input: Patsy Cline was born Virginia Patterson Hensley on September 8, 1932 in Winchester, Virginia, in the city's Memorial Hospital. She was the eldest child of seamstress Hilda Virginia (nee Patterson, 1916-1998) and blacksmith Samuel Lawrence Hensley (1889-1956). She had a brother Samuel Jr. (1939-2004) and a sister Sylvia. The family moved often before finally settling in Winchester, Virginia when Patsy was 16. Sam Hensley deserted his family in 1947, but the children's home was reportedly happy nonetheless.  When Patsy was 13, she was hospitalized with a throat infection and rheumatic fever. She later said, "The fever affected my throat and when I recovered I had this booming voice like Kate Smith."  Cline enrolled at John Handley High School but never attended classes. To help her mother support their family, she worked as a soda jerk at Gaunt's Drug Store and a waitress at the Triangle Diner. She watched performers through the window at the local radio station, and she asked WINC (AM) disc jockey Jimmy McCoy if she could sing on his show. Her performance in 1947 was well received and she was asked back. This led to appearances at local nightclubs wearing fringed Western outfits that her mother made from Patsy's designs.  Cline performed in variety and talent shows in the Winchester and Tri-State areas, and she gained a large following through the shows and local radio appearances. Jimmy Dean was already a country star in 1954, and she became a regular with him on Connie B. Gay's Town and Country Jamboree radio show on WAVA (AM) in Arlington County, Virginia.

Answer this question "What did her parents do for a living?"
output: seamstress Hilda Virginia (nee Patterson, 1916-1998) and blacksmith Samuel Lawrence Hensley

input: Krauss made her recording debut in 1985 on the independent album, Different Strokes, featuring her brother Viktor Krauss, Swamp Weiss and Jim Hoiles. From the age of 12 she performed with bassist and songwriter John Pennell in a band called "Silver Rail", replacing their previous fiddler Andrea Zonn. Pennell later changed the band's name to Union Station after another band was discovered with the name Silver Rail. Pennell remains one of her favorite songwriters and wrote some of her early work including the popular "Every Time You Say Goodbye".  Later that year, she signed to Rounder Records, and in 1987, at 16, she released her debut album Too Late to Cry with Union Station as her backup band.  Krauss' debut solo album was quickly followed by her first group album with Union Station in 1989, Two Highways. The album includes the traditional tunes "Wild Bill Jones" and "Beaumont Rag", along with a bluegrass interpretation of The Allman Brothers' "Midnight Rider".  Krauss' contract with Rounder required her to alternate between releasing a solo album and an album with Union Station, and she released the solo album I've Got That Old Feeling in 1990. It was her first album to rise onto the Billboard charts, peaking in the top seventy-five on the country chart. The album also was a notable point in her career as she earned her first Grammy Award, the single "Steel Rails" was her first single tracked by Billboard, and the title single "I've Got That Old Feeling" was the first song for which she recorded a music video.

Answer this question "What album were those two songs on?"
output: solo album I've Got That Old Feeling in 1990.

input: Weston always made contact prints, meaning that the print was exactly the same size as the negative. This was essential for the platinum printing that he preferred early in his career, since at that time the platinum papers required ultra-violet light to activate. Weston did not have an artificial ultra-violet light source, so he had to place the contact print directly in sunlight in order to expose it. This limited him to printing only on sunny days.  When he wanted a print that was larger than the original negative size, he used an enlarger to create a larger inter-positive, then contact printed it to a new negative. The new larger negative was then used to make a print of that size. This process was very labor-intensive; he once wrote in his Daybooks "I am utterly exhausted tonight after a whole day in the darkroom, making eight contact negatives from the enlarged positives."  In 1924 Weston wrote this about his darkroom process, "I have returned, after several years use of Metol-Hydroquinine open-tank" developer to a three-solution Pyro developer, and I develop one at a time in a tray instead of a dozen in a tank." Each sheet of film was viewed under either a green or an orange safelight in his darkroom, allowing him to control the individual development of a negative. He continued to use this technique for the rest of his life.  Weston was known to extensively use dodging and burning to achieve the look he wanted in his prints.

Answer this question "Did he have any special techniques that he used in his darkroom?"
output:
Weston was known to extensively use dodging and burning to achieve the look he wanted in his prints.