Problem: Background: Wilson was born on November 26, 1895, in East Dorset, Vermont, the son of Emily (nee Griffith) and Gilman Barrows Wilson. He was born at his parents' home and business, the Mount Aeolus Inn and Tavern. His paternal grandfather, William C. Wilson, was also an alcoholic. William C. Wilson decided to stop drinking alcohol immediately after having a "religious experience" when he was under the influence of psilocybin  ( sy-l@-SY-bin) during a "soul searching" hike on Mount Aeolus.
Context: Wilson met his wife Lois Burnham during the summer of 1913, while sailing on Vermont's Emerald Lake; two years later the couple became engaged. He entered Norwich University, but depression and panic attacks forced him to leave during his second semester. The next year he returned, but was soon suspended with a group of students involved in a hazing incident. Because no one would take responsibility, and no one would identify the perpetrators, the entire class was punished.  The June 1916 incursion into the U.S. by Pancho Villa resulted in Wilson's class being mobilized as part of the Vermont National Guard and he was reinstated to serve. The following year he was commissioned as an artillery officer. During military training in Massachusetts, the young officers were often invited to dinner by the locals, and Wilson had his first drink, a glass of beer, to little effect. A few weeks later at another dinner party, Wilson drank some Bronx cocktails, and felt at ease with the guests and liberated from his awkward shyness; "I had found the elixir of life," he wrote. "Even that first evening I got thoroughly drunk, and within the next time or two I passed out completely. But as everyone drank hard, not too much was made of that."  Wilson married Lois on January 24, 1918, just before he left to serve in World War I as a 2nd Lieutenant in the Coast Artillery. After his military service, Wilson returned to live with his wife in New York. He failed to graduate from law school because he was too drunk to pick up his diploma. Wilson became a stock speculator and had success traveling the country with his wife, evaluating companies for potential investors. (During these trips Lois had a hidden agenda: she hoped the travel would keep Wilson from drinking.) However, Wilson's constant drinking made business impossible and ruined his reputation.  In 1933 Wilson was committed to the Charles B. Towns Hospital for Drug and Alcohol Addictions in New York City four times under the care of Dr. William D. Silkworth. Silkworth's theory was that alcoholism was a matter of both physical and mental control: a craving, the manifestation of a physical allergy (the physical inability to stop drinking once started) and an obsession of the mind (to take the first drink). Wilson gained hope from Silkworth's assertion that alcoholism was a medical condition rather than a moral failing, but even that knowledge could not help him. He was eventually told that he would either die from his alcoholism or have to be locked up permanently due to Wernicke encephalopathy (commonly referred to as "wet brain").
Question: Did alcohol affect his marriage?
Answer: had success traveling the country with his wife, evaluating companies for potential investors.

Background: John Milton Cage Jr. (September 5, 1912 - August 12, 1992) was an American composer and music theorist. A pioneer of indeterminacy in music, electroacoustic music, and non-standard use of musical instruments, Cage was one of the leading figures of the post-war avant-garde. Critics have lauded him as one of the most influential composers of the 20th century. He was also instrumental in the development of modern dance, mostly through his association with choreographer Merce Cunningham, who was also Cage's romantic partner for most of their lives.
Context: Cage's work from the sixties features some of his largest and most ambitious, not to mention socially utopian pieces, reflecting the mood of the era yet also his absorption of the writings of both Marshall McLuhan, on the effects of new media, and R. Buckminster Fuller, on the power of technology to promote social change. HPSCHD (1969), a gargantuan and long-running multimedia work made in collaboration with Lejaren Hiller, incorporated the mass superimposition of seven harpsichords playing chance-determined excerpts from the works of Cage, Hiller, and a potted history of canonical classics, with fifty-two tapes of computer-generated sounds, 6,400 slides of designs, many supplied by NASA, and shown from sixty-four slide projectors, with forty motion-picture films. The piece was initially rendered in a five-hour performance at the University of Illinois in 1969, in which the audience arrived after the piece had begun and left before it ended, wandering freely around the auditorium in the time for which they were there.  Also in 1969, Cage produced the first fully notated work in years: Cheap Imitation for piano. The piece is a chance-controlled reworking of Erik Satie's Socrate, and, as both listeners and Cage himself noted, openly sympathetic to its source. Although Cage's affection for Satie's music was well-known, it was highly unusual for him to compose a personal work, one in which the composer is present. When asked about this apparent contradiction, Cage replied: "Obviously, Cheap Imitation lies outside of what may seem necessary in my work in general, and that's disturbing. I'm the first to be disturbed by it." Cage's fondness for the piece resulted in a recording--a rare occurrence, since Cage disliked making recordings of his music--made in 1976. Overall, Cheap Imitation marked a major change in Cage's music: he turned again to writing fully notated works for traditional instruments, and tried out several new approaches, such as improvisation, which he previously discouraged, but was able to use in works from the 1970s, such as Child of Tree (1975).  Cheap Imitation became the last work Cage performed in public himself. Arthritis had troubled Cage since 1960, and by the early 1970s his hands were painfully swollen and rendered him unable to perform. Nevertheless, he still played Cheap Imitation during the 1970s, before finally having to give up performing. Preparing manuscripts also became difficult: before, published versions of pieces were done in Cage's calligraphic script; now, manuscripts for publication had to be completed by assistants. Matters were complicated further by David Tudor's departure from performing, which happened in early 1970s. Tudor decided to concentrate on composition instead, and so Cage, for the first time in two decades, had to start relying on commissions from other performers, and their respective abilities. Such performers included Grete Sultan, Paul Zukofsky, Margaret Leng Tan, and many others. Aside from music, Cage continued writing books of prose and poetry (mesostics). M was first published by Wesleyan University Press in 1973. In January 1978 Cage was invited by Kathan Brown of Crown Point Press to engage in printmaking, and Cage would go on to produce series of prints every year until his death; these, together with some late watercolors, constitute the largest portion of his extant visual art. In 1979 Cage's Empty Words was first published by Wesleyan University Press.
Question: Which piece did he achieve fame for?
Answer:
Cheap Imitation