IN: Jane Jacobs  (born Jane Butzner; May 4, 1916 - April 25, 2006) was an American-Canadian journalist, author, and activist who influenced urban studies, sociology, and economics. Her book The Death and Life of Great American Cities (1961) argued that urban renewal did not respect the needs of city-dwellers. It also introduced the sociological concepts "eyes on the street" and "social capital". Jacobs organized grassroots efforts to protect neighborhoods from "slum clearance", in particular Robert Moses' plans to overhaul her own Greenwich Village neighborhood.

She became a feature writer for the Office of War Information, and then a reporter for Amerika, a publication of the U.S. State Department. While working there she met Robert Hyde Jacobs Jr., a Columbia-educated architect who was designing warplanes for Grumman. They married in 1944. Together they had a daughter, Burgin, and two sons, James and Ned. They bought a three-story building at 555 Hudson St. Jane continued to write for Amerika after the war, while Robert left Grumman and resumed work as an architect.  The Jacobses rejected the rapidly growing suburbs as "parasitic", choosing to remain in Greenwich Village. They renovated their house, in the middle of a mixed residential and commercial area, and created a garden in the backyard.  Working for the State Department during the McCarthy era, Jacobs received a questionnaire about her political beliefs and loyalties. Jacobs was anti-communist, and had left the Federal Workers Union because of its apparent communist sympathies. Nevertheless, she was pro-union and purportedly appreciated the writing of Saul Alinsky; therefore she was under suspicion. On March 25, 1952, Jacobs delivered a now-famous response to Conrad E. Snow, chairman of the Loyalty Security Board at the United States Department of State. In her foreword to her answer, she said:  The other threat to the security of our tradition, I believe, lies at home. It is the current fear of radical ideas and of people who propound them. I do not agree with the extremists of either the left or the right, but I think they should be allowed to speak and to publish, both because they themselves have, and ought to have, rights, and once their rights are gone, the rights of the rest of us are hardly safe ...
QUESTION: What happened to her after this
IN: Mario Lanza (born Alfredo Arnold Cocozza; January 31, 1921 - October 7, 1959) was an American tenor of Italian ancestry, and an actor and Hollywood film star of the late 1940s and the 1950s. Lanza began studying to be a professional singer at the age of 16. After appearing at the Hollywood Bowl in 1947, Lanza signed a seven-year film contract with Louis B. Mayer, the head of Metro-Goldwyn-Mayer, who saw his performance and was impressed by his singing.

Lanza was the first RCA Victor Red Seal artist to win a gold disc and the first artist to sell 2 1/2 million albums  Lanza was referred to by some sources as the "new Caruso" after his "instant success" in Hollywood films, while MGM hoped he would become the movie studio's "singing Clark Gable" for his good looks and powerful voice.  In 1994, outstanding tenor Jose Carreras paid tribute to Lanza during a worldwide concert tour, saying of him, "If I'm an opera singer, it's thanks to Mario Lanza." His equally outstanding colleague Placido Domingo echoed these comments in a 2009 CBS interview with, "Lanza's passion and the way his voice sounds are what made me sing opera. I actually owe my love for opera ... to a kid from Philadelphia."  Even today "the magnitude of his contribution to popular music is still hotly debated," and because he appeared on the operatic stage only twice, many critics feel that he needed to have had more "operatic quality time" in major theaters before he could be considered a star of that art form. His films, especially The Great Caruso, influenced numerous future opera stars, including Joseph Calleja, Jose Carreras, Placido Domingo and Luciano Pavarotti. According to opera historian Clyde McCants, "Of all the Hollywood singers who performed operatic music ... the one who made the greatest impact was Mario Lanza." Hollywood gossip columnist Hedda Hopper concluded that "there had never been anyone like Mario, and I doubt whether we shall ever see his like again".
QUESTION: What have people said about him?
IN: The Spencer Davis Group are a British rock band formed in Birmingham in 1963, by Spencer Davis with Steve Winwood and his brother, Muff Winwood. Their best known songs include the UK number ones "Somebody Help Me" and "Keep on Running" (both written by reggae musician Jackie Edwards), "I'm a Man" and "Gimme Some Lovin'", which reached #2 in the UK and #7 in the US. Steve Winwood left in 1967 to form Traffic before joining Blind Faith, then forging a career as a solo artist.

Steve Winwood left to form Traffic in 1967; his brother, Muff, moved into the music industry as A&R man at Island Records. In a joint venture the soundtrack to the film Here We Go Round the Mulberry Bush featured both the Spencer Davis Group and Traffic. After the Winwoods' departures, the Spencer Davis Group regrouped with the addition of guitarist Phil Sawyer (ex-Les Fleur de Lys) and keyboardist/vocalist Eddie Hardin (ex-A Wild Uncertainty). This line-up recorded several tunes for Here We Go Round The Mulberry Bush and released the "Time Seller" single in July 1967; the b-side, "Don't Want You No More," also received radio airplay.  This was followed by "Mr. Second-Class" in late 1967, which received heavy airplay on Radio Caroline (at that time one of the two remaining pirate radio ships off the British coast), and the album "With Their New Face On" in 1968. At that time Ray Fenwick had replaced Phil Sawyer. The group's last minor hit, "After Tea", was released at the same time by the German band The Rattles, providing competition that led finally to a temporary stop to all activities of the band. The song was originally recorded by the Dutch group After Tea, which included guitarist/singer Fenwick amongst its members.  After one further single ("Short Change"), at that time Eddie Hardin and Pete York had left to form the duo Hardin & York. They were replaced by future Elton John Band member Dee Murray on bass and Dave Hynes on drums. Nigel Olsson replaced Hynes, and this lineup produced the album "Funky" in 1969 (only released in the USA on DATE, a sub-label of CBS) before splintering.
QUESTION:
Were any more songs/albums released?