input: The initial lineup of Exodus was formed in the late 1970s by guitarists Kirk Hammett and Tim Agnello, drummer/vocalist Tom Hunting, and vocalist Keith Stewart while attending high school together. The band added bass guitarist Carlton Melson in 1980, and the quintet began making a name for themselves playing backyard parties and various school functions. They played mostly cover songs in the vein of 1970s hard rock and New wave of British heavy metal (NWOBHM) acts but also developed some of their own original songs. Things with Stewart did not work out, and Hunting became the band's sole vocalist for some time. Carlton Melson was replaced in 1981 by bass guitarist Geoff Andrews. Tim Agnello would leave the group soon after to pursue a life of ministry in Stockton, California, leaving Exodus to perform as a power trio until a replacement was found in Hammett's friend and Exodus roadie Gary Holt. Also in 1981, Hammett met El Cerrito resident Paul Baloff at a North Berkeley house party, a friendship that was started - according to Hammett - by their shared admiration for punk rock and 1970s heavy metal music. Baloff became the band's lead vocalist and the quintet recorded a 3-track demo tape in 1982 consisting of the songs "Whipping Queen", "Death and Domination" and "Warlord", a release which would be Hammett's only recording with Exodus. The band's music began to incorporate elements of hardcore punk into their NWOBHM roots, and Exodus were considered the pioneers of the Bay Area thrash metal scene. In November 1982, Exodus opened a show at San Francisco's Old Waldorf venue for Metallica, a then-relatively unknown (and unsigned) band from Los Angeles. As the band began playing more shows in Bay Area clubs, they gained a large, fervent fan base known for their violent concert behavior. In early 1983, Hammett left Exodus to join Metallica on the recommendation of Mark Whitaker, leaving Gary Holt to effectively take creative control of the band. Hammett was replaced short term by Mike Maung, followed by Evan McCaskey, before the band finally found a permanent replacement in guitarist Rick Hunolt. Geoff Andrews also left to start an early incarnation of pioneering death metal band Possessed, and was replaced by bass guitarist Rob McKillop. In the spring of 1984, Exodus entered Turk Street Studios with producer Doug Piercy to record demos of songs that would later appear on their debut album. The band was signed to New York-based Torrid Records and Exodus prepared to enter Prairie Sun Recording Studios that summer.

Answer this question "where was the band located?"
output:

input: In 1990, the unofficial Welsh championship was replaced by a league structure involving promotion and relegation. Cardiff competed in top flight but could only manage a fourth-place finish in 1990-91, and exited the Cup at the quarter-final stage. The season did involve some highlights however, such as beating league runners-up and Cup champions Llanelli 43-0 at the Arms Park and beating league champions Neath 18-4 away in the last game of the season. 1991-92 was possibly the club's worst-ever season, beset with disagreements between coach Alan Phillips and manager John Scott. Cardiff crashed out of the Cup before the quarter-final stage and lost at home to Maesteg and Newbridge in the league. Their final league finish was ninth, which would have led to their relegation but the WRU decided mid-season to switch to a 12-team Premiership, therefore saving Cardiff and Maesteg from relegation. Both Scott and Phillips resigned following the season. Australian Alex Evans took over at Cardiff as coach for the 1992-93 season, bringing in former Arms Park legend Terry Holmes and famous ex-Pontypool front-row member Charlie Faulkner as assistants, and helped a turnaround in the club's fortunes, winning their first seven matches of the season and 20 of their first 22 to top the league in the new year. This run came to an end on 23 January; they were knocked out of the Schweppes Cup by St Peter's, who were fourth from bottom of Division Four. The Blue and Blacks only lost four league games all season though, but were unlucky to be competing against Llanelli in the league, who won the double and were considered the best club team in the UK after beating Australia 13-9. In 1993-94 they slid back to fourth in the league but won the SWALEC Cup (renamed from Schweppes Cup for sponsorship reasons) by beating Llanelli, who'd won the tournament for the last three years running. The score in the final was 15-8, with tries from Mike Rayer and club captain centre Mike Hall and kicks from fly-half Adrian Davies. In 1994-95 Cardiff won the final league title of the amateur era in Wales, as well as reaching the semi-finals of the Cup before going down 16-9 to Swansea.

Answer this question "What were they disagreeing over?"
output:

input: Walker was in ill health by this point due to syphilis, which was then incurable. In January 1909 he suffered a stroke onstage while singing, and was forced to drop out of Bandanna Land the following month. The famous pair never performed in public again, and Walker died less than two years later. Walker had been the businessman and public spokesman for the duo. His absence left Williams professionally adrift. After 16 years as half of a duo, Williams needed to reestablish himself as a solo act. In May 1909 he returned to Hammerstein's Victoria Theater and the high-class vaudeville circuit. His new act consisted of several songs, comic monologues in dialect, and a concluding dance. He received top billing and a high salary, but "the White Rats," an organization of vaudevillians opposed to encroachments from blacks and women, intimidated the theater managers into reducing Williams' billing. The brash Walker would have resisted such an insult to his star status, but the more reserved Williams did not protest. Allies were few; big-time vaudeville managers were fearful of attracting a disproportionate number of black audience members and thus allowed only one black act per bill. Due to his skin, Williams typically travelled, ate and lodged separately from the rest of his fellow performers, increasing his sense of isolation following the loss of Walker. Williams next starred as Mr. Lode of Koal, a farce about a kidnapped king that was well received by critics as a star vehicle though not a fully realized storyline. Camille Forbes' Introducing Bert Williams collects several reviews with competing race-based agendas. Many of the white reviewers praised Williams' "apparent spontaneous," "unpremeditated" humor, as if he were a guileless simpleton in no control of his own performance. A Chicago critic wrote, "They are racial, those hands and feet," while a Boston reviewer felt that the show's flimsiness and lack of structure were actually attributes because "when we succumb to the surreptitious desire for the broad tang of "nigger" humor, we want no disturbing atom of intelligence busy-bodying about." Meanwhile, many black reviewers ignored the show's faults, praising Williams' continued persistence and prominence as much if not more than his actual performance; an Indianapolis reviewer thought the play was evidence that "we are nearing the day of better things." Despite the good if loaded notices, Mr. Lode of Koal played a secondary string of theaters and was a box office flop. Following the show's abbreviated run, Williams returned to the vaudeville circuit, and "the White Rats" renewed their opposition to his featured status. The Victoria Theater responded by cutting Williams to secondary billing, but putting his name on the marquee in lettering twice as large as that of the nominal headliner. Newspapers took note of the disingenuous manner in which the White Rats' demands had been met, as well as the way in which many of those performers who were impeding his career would rush to the front of the theater whenever his turn to perform came up.

Answer this question "Did this make him depressed?"
output:
Newspapers took note of the disingenuous manner in which the White Rats' demands had been met,