input: After graduating Princeton High School and moving to New York City, Popper, Hill, and Sheehan enrolled in the music program at The New School while Kinchla attended New York University. After much encouragement by friend David Gonzales, Blues Traveler began playing gigs along the New York-area club circuit, sometimes nightly; the most prominent contract was playing Wednesday nights at a club called the Wetlands. Another bar, The Nightingale, was a regular gig, and later became the setting for the song "Defense and Desire".  The group shared an apartment on Bergen Street in Brooklyn, New York, along with their high school friend, singer Chris Barron. A second band that Popper and Hill founded, called The Trucking Company, soon became The Spin Doctors with Barron as their frontman. The two groups would often share the stage, playing non-stop concerts of multiple sets. Their first show together was at a Columbia University fraternity party and their second was at a Jamaican-themed restaurant near Times Square in New York City. During this time, Blues Traveler acquired a devout follower, Gina-Z (subject of the band's song "Gina") who first became an unofficial "band mom" and later a tour manager, and is involved with the group's business to the present day.  At one New York show they were discovered by an A&M Records talent scout, Patrick Clifford, and the band signed their first recording contract. By 1990 all members had dropped out of college classes. The group also attracted the attention of David Graham, son of the world-famous concert promoter Bill Graham, and became one of Graham's many acts. Blues Traveler then started a relentless touring schedule, expanding their reach up and down the east coast.

Answer this question "Were any of the other clubs they played at mentioned?"
output: The Nightingale, was a regular gig,

input: Little Richard stated that as a child, he only played with girls and felt feminine, which was the source of jokes and homophobic ridicule at his expense. Caught wearing his mother's makeup and wardrobe at times, he was brutally punished by his father. He began having sexual encounters with boys by his teen years and also occasionally had sex with older women. Because of his effeminate mannerisms, his father kicked him out of their family home at 15. As Richard later explained in 2010, "my daddy put me out of the house. He said he wanted seven boys, and I had spoiled it, because I was gay." He first became involved in voyeurism in his early twenties, when a female friend would drive him around and pick up men who would allow him to watch them have sex in the backseat of cars. He was once arrested after a gas station attendant in Macon reported sexual activity in a car occupied by Little Richard and a couple. Cited on a sexual misconduct charge, he spent three days in jail and was temporarily banned from performing in Macon, Georgia.  During the early 1950s, Little Richard had appeared as a drag performer in various burlesque shows. By the time he entered the Chitlin' Circuit, he began using makeup regularly, influenced by Billy Wright, who recommended his brand of makeup to him, Pancake 31. Later, as he began experiencing success in the mid-1950s, he made members of his band use makeup as a means to gain entry into white clubs during performances. He later told a columnist, "I wore the make-up so that white men wouldn't think I was after the white girls. It made things easier for me, plus it was colorful too." In 2000, Richard told Jet magazine, "I figure if being called a sissy would make me famous, let them say what they want to." Though he was gay, Little Richard recalled female fans sending him naked photos and their phone numbers.  While attending Oakwood College, Richard recalled a male student exposed himself to him. After the incident was reported to the student's father, Little Richard withdrew from the college. In 1962, he was again arrested after he was caught spying on men urinating at men's toilets at a Trailways bus station in Long Beach, California. Richard returned to participating in sexual orgies after his return to secular music in the 1960s. In 1984, while he claimed homosexuality was "unnatural" and "contagious", he would tell Charles White that he was "omnisexual" after he was asked about his sex life. In 1995, Little Richard told Penthouse that he always knew he was gay, saying "I've been gay all my life". In 2007, Mojo Magazine referred to Little Richard as "bisexual".

Answer this question "Is there anything else interesting you can share?"
output: 1995, Little Richard told Penthouse that he always knew he was gay, saying "I've been gay all my life".

input: While at CBS, Herrmann met Orson Welles, and wrote or arranged scores for radio shows in which Welles appeared or wrote, such as the Columbia Workshop, Welles's Mercury Theatre on the Air and Campbell Playhouse series (1938-1940), which were radio adaptations of literature and film. He conducted the live performances, including Welles's famous adaptation of H. G. Wells's The War of the Worlds broadcast on October 30, 1938, which consisted entirely of pre-existing music. Herrmann used large sections of his score for the inaugural broadcast of The Campbell Playhouse, an adaptation of Rebecca, for the feature film Jane Eyre (1943), the third film in which Welles starred.  When Welles gained his RKO Pictures contract, Herrmann worked for him. He wrote his first film score for Citizen Kane (1941) and received an Academy Award nomination for Best Score of a Dramatic Picture. He composed the score for Welles's second film, The Magnificent Ambersons (1942); like the film itself, the music was heavily edited by the studio, RKO Pictures. When more than half of his score was removed from the soundtrack, Herrmann bitterly severed his ties with the film and promised legal action if his name were not removed from the credits.  Herrmann also created the music for Welles's CBS radio series the Orson Welles Show (1941-1942), which included the debut of his wife Lucille Fletcher's suspense classic, The Hitch-Hiker; Ceiling Unlimited (1942), a program conceived to glorify the aviation industry and dramatize its role in World War II; and The Mercury Summer Theatre on the Air (1946). "Benny Herrmann was an intimate member of the family," Welles told filmmaker Peter Bogdanovich.  Herrmann was among those who rebutted the charges Pauline Kael made in her 1971 essay "Raising Kane", in which she revived controversy over the authorship of the screenplay for Citizen Kane and denigrated Welles's contributions.

Answer this question "When did they start working together?"
output:
When Welles gained his RKO Pictures contract, Herrmann worked for him. He wrote his first film score for Citizen Kane (1941)