input: Despite the then-record transfer fee, there was no guarantee that Keane would go straight into the first team. Paul Ince and Bryan Robson had established a formidable partnership in the centre of midfield, having just inspired Manchester United to their first league title since 1967. Robson, however, was 36 years old and in the final stages of his playing career, and a series of injuries kept him out of action for most of the 1992-93 season and into the 1993-94 season. As a result Keane had an extended run in the team, scoring twice on his home debut in a 3-0 win against Sheffield United, and grabbing the winner in the Manchester derby three months later when United overturned a 2-0 deficit at Maine Road to beat Manchester City 3-2. Keane had soon established himself as a first choice selection, and by the end of the season he had won his first trophy as a professional as United retained their Premier League title. Two weeks later, Keane broke his Wembley losing streak by helping United to a 4-0 victory over Chelsea in the FA Cup Final, sealing the club's first ever "double". The following season was less successful, as United were beaten to the league title by Blackburn Rovers and beaten 1-0 in the FA Cup final by Everton. He received his first red card as a Manchester United player in a 2-0 FA Cup semi-final replay win against Crystal Palace, after stamping on Gareth Southgate, and was suspended for three matches and fined PS5,000. This incident was the first of 11 red cards Keane would accumulate in his United career, and one of the first signs of his indiscipline on the field. The summer of 1995 saw a period of change at United, with Ince leaving for Internazionale, Mark Hughes moving to Chelsea and Andrei Kanchelskis being sold to Everton. Younger players such as David Beckham, Nicky Butt and Paul Scholes were brought into the team, which left Keane as the most experienced player in midfield. Despite a slow start to the 1995-96 campaign, United pegged back title challengers Newcastle United, who had built a commanding 12-point championship lead by Christmas, to secure another Premier League title. Keane's second double in three years was confirmed with a 1-0 win over Liverpool to win the FA Cup for a record ninth time. The next season saw Keane in and out of the side due to a series of knee injuries and frequent suspensions. He picked up a costly yellow card in the first leg of the Champions League semi-final against Borussia Dortmund, which ruled him out of the return leg at Old Trafford. United lost both legs 1-0, but this was compensated for by winning another league title a few days later.

Answer this question "Did he do well with them?"
output: helping United to a 4-0 victory over Chelsea in the FA Cup Final, sealing the club's first ever "double".

input: Nilsson's disregard for commercialism in favor of artistic satisfaction showed itself in his next release, A Little Touch of Schmilsson in the Night (1973). Performing a selection of pop standards by the likes of Berlin, Kalmar and Ruby, Nilsson sang in front of an orchestra arranged and conducted by veteran Gordon Jenkins in sessions produced by Derek Taylor. This musical endeavor did not do well commercially. The session was filmed, and broadcast as a television special by the BBC in the UK. 1973 found Nilsson back in California, and when John Lennon moved there during his separation from Yoko Ono, the two musicians rekindled their earlier friendship. Lennon was intent upon producing Nilsson's next album, much to Nilsson's delight. However, their time together in California became known much more for heavy drinking than it did for musical collaboration. In a widely publicized incident, the two were ejected from the Troubadour nightclub in West Hollywood for drunken heckling of the Smothers Brothers. To make matters worse, at a late night party and jam session during the recording of the album, attended by Lennon, McCartney, Danny Kortchmar, and other musicians, Nilsson ruptured a vocal cord, but he hid the injury for fear that Lennon would call a halt to the production. The resulting album was Pussy Cats. In an effort to clean up, Lennon, Nilsson and Ringo Starr first rented a house together, then Lennon and Nilsson left for New York. After the relative failure of his latest two albums, RCA Records considered dropping Nilsson's contract. In a show of friendship, Lennon accompanied Nilsson to negotiations, and both intimated to RCA that Lennon and Starr might want to sign with them, once their Apple Records contracts with EMI expired in 1975, but would not be interested if Nilsson were no longer with the label. RCA took the hint and re-signed Nilsson (adding a bonus clause, to apply to each new album completed), but neither Lennon nor Starr signed with RCA. Nilsson's voice had mostly recovered by his next release, Duit on Mon Dei (1975), but neither it nor its follow-ups, Sandman and ...That's the Way It Is (both 1976), met with chart success. Finally, Nilsson recorded what he later considered to be his favorite album Knnillssonn (1977). With his voice strong again, and his songs exploring musical territory reminiscent of Harry or The Point!, Nilsson anticipated Knnillssonn to be a comeback album. RCA seemed to agree, and promised Nilsson a substantial marketing campaign for the album. However, the death of Elvis Presley caused RCA to ignore everything except meeting demand for Presley's back catalog, and the promised marketing push never happened. This, combined with RCA releasing a Nilsson Greatest Hits collection without consulting him, prompted Nilsson to leave the label.

Answer this question "What else did he do?"
output: However, the death of Elvis Presley caused RCA to ignore everything except meeting demand for Presley's back catalog, and the promised marketing push never happened.

input: Mendes was born in Niteroi, Brazil, the son of a physician. He attended the local conservatory with hopes of becoming a classical pianist. As his interest in jazz grew, he started playing in nightclubs in the late 1950s just as bossa nova, a jazz-inflected derivative of samba, was emerging. Mendes played with Antonio Carlos Jobim (regarded as a mentor) and many U.S. jazz musicians who toured Brazil. Mendes formed the Sexteto Bossa Rio and recorded Dance Moderno in 1961. Touring Europe and the United States, Mendes recorded albums with Cannonball Adderley and Herbie Mann and played Carnegie Hall. Mendes moved to the U.S. in 1964 and cut two albums under the Sergio Mendes & Brasil '65 group name with Capitol Records and Atlantic Records. Sergio became full partners with Richard Adler, a Brooklyn-born American who had previously brought Bossa Tres plus two dancers, Joe Bennett and a Brazilian partner, to appear on The Ed Sullivan Show, in 1963. He was also accompanied by Jobim; Flavio Ramos, and Aloisio Olivera, a record and TV producer from Rio. The Musicians Union only allowed this group to appear on one TV show and one club appearance (Basin Street East) before ordering them to leave the U.S. When the new group, Brasil '65 was formed, Shelly Manne, Bud Shank and other West Coast musicians got Sergio and the others into the local musicians union. Adler and Mendes formed Brasil '65, which consisted of Wanda Sa and Rosinha de Valenca, as well as the Sergio Mendes Trio. The group recorded albums for Atlantic and Capitol.

Answer this question "Did the band break up?"
output:
Mendes moved to the U.S. in 1964 and cut two albums under the Sergio Mendes & Brasil '65 group name with Capitol Records and Atlantic Records.