input: The origins of MC5 can be traced to the friendship between guitarists Wayne Kramer and Fred Smith. Friends since their teen years, they were both fans of R&B music, blues, Chuck Berry, Dick Dale, The Ventures, and what would later be called garage rock: they adored any music with speed, energy and a rebellious attitude. Each guitarist/singer formed and led a rock group (Smith's Vibratones and Kramer's Bounty Hunters). As members of both groups left for college or straight jobs, the most committed members eventually united (under Kramer's leadership and the "Bounty Hunters" name) with Billy Vargo on guitar and Leo LeDuc on drums (at this point Smith played bass), and were popular and successful enough in and around Detroit that the musicians were able to quit their day jobs and make a living from the group.  Kramer felt they needed a manager, which led him to Rob Derminer, a few years older than the others, and deeply involved in Detroit's hipster and left-wing political scenes. Derminer originally auditioned as a bass guitarist (a role which he held briefly in 1964, with Smith switching to guitar to replace Vargo and with Bob Gaspar replacing LeDuc), though they quickly realized that his talents could be better used as a lead singer: Though not conventionally attractive and rather paunchy by traditional frontman standards, he nonetheless had a commanding stage presence, and a booming baritone voice that evidenced his abiding love of American soul and gospel music. Derminer renamed himself Rob Tyner (after Coltrane's pianist McCoy Tyner). Tyner also invented their new name, MC5: it reflected their Detroit roots (it was short for "Motor City Five'). In some ways the group was similar to other garage bands of the period, composing soon-to-be historic workouts such as "Black to Comm" during their mid-teens in the basement of the home of Kramer's mother. Upon Tyner's switch from bassist to vocalist, he was initially replaced by Patrick Burrows, however the lineup was stabilised in 1965 by the arrival of Michael Davis and Dennis Thompson to replace Burrows and Gaspar respectively.  The music also reflected Smith and Kramer's increasing interest in free jazz--the guitarists were inspired by the likes of Albert Ayler, Archie Shepp, Sun Ra and late period John Coltrane, and tried to imitate the ecstatic sounds of the squealing, high-pitched saxophonists they adored. MC5 even later opened for a few U.S. midwest shows for Sun Ra, whose influence is obvious in "Starship". Kramer and Smith were also deeply inspired by Sonny Sharrock, one of the few electric guitarists working in free jazz, and they eventually developed a unique interlocking style that was like little heard before: Kramer's solos often used a heavy, irregular vibrato, while Smith's rhythms contained an uncommon explosive energy, including patterns that conveyed great excitement, as evidenced in "Black to Comm" and many other songs.

Answer this question "was the album popular"
output: 

input: According to research done in 2010 by Harvard professor and Faces of America host Henry Louis Gates, Jr., Longoria's oldest identifiable Spanish immigrant ancestor is her ninth great-grandfather, Lorenzo Suarez de Longoria (b. Oviedo, 1592), who immigrated to the Viceroyalty of New Spain (modern-day Mexico) in 1603. His family was based in a small village called Llongoria, Belmonte de Miranda, Asturias, Spain. Longoria is the Spanish spelling of this Asturian-language surname.  In 1767, her 7th great-grandfather received almost 4,000 acres (16 km2) of land along the Rio Grande in a land grant from the King of Spain. The family retained this land for more than a century. After the US-Mexican border was moved southwards in the aftermath of the Mexican-American War, the land ended up on the American side of the border. Her family had to deal with the influx of United States settlers following the Mexican-American War and the American Civil War.  According to DNA testing, Longoria's overall genetic ancestry is 70% European, 27% Asian and Indigenous, and 3% African. After a computer compared the DNA results of Gates's dozen guests, tests showed that she is genetically related to cellist Yo-Yo Ma, who is of Chinese heritage. Since women have two X chromosomes and no Y chromosome, Longoria did not inherit her father's Y-DNA, but she did inherit her mother's mitochondrial DNA (genetic information passed from mother to child). Longoria's mtDNA belongs to the Haplogroup A2, making her a direct descendant of a Native American woman, a Mayan from the territory of Mexico long before it was Mexico. Her ancestors include many other Mayans on both sides of her family.  Longoria identifies as a "Texican" or Mexican-American.

Answer this question "what is something you can tell me about you"
output: Longoria identifies as a "Texican" or Mexican-American.

input: Journey's album sales did not improve and Columbia Records requested that they change their musical style and add a frontman, with whom keyboardist Gregg Rolie could share lead vocal duties. The band hired Robert Fleischman and transitioned to a more popular style, akin to that of Foreigner and Boston. Journey went on tour with Fleischman in 1977 and together the new incarnation of the band wrote the hit "Wheel in the Sky"; however, management differences resulted in Fleischman leaving within the year.  In late 1977, Journey hired Steve Perry as their new lead singer. Herbie Herbert, the band's manager, also hired Roy Thomas Baker as a producer to add a layered sound approach as Baker had done with his previous band, Queen. With their new lead singer and talented new producer, Journey released their fourth album, Infinity (1978). This album set Journey on their road to stardom with their first RIAA-certified platinum album. This album, with their hit song "Wheel in the Sky" (#57 U.S.), set Journey on a new path with a more mainstream sound to make their highest chart success to date.  In late 1978, manager Herbie Herbert fired drummer Aynsley Dunbar, who joined Bay Area rivals Jefferson Starship shortly thereafter. He was replaced by Berklee-trained jazz drummer Steve Smith. Perry, Schon, Rolie, Smith and Valory recorded Evolution (1979), which gave the band their first Billboard Hot 100 Top 20 single, "Lovin', Touchin', Squeezin'" (#16); and Departure (1980), which reached No. 8 on the album charts.  Journey's newfound success brought the band an almost entirely new fan base. During the 1980 Departure world tour, the band recorded a live album, Captured.  Keyboardist Gregg Rolie then left the band, the second time in his career he left a successful act. Keyboardist Stevie "Keys" Roseman was brought in to record the lone studio track for Captured, "The Party's Over (Hopelessly in Love)," but Rolie recommended pianist Jonathan Cain of The Babys as the permanent replacement. With Cain's replacement of Rolie's Hammond B-3 organ with his own synthesizers, the band was poised for a new decade in which they would achieve their greatest musical success.

Answer this question "Did it do well on the music charts?"
output:
set Journey on a new path with a more mainstream sound to make their highest chart success to date.