input: Glenn Lee Beck was born in Everett, Washington, the son of Mary Clara (nee Janssen) and William Beck, who lived in Mountlake Terrace, Washington, at the time of their son's birth. The family later moved to Mount Vernon, Washington, where they owned and operated City Bakery in the downtown area. He is descended from German immigrants who came to the United States in the 19th century. Beck was raised as a Roman Catholic and attended Immaculate Conception Catholic School in Mount Vernon. Glenn and his older sister moved with their mother to Sumner, Washington, attending a Jesuit school in Puyallup. On May 15, 1979, while out on a small boat with a male companion, Beck's mother drowned just west of Tacoma, Washington, in Puget Sound. The man who had taken her out in the boat also drowned. A Tacoma police report stated that Mary Beck "appeared to be a classic drowning victim", but a Coast Guard investigator speculated that she could have intentionally jumped overboard. Beck has described his mother's death as a suicide in interviews during television and radio broadcasts. After their mother's death, Beck and his older sister moved to their father's home in Bellingham, Washington, where Beck graduated from Sehome High School in June 1982. Beck also regularly vacationed with his maternal grandparents, Ed and Clara Janssen, in Iowa. In the aftermath of his mother's death and subsequent suicide of his stepbrother, Beck has said he used "Dr. Jack Daniel's" to cope. At 18, following his high school graduation, Beck relocated to Provo, Utah, and worked at radio station KAYK. Feeling he "didn't fit in", Beck left Utah after six months, taking a job at Washington, D.C.'s WPGC in February 1983.

Answer this question "Why was this so important"
output: After their mother's death, Beck and his older sister moved to their father's home in Bellingham, Washington,

input: In 1991, as Clivilles + Cole, the duo released an LP-single A-side featuring a cover of U2's "Pride (In the Name of Love)", but it was the B-side "Deeper Love", featuring vocals by Deborah Cooper (a long time Clivilles and Cole vocalist) and Paul Pesco that proved to be a hit, peaking at No. 15 in the UK. Deborah Cooper performed "Deeper Love" on Saturday Night Live with C+C Music Factory. It was also covered by Aretha Franklin with production by Clivilles + Cole. Both sides charted on the Billboard Hot 100 in the spring of 1992: "A Deeper Love" peaked at #44, while "Pride (In The Name Of Love)" reached #54. In 1992 as Clivilles + Cole an album was released called Greatest Remixes Vol. 1 featuring remixes by the duo of their own songs along with other artists' songs. The video for these songs was actually one long featurette, beginning with "Deeper Love" and then continuing into "Pride (In The Name Of Love)" halfway through the video. The video was labelled "Pride (A Deeper Love)". Some networks preferred to show the videos separately while others played the whole length. In 1992, the duo assembled The S.O.U.L. S.Y.S.T.E.M., only one song of this group was ever released. A special uptempo vocal club remix was released as a promo single by Arista Records. Clivilles and Cole later released a new single under the moniker The 28th Street Crew called O in 1994. In 1994 Clivilles and Cole produced a song for El General "Las Chicas", which borrowed heavily from the song "Boriqua Anthem" on the Anything Goes! album. Since then, Robert Clivilles has produced on his own including the membership of the group MVP as well as one last album release in 1996 on Columbia under the moniker Robi Rob's Club World and various other releases under different names.

Answer this question "Did they have any other alternate names that they released under?"
output: various other releases under different names.

input: When the 47-year-old Piet Mondrian left the Netherlands for unfettered Paris for the second and last time in 1919, he set about at once to make his studio a nurturing environment for paintings he had in mind that would increasingly express the principles of neoplasticism about which he had been writing for two years. To hide the studio's structural flaws quickly and inexpensively, he tacked up large rectangular placards, each in a single color or neutral hue. Smaller colored paper squares and rectangles, composed together, accented the walls. Then came an intense period of painting. Again he addressed the walls, repositioning the colored cutouts, adding to their number, altering the dynamics of color and space, producing new tensions and equilibrium. Before long, he had established a creative schedule in which a period of painting took turns with a period of experimentally regrouping the smaller papers on the walls, a process that directly fed the next period of painting. It was a pattern he followed for the rest of his life, through wartime moves from Paris to London's Hampstead in 1938 and 1940, across the Atlantic to Manhattan. At the age of 71 in the fall of 1943, Mondrian moved into his second and final Manhattan studio at 15 East 59th Street, and set about to recreate the environment he had learned over the years was most congenial to his modest way of life and most stimulating to his art. He painted the high walls the same off-white he used on his easel and on the seats, tables and storage cases he designed and fashioned meticulously from discarded orange and apple-crates. He glossed the top of a white metal stool in the same brilliant primary red he applied to the cardboard sheath he made for the radio-phonograph that spilled forth his beloved jazz from well-traveled records. Visitors to this last studio seldom saw more than one or two new canvases, but found, often to their astonishment, that eight large compositions of colored bits of paper he had tacked and re-tacked to the walls in ever-changing relationships constituted together an environment that, paradoxically and simultaneously, was both kinetic and serene, stimulating and restful. It was the best space, Mondrian said, that he had inhabited. He was there for only a few months, as he died in February 1944. After his death, Mondrian's friend and sponsor in Manhattan, artist Harry Holtzman, and another painter friend, Fritz Glarner, carefully documented the studio on film and in still photographs before opening it to the public for a six-week exhibition. Before dismantling the studio, Holtzman (who was also Mondrian's heir) traced the wall compositions precisely, prepared exact portable facsimiles of the space each had occupied, and affixed to each the original surviving cut-out components. These portable Mondrian compositions have become known as "The Wall Works". Since Mondrian's death, they have been exhibited twice at Manhattan's Museum of Modern Art (1983 and 1995-96), once in SoHo at the Carpenter + Hochman Gallery (1984), once each at the Galerie Tokoro in Tokyo, Japan (1993), the XXII Biennial of Sao Paulo (1994), the University of Michigan (1995), and - the first time shown in Europe - at the Akademie der Kunste (Academy of The Arts), in Berlin (22 February - 22 April 2007).

Answer this question "Which of the painting in the wall works was the most famous paint ?"
output:
the first time shown in Europe - at the Akademie der Kunste (Academy of The Arts), in Berlin (22 February - 22 April 2007).