input: The band soon recorded a four-song demo tape in Mars's basement and handed it to Peter Jesperson in May 1980. Jesperson was the manager of Oar Folkjokeopus, a punk rock record store in Minneapolis, and had also founded Twin/Tone Records with Paul Stark (a local recording engineer) and Charley Hallman. Westerberg originally handed in the tape to see if the band could perform at Jay's Longhorn Bar, a local venue where Jesperson worked as a disc jockey. (The band's first performance at a bar was at the Longhorn on July 2, 1980.) He eavesdropped as Jesperson put in the tape, only to run away as soon as the first song, "Raised in the City", played. Jesperson played the song again and again. "If I've ever had a magic moment in my life, it was popping that tape in", said Jesperson. "I didn't even get through the first song before I thought my head was going to explode". Jesperson called Westerberg the next day, asking, "So do you want to do a single or an album?" With the agreement of Stark and the rest of the band, the Replacements signed with Twin/Tone Records in 1980. Jesperson's support of the band was welcomed, and they asked him to be their manager after their second show. Later that summer they played at the Longhorn on a Wednesday "New Band Night". They also played several club gigs to almost empty rooms. When they finished a song, apart from the low hum of conversation, the band would hear Jesperson's loud whistle and fast clapping. "His enthusiasm kept us going at times, definitely," Mars later said. "His vision, his faith in the band was a binding force." After the Replacements signed with Twin/Tone, Westerberg began to write new songs and soon had a whole album's worth of material. Mere weeks after their live debut, the band felt ready to record the album. Jesperson chose Blackberry Way, an eight-track home studio in Minneapolis. However, as the band had no clout there, time spent in the studio was intermittent, and it took about six months to record the album. Although not important at the time, Twin/Tone could not afford to release the album until August 1981. Because they were suspicious of the music business in general, the Replacements had not signed a written contract with Twin/Tone Records.

Answer this question "Did they ever sign a contract?"
output:

input: In 1984, he made the Montreal Canadiens for good, and distinguished himself with his play. During his early days, Chelios was known for his offensive abilities, and his teammates even called him "Soft Hands Chelios." He earned a trip to the National Hockey League All-Star Game and was named to the 1985 NHL All-Rookie Team. He scored 64 points in 74 games, a high total for a defenseman, even in the higher-scoring 1980s. He came second to Mario Lemieux for the Calder Memorial Trophy. In the playoffs that year, he scored 10 points in 9 games, with a +17 plus/minus. Although he only played 41 games in the 1985-86 season, he won his first Stanley Cup, playing in front of Conn Smythe Trophy winner Patrick Roy. Following two more good seasons, Chelios really broke out in the 1988-89 season. He scored 73 points in 80 games at +35, was named to the All-Star First-Team, and won the James Norris Memorial Trophy. During that year's Wales Conference (now Eastern Conference) Finals series against the Philadelphia Flyers (which the Canadiens won in six games), Chelios became reviled by Flyer fans for a dirty hit on Brian Propp that left the Philadelphia winger with a serious concussion and forced him to miss the next game. For the remainder of the series, the Flyers did not retaliate against Chelios until finally, after the series fate was sealed late in Game 6, Flyers goaltender Ron Hextall memorably skated out of his net to attack Chelios in retaliation, which got Hextall suspended for 12 games. After playing only 53 games in the next season (in which he served as co-captain, with Guy Carbonneau), on June 29, 1990, Chelios was traded to the Chicago Blackhawks with a 2nd-round draft pick for Denis Savard. This trade happened one day after Chelios was accused of fighting with two police officers as they tried to arrest him for urinating in public outside a bar in downtown Madison, Wis., according to a criminal complaint.

Answer this question "What was his nickname?"
output:

input: Timmons moved to New York in 1954. He played with Kenny Dorham in 1956, making his recording debut with the trumpeter in a live set in May of that year. He went on to play and record with Chet Baker in 1956-57 (bassist Scott LaFaro was part of this band for a time), Sonny Stitt in 1957, and Maynard Ferguson in 1957-58. He also recorded as a sideman with hornmen Curtis Fuller, Hank Mobley, and Lee Morgan, all for Blue Note Records in 1957. Timmons became best known as a member of Art Blakey's band the Jazz Messengers, which he was first part of from July 1958 to September 1959, including for a tour of Europe. He was recruited for the Messengers by saxophonist Benny Golson, who said that "He was inventive, [...] He could play bebop and he could play funky - he could play a lot of things, and I thought it was the element that Art needed. He hadn't had anybody quite like Bobby, who could go here or go there, rather than walking in a single corridor." By late 1958 Timmons was sharing bandmate Morgan's East Sixth Street apartment and the pair had bought a piano, allowing Timmons to practice and Morgan to work on composing. From around the time he joined Blakey, Timmons, along with some of his fellow band members, was a heroin user. After leaving Blakey, Timmons joined Cannonball Adderley's band, in October 1959. Timmons was also known as a composer during this period: The Encyclopedia of Jazz states that his compositions "Moanin'" (from the 1958 album of the same title), "This Here", and "Dat Dere" "helped generate the gospel-tinged 'soul jazz' style of [the] late '50s and early '60s." The first was written when Timmons was first with Blakey; the others were composed when he was with Adderley. "This Here" (sometimes "Dis Here") was a surprise commercial success for Adderley: recorded in concert in 1959, it was released as part of The Cannonball Adderley Quintet in San Francisco album while the band was still on tour, and they discovered its popularity only when they arrived back in New York and found crowds outside the Village Gate, where they were due to play. Timmons was reported to be dissatisfied with the money he had received from "This Here", and was enticed in February 1960 into leaving Adderley and returning to Blakey's band by the offer of more pay. Timmons then appeared on further well-known albums with the drummer, including A Night in Tunisia, The Freedom Rider and The Witch Doctor. His own recording debut as sole leader was This Here Is Bobby Timmons in 1960, which contained his first versions of his best-known compositions. In the same year, he played on recordings led by Nat Adderley, Arnett Cobb, and Johnny Griffin, among others; on the first of these, Work Song, Timmons did not appear on all of the tracks, because he had been drinking heavily.

Answer this question "What did they do"
output:
making his recording debut with the trumpeter in a live set in May of that year.