Some context: Dorothy Day, Obl.S.B. (November 8, 1897 - November 29, 1980) was an American journalist, social activist, and Catholic convert. Day initially lived a bohemian lifestyle before gaining fame as a social activist after her conversion. She later became a key figure in the Catholic Worker Movement and earned a national reputation as a political radical, perhaps the most famous radical in American Catholic Church history.
Dorothy Day was born on November 8, 1897, in the Brooklyn Heights neighborhood of Brooklyn, New York. She was born into a family described by one biographer as "solid, patriotic, and middle class". Her father, John Day, was a Tennessee native of Irish heritage, while her mother, Grace Satterlee, a native of upstate New York, was of English ancestry. Her parents were married in an Episcopal church in Greenwich Village. She had three brothers and a sister. In 1904, her father, who was a sports writer devoted to horse racing, took a position with a newspaper in San Francisco. The family lived in Oakland, California, until the San Francisco Earthquake of 1906 destroyed the newspaper's facilities and her father lost his job. From the spontaneous response to the earthquake's devastation, the self-sacrifice of neighbors in a time of crisis, Day drew a lesson about individual action and Christian community. The family relocated to Chicago.  Day's parents were nominal Christians who rarely attended church. As a young child, she showed a marked religious streak, reading the Bible frequently. When she was ten she started to attend Church of Our Saviour, an Episcopal church in the Lincoln Park neighborhood of Chicago, after its rector convinced her mother to let Day's brothers join the church choir. She was taken with the liturgy and its music. She studied the catechism and was baptized and confirmed in that church in 1911.  Day was an avid reader in her teens, particularly fond of Upton Sinclair's The Jungle. She worked from one book to another, noting Jack London's mention of Herbert Spencer in Martin Eden, and then from Spencer to Darwin and Huxley. She learned about anarchy and extreme poverty from Peter Kropotkin, who promoted a belief in cooperation in contrast to Darwin's competition for survival. She also enjoyed Russian literature in university, especially Dostoevsky, Tolstoy, and Gorky. Day read a lot of socially conscious work, which gave her a background for her future; it helped bolster her support for and involvement in social activism.  In 1914, Day attended the University of Illinois at Urbana-Champaign on a scholarship. She was a reluctant scholar. Her reading was chiefly in a Christian radical social direction. She avoided campus social life and supported herself rather than rely on money from her father, buying all her clothing and shoes from discount stores. She left the university after two years and moved to New York City.
Where did they move after the earthquake?
A: The family relocated to Chicago.

Some context: Povenmire was born in San Diego, California on September 18, 1963, and grew up in the city of Mobile, Alabama. A child prodigy, he began drawing at age two; by the time he was ten, his work was displayed in local art shows. His first efforts in animation included a series of flip books that he produced in his school text books. As a child, Povenmire considered animator Chuck Jones his hero; in a 2009 interview, he stated that "every drawing he [Jones] did was beautiful to look at and had so much energy in it".
In 1993, Povenmire and Marsh conceived the series Phineas and Ferb, based on their similar experiences of childhood summers spent outdoors. Povenmire spent 14-16 years pitching Phineas and Ferb to several networks. Most rejected it as unfeasible for the complexity of its plots, but Povenmire persevered, later observing "It was really the show we wanted to see: if this was on the air, I'd watch it, and I don't always feel that about every show I work on." Even the Walt Disney Company initially rejected Povenmire's pitch, but asked to keep the proposal packet: "Usually that means they throw it in the trash later," Povenmire recalled. Eventually Disney called Povenmire back with an acceptance, on the condition that he would produce an 11-minute pilot. He called Marsh, who was living in England, to ask him if he would like to work on the pilot; Marsh accepted immediately and moved back to the United States.  Instead of a conventional script, the pair pitched the pilot by recording reels of its storyboard, which Povenmire then mixed and dubbed to produce action and vocals. The network approved the show for a 26-episode season. Povenmire left Family Guy to create the series.  Povenmire and Marsh wanted to incorporate into Phineas and Ferb the kind of humor they had developed in their work on Rocko's Modern Life. They included action sequences and, with Disney's encouragement, featured musical numbers in every episode subsequent to "Flop Starz". Povenmire described the songs as his and Marsh's "jab at immortality", but the pair have earned two Emmy nominations for Phineas and Ferb songs to-date. A third Emmy nomination, for the episode "The Monster of Phineas-n-Ferbenstein" (2008), pitted the show against SpongeBob SquarePants, although neither nominee received the award due to a technicality. In 2010, Povenmire was nominated amongst several other Phineas and Ferb crew members for the Daytime Emmy Award for both "Outstanding Writing in Animation" and "Outstanding Original Song - Children's and Animation" for their work on the show, winning for "Outstanding Writing in Animation".  The distinctive style of the animation legend Tex Avery influenced the show's artistic look. Like Avery, Povermire employed geometric shapes to build both the characters and the background. The style developed almost accidentally, with Povenmire's first sketch of title character, Phineas Flynn, which he produced while eating dinner with his family in a restaurant in South Pasadena, California. He doodled a triangle-shaped child on the butcher paper covering the table. He was so taken with sketch he tore it out, kept it, and used it as the prototype for Phineas and as the stylistic blueprint for the entire show.
For how many years did he work for the show ?
A: