input: Work on a fourth studio album began in February 2011, with the band spending the first half of the year writing and demoing over 33 songs. The band again decided to work with Cavallo as a producer, but moved into a new sound and lyrical direction on the album, capturing a more of a message of "empowerment, perseverance, and inspiration", inspired by Smith's then-recent change of getting sober and living a healthier lifestyle, and the new band members contributing to the writing process for the first time on an album. The recording process wrapped up about a year later in February 2012, and the album, Amaryllis, was released the next month, on March 27, 2012, in 30 countries simultaneously, through a joint release between Atlantic and Roadrunner Records in countries Atlantic did not distribute into. Amaryllis debuted at number four on the Billboard 200 charts, selling 106,000 copies in its opening week. While the opening sales doubled the debut of The Sound of Madness, overall sales fell well short, with the album only being certified Gold, indicating a half million copies sold. Five singles were released from the album: "Bully", "Unity", "Enemies", "I'll Follow You", and "Adrenaline". The band's singles once again fared well, albeit it slightly below The Sound of Madness singles; "Bully" and "Unity" topped the Billboard Mainstream Rock Charts, "Enemies" and "I'll Follow You" peaked at number 2, and "Adrenaline" peaked at number 4. Additionally, only "Bully" managed to have any cross-over success, break into the Billboard Top 100 chart, at number 94. and eventually being certified Gold as well. Shinedown also contributed the non-album song titled "I'm Alive" to the soundtrack of the 2012 film The Avengers. In November 2012, Smith announced in an NME interview that a follow up Shinedown album had already been recorded. Smith stated "We've actually, we have another record of material. It's actually recorded...It's still very massive, it still has an epic feel to it all, but the tempo is a little slower, and the subject matter is a little different. I would say it's actually a bit darker, a little bit more mischievous." Despite the announcement, the band proceeded to move continue on with the Amaryllis touring cycle, touring through 2013 to complete another two year touring cycle. Shinedown and Three Days Grace embarked on a co-headlined tour beginning in February 2013, and went on another iteration of the yearly "Carnival of Madness" tour with Papa Roach in later 2013. In April 2013, Smith and Myers recorded ten acoustic cover songs, selected out of a pool of over 4,000 fan requests, selecting a variety of different types of songs, from Metallica's "Nothing Else Matters" to Adele's "Someone Like You". The tracks were released across two separate EPs, Acoustic Sessions on January 28, 2014, and Acoustic Sessions Pt. 2 on March 28, 2014, with performance videos created for every track on the first EP. The band took much of 2014 off, a rarity for the band, which had pretty consistently moved back and forth between recording and touring for each album cycle. The time off was for the band to rest, specifically Smith, who had damaged his vocal chords and contracted oral thrush from the constant years of touring prior.

Answer this question "what happened in 2011?"
output: Work on a fourth studio album began in February 2011,

input: Maddocks claims that it is likely Hildegard learned simple Latin and the tenets of the Christian faith but was not instructed in the Seven Liberal Arts, which formed the basis of all education for the learned classes in the Middle Ages: the Trivium of grammar, dialectic, and rhetoric plus the Quadrivium of arithmetic, geometry, astronomy, and music. The correspondence she kept with the outside world, both spiritual and social, transcended the cloister as a space of spiritual confinement and served to document Hildegard's grand style and strict formatting of medieval letter writing. Contributing to Christian European rhetorical traditions, Hildegard "authorized herself as a theologian" through alternative rhetorical arts. Hildegard was creative in her interpretation of theology. She believed that her monastery should exclude novices who were not from the nobility because she did not want her community to be divided on the basis of social status. She also stated that "woman may be made from man, but no man can be made without a woman." Because of church limitation on public, discursive rhetoric, the medieval rhetorical arts included preaching, letter writing, poetry, and the encyclopedic tradition. Hildegard's participation in these arts speaks to her significance as a female rhetorician, transcending bans on women's social participation and interpretation of scripture. The acceptance of public preaching by a woman, even a well-connected abbess and acknowledged prophet, does not fit the stereotype of this time. Her preaching was not limited to the monasteries; she preached publicly in 1160 in Germany. (New York: Routledge, 2001, 9). She conducted four preaching tours throughout Germany, speaking to both clergy and laity in chapter houses and in public, mainly denouncing clerical corruption and calling for reform. Many abbots and abbesses asked her for prayers and opinions on various matters. She traveled widely during her four preaching tours. She had several fanatical followers, including Guibert of Gembloux, who wrote to her frequently and became her secretary after Volmar's death in 1173. Hildegard also influenced several monastic women, exchanging letters with Elisabeth of Schonau, a nearby visionary. Hildegard corresponded with popes such as Eugene III and Anastasius IV, statesmen such as Abbot Suger, German emperors such as Frederick I Barbarossa, and other notable figures such as Saint Bernard of Clairvaux, who advanced her work, at the behest of her abbot, Kuno, at the Synod of Trier in 1147 and 1148. Hildegard of Bingen's correspondence is an important component of her literary output.

Answer this question "why not?"
output: Because of church limitation on public,

input: The real Mark David Chapman is currently incarcerated at Wende Correctional Facility, on a guilty plea. Aside from two interviews with Larry King and Barbara Walters, both in 1992, he has not spoken with the media. However, Chapman did reveal the mechanics of his unraveling during those three days in New York City to journalist Jack Jones. The interviews were published in 1992 as Let Me Take You Down: Inside the Mind of Mark David Chapman, a book of Chapman's recollections of his act of violence. Chapter 27 is based on this text. The title "Chapter 27" suggests a continuation of J. D. Salinger's novel The Catcher in the Rye, which has twenty-six chapters, and which Chapman was carrying when he shot John Lennon. Chapman was obsessed with the book, to the point of attempting to model his life after its protagonist, Holden Caulfield. According to the British music magazine Mojo, the title was also inspired by Chapter 27 of Robert Rosen's book Nowhere Man: The Final Days of John Lennon (2000). Rosen's book explores the numerological meaning of the number 27, "the triple 9", a number of profound importance to John Lennon. Lennon was deeply interested in numerology, particularly Cheiro's Book of Numbers, along with nine and all its multiples. It was Chapman's goal, according to Rosen, to write Chapter 27 "in Lennon's blood". Like Chapman, Schaefer is a fan of both The Beatles and J.D. Salinger's novel The Catcher in the Rye, and said he began the script to try to understand "how someone could be inspired to kill anyone as a result of being exposed to this kind of beautiful art. It really bothered me, because Lennon and Salinger have always made me feel so much better, and so much less alone."

Answer this question "Why is The Catcher in the Rye brought up so often?"
output:
Chapman was carrying when he shot John Lennon.