input: Hornsby played more than 100 shows with the Grateful Dead from 1988 until Jerry Garcia's death in 1995. At some shows in 1988 and 1989, he joined the band as a special guest and played accordion or synthesizer. Starting in the fall of 1990, he played piano (and frequently accordion) at many gigs following the death of longtime Grateful Dead keyboardist Brent Mydland, who died suddenly in July 1990. Mydland's place was filled in September 1990 by Vince Welnick, who became the sole keyboardist by March 1992, although Hornsby still sat in with the band on occasion. Hornsby's own music evolved significantly during this time period. Critics have suggested that the Dead's vibrant tradition of melding folk music and the blues with psychedelic rock in "loose-knit expressions" and extended jamming "further pushed [Hornsby] outside the confines of mainstream pop." Critics have also commented upon the "close musical connection" formed between Hornsby and Jerry Garcia, suggesting that Hornsby's particular style of jazz-fueled improvisation added to the band's repertoire, and helped to revitalize and refocus Jerry Garcia's guitar solos in the band's sound. Hornsby's friendship with Garcia continued, both inside and outside the band, as the two "challenged" each other to expand their musicianship through several other album and live collaborations. Above all, Hornsby's musical versatility and ability to slip in and out of extended freeform jams won over longtime Grateful Dead fans. Since his first involvement with the Grateful Dead, Hornsby's live shows have drawn Deadheads and Hornsby has commented: "I've always liked the group of fans that we've drawn from the Grateful Dead time, because those fans are often adventurous music listeners." He has performed a number of their songs at his concerts and as homages on studio and live albums, while Hornsby originals "The Valley Road," and "Stander on the Mountain," appeared several times in the Dead's setlists. Hornsby also co-performed the improvisation "Silver Apples of the Moon" for the Grateful Dead's Infrared Roses. Hornsby was the presenter when the Grateful Dead were inducted into the Rock and Roll Hall of Fame in 1994 and in 2005 he participated in "Comes a Time", a tribute concert to Jerry Garcia. He continues to work with Dead-related projects, such as Bob Weir's Ratdog, Mickey Hart's solo projects. He performed as part of The Other Ones in 1998 and 2000, and on occasion sat in with The Dead. Hornsby continues to be involved in the Grateful Dead and Furthur community, having opened All Good Music Festival in 2012 featured with Bob Weir on rhythm guitar. In mid-2013, Hornsby performed with Grateful Dead-influenced bluegrass group Railroad Earth. Hornsby reunited with surviving members of the Grateful Dead along with Trey Anastasio from Phish and Jeff Chimenti at Levi's Stadium in Santa Clara, California, and later at Soldier Field in Chicago, Illinois, in July 2015.

Answer this question "What happened between Hornsby and the Dead?"
output: At some shows in 1988 and 1989, he joined the band as a special guest and played accordion or synthesizer.

input: Beginning in 1962, Hooker gained greater exposure when toured Europe in the annual American Folk Blues Festival. His "Dimples" became a successful single on the UK Singles Charts in 1964, eight years after its first US release. Hooker began to perform and record with rock musicians. One of his earliest collaborations was with British blues rock band the Groundhogs. In 1970, he recorded the joint album Hooker 'n Heat, with the American blues and boogie rock group Canned Heat, whose repertoire included adaptations of Hooker songs. It became the first of Hooker's albums to reach the Billboard charts, peaking at number 78 on the Billboard 200. Other collaboration albums soon followed, including Endless Boogie (1971) and Never Get Out of These Blues Alive (1972), which included Steve Miller, Elvin Bishop, Van Morrison, and others. Hooker appeared in the 1980 film The Blues Brothers. He performed "Boom Boom" in the role of a street musician. In 1989, he recorded the album The Healer with Carlos Santana, Bonnie Raitt, and others. The 1990s saw additional collaboration albums: Mr. Lucky (1991), Chill Out (1995), and Don't Look Back (1997) with Morrison, Santana, Los Lobos, and additional guest musicians. His re-recording of "Boom Boom" (the title track for his 1992 album) with guitarist Jimmie Vaughan became Hooker's highest charting single (number 16) in the UK. Come See About Me, a 2004 DVD, includes performances filmed between 1960 and 1994 and interviews with several of the musicians. Hooker died in his sleep on June 21, 2001, in Los Altos, California. He is interred at the Chapel of the Chimes in Oakland, California. He was survived by eight children, 19 grandchildren, and numerous great-grandchildren.

Answer this question "What happened in Hooker's later career?"
output: The 1990s saw additional collaboration albums: Mr. Lucky (1991), Chill Out (1995), and Don't Look Back (1997) with Morrison, Santana, Los Lobos, and additional guest musicians.

input: Lambert is best known for his theatrical performance style and meticulous attention to detail in all aspects of his personal presentation. He draws upon extensive stage experience in the ease with which he can refine and define his image through fashion and other imagery, which are essential to how he chooses to inhabit his songs, rivet his audiences and showcase his individuality. While a contestant on American Idol, Lambert's precise yet varied stagings of himself kept audiences and judges glued as much to his presentation as to his vocal talent. His signature flamboyance and glam rock styling was a break-out moment in men's fashion, duly noted by fashion publications and taste-makers, who compared him to Lady Gaga in terms of crossing style boundaries and being unabashedly individual. Lambert made three fashion related TV appearances at the close of 2010. He fused his passion for music and fashion on MTV's "Talk@Playground", appearing in discussion with Skingraft designer Jonny Cota. He was a guest judge on Project Runway, in an episode that styled a rock band for their upcoming Rolling Stone cover. He was the subject for whom the young designers of "All on the Line with Joe Zee" created a modern look, which he then critiqued along with the show's hosts. Lambert continued to grace the covers of magazines, moving more specifically into the fashion and culture space. Reflecting the mood and concept behind his album Trespassing, the Fault Magazine fashion shoot exemplified Lambert's commitment to aligning the elements of his artistic vision so that a cohesive narrative emerges. When Lambert appeared on the December 2012 cover of London-based high style magazine Fiasco's "Obsession" issue, he again took the opportunity to manipulate and provoke with his image and style. Sporting a sophisticated, minimalist look that recalled old Hollywood, Lambert played with male stereotypes and representations; and in the interview, emphasized that his fashion and presentation are often disparate from gay as well as straight regimes: "For the general audience, they look at the way I style myself and they go, 'Errrr, that's gay', but you ask a handful of gay guys and they're like, 'I would never wear that!'" In August, 2015, he was one of four artists to appear on the cover of Billboard's "Music's Men of Style" issue. He discussed his natural shift towards a cleaner, more classic look; and reiterated that the intersection of music and fashion--the constant motion of trends--is a fascination and part of being a pop musician. Lambert is represented by London-based MiLK Management modelling agency as of July 2016.

Answer this question "what is the most important fact in this article?"
output:
!'" In August, 2015, he was one of four artists to appear on the cover of Billboard's "Music's Men of Style" issue.