IN: Born in Cherryvale, Kansas, Louise Brooks was the daughter of Leonard Porter Brooks, a lawyer, who was usually too busy with his practice to discipline his children, and Myra Rude, an artistic mother who determined that any "squalling brats she produced could take care of themselves". Rude was a talented pianist who played the latest Debussy and Ravel for her children, inspiring them with a love of books and music. When she was nine years old, a neighborhood predator sexually abused Louise. This event had a major influence on Brooks' life and career, causing her to say in later years that she was incapable of real love, and that this man "must have had a great deal to do with forming my attitude toward sexual pleasure....

Brooks made her screen debut in the silent The Street of Forgotten Men, in an uncredited role in 1925. Soon, however, she was playing the female lead in a number of silent light comedies and flapper films over the next few years, starring with Adolphe Menjou and W. C. Fields, among others. She was noticed in Europe for her pivotal vamp role in the Howard Hawks directed silent "buddy film", A Girl in Every Port in 1928. In an early sound film drama, Beggars of Life (1928), Brooks played an abused country girl who kills her foster father in a moment of desperation. A hobo, Richard Arlen, happens on the murder scene and convinces Brooks to disguise herself as a young boy and escape the law by "riding the rails" with him. In a hobo encampment, or "jungle," they meet another hobo, Wallace Beery. Brooks's disguise is soon uncovered and she finds herself the only female in a world of brutal, sex-hungry men. Much of this film was shot on location, and the boom microphone was invented for this film by the director William Wellman, who needed it for one of the first experimental talking scenes in the movies. By this time in her life, she was mixing with the rich and famous, and was a regular guest of William Randolph Hearst and his mistress, Marion Davies, at San Simeon, being close friends with Davies' niece, Pepi Lederer. Her distinctive bob haircut helped start a trend; many women styled their hair in imitation of her and fellow film star Colleen Moore. Soon after the film Beggars Of Life was made, Brooks, who loathed the Hollywood "scene", refused to stay on at Paramount after being denied a promised raise, and left for Europe to make films for G. W. Pabst, the prominent Austrian Expressionist director. Paramount attempted to use the coming of sound films to pressure the actress, but she called the studio's bluff. It was not until 30 years later that this rebellious move would come to be seen as arguably the most savvy of her career, securing her immortality as a silent film legend and independent spirit. Unfortunately, while her initial snubbing of Paramount alone would not have finished her in Hollywood altogether, her refusal after returning from Germany to come back to Paramount for sound retakes of The Canary Murder Case (1929) irrevocably placed her on an unofficial blacklist. Actress Margaret Livingston was hired to dub Brooks's voice for the film, as the studio claimed that Brooks' voice was unsuitable for sound pictures.

Did Brooks work with any famous actors?

OUT: Adolphe Menjou and W. C. Fields, among others.

Answer the question at the end by quoting:

Luis Antonio Gokim Tagle (Tagalog: [lU'wis an'tonIo 'tagle]; born June 21, 1957) is the 32nd Archbishop of Manila. He has been Archbishop since December 12, 2011, and a cardinal since November 24, 2012. He also serves as President of Caritas International, a federation of Catholic relief, development, and social service organizations, and of the Catholic Biblical Federation. Tagle has become involved in many social issues in the Philippines with emphasis on helping the poor while maintaining opposition against what he terms "practical atheism", abortion, and contraception (equated with abortion in the Philippines).
In 2001, Tagle was appointed Bishop of Imus on October 22 and consecrated on December 12 after previously serving as parish priest of the Cathedral-parish of Imus. During his ten years in Imus, he made a point of living simply, owned no car, and invited the destitute to join him for a meal. At the first gathering of bishops under Pope Benedict XVI in 2005, the General Assembly of the Synod of Bishops, he spoke from the floor about the inadequacy of the number of priests in the Philippines. He said: To respond to the hunger for the Eucharist, priests say many masses, accept multiple intentions and send lay ministers for the service of the Word with communion.... The faithful know the difference between a bible service and Eucharist, a priest and a lay minister. Many communities wait for the gift of the priesthood and the Eucharist with humility. To the concept that priestly vocation are a gift from God he countered: "we should also ask whether the Church is a good steward of the gift." He told a news conference that "The first Sunday after my ordination as a priest, I said nine Masses, and that is regular in the Philippines." Discussing priestly celibacy, Cardinal Angelo Scola, the synod moderator, expressed reservations about modifications to the Church's requirement of celibacy for the priesthood. In response, Tagle suggested that the Church should consider such a change to combat the shortage of priests. At the 2008 International Eucharistic Congress in Quebec, Canada, he delivered a talk on the importance of the Eucharist that, by one report, moved the audience to tears. He contrasted Christian worship with false forms of adoration: It is sad that those who worship idols sacrifice other people while preserving themselves and their interests. How many factory workers are being denied the right wages for the god of profit? How many women are being sacrificed to the god of domination? How many children are being sacrificed to the god of lust? How many trees, rivers, hills are being sacrificed to the god of "progress"? How many poor people are being sacrificed to the god of greed? How many defenseless people are being sacrificed to the god of national security?

did he ever meet the pope?

input: In 1978, Lauper met saxophone player John Turi through her manager Ted Rosenblatt. Turi and Lauper formed a band named Blue Angel and recorded a demo tape of original music. Steve Massarsky, manager of The Allman Brothers Band, heard the tape and liked Lauper's voice. He bought Blue Angel's contract for $5,000 and became their manager. Lauper received recording offers as a solo artist, but held out, wanting the band to be included in any deal she made. Blue Angel was eventually signed by Polydor Records and released a self-titled album on the label in 1980. Lauper hated the album cover, saying that it made her look like Big Bird, but Rolling Stone magazine later included it as one of the 100 best new wave album covers (2003). Despite critical acclaim, the album sold poorly ("It went lead", as Lauper later joked) and the band broke up. The members of Blue Angel had a falling-out with Massarsky and fired him as their manager. He later filed an $80,000 suit against them, which forced Lauper into bankruptcy. After this Lauper temporarily lost her voice due to an inverted cyst in her vocal cord. After Blue Angel broke up, Lauper spent time, due to her financial problems, working in retail stores, waitressing at IHOP (which she quit after being demoted to hostess when the manager made a pass at her), and singing in local clubs. Her most frequent gigs were at El Sombrero. Music critics who saw Lauper perform with Blue Angel believed she had star potential due to her four-octave singing range. In 1981, while singing in a local New York bar, Lauper met David Wolff, who took over as her manager and had her sign a recording contract with Portrait Records, a subsidiary of Epic Records.

Answer this question "Did she work anywhere else?"
output:
which she quit after being demoted to hostess when the manager made a pass at her), and singing in local clubs.