input: Matthew Staton Bomer was born on October 11, 1977 in Webster Groves, Missouri, to Elizabeth Macy (nee Staton) and John O'Neill Bomer IV, a Dallas Cowboys draft pick. His father, John Bomer, played for the Dallas Cowboys from 1972 to 1974. He has a sister Megan Bomer and a brother Neill Bomer, who is an engineer. Bomer credits his own parents for being understanding when they sensed their young child was a little different from other kids. "I've always had an active imagination," says Bomer. He is a distant cousin to American singer Justin Timberlake, with whom he starred in the movie In Time in 2011. Timberlake and Bomer share common descent from Edward Bomer, who was born in 1690. Bomer's ancestry includes English, as well as Welsh, Scots-Irish, Scottish, Irish, Swiss-German, and German.  In 1995, at age 17, Bomer made his professional stage debut as Young Collector in a production of Tennessee Williams A Streetcar Named Desire (1947) staged by Alley Theatre, a company in the Downtown, Houston, at the Texas. A few years later he returned to the stage in 1998 in a re-presentation of the play Joseph and the Amazing Technicolor Dreamcoat by Andrew Lloyd Webber and Tim Rice in the play he lived Issachar - who was represented at the Utah Shakespeare Festival in Cedar City, Utah. Speaking about his first role in a production, Bomer said:  I started acting professionally when I was 17. I quit the team and did a production of A Streetcar Named Desire at the Alley Theatre in Houston. I used to drive down at the end of the school day, do the show, do my homework during intermission and drive an hour back to Spring to go to school the next day.  He grew up in Spring, Texas, a suburb of Houston, and attended its Klein High School in 1996, where he was a classmate of future actor Lee Pace and actress Lynn Collins. Pace and Bomer both acted at Houston's Alley Theatre, a non-profit theatre company. Bomer was nurtured throughout middle school by a theater arts teacher who taught him to improvise and give life to the characters he had created in his mind. His senior year, Bomer received a scholarship for some of his monologue performances, which led to his acceptance at Carnegie Mellon University in Pittsburgh, Pennsylvania. Where he graduated in 2001, with a Bachelor of Fine Arts degree, along with his friend and also actor Joe Manganiello.

Answer this question "did he have siblings?"
output: a sister Megan Bomer and a brother Neill Bomer,

input: Born in Bucharest, he was the son of Romanian Land Forces officer Gheorghe Eliade (whose original surname was Ieremia) and Jeana nee Vasilescu. An Orthodox believer, Gheorghe Eliade registered his son's birth four days before the actual date, to coincide with the liturgical calendar feast of the Forty Martyrs of Sebaste. Mircea Eliade had a sister, Corina, the mother of semiologist Sorin Alexandrescu. His family moved between Tecuci and Bucharest, ultimately settling in the capital in 1914, and purchasing a house on Melodiei Street, near Piata Rosetti, where Mircea Eliade resided until late in his teens.  Eliade kept a particularly fond memory of his childhood and, later in life, wrote about the impact various unusual episodes and encounters had on his mind. In one instance during the World War I Romanian Campaign, when Eliade was about ten years of age, he witnessed the bombing of Bucharest by German zeppelins and the patriotic fervor in the occupied capital at news that Romania was able to stop the Central Powers' advance into Moldavia.  He described this stage in his life as marked by an unrepeatable epiphany. Recalling his entrance into a drawing room that an "eerie iridescent light" had turned into "a fairy-tale palace", he wrote,  I practiced for many years [the] exercise of recapturing that epiphanic moment, and I would always find again the same plenitude. I would slip into it as into a fragment of time devoid of duration--without beginning, middle, or end. During my last years of lycee, when I struggled with profound attacks of melancholy, I still succeeded at times in returning to the golden green light of that afternoon. [...] But even though the beatitude was the same, it was now impossible to bear because it aggravated my sadness too much. By this time I knew the world to which the drawing room belonged [...] was a world forever lost.  Robert Ellwood, a professor of religion who did his graduate studies under Mircea Eliade, saw this type of nostalgia as one of the most characteristic themes in Eliade's life and academic writings.

Answer this question "how ddid that affect him"
output: He described this stage in his life as marked by an unrepeatable epiphany.

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 "Did he win any notable awards?"
output:
In 2003, White was ranked No. 41 on Rolling Stone magazine's list of the 100 Greatest Guitarists of All Time.