input: In the mid-1970s, Danzig started the Misfits, releasing the band's records through his own label, (originally known as Blank, then later as Plan 9). Danzig had attempted to get the Misfits signed to several record labels, only to be told that he would never have a career in music. The impetus for the band's name comes from Marilyn Monroe's last film, combined with Danzig considering himself to be a "social misfit." In October 1983, after releasing several singles and three albums, and gaining a small underground following, Danzig disbanded the Misfits due to increasing animosity among the band members and his dissatisfaction with their musical abilities. Danzig explained his decision: "It was difficult for me to work with those guys, because they weren't prepared to put in the hours practicing. I wanted to move things forward, and they didn't seem to have the same outlook. So it was time for me to move on." After the Misfits, he began work on a new band project: Samhain. The origins of Samhain began when Danzig started rehearsing with Eerie Von, formerly of Rosemary's Babies. Danzig took the name of the band from the ancient Celtic New Year, which influenced the evolution of the modern Halloween. Initially Samhain was conceived as a punk rock "super group". The band briefly featured members of Minor Threat and Reagan Youth, who contributed to Samhain's 1984 debut, Initium. The band then settled with a lineup consisting of Eerie Von on bass, Damien on guitar, and Steve Zing on drums (later replaced by London May). In 1985 the Unholy Passion EP was released, followed by November-Coming-Fire in 1986. Samhain eventually began to attract the interest of major labels including Epic and Elektra. Rick Rubin, music producer and head of the Def American label, would see the band perform at the 1986 New Music Seminar, on the advice of then-Metallica bassist Cliff Burton. Danzig has credited both Burton and Metallica frontman James Hetfield with helping to raise awareness about his music: "I first met them at a Black Flag gig, and then we became kinda friends. We'd often bump into each other on the road...James and Cliff helped to spread the word about me, and I was very grateful to them."

Answer this question "When were the Misfits formed?"
output: In the mid-1970s, Danzig started the Misfits,

input: He entered the House of Commons as a Conservative on 22 August 1853, as MP for Stamford in Lincolnshire. He retained this seat until entering the peerage and it was not contested during his time as its representative. In his election address he opposed secular education and "ultramontane" interference with the Church of England which was "at variance with the fundamental principles of our constitution". He would oppose "any such tampering with our representative system as shall disturb the reciprocal powers on which the stability of our constitution rests". In 1867, after his brother Eustace complained of being addressed by constituents in a hotel, Cecil responded: "A hotel infested by influential constituents is worse than one infested by bugs. It's a pity you can't carry around a powder insecticide to get rid of vermin of that kind". In December 1856 Cecil began publishing articles for the Saturday Review, to which he contributed anonymously for the next nine years. From 1861 to 1864 he published 422 articles in it; in total the weekly published 608 of his articles. The Quarterly Review was the foremost intellectual journal of the age and of the twenty-six issues published between spring 1860 and summer 1866, Cecil had anonymous articles in all but three of them. He also wrote lead articles for the Tory daily newspaper the Standard. In 1859 Cecil was a founding co-editor of Bentley's Quarterly Review, with John Douglas Cook and Rev. William Scott; but it closed after four issues. Salisbury criticised the foreign policy of Lord John Russell, claiming he was "always being willing to sacrifice anything for peace... colleagues, principles, pledges... a portentous mixture of bounce and baseness... dauntless to the weak, timid and cringing to the strong". The lessons to be learnt from Russell's foreign policy, Salisbury believed, were that he should not listen to the opposition or the press otherwise "we are to be governed... by a set of weathercocks, delicately poised, warranted to indicate with unnerving accuracy every variation in public feeling". Secondly: "No one dreams of conducting national affairs with the principles which are prescribed to individuals. The meek and poor-spirited among nations are not to be blessed, and the common sense of Christendom has always prescribed for national policy principles diametrically opposed to those that are laid down in the Sermon on the Mount". Thirdly: "The assemblies that meet in Westminster have no jurisdiction over the affairs of other nations. Neither they nor the Executive, except in plain defiance of international law, can interfere [in the internal affairs of other countries]... It is not a dignified position for a Great Power to occupy, to be pointed out as the busybody of Christendom". Finally, Britain should not threaten other countries unless prepared to back this up by force: "A willingness to fight is the point d'appui of diplomacy, just as much as a readiness to go to court is the starting point of a lawyer's letter. It is merely courting dishonour, and inviting humiliation for the men of peace to use the habitual language of the men of war".

Answer this question "Did he do anything notable while in parliament?"
output: He would oppose "any such tampering with our representative system as shall disturb the reciprocal powers on which the stability of our constitution rests

input: Harburg and Gorney were offered a contract with Paramount: in Hollywood, Harburg worked with composers Harold Arlen, Vernon Duke, Jerome Kern, Jule Styne, and Burton Lane, and later wrote the lyrics for The Wizard of Oz, one of the earliest known "integrated musicals," for which he won the Academy Award for Best Music, Original Song for "Over the Rainbow." Of his work on The Wizard of Oz, his son (and biographer) Ernie Harburg has said: So anyhow, Yip also wrote all the dialogue in that time and the setup to the songs and he also wrote the part where they give out the heart, the brains and the nerve, because he was the final script editor. And he--there were eleven screenwriters on that--and he pulled the whole thing together, wrote his own lines and gave the thing a coherence and unity which made it a work of art. But he doesn't get credit for that. He gets lyrics by E. Y. Harburg, you see. But nevertheless, he put his influence on the thing. Working in Hollywood did not stop Harburg's career on Broadway. In the 1940s, he wrote a series of "book" musicals with social messages, including the successful Bloomer Girl (1944), set during the Civil War, which was about temperance and women's rights activist Amelia Bloomer. Harburg's best known Broadway show, Finian's Rainbow (1947) was, in its original production, possibly the first Broadway musical with a racially integrated chorus line, and features his "When the Idle Poor Become the Idle Rich." It was made into a film in 1968 starring Fred Astaire and Petula Clark, directed by Francis Ford Coppola.

Answer this question "What was names of some broadway shows?"
output:
Bloomer Girl (1944),