input: The week of January 9, 2011, the group ventured into the studio to begin recording for their third studio album. In an interview with Entertainment Weekly, Charles Kelley said, "We actually just went ahead and decided we're gonna take two, two and a half months straight in the studio to create this thing and not have all this distraction. Hopefully that will be a good thing". On May 2, 2011, the group released the first single from their upcoming album, titled "Just a Kiss". The group performed the single on stage on American Idol's result show on May 5, 2011. It was a commercial and critical success, debuting and peaking at number 7 on the Billboard Hot 100, making it their highest debut on the chart. It also topped the Billboard Hot Country Songs, making it their fifth number-one single on the chart. On June 7, 2011, they announced the title of third album; called Own the Night, it was released on September 13, 2011. The album cover and track listing was released on July 18, 2011. All together four singles were released from Own the Night. Follow up singles were "We Owned the Night", "Dancin' Away with My Heart" and "Wanted You More" which charted moderally in the Hot Country Songs. Lady A released a "Lady Hazed" version of Jason Aldean's song "Dirt Road Anthem" entitled "Country Club Anthem" on their installment of Webisode Wednesdays on August 10, 2011. On October 1, 2011, the group performed as the musical guests on Saturday Night Live. Lady Antebellum released their first Christmas album On This Winter's Night on October 22, 2012.

Answer this question "How did the group form?"
output:

input: In 1977, Goodall established the Jane Goodall Institute (JGI), which supports the Gombe research, and she is a global leader in the effort to protect chimpanzees and their habitats. With nineteen offices around the world, the JGI is widely recognised for community-centred conservation and development programs in Africa. Its global youth program, Roots & Shoots began in 1991 when a group of 16 local teenagers met with Goodall on her back porch in Dar es Salaam, Tanzania. They were eager to discuss a range of problems they knew about from first-hand experience that caused them deep concern. The organisation now has over 10,000 groups in over 100 countries. Due to an overflow of handwritten notes, photographs, and data piling up at Jane's home in Dar es Salaam in the mid-1990s, the Jane Goodall Institute's Center for Primate Studies was created at the University of Minnesota to house and organise this data. Currently all of the original Jane Goodall archives reside there and have been digitised and analysed and placed in an online database. On 17 March 2011, Duke University spokesman Karl Bates announced that the archives will move to Duke, with Anne E. Pusey, Duke's chairman of evolutionary anthropology, overseeing the collection. Pusey, who managed the archives in Minnesota and worked with Goodall in Tanzania, had worked at Duke for a year. Today, Goodall devotes virtually all of her time to advocacy on behalf of chimpanzees and the environment, travelling nearly 300 days a year. Goodall is also a board member for the world's largest chimpanzee sanctuary outside of Africa, Save the Chimps in Fort Pierce, Florida.

Answer this question "Does the institute contribute to scientific knowledge or research?"
output: Goodall is also a board member for the world's largest chimpanzee sanctuary outside of Africa,

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 "Were their exhibits in other cities?"
output:
), once in SoHo at the Carpenter + Hochman Gallery (1984), once each at the Galerie Tokoro in Tokyo, Japan (1993),