Some context: Elbow are an English rock band consisting of Guy Garvey (lead vocals, guitar), Craig Potter (keyboard, piano, backing vocals), Mark Potter (guitar, backing vocals) and Pete Turner (bass guitar, backing vocals). They have played together since 1990, adopting the Elbow band name in 1997. The band have released seven studio albums, Asleep in the Back (2001), Cast of Thousands (2003), Leaders of the Free World (2005), The Seldom Seen Kid (2008), Build a Rocket Boys! (2011),
In June 2011, Garvey confirmed to the Daily Mirror that the band had started working on new material for the follow-up to Build a Rocket Boys!, saying, "Rich [drummer Richard Jupp] went into the studio and recorded several different drum patterns for me. I'll go away next week and try and write lyrics for them. We've never worked this way before, but we'll see what happens." The band started recording the album in November 2012, with Turner telling Q magazine that the new album would be "experimental": "We've been going very left-field with things. We are trying out new things". On 30 September 2013, the band simultaneously announced their first-ever live album, Live at Jodrell Bank, and the release date of their next studio album as 10 March 2014. Garvey said in an interview with Q that the Manchester band's sixth LP would be called Carry Her Carry Me, after previously having the working title of All at Once. The group spent two weeks working on the early stages of the album at Peter Gabriel's Real World Studios near Bath. Garvey told NME, "It's the least aptly-named studio in the world. Real World? Is it fuck. But when you're there, you get six months work done in two weeks. To go and live and breathe your record without the distractions of the rest of life, you make creative decisions you would not have made at home." In January 2014, the band announced that the album's title had changed to The Take Off and Landing of Everything. The album was released on 10 March 2014 and debuted at number one on the UK Albums Chart, becoming the group's first chart-topper.
Did the do an album tour during this time period
A:

Question: Freddie King (September 3, 1934 - December 28, 1976) was an American blues guitarist and singer. He has been described as one of the "Three Kings" of electric blues guitar, along with Albert King and B.B. King. He was an influential guitarist with hits for Federal Records in the early 1960s. His soulful and powerful voice and distinctive guitar style inspired countless musicians, particularly guitarists (Eric Clapton is a notable example).

According to his birth certificate he was named Fred King, and his parents were Ella Mae King and J. T. Christian. When Freddie was six years old, his mother and his uncle began teaching him to play the guitar. In autumn 1949, he and his family moved from Dallas to the South Side of Chicago. In 1952 King started working in a steel mill. In the same year he married another Texas native, Jessie Burnett. They had seven children. Almost as soon as he had moved to Chicago, King started sneaking into South Side nightclubs, where he heard blues performed by Muddy Waters, Howlin' Wolf, T-Bone Walker, Elmore James, and Sonny Boy Williamson. King formed his first band, the Every Hour Blues Boys, with the guitarist Jimmie Lee Robinson and the drummer Frank "Sonny" Scott. In 1952, while employed at a steel mill, the eighteen-year-old King occasionally worked as a sideman with such bands as the Little Sonny Cooper Band and Earl Payton's Blues Cats. In 1953 he recorded with the latter for Parrot Records, but these recordings were never released. As the 1950s progressed, King played with several of Muddy Waters's sidemen and other Chicago mainstays, including the guitarists Jimmy Rogers, Robert Lockwood Jr., Eddie Taylor, and Hound Dog Taylor; the bassist Willie Dixon; the pianist Memphis Slim; and the harmonicist Little Walter. In 1956 he cut his first record as a leader, for El-Bee Records. The A-side was "Country Boy", a duet with Margaret Whitfield. The B-side was a King vocal. Both tracks feature the guitar of Robert Lockwood, Jr., who during these years was also adding rhythm backing and fills to Little Walter's records. King was repeatedly rejected in auditions for the South Side's Chess Records, the premier blues label, which was the home of Muddy Waters, Howlin' Wolf, and Little Walter. The complaint was that King sang too much like B.B. King. A newer blues scene, lively with nightclubs and upstart record companies, was burgeoning on the West Side, though. The bassist and producer Willie Dixon, during a period of estrangement from Chess in the late 1950s, asked King to come to Cobra Records for a session, but the results have never been heard. Meanwhile, King established himself as perhaps the biggest musical force on the West Side. He played along with Magic Sam and reputedly played backing guitar, uncredited, on some of Sam's tracks for Mel London's Chief and Age labels, though King does not stand out on them.

Using a quote from the above article, answer the following question: Did Freddie King release a biography?
HHHHHH
Answer: he cut his first record

Some context: Karen Horney was born Karen Danielsen on 16 September 1885 in Blankenese, Germany, near Hamburg. Her father, Berndt Wackels Danielsen (1836-1910), was Norwegian but had German citizenship. He was a ship's captain in the merchant marine, and a Protestant traditionalist (his children nicknamed him "the Bible-thrower", as he did indeed throw Bibles). Her mother, Clotilde, nee van Ronzelen (1853-1911), known as "Sonni", was also Protestant, of Dutch origin.
Horney, together with fellow psychoanalyst Alfred Adler, formed the Neo-Freudian discipline. While Horney acknowledged and agreed with Freud on many issues, she was also critical of him on several key beliefs. Like many who held opposing views with Freud, Horney felt that sex and aggression were not the primary constituents for determining personality. Horney, along with Adler, believed there were greater influences on personality through social occurrences during childhood, rather than just repressed sexual passions. The two focused more on how the conscious mind plays a role in human personality, not just subconscious repression. Freud's notion of "penis envy" was particularly subject to criticism, as well. She thought Freud had merely stumbled upon women's jealousy of men's generic power in the world. Horney accepted that penis envy might occur occasionally in neurotic women, but stated that "womb envy" occurs just as much in men: Horney felt that men were envious of a woman's ability to bear children. The degree to which men are driven to success may be merely a substitute for the fact that they cannot carry, nurture and bear children. Horney also thought that men were envious of women because they fulfill their position in society by simply "being", whereas men achieve their manhood according to their ability to provide and succeed. Horney was bewildered by psychiatrists' tendency to place so much emphasis on the male sexual organ. Horney also reworked the Freudian Oedipal complex of the sexual elements, claiming that the clinging to one parent and jealousy of the other was simply the result of anxiety, caused by a disturbance in the parent-child relationship. Despite these variances with the prevalent Freudian view, Horney strove to reformulate Freudian thought, presenting a holistic, humanistic view of the individual psyche which placed much emphasis on cultural and social differences worldwide.
Why did she believe this?
A:
Horney accepted that penis envy might occur occasionally in neurotic women, but stated that "womb envy" occurs just as much in men: