input: In mid-1983, both of Akkerman's managers came up with the idea of the guitarist reuniting with van Leer to record new music, to which Akkerman agreed. Van Leer immediately accepted the invitation, and went on to play the synthesiser on "Headbanger" on Akkerman's 1984 solo album From the Basement. After this initial collaboration, one executive at Phonogram Records suggested the pair work with producer Trevor Horn to release an album of re-recorded Focus tracks, but it was dismissed. In the following 15 months, the two wrote, rehearsed, and recorded new music with several additional musicians with engineer Theo Balijob. Their contract required the two to record as a duet, rather under the name Focus. During the recording, producer Ruud Jacobs was brought in to supervise the project due to the length of time taken to put the tracks down. Balijon claimed Jacobs cut corners and pushed for the strongest tracks to be completed quickly to save production costs, which "unintentionally increased the animosity between Jan and Thijs". In the 63 days they spent recording from April to May 1984, around 30 tracks were completed with several additional musicians. Focus was released in March 1985 by Vertigo Records which reached number 33 in the Netherlands. The pair followed the album with promotional videos and a local four-date tour. In 1988, EMI acquired the rights to the band's back catalogue and reissued their albums on compact disc for the first time. In 1990, the former line-up of van Leer, Akkerman, van der Linden, and Ruiter reunited for the first time since 1975. The four played a 40-minute set at the Americahal in Apeldoorn on 20 April that was broadcast as part of the Oud van Goud television special. It came about when producer Frans Meijer asked Akkerman to perform a gig with the group, and the fact that the guitarist's manager had not seen the band play in the 1970s, so "it was swatting two flies with one hit". The other three agreed at the opportunity, and they rehearsed for four hours in Wijchen several days prior to the concert. Ruiter said they "went very well"; van Leer said it was "fantastic". Following the concert, van Leer was keen to formally restart Focus with Akkerman, though the latter felt different though he was happy to reunite with van der Linden. On 17 May the group, minus Akkerman, mimed a performance of "House of the King" on the Service Salon television program on AVRO-TV. Originally the band were to perform "Hocus Pocus" with Akkerman, but the guitarist declined the offer made by the network, stating he reunited with Focus for Meijer and his manager. The appearance went ahead regardless. Van Leer and Akkerman shared the stage once more in 1993, performing Focus songs at the North Sea Jazz Festival. In 1999, van Leer attempted to reform Focus with Cleuver, Ruiter, and Dutch guitarist Menno Gootjes. They performed several live dates in the Netherlands, but disagreements between van Leer and Ruiter over material intended for release effectively split up the group.

Answer this question "Did the group release a single in 1985?"
output: Focus was released in March 1985 by Vertigo Records which reached number 33 in the Netherlands.

input: The characters, Jake and Elwood Blues, were created by Belushi and Aykroyd in performances on Saturday Night Live. The name "The Blues Brothers" was the idea of Howard Shore. The fictional back story and character sketches of blood brothers Jake and Elwood were developed by Aykroyd in collaboration with Ron Gwynne, who is credited as a story consultant for the film. As related in the liner notes of the band's debut album, Briefcase Full of Blues, the brothers grew up in an orphanage, learned the blues from a janitor named Curtis, and sealed their brotherhood by cutting their middle fingers with a steel string said to have come from the guitar of Elmore James. Belushi had become a star in 1978 as a result of both the Blues Brothers' musical success and his role in National Lampoon's Animal House. At one point, he managed the triple feat of being the star of the week's top-grossing film, top-rated television show, and singing on the number-one album within a year. When Aykroyd and Belushi decided they could make a Blues Brothers film, the bidding war was intense. Universal Studios narrowly beat Paramount Pictures for the project. John Landis, who had directed Belushi in Animal House, was aboard as director. However, the project had neither a budget nor a script. On the former issue, Universal head Lew Wasserman thought the film could be made for $12 million; the filmmakers wanted $20 million. It would be impossible to settle on a specific amount without a screenplay to review, and after Mitch Glazer declined to help him, Aykroyd wrote one on his own. Aykroyd had never written a screenplay before, as he admitted in the 1998 documentary, Stories Behind the Making of The Blues Brothers, or even read one, and he was unable to find a writing partner. Consequently, he put together a very descriptive volume that explained the characters' origins and how the band members were recruited. His final draft was 324 pages, which was three times longer than a standard screenplay, written not in a standard screenplay format, but more like free verse. To soften the impact, Aykroyd made a joke of the thick script and had it bound with the cover of the Los Angeles Yellow Pages directory for when he turned it in to producer Robert K. Weiss. Landis was given the task of editing the script into a usable screenplay, which took him about two weeks. The overriding plot premise was unrealistic: religious groups and other not-for-profit organizations are typically exempt from federal or state taxes; although a legislative proposal to tax such property was under consideration in Illinois at the time.

Answer this question "What kind of music was used in the film?"
output:

input: In addition to the daily luncheons, members of the Round Table worked and associated with each other almost constantly. The group was devoted to games, including cribbage and poker. The group had its own poker club, the Thanatopsis Literary and Inside Straight Club, which met at the hotel on Saturday nights. Regulars at the game included Kaufman, Adams, Broun, Ross and Woollcott, with non-Round Tablers Herbert Bayard Swope, silk merchant Paul Hyde Bonner, baking heir Raoul Fleischmann, actor Harpo Marx, and writer Ring Lardner sometimes sitting in. The group also played charades (which they called simply "The Game") and the "I can give you a sentence" game, which spawned Dorothy Parker's memorable sentence using the word horticulture: "You can lead a horticulture but you can't make her think." Members often visited Neshobe Island, a private island co-owned by several "Algonks"--but governed by Woollcott as a "benevolent tyrant", as his biographer Samuel Hopkins Adams charitably put it--located on several acres in the middle of Lake Bomoseen in Vermont. There they would engage in their usual array of games including Wink murder, which they called simply "Murder", plus croquet. A number of Round Tablers were inveterate practical jokers, constantly pulling pranks on one another. As time went on the jokes became ever more elaborate. Harold Ross and Jane Grant once spent weeks playing a particularly memorable joke on Woollcott involving a prized portrait of himself. They had several copies made, each slightly more askew than the last, and would periodically secretly swap them out and then later comment to Woollcott "What on earth is wrong with your portrait?" until Woollcott was beside himself. Eventually they returned the original portrait.

Answer this question "What is Wink Murder?"
output:
Wink murder, which they called simply "Murder",