input: After Chaney's death in 1930, Browning was hired by his old employer Universal Pictures to direct Dracula (1931). Although Browning wanted to hire an unknown European actor for the title role and have him be mostly offscreen as a sinister presence, budget constraints and studio interference necessitated the casting of Bela Lugosi and a more straightforward approach. After directing the boxing melodrama Iron Man (1931), Browning began work on Freaks (1932). Based on the short story "Spurs" by Clarence Aaron "Tod" Robbins, the screenwriter of The Unholy Three, the film concerns a love triangle between a wealthy dwarf, a gold-digging aerialist, and a strongman; a murder plot; and the vengeance dealt out by the dwarf and his fellow circus freaks. The film was highly controversial, even after heavy editing to remove many disturbing scenes, and was a commercial failure and banned in the United Kingdom for thirty years. His career derailed, Browning found himself unable to get his requested projects greenlighted. After directing the drama Fast Workers (1933) starring John Gilbert, who was also not in good standing with the studio, he was allowed to direct a remake of London After Midnight, originally titled Vampires of Prague but later retitled Mark of the Vampire (1935). In the remake, the roles played by Lon Chaney in the original were split between Lionel Barrymore and Bela Lugosi (spoofing his Dracula image). After that, Browning directed The Devil-Doll (1936), originally titled The Witch of Timbuctoo, from his own script. The picture starred Lionel Barrymore as an escapee from an island prison who avenges himself on the people who imprisoned him using living "dolls" who are actually people shrunk to doll-size and magically placed under Barrymore's hypnotic control. Browning's final film was the murder mystery Miracles for Sale (1939).

Answer this question "Did Tod Browning direct a movie after Iron Man?"
output:

input: In 1990, Thalia returned to Mexico and released her first studio album as a solo artist, self-titled Thalia, which was produced by Alfredo Diaz Ordaz, and published by Fonovisa, Televisa's record label. From that album, she released a total of four singles that became huge radio hits : "Amarillo Azul", "Pienso en Ti", "Un Pacto Entre Los Dos" and "Saliva". The last two tracks were co-written by her and Diaz Ordaz and they were considered as provocative at the time ("Un Pacto Entre Los Dos" was even labeled as a song with occult Satan-worship lyrics by various far-right parties). In September 1991, Thalia released her second studio album, Mundo de cristal, which marks Thalia's last project in collaboration with Alfredo Diaz Ordaz. Four songs became radio singles from the album, and all of them had big radio impact in Mexico. Due to the success of the singles, the album was certified as double gold in Thalia's native country, Mexico. In the same year, Thalia was co-presenter of the late Spanish show VIP Noche, along with Spanish presenter Emilio Aragon, produced by Telecinco. In October 1992, she released her third studio album and her last under the same label, entitled Love, which was recorded in Spain and it was produced by Luis Carlos Esteban. The album spread six singles, that had huge radio impact: "Sangre", "Love", "No Trates de Enganarme", "Flor de Juventud", "Maria Mercedes" (official theme of the TV series), and "La Vida en Rosa" (La vie en rose), the last one being a Spanish-French cover of the classic French song originally performed by Edith Piaf. Thalia wrote the song "Sangre" inspired in Diaz Ordaz, with whom she had broken up her sentimental relation. The album was praised by the critics, as it was an artistic evolution for Thalia, who experimented for the first time in different music genres, especially electronic music. The album reached number 15 on Billboard's Latin Pop Albums in 1993. In Mexico, it sold over 200,000 copies in the first month upon its release and very soon it reached the platinum and gold certification, while it was a commercial success all over Latin America.

Answer this question "what were they called?"
output:

input: Following the Sex Pistols' break-up in 1978, photographer Dennis Morris suggested that Lydon travel to Jamaica with him and Virgin Records head Richard Branson, where Branson would be scouting for emerging reggae musicians. Branson also flew American band Devo to Jamaica, aiming to install Lydon as lead singer in the band. Devo declined the offer. Upon returning to England, Lydon approached Jah Wobble (ne John Wardle) about forming a band together. The pair had been friends since the early 1970s when they attended the same school in Hackney (both belonged to a circle of friends Lydon informally dubbed "The Gang of Johns" - John Lydon, John Wardle, John Gray, and John Simon Ritchie, a.k.a. Sid Vicious). Lydon and Wobble had previously played music together during the final days of the Sex Pistols. Both had similarly broad musical tastes, and were avid fans of reggae and world music. Lydon assumed, much as he had with Sid Vicious, that Wobble would learn to play bass guitar as he went. Wobble would prove to be a natural talent. Lydon also approached guitarist Keith Levene, with whom he had toured in mid-1976, while Levene was a member of the Clash. Lydon and Levene had both considered themselves outsiders even within their own bands. Jim Walker, a Canadian student newly arrived in the UK, was recruited on drums, after answering an ad placed in Melody Maker. PiL began rehearsing together in May 1978, although the band was still unnamed. In July 1978, Lydon officially named the band "Public Image" (the "Ltd" was not added until several months later), after the Muriel Spark novel The Public Image. PiL debuted in October 1978 with "Public Image", a song written while Lydon was still a member of the Sex Pistols. The single was well received and reached number 9 on the UK charts, and it also performed well on import in the US.

Answer this question "When did the band form?"
output:
1976,