Some context: Jane Jacobs  (born Jane Butzner; May 4, 1916 - April 25, 2006) was an American-Canadian journalist, author, and activist who influenced urban studies, sociology, and economics. Her book The Death and Life of Great American Cities (1961) argued that urban renewal did not respect the needs of city-dwellers. It also introduced the sociological concepts "eyes on the street" and "social capital". Jacobs organized grassroots efforts to protect neighborhoods from "slum clearance", in particular Robert Moses' plans to overhaul her own Greenwich Village neighborhood.
In 1935, during the Great Depression, she moved to New York City with her sister Betty. Jane Butzner took an immediate liking to Manhattan's Greenwich Village, which did not conform to the city's grid structure. The sisters soon moved there from Brooklyn.  During her early years in the city, Jacobs held a variety of jobs working as a stenographer and freelance writer, writing about working districts in the city. These experiences, she later said, "... gave me more of a notion of what was going on in the city and what business was like, what work was like." Her first job was for a trade magazine as a secretary, then an editor. She sold articles to the Sunday Herald Tribune, Cue magazine, and Vogue.  She studied at Columbia University's School of General Studies for two years, taking courses in geology, zoology, law, political science, and economics. About the freedom to pursue study across her wide-ranging interests, she said:  For the first time I liked school and for the first time I made good marks. This was almost my undoing because after I had garnered, statistically, a certain number of credits I became the property of Barnard College at Columbia, and once I was the property of Barnard I had to take, it seemed, what Barnard wanted me to take, not what I wanted to learn. Fortunately my high-school marks had been so bad that Barnard decided I could not belong to it and I was therefore allowed to continue getting an education.
what is the significance of new york city to jane jacobs?
A: In 1935, during the Great Depression, she moved to New York City with her sister Betty.

Question: INXS ( IN-eks-ESS) were an Australian rock band, formed as The Farriss Brothers in 1977 in Sydney, New South Wales. They began playing covers in Western Australian pubs and clubs, occasionally playing some of their original music. The band's founding members were bassist Garry Gary Beers, main composer and keyboardist Andrew Farriss, drummer Jon Farriss, guitarist Tim Farriss, lead singer and main lyricist Michael Hutchence, and guitarist and saxophonist Kirk Pengilly. For twenty years, INXS was fronted by Hutchence, whose "sultry good looks" and magnetic stage presence made him the focal point of the band.

The origins of the band began with Andrew Farriss convincing his fellow Davidson High School classmate, Michael Hutchence, to join his band, Doctor Dolphin. The band contained two other classmates, Kent Kerny and Neil Sanders and a bass player, Garry Beers and Geoff Kennely, from a nearby high school, Forest High School. In 1977, Tim Farriss, Andrew's older brother, invited Andrew, Hutchence and Beers to join him and his schoolmate Kirk Pengilly. Tim and Pengilly had been playing together since 1971 as either an acoustic duo, Kirk and Tim, or as a four-piece band called Guinness (named after their bass player's dog). Together with younger brother Jon Farriss they formed the Farriss Brothers, who consisted of Garry Beers on bass guitar, Andrew Farriss on keyboards, Jon Farriss on drums, Tim Farriss on lead guitar, Geoff Kennelly on drums, Michael Hutchence on lead vocals and Kirk Pengilly on guitar and saxophone. The band made their debut on 16 August 1977 at Whale Beach, 40 km (25 mi) north of Sydney.  The parents of the Farriss boys relocated to Perth, Western Australia in 1978, taking Jon to continue his schooling and, as soon as Hutchence and Andrew finished school, the rest of the band followed. They briefly performed as The Vegetables, singing "We Are the Vegetables", before returning to Sydney ten months later, where they recorded a set of demos. At a chance meeting in the car park of the Narrabeen Antler, a pub in Narrabeen on the Northern Beaches of Sydney, New South Wales, Tim was approached by Gary Morris, the manager of Midnight Oil.  The band began to regularly support Midnight Oil and other local bands. Morris advised that a member of the Oils crew had come up with a new name and suggested they change it to INXS. The name INXS was inspired by English band XTC and Australian jam makers IXL. Pengilly later explained that Morris was interested in turning the group into a Christian band, which the band briefly considered before rejecting the idea.  The band's first performance as INXS was on 1 September 1979 at the Ocean Beach Hotel in Umina on the Central Coast of New South Wales and by the end of 1979, after passing on the Christian band image, they hired Chris "CM" Murphy as their manager and continued taking on the Oz pub circuit. Murphy was an adept business manager and negotiator and by early 1980 the band had signed a five-album record deal with a Sydney independent label, Deluxe Records, run by Michael Browning, a former manager of AC/DC.

Using a quote from the above article, answer the following question: Who else was in the band?
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Answer: The band contained two other classmates, Kent Kerny and Neil Sanders and a bass player, Garry Beers and Geoff Kennely,

Some context: George Orson Welles was born May 6, 1915, in Kenosha, Wisconsin, son of Richard Head Welles (b. Richard Hodgdon Wells, November 12, 1872, near St. Joseph, Missouri; d. December 28, 1930, Chicago, Illinois) and Beatrice Ives Welles (b. Beatrice Lucy Ives, September 1, 1883, Springfield, Illinois; d. May 10, 1924, Chicago).
Simultaneously with his work in the theatre, Welles worked extensively in radio as an actor, writer, director and producer, often without credit. Between 1935 and 1937 he was earning as much as $2,000 a week, shuttling between radio studios at such a pace that he would arrive barely in time for a quick scan of his lines before he was on the air. While he was directing the Voodoo Macbeth Welles was dashing between Harlem and midtown Manhattan three times a day to meet his radio commitments.  In addition to continuing as a repertory player on The March of Time, in the fall of 1936 Welles adapted and performed Hamlet in an early two-part episode of CBS Radio's Columbia Workshop. His performance as the announcer in the series' April 1937 presentation of Archibald MacLeish's verse drama The Fall of the City was an important development in his radio career and made the 21-year-old Welles an overnight star.  In July 1937, the Mutual Network gave Welles a seven-week series to adapt Les Miserables. It was his first job as a writer-director for radio, the radio debut of the Mercury Theatre, and one of Welles's earliest and finest achievements. He invented the use of narration in radio.  "By making himself the center of the storytelling process, Welles fostered the impression of self-adulation that was to haunt his career to his dying day," wrote critic Andrew Sarris. "For the most part, however, Welles was singularly generous to the other members of his cast and inspired loyalty from them above and beyond the call of professionalism."  That September, Mutual chose Welles to play Lamont Cranston, also known as The Shadow. He performed the role anonymously through mid-September 1938.
Which show was he most famous for?
A:
drama The Fall of the City was an important development in his radio career and made the 21-year-old Welles an overnight star.