input: Cooke was born Samuel Cook in Clarksdale, Mississippi, in 1931. In 1957 he added an "e" at the end of his name to signify a new start to his life. He was the fifth of eight children of the Rev. Charles Cook, a minister in the Church of Christ (Holiness), and his wife, Annie Mae. One of his younger brothers, L.C. (1932-2017), later became a member of the doo-wop band Johnny Keyes and the Magnificents. The family moved to Chicago in 1933. Cooke attended Doolittle Elementary and Wendell Phillips Academy High School in Chicago, the same school that Nat "King" Cole had attended a few years earlier. Sam Cooke began his career with his siblings in a group called the Singing Children when he was six years old. He first became known as lead singer with the Highway QC's when he was a teenager, having joined the group at the age of 14. During this time, Cooke befriended fellow gospel singer and neighbor Lou Rawls, who sang in a rival gospel group. In 1950, Cooke replaced gospel tenor R. H. Harris as lead singer of the gospel group the Soul Stirrers, founded by Harris, who had signed with Specialty Records on behalf of the group. Their first recording under Cooke's leadership was the song "Jesus Gave Me Water" in 1951. They also recorded the gospel songs "Peace in the Valley", "How Far Am I from Canaan?", "Jesus Paid the Debt" and "One More River", among many others, some of which he wrote. Cooke was often credited for bringing gospel music to the attention of a younger crowd of listeners, mainly girls who would rush to the stage when the Soul Stirrers hit the stage just to get a glimpse of Cooke.

Answer this question "Why did he want a new start in his life"
output:

input: Sometime in 1971, new manager Miles Copeland III decided to re-organise the band, focussing on what he felt were Renaissance's strong points - Haslam's voice and Tout's piano. Will Romano in Mountains come out of the sky explained that "unlike many of the artists to which they were compared Renaissance allowed the piano and female voice to come to the forefront". Until then Haslam had shared vocals with Terry Crowe, who was in effect the band's chief vocalist. Crowe and Korner went, the former unreplaced, the latter replaced by a succession of bass players, including John Wetton (later of King Crimson, UK, and Asia), Frank Farrell (later in Supertramp) and Danny McCulloch (formerly of The Animals and a former bandmate of Dunford and Crowe in The Plebs), until the position settled with the inclusion of Jon Camp. It was also decided that Dunford would now concentrate on composing, and a new guitar player, Mick Parsons, was brought in for live work. In 1972, shortly before recording sessions for the new band's debut LP, drummer Terence Sullivan joined after Slade's initial replacement, Ginger Dixon, was deemed unsuitable following a European tour. Parsons died in a car accident and was replaced at short notice by Rob Hendry. The resulting line-up entered the studio having played only a dozen gigs together. Prologue was released later in 1972 on EMI-Sovereign Records in the UK and on Capitol-Sovereign in North America. Prologue's music was, except for two songs by McCarty, composed by Dunford, with all lyrics by Thatcher-Newsinger. Rock radio stations (particularly in the northeast US and Cleveland) gave the song Spare Some Love significant airplay for a few months after the album's release, and fans of Yes and Emerson, Lake & Palmer in particular, took notice of the band. Francis Monkman, of the group Curved Air (another group managed by Copeland), was a guest on VCS3 synthesiser on the final track "Rajah Khan". Hendry was replaced for the Prologue tour by Peter Finberg, who in turn left the group shortly before the sessions for the next album. Michael Dunford then returned as (acoustic) guitarist, completing what most fans regard as the classic five-piece line-up, which would remain together through six studio albums. Ashes are Burning was released in 1973. Andy Powell, of the group Wishbone Ash, was brought in for a blistering electric guitar solo on the final track "Ashes are Burning", which became the band's anthem piece, extended to almost twenty minutes with a long bass solo and other instrumental workouts. (John Tout returned Powell's favour by playing organ on Wishbone Ash's 1972 album Argus.) The album became the band's first to chart in the US, where it reached No. 171 on the Billboard 200. The band played their first US concerts during that period, enjoying success on the East Coast in particular, which soon resulted in a special orchestral concert at New York's Academy of Music in May 1974. Soon Renaissance would choose to concentrate on the US market, as the UK press virtually ignored them.

Answer this question "When was this released?"
output: Prologue was released later in 1972 on EMI-Sovereign Records in the UK

input: Although The Birth of a Nation is commonly regarded as a landmark for its dramatic and visual innovations, its use of music was arguably no less revolutionary. Though film was still silent at the time, it was common practice to distribute musical cue sheets, or less commonly, full scores (usually for organ or piano accompaniment) along with each print of a film. For The Birth of a Nation, composer Joseph Carl Breil created a three-hour-long musical score that combined all three types of music in use at the time: adaptations of existing works by classical composers, new arrangements of well-known melodies, and original composed music. Though it had been specifically composed for the film, Breil's score was not used for the Los Angeles premiere of the film at Clune's Auditorium; rather, a score compiled by Carli Elinor was performed in its stead, and this score was used exclusively in West Coast showings. Breil's score was not used until the film debuted in New York at the Liberty Theatre, and was the score utilized in all showings save those on the West Coast. Outside of original compositions, Breil adapted classical music for use in the film, including passages from Der Freischutz by Carl Maria von Weber, Leichte Kavallerie by Franz von Suppe, Symphony No. 6 by Ludwig van Beethoven, and "Ride of the Valkyries" by Richard Wagner, the latter used as a leitmotif during the ride of the KKK. Breil also arranged several traditional and popular tunes that would have been recognizable to audiences at the time, including many Southern melodies; among these songs were "Maryland, My Maryland", "Dixie", "Old Folks at Home", "The Star-Spangled Banner", "America the Beautiful", "The Battle Hymn of the Republic", "Auld Lang Syne", and "Where Did You Get That Hat?". DJ Spooky has called Breil's score, with its mix of Dixieland songs, classical music and "vernacular heartland music" "an early, pivotal accomplishment in remix culture." He has also cited Breil's use of music by Richard Wagner as influential on subsequent Hollywood films, including Star Wars (1977) and Apocalypse Now (1979); the latter film also makes use of "Ride of the Valkyries". In his original compositions for the film, Breil wrote numerous leitmotifs to accompany the appearance of specific characters. The principal love theme that was created for the romance between Elsie Stoneman and Ben Cameron was published as "The Perfect Song" and is regarded as the first marketed "theme song" from a film; it was later used as the theme song for the popular radio and television sitcom Amos 'n' Andy.

Answer this question "What did this mean for the film"
output:
adaptations of existing works by classical composers, new arrangements of well-known melodies, and original composed music.