input: Although Dudley and Jeczalik had already dissolved the group, in 1990 they assisted in the promotion of the lightly remixed compilation The Ambient Collection, which the China label released to cash in on the burgeoning ambient house scene. Jeczalik approved the remixes that appeared on The FON Mixes the following year. The rest of the decade saw China Records releasing further Art of Noise compilations: The Drum and Bass Collection, Art Works, and reissues of Best of without the ZTT-era tracks. Some of these featured new remixes by other artists. According to an interview with J.J. Jeczalik reported in the ZTT fanzine Outside World in 1991, Jeczalik, Dudley and Langan were inspired by the commercial success of The FON Mixes and had discussed reuniting the group as a trio again. In preparation to record a new album, Jeczalik and Langan travelled to Cuba to gather new source material. However, no new recordings were produced with the new line-up, and the Art of Noise remained defunct. Dudley became well known for composing numerous film and television scores during the 1990s. The most famous of these is probably The Full Monty, which won an Academy Award for Original Music Score. She also collaborated with Killing Joke's Jaz Coleman on the 1990 album Songs from the Victorious City (inspired by a trip the two made to Egypt) and produced two tracks for the 1993 Deborah Harry album Debravation ("Strike Me Pink", which she also co-wrote and played keyboards on) and "Mood Ring"). She has scored orchestrations for dozens of pop releases over the years, and both scored and produced the album Voice for her neighbour Alison Moyet. Cathy Dennis added lyrics to one of Dudley's compositions and recorded it as "Too Many Walls", which became a US Top 10 hit in 1991. In 1995-1997, Jeczalik and In No Sense? Nonsense! coengineer Bob Kraushaar produced a number of instrumentals oriented toward dance clubs under the name Art of Silence, issuing an album titled artofsilence.co.uk. Jeczalik also embarked on a new career in trading in futures contracts. The Art of Noise also received a full writing credit for The Prodigy's "Firestarter", which samples the female "hey, hey" voice from "Close to the Edit". The Prodigy also contributed the remix "Instruments of Darkness (All of Us are One People)" to the 1991 compilation The FON Mixes. Also, an edited version of "Close to the Edit" is featured on the monthly educational Amiga game, Ready Robot Club. The Art of Noise are also credited for the music to the ITV series The Krypton Factor.

Answer this question "who did she work with?"
output: The most famous of these is probably The Full Monty,

input: Corey Todd Taylor was born on December 8, 1973 in Des Moines, Iowa. He was mostly raised by his single mother in Waterloo, Iowa, a place described by Taylor as a "hole in the ground with buildings around it". He is of Irish, German and Native American descent on his father's side, and Dutch and Irish on his mother's side. In 1979, Taylor and his mother saw the sci-fi series Buck Rogers in the 25th Century. Before the series, there was a trailer for the 1978 horror film Halloween. Taylor said this "developed some sense of Slipknot in [himself]". While Halloween introduced Taylor to masks and horror themes, Taylor's grandmother introduced him to rock music, showing him a collection of Elvis Presley records from the 1950s to 1970s. He especially found songs like "Teddy Bear", "In the Ghetto", and "Suspicious Minds" to appeal to his interests the most, describing them as "good times". Taylor also began listening to Black Sabbath at a young age, beginning with their early work. Taylor, along with his mother and sister, lived at one point in an "old dilapidated farmhouse" which on days in late autumn would "look like Black Sabbath album covers". By age 15, he had developed a drug addiction and had overdosed on cocaine twice. By this time, he was living in Waterloo, but later set out on his own and ended up at his grandmother's house in Des Moines. She took legal custody of him so that he could continue going to school, and she helped him buy musical equipment. When Taylor was 18, he left his grandmother's house and went to various places in Iowa, Des Moines being a place to which he frequently returned. In 2017, on an episode of Viceland's The Therapist, Taylor revealed that he was sexually assaulted at the age of 10 by a 16-year-old friend. Taylor stated that he never told anyone about the incident until he was "probably 18" because his abuser "threatened to hurt [him] and threatened to hurt [his] mom". At age 18, when Taylor was living with his grandmother, he attempted suicide by way of overdose. His ex-girlfriend's mother drove him to the hospital in Des Moines and doctors were able to resuscitate him. He describes this as the lowest point in his life. Taylor first met his father when he was 30 years old, and now has a relationship with him, although he said their paths do not cross that often.

Answer this question "What is his best fact"
output: Taylor, along with his mother and sister, lived at one point in an "old dilapidated farmhouse"

input: Spiegelman was born Itzhak Avraham ben Zeev in Stockholm, Sweden, on February 15, 1948. He immigrated with his parents to the US in 1951. Upon immigration his name was registered as Arthur Isadore, but he later had his given name changed to Art. Initially the family settled in Norristown, Pennsylvania, and then relocated to Rego Park in Queens, New York City, in 1957. He began cartooning in 1960 and imitated the style of his favorite comic books, such as Mad. At Russell Sage Junior High School, where he was an honors student, he produced the Mad-inspired fanzine Blase. He was earning money from his drawing by the time he reached high school and sold artwork to the original Long Island Press and other outlets. His talent was such that he caught the eyes of United Features Syndicate, who offered him the chance to produce a syndicated comic strip. Dedicated to the idea of art as expression, he turned down this commercial opportunity. He attended the High School of Art and Design in Manhattan beginning in 1963. He met Woody Gelman, the art director of Topps Chewing Gum Company, who encouraged Spiegelman to apply to Topps after graduating high school. At 15 Spiegelman received payment for his work from a Rego Park newspaper. After his graduation in 1965, Spiegelman's parents urged him to pursue the financial security of a career such as dentistry, but he chose instead to enroll at Harpur College to study art and philosophy. While there, he got a freelance art job at Topps, which provided him with an income for the next two decades. Spiegelman attended Harpur College from 1965 until 1968, where he worked as staff cartoonist for the college newspaper and edited a college humor magazine. After a summer internship when he was 18, Topps hired him for Gelman's Product Development Department as a creative consultant making trading cards and related products in 1966, such as the Wacky Packages series of parodic trading cards begun in 1967. Spiegelman began selling self-published underground comix on street corners in 1966. He had cartoons published in underground publications such as the East Village Other and traveled to San Francisco for a few months in 1967, where the underground comix scene was just beginning to burgeon. In late winter 1968 Spiegelman suffered a brief but intense nervous breakdown, which cut his university studies short. He has said that at the time he was taking LSD with great frequency. He spent a month in Binghamton State Mental Hospital, and shortly after he got out his mother committed suicide following the death of her only surviving brother.

Answer this question "What started his career?"
output:
At Russell Sage Junior High School, where he was an honors student, he produced the Mad-inspired fanzine Blase. He was earning money from his drawing