, whorehouses, police stations, courtrooms, theater stages, jails, saloons, slums, madhouses, fires, murders, riots, banquet halls, and bookshops. I ran everywhere in the city like a fly buzzing in the works of a clock, tasted more than any fit belly could hold, learned not to sleep, and buried myself in a tick-tock of whirling hours that still echo in me."

How did Hecht do as a journalist?
From 1918 to 1919, Hecht served as war correspondent in Berlin for the Chicago Daily News.