input: Upon being renamed from Chicago Transit Authority to Chicago, the band sported a new logo. Its inspiration was found in the design of the Coca-Cola logo, in the attitude of the city of Chicago itself, and in the desire to visually transcend the individual identities of the band's members. It was designed by the Art Director of Columbia/CBS Records, John Berg, with each album's graphic art work being done by Nick Fasciano. Berg said, "The Chicago logo...was fashioned for me by Nick Fasciano from my sketch."  The logo would serve as the band's chief visual icon from Chicago II, onward. In various artistic forms and visual similes, it has been the subject of every subsequent album cover, except the fifteenth album, Greatest Hits, Volume II. For example, it appeared as an American flag on III, a piece of wood on V, a U.S. dollar bill on VI, a leather relief on VII, an embroidered patch on VIII, a chocolate bar on X, a map on XI, a building on 13, a fingerprint on XIV, a computer silicon chip on 16, a parcel on 17, a mosaic on 18, and an aquarelle on 19. Chicago IX's incarnation was a caricature of the band itself, in the shape of the logo.  The album cover series has endured as a cataloged work of art in its own right, described by Paul Nini of the American Institute of Graphic Arts as a "real landmark in record cover design". In 2013, the iconic status of Chicago's album art was featured in a New York art museum exhibit, which centered upon ninety-five album covers completely selected from John Berg's career portfolio of hundreds. Having overseen the design of approximately fourteen Chicago album covers across more than twenty years, Berg stated that this artistic success resulted from the combination of Chicago's "unique situation" and his position in "the best possible job at the best possible time to have that job, at the center of the graphic universe". Berg won the 1976 Grammy Award for Best Album Package for Chicago X, one of four Grammy Awards he won in his lifetime.  The book titled Type and Image: The Language of Graphic Design described the logo as "a warm vernacular form, executed in thick script letters with Victorian swashes in the tradition of sports teams and orange crate labels." The book mentions the cultural and material background of the city of Chicago as inspiration for the logo; for example, describing the leather embossing of Chicago VII as representative of the great fire and the stockades. The author connects the album art to the atmosphere of the band's namesake city, quoting the band's original manager, James William Guercio: "The printed word can never aspire to document a truly musical experience, so if you must call them something, speak of the city where all save one were born; where all of them were schooled and bred, and where all of this incredible music went down barely noticed; call them CHICAGO."

Answer this question "why did they change their names"
output: "The printed word can never aspire to document a truly musical experience, so if you must call them something, speak of the city where all save one were born;

input: Even after his discovery by Carmichael, Laine still was considered only an intermission act at Billy Berg's. His next big break came when he dusted off a fifteen-year-old song that few people remembered in 1946, "That's My Desire". Laine had picked up the song from songstress June Hart a half a dozen years earlier, when he sang at the College Inn in Cleveland. He introduced "Desire" as a "new" song--meaning new to his repertoire at Berg's--but the audience mistook it for a new song that had just been written. He ended up singing it five times that night. After that, Laine quickly became the star attraction at Berg's, and record company executives took note.  Laine soon had patrons lining up to hear him sing "Desire"; among them was R&B artist Hadda Brooks, known for her boogie woogie piano playing. She listened to him every night, and eventually cut her own version of the song, which became a hit on the "harlem" charts. "I liked the way he did it" Brooks recalled; "he sings with soul, he sings the way he feels."  He was soon recording for the fledgling Mercury label, and "That's My Desire" was one of the songs cut in his first recording session there. It quickly took the No. 3 spot on the R&B charts, and listeners initially thought Laine was black. It also made it to the No. 4 spot on the Mainstream charts. Although it was quickly covered by many other artists, including Sammy Kaye who took it to the No. 2 spot, it was Laine's version that became the standard.  "Desire" became Laine's first Gold Record, and established him as a force in the music world. He had been over $7,000 in debt, on the day before he recorded this song." His first paycheck for royalties was over five times this amount. Laine paid off all of his debts except one--fellow singer Perry Como refused to let Laine pay him back, and would kid him about the money owed for years to come. The loan to Laine during the time when both men were still struggling singers was one of the few secrets Como kept from his wife, Roselle, who learned of it many years later. A series of hit singles quickly followed, including "Black and Blue", "Mam'selle", "Two Loves Have I", "Shine", "On the Sunny Side of the Street", "Monday Again", and many others.

Answer this question "Was he able to pay his debts?"
output: His first paycheck for royalties was over five times this amount. Laine paid off all of his debts except one

input: Burns was born on July 29, 1953, in Brooklyn, New York, the son of Lyla Smith (nee Tupper) Burns, a biotechnician, and Robert Kyle Burns, at the time a graduate student in cultural anthropology at Columbia University in Manhattan. The documentary filmmaker Ric Burns is his younger brother.  Burns' academic family moved frequently. Among places they called home were Saint-Veran, France; Newark, Delaware; and Ann Arbor where his father taught at the University of Michigan. Burns' mother was found to have breast cancer when he was three and she died when he was 11, a circumstance that he said helped shape his career; he credited his father-in-law, a psychologist, with a significant insight: "He told me that my whole work was an attempt to make people long gone come back alive." Well-read as a child, he absorbed the family encyclopedia, preferring history to fiction.  Upon receiving an 8 mm film movie camera for his 17th birthday, he shot a documentary about an Ann Arbor factory. He graduated from Pioneer High School in Ann Arbor in 1971. Turning down reduced tuition at the University of Michigan, he attended Hampshire College, an alternative school in Amherst, Massachusetts, where students are graded through narrative evaluations rather than letter grades and where students create self-directed academic concentrations instead of choosing a traditional major. He worked in a record store to pay his tuition. Studying under photographers Jerome Liebling, Elaine Mayes and others, Burns earned his Bachelor of Arts degree in film studies and design in 1975.

Answer this question "Did he have any siblings?"
output:
The documentary filmmaker Ric Burns is his younger brother.