input: The band first visited the United States in March 1967 to play nine dates at the RKO 58th Street Theatre in New York. There was little impact, as impresario Murray the K placed them at the bottom of a six-act bill that performed three times per date, eventually reducing the band to one song per concert. They returned to record Disraeli Gears in New York between 11 May and 15 May 1967. This, the band's second album, was released in November 1967 and reached the Top 5 in the charts on both sides of the Atlantic. Produced by Felix Pappalardi (who later co-founded the Cream-influenced quartet Mountain) and engineer Tom Dowd, it was recorded at Atlantic Studios in New York. Disraeli Gears is often considered to be the band's defining effort, successfully blending psychedelic British rock with American blues. In addition to "Strange Brew" and "Tales of Brave Ulysses", Disraeli Gears features "Sunshine of Your Love," which became the group's unofficial anthem. Bruce and Pete Brown came upon the idea in a state of near desperation in the wee hours. In a last-ditch attempt to salvage something from the long and fruitless night at his apartment, the bleary-eyed Bruce pulled out his double bass again and played a riff. At that point, Brown looked out the window and saw the sun was about to rise: "It's getting near dawn ...," he said to himself. Brown put the words on paper then thought some more: "When lights close their tired eyes". The album was originally slated for release in the summer of 1967, but the record label opted to scrap the planned cover and repackage it with a new psychedelic cover, designed by artist Martin Sharp, and the resulting changes delayed its release for several months. The album was remarkable for the time, with a psychedelic design patterned over a publicity photo of the trio. Although the album is considered one of Cream's finest efforts, it has never been well represented in the band's live sets. Although they consistently played "Tales of Brave Ulysses" and "Sunshine of Your Love," several songs from Disraeli Gears were quickly dropped from performances in mid-1967, favouring longer jams instead of short pop songs. "We're Going Wrong" was the only additional song from the album the group performed live. In fact, at their 2005 reunion shows in London, the band played only three songs from Disraeli Gears: "Outside Woman Blues", "We're Going Wrong," and "Sunshine of Your Love"; at their three October 2005 performances in New York, "Tales of Brave Ulysses" was also included in the setlist. In August 1967, they played their first headlining dates in the US, playing first at The Fillmore in San Francisco and later at The Pinnacle in Los Angeles. The concerts were a great success and proved very influential on both the band itself and the flourishing hippie scene surrounding them. Upon discovering a growing listening audience, the band began to stretch out on stage, incorporating more time in their repertoire, some songs reaching jams of twenty minutes. Long, drawn-out jams in numbers like "Spoonful", "N.S.U.", "I'm So Glad", and "Sweet Wine" became live favourites, while songs like "Sunshine of Your Love", "Crossroads", and "Tales of Brave Ulysses" remained reasonably short.

Answer this question "What did they do on stage that was new?"
output: the band began to stretch out on stage, incorporating more time in their repertoire, some songs reaching jams of twenty minutes.

input: Screen rights to Algren's novel were first acquired in 1949 on behalf of John Garfield, who planned to star in the film version. However, production was delayed because the Production Code Authority (PCA) refused to approve the script, with Joseph Breen stating that the basic story was "unacceptable" because of the Code's prohibition on showing illegal drug trafficking and drug addiction. The ability to obtain PCA approval was critical because at that time, many movie theaters would not show films that had not received approval. The PCA further predicted that the subject would also be unacceptable to the National Legion of Decency (a Catholic film censor board), Federal authorities, and state and local censor boards in the United States and abroad. Garfield died in 1952 and director Otto Preminger acquired the rights from his estate. Preminger had previously released The Moon Is Blue (1953), which succeeded at the box office despite being denied the Production Code seal of approval due to its sexual subject matter. He told Peter Bogdanovich why he was attracted to Algren's novel: "I think there's a great tragedy in any human being who gets hooked on something, whether it's heroin or love or a woman or whatever." Although United Artists (UA) had a distribution contract with Preminger, a clause in the contract allowed them to withdraw if a film failed to get Code approval. Preminger stated that in that event, he would set up his own company to handle distribution of The Man With The Golden Arm. Preminger continued to have problems with the PCA during the making of the film. Although the novel's author, Nelson Algren, was initially brought to Hollywood to work on the screenplay, he and Preminger did not get along, and he was quickly replaced by Walter Newman. Preminger and Newman went on to make significant changes to Algren's original story, and the film was eventually released as "A Film By Otto Preminger". In 1956, Algren sued Preminger and others seeking an injunction to keep Preminger from claiming authorship of the film, but had to drop the suit because he could not afford the legal fees. Frank Sinatra jumped at a chance to star in the film before reading the entire script. The script was given to Marlon Brando around the same time as Sinatra, who still harbored some anger at Brando for beating out Sinatra for the lead role in On the Waterfront. To prepare for his role, Sinatra spent time at drug rehabilitation clinics observing addicts going cold turkey. He also learned to play drums from drummer Shelly Manne. The picture was shot in six weeks at RKO Studios in Hollywood from September 26 through November 4, 1955. Saul Bass designed the crooked arm symbol used in the film's advertising campaign, which Preminger liked so much that he threatened to pull the picture if an exhibitor changed the advertisements. Bass also created the animated title sequence for the film, the first of many such sequences that he created for films by Preminger, Alfred Hitchcock, and others.

Answer this question "How long did filming take?"
output:
The picture was shot in six weeks at RKO Studios in Hollywood from September 26 through November 4, 1955.