input: Boulton was widely involved in civic activities in Birmingham. His friend Dr John Ash had long sought to build a hospital in the town. A great fan of the music of Handel, Boulton conceived of the idea to hold a music festival in Birmingham to raise funds for the hospital. The festival took place in September 1768, the first of a series stretching well into the twentieth century. The hospital opened in 1779. Boulton also helped build the General Dispensary, where outpatient treatment could be obtained. A firm supporter of the Dispensary, he served as treasurer, and wrote, "If the funds of the institution are not sufficient for its support, I will make up the deficiency." The Dispensary soon outgrew its original quarters, and a new building in Temple Row was opened in 1808, shortly before Boulton's death. Boulton helped found the New Street Theatre in 1774, and later wrote that having a theatre encouraged well-to-do visitors to come to Birmingham, and to spend more money than they would have otherwise. Boulton attempted to have the theatre recognised as a patent theatre with a Royal Patent, entitled to present serious drama; he failed in 1779 but succeeded in 1807. He also supported Birmingham's Oratorio Choral Society, and collaborated with button maker and amateur musical promoter Joseph Moore to put on a series of private concerts in 1799. He maintained a pew at St Paul's Church, Birmingham, a centre of musical excellence. When performances of the Messiah were organised at Westminster Abbey in 1784 in the (incorrect) belief it was the centennial of Handel's birth and the (correct) belief that it was the 25th anniversary of his death, Boulton attended and wrote, "I scarcely know which was grandest, the sounds or the scene. Both was transcendibly fine that it is not in my power of words to describe. In the grand Halleluja my soul almost ascended from my body." Concerned about the level of crime in Birmingham, Boulton complained, "The streets are infested from Noon Day to midnight with prostitutes." In an era prior to the establishment of the police, Boulton served on a committee to organise volunteers to patrol the streets at night and reduce crime. He supported the local militia, providing money for weapons. In 1794 he was elected High Sheriff of Staffordshire, his county of residence. Besides seeking to improve local life, Boulton took an interest in world affairs. Initially sympathetic to the cause of the rebellious American colonists, Boulton changed his view once he realised that an independent America might be a threat to British trade, and in 1775 organised a petition urging the government to take a hard line with the Americans--though when the revolution proved successful, he resumed trade with the former colonies. He was more sympathetic to the cause of the French Revolution, believing it justified, though he expressed his horror at the bloody excesses of the Revolutionary government. When war with France broke out, he paid for weapons for a company of volunteers, sworn to resist any French invasion.

Answer this question "What kind of community work did he do?"
output: Boulton helped found the New Street Theatre in 1774,

input: The duo's first album, Non-Stop Erotic Cabaret, hit UK No. 5 and further explored the now-trademark Soft Cell themes of squalour and sleaze. "Seedy Films" talks of long nights in porno cinemas, while "Frustration" and "Secret Life" deal with the boredom and hypocrisy associated with suburban life. A companion video titled Non-Stop Exotic Video Show was released alongside the album and featured videos directed by Tim Pope. The video generated some controversy in Britain, mainly due to a scandal involved with the "Sex Dwarf" clip. The original version of the music video was confiscated by police and censored before it was even released. A re-filmed "Sex Dwarf" appeared in Non-Stop Exotic Video Show featuring Almond dressed in a tuxedo, directing a symphony orchestra of transvestites. Non-Stop Erotic Cabaret garnered two additional hits: "Bedsitter" dealt with the loneliness and lifestyle of a young man having recently left home to live in a bedsit while partying hard. "Bedsitter" reached No. 4 in the UK Singles Chart in November 1981. The song was highly acclaimed in a retrospective review by AllMusic journalist Ned Raggett who wrote that it "ranks as one of the best, most realistic portrayals of urban life recorded." The final single on the album, the ballad "Say Hello, Wave Goodbye", peaked at No. 3 in February 1982 and was subsequently covered by David Gray nearly 20 years later when his version reached No. 26 in the UK. During 1982, the duo spent most of their time recording and relaxing in New York City, where they met a woman named Cindy Ecstasy whom Almond would later confirm was his drug supplier (it was Cindy Ecstasy who introduced them to the new nightclub drug of the same name). Soon after "Say Hello Wave Goodbye" dropped out of the chart, Soft Cell released a brand new song, another love song called "Torch" which was to prove the closest the band ever got to having a No. 1 hit with one of their own songs as it entered straight into the Top 20 and peaked at No. 2. The 12" version of "Torch" featured Cindy Ecstasy singing and exchanging banter in a spoken dialogue section with Marc Almond where they reminisce about their first meeting. Despite their next album being almost ready for release at this point, a decision was made not to include "Torch" on the album. The duo released their second album entitled Non-stop Ecstatic Dancing, a 6-track mini album containing remixes of older material along with their new hit single, "What!". This was a cover of the 1965 song by Melinda Marx. It was later covered in 1968 by Judy Street, whose version became extremely popular on the Northern Soul scene. Almond later admitted that the album was recorded and mixed under the influence of ecstasy. "What!" placed at No. 101 in US Charts. but was a major hit in the UK and reached No. 3 on the UK Singles Chart in August of that year

Answer this question "Was the single well received?"
output:
Non-Stop Erotic Cabaret, hit UK No. 5 and further explored the now-trademark Soft Cell themes of squalour and sleaze.