Problem: Background: Morissette was born June 1, 1974, in Ottawa, Ontario, Canada, to teacher Georgia Mary Ann (nee Feuerstein) and high-school principal and French teacher Alan Richard Morissette. She has two siblings: older brother Chad is a business entrepreneur, and twin brother (12 minutes older) Wade is a musician. Her father is of French and Irish descent and her mother has Hungarian ancestry.
Context: On November 20, 2011, Morissette appeared at the American Music Awards. When asked about the new album during a short interview, she said she had recorded thirty-one songs, and that the album would "likely be out next year, probably [in] summertime". On December 21, 2011, Morissette performed a duet of "Uninvited" with finalist Josh Krajcik during the performance finale of the X-Factor.  Morissette embarked on a European tour for the summer of 2012, according to Alanis.com. In early May 2012, a new song called "Magical Child" appeared on a Starbucks compilation called Every Mother Counts.  On May 2, 2012, Morissette revealed through her Facebook account that her eighth studio album, entitled Havoc and Bright Lights, would be released in August 2012, on new label "Collective Sounds", distributed by Sony's RED Distribution. On the same day, Billboard specified the date as August 28 and revealed the album would contain twelve tracks. The album's lead single, "Guardian", was released on iTunes on May 15, 2012, and hit the radio airwaves four days prior to this. The single had minor success in North America, charting the Billboard Bubbling Under Hot 100 Singles in the US and almost reaching the top 40 in Canada. However, the song did become a hit in several countries in Europe. "Receive", the second single off the album, was released early December the same year.  Morissette received the UCLA Spring Sing's George and Ira Gershwin Award on May 16, 2014 at Pauley Pavilion. On her website starting in the summer of 2014, in celebration of her fortieth birthday, the LP record for her song "Big Sur" was offered for sale, which was previously available on the Target edition of her 2012 album, Havoc and Bright Lights. July 25, 2014, was the start of the ten-show Intimate and Acoustic tour.
Question: What did she perform on tour
Answer: 

Problem: Background: Jose Julian Marti Perez (January 28, 1853 - May 19, 1895) was a Cuban National Hero and an important figure in Latin American literature. During his life, he worked as a poet, essayist, journalist, translator, professor, and publisher. He was very politically active, and is considered an important revolutionary philosopher and political theorist. Through his writings and political activity, he became a symbol of Cuba's bid for independence against Spain in the 19th century, and is referred to as the "Apostle of Cuban Independence."
Context: Jose Marti is usually honored as a great poet, patriot and martyr of Cuban Independence, but he was also a translator of some note. Although he translated literary material for the sheer joy of it, much of the translating he did was imposed on him by economic necessity during his many years of exile in the United States. Marti learned English at an early age, and had begun to translate at thirteen. He continued translating for the rest of his life, including his time as a student in Spain, although the period of his greatest productivity was during his stay in New York from 1880 until he returned to Cuba in 1895.  In New York he was what we would call today a "freelancer" as well as an "in house" translator. He translated several books for the publishing house of D. Appleton, and did a series of translations for newspapers. As a revolutionary activist in Cuba's long struggle for independence he translated into English a number of articles and pamphlets supporting that movement. In addition to fluent English, Marti also spoke French, Italian, Latin and Classical Greek fluently, the latter learned so he could read the Greek classical works in the original.  There was clearly a dichotomy in Marti's feeling about the kind of work he was translating. Like many professionals, he undertook for money translation tasks which had little intellectual or emotional appeal for him. Although Marti never presented a systematic theory of translation nor did he write extensively about his approach to translation, he did jot down occasional thoughts on the subject, showcasing his awareness of the translator's dilemma of the faithful versus the beautiful and stating that "translation should be natural, so that it appears that the book were written in the language to which it has been translated".
Question: Did he translate for anyone else at the time?
Answer: He translated several books for the publishing house of D. Appleton, and did a series of translations for newspapers.

Problem: Background: Harry Partch (June 24, 1901 - September 3, 1974) was an American composer, music theorist, and creator of musical instruments. He composed using scales of unequal intervals in just intonation, and was one of the first 20th-century composers in the West to work systematically with microtonal scales. He built custom-made instruments in these tunings on which to play his compositions, and described his theory and practice in his book Genesis of a Music (1947). Partch composed with scales dividing the octave into 43 unequal tones derived from the natural harmonic series; these scales allowed for more tones of smaller intervals than in standard Western tuning, which uses twelve equal intervals to the octave.
Context: Partch made public his theories in his book Genesis of a Music (1947). He opens the book with an overview of music history, and argues that Western music began to suffer from the time of Bach, after which twelve-tone equal temperament was adopted to the exclusion of other tuning systems, and abstract, instrumental music became the norm. Partch sought to bring vocal music back to prominence, and adopted tunings and scales he believed more suitable to singing.  Inspired by Sensations of Tone, Hermann von Helmholtz's book on acoustics and the perception of sound, Partch based his music strictly on just intonation. He tuned his instruments using the overtone series, and extended it past the twelfth partial. This allowed for a larger number of smaller, unequal intervals than found in the Western classical music tradition's twelve-tone equal temperament. Partch's tuning is often classed as microtonality, as it allowed for intervals smaller than 100 cents, though Partch did not conceive his tuning in such a context. Instead, he saw it as a return to pre-Classical Western musical roots, in particular to the music of the ancient Greeks. By taking the principles he found in Helmholtz's book, he expanded his tuning system until it allowed for a division of the octave into 43 tones based on ratios of small integers.  Partch uses the terms Otonality and Utonality to describe chords whose pitch classes are the harmonics or subharmonics of a given fixed tone. These six-tone chords function in Partch's music much the same that the three-tone major and minor chords (or triads) do in classical music. The Otonalities are derived from the overtone series, and the Utonalities from the undertone series.
Question: Were his theories well received?
Answer: