input: The band originated as a group called Soft White Underbelly (a name the band would occasionally revive in the 1970s and 1980s to play small club gigs around the United States and UK) in 1967 in the vicinity of Stony Brook University on Long Island, New York, at the prompting of critic and manager Sandy Pearlman. The group consisted of guitarist Buck Dharma, drummer Albert Bouchard, keyboardist Allen Lanier, singer Les Braunstein and bassist Andrew Winters. Pearlman wanted the group to be the American answer to Black Sabbath. Pearlman was important to the band - he was able to get them gigs and recording contracts with Elektra and Columbia, and he provided them with his poetry for use as lyrics for many of their songs, including "Astronomy". Writer Richard Meltzer also provided the band with lyrics from their early days up through their most recent studio album. Pearlman also gave stage names to each of the band members (Jesse Python for Eric Bloom, Andy Panda for Andy Winters, Prince Omega for Albert Bouchard, La Verne for Allen Lanier) but only Buck Dharma kept his. The band recorded an album's worth of material for Elektra Records in 1968. When Braunstein departed in early 1969, Elektra shelved the album.  Eric Bloom got hired by the band as their acoustic engineer and eventually became lead singer, replacing Braunstein, through a series of three unlikely coincidences, one in which Lanier decided to join Bloom on a drive to an upstate gig where he spent the night with Bloom's old college bandmates and got to hear old tapes of Bloom's talent as lead vocalist. Because of this, Bloom was offered the job of lead singer for Soft White Underbelly. However, a bad review of a 1969 Fillmore East show caused Pearlman to change the name of the band - first to Oaxaca, then to the Stalk-Forrest Group. The band recorded yet another album's worth of material for Elektra, but only one single ("What Is Quicksand?" b/w "Arthur Comics") was released (and only in a promo edition of 300 copies) on Elektra Records (this album was eventually released, with additional outtakes, by Rhino Handmade Records as St. Cecilia: The Elektra Recordings in 2001). The album featured Bloom as their main lead singer, but Roeser also sang lead on a few songs, a pattern of sharing lead vocals that has continued throughout the band's career.  After a few more temporary band names, including the Santos Sisters, the band settled on Blue Oyster Cult in 1971 (see below for its origin).  New York City producer/composer and jingle writer David Lucas saw the band perform and took them into his Warehouse Recording Studio and produced four demos, with which Pearlman was able to get the renamed band another audition with Columbia Records. Clive Davis liked what he heard, and signed the band to the label. The first album was subsequently produced and recorded by Lucas on eight track at Lucas' studio. Winters would leave the band and be replaced by Bouchard's brother, Joe Bouchard.

Answer this question "what was soft white underbelly?"
output: The band originated as a group called Soft White Underbelly (

input: Clarence White helped popularize the acoustic guitar as a lead instrument in bluegrass music, building on the work of guitarists such as Doc Watson. Prior to the advent of the more aggressive flatpicking style pioneered by guitarists like Watson and White, the guitar was strictly a rhythm instrument, save for a few exceptions (such as the occasional guitar track by banjoist Don Reno). Many of the most influential flatpickers of the 20th century cite White as a primary influence, including Dan Crary, Norman Blake, and Tony Rice. Rice owns and plays White's highly modified 1935 Martin D-28. David Grier and Russ Barenberg are two other acoustic guitarists who were heavily influenced by White's guitar work. White's bluegrass playing with the Kentucky Colonels was also a considerable influence on Jerry Garcia of the Grateful Dead, who traveled with the band during 1964.  On the electric side of the guitar spectrum, White was similarly influential. Together with fellow Byrds bandmember Gene Parsons, White invented the B-Bender device. This device raises the B-string (second string) of the guitar a whole step by the use of pulleys and levers attached to both the upper strap knob and the second string on the guitar. It is activated by pushing down on the neck, and produces a "pedal steel" type sound. Arlen Roth, heavily influenced by this style, did not at the time know that White and Parsons had invented a B-bender, so instead developed his own unique all-finger bending version of this technique. This was heavily documented in his ground-breaking book, "Nashville Guitar", all of his recordings, as well as his book "Masters of the Telecaster". Subsequently, his Telecaster sound became as notable as his bluegrass playing. Marty Stuart, another guitarist influenced by White's playing, now owns and regularly plays White's 1954 Fender Telecaster with the prototype B-Bender.  Music archivist and writer Alec Palao has called White "one of a handful of true greats amongst the instrumentalists of 20th century popular music", before adding that "the waves created by the guitarist's idiosyncratic style are still forming ripples within bluegrass, country and rock 'n' roll." In 2003, White was ranked No. 41 on Rolling Stone magazine's list of the 100 Greatest Guitarists of All Time. In 2010, guitar manufacturer Gibson ranked White at No. 42 on their Top 50 Guitarists of All Time list.

Answer this question "what was the musical influence on white"
output: 

input: VanDerveer was born on June 26, 1953, to Dunbar and Rita VanDerveer, who named their first child "Tara" after the plantation in Gone with the Wind. She was born in Melrose, Massachusetts, a part of Greater Boston, but grew up in a small town in West Hill, near Schenectady, New York. Her parents were interested in a well-rounded education. Her father was studying for a doctorate at the school now known as the University at Albany. He took the family to Chautauqua in the summer, where she immersed in arts as well as sports. At the age of ten, her parents bought her a flute, and arranged for lessons. Two years later, one of the premier flutists in the world was staying in Chautauqua, and her father arranged for lessons with this distinguished teacher. Although she learned to play, she did not enjoy the experience, and gave up the flute in ninth grade. The love of music stayed with her though, and in later years she would take up the piano.  There were no sports teams for girls when she was in high school, but she played a number of sports including basketball, in rec leagues and pickup. When she was younger, she played with both boys and girls. As she entered her high school years, the girls dropped out for other interests, so she was more apt to play with boys. To help make sure she would be chosen, she bought the best basketball she could afford, so if the boys wanted to play with her basketball, they would have to pick her.  Her father wasn't completely supportive of her basketball interest, calling her in from the neighbor's basketball hoop, telling her, "Basketball won't take you anywhere. Come in and do your algebra." Tara was equally certain that algebra wasn't going to take her anywhere. Her family moved to Niagara Falls in her sophomore year in high school. The house in West Hill had a gravel driveway, making a basketball hoop impractical, but when her parents got her a hoop for Christmas when they were in Niagara Falls. By then, she thought she was too old for basketball, although she would take it up again after she transferred to Buffalo Seminary, an all-girls college preparatory school, in her junior year. She ended up earning a place in the Buffalo Seminary's Athletic Hall of Fame.

Answer this question "Where was Tara born?"
output:
Melrose, Massachusetts,