input: Tancredo was born in Denver, Colorado, the son of Adeline (nee Lombardi) and Gerald Tancredo. All four of his grandparents emigrated from Italy. He grew up in the then-predominantly Italian neighborhood of north Denver, and attended St. Catherine's Elementary School and Holy Family High School. He graduated from the University of Northern Colorado with a degree in political science. Tancredo was active with the College Republicans and a conservative organization, Young Americans for Freedom (YAF).  As a Republican student activist Tancredo spoke in support of the Vietnam War. After graduating from the University of Northern Colorado he became eligible to serve in Vietnam in June 1969. Tancredo has said he went for his physical, telling doctors he had been treated for depression, and eventually got a "1-Y" deferment.  In 1976, while teaching history at Drake Junior High School in Arvada, he ran for and won a seat in the Colorado House of Representatives. He served two terms (1977-1981) and was one of the leaders of a vocal group of conservative legislators opposing the policies of Colorado Governor Dick Lamm. During the 1970s, Tancredo pioneered opposition to bilingual education, an issue that would remain a feature of his political orientation.  Tancredo was appointed by President Ronald Reagan to be the regional representative in Denver for the Department of Education in 1981. He stayed on through President George H. W. Bush's administration in 1992, and pared the office's staff from 225 to 60 employees. He became president of the Independence Institute in 1993, a conservative think tank based in Golden, Colorado, serving there until his election to Congress. He was a leader in the Colorado term limits movement.

Answer this question "Who appointed him"
output: Tancredo was appointed by President Ronald Reagan to be the regional representative in Denver for the Department of Education

input: Along with Francois Couperin, Rameau is one of the two masters of the French school of harpsichord music in the 18th century. Both composers made a decisive break with the style of the first generation of harpsichordists, who confined their compositions to the relatively fixed mould of the classical suite. This reached its apogee in the first decade of the 18th century with successive collections of pieces by Louis Marchand, Gaspard Le Roux, Louis-Nicolas Clerambault, Jean-Francois Dandrieu, Elisabeth Jacquet de la Guerre, Charles Dieupart, and Nicolas Siret.  Rameau and Couperin have different styles. They seem not to have known one another (Couperin was one of the official court musicians while Rameau was still an unknown; fame would only come to him after Couperin's death). Rameau published his first book of harpsichord pieces in 1706 while Couperin (who was fifteen years his senior) waited until 1713 before publishing his first "ordres." Rameau's music includes pieces in the pure tradition of the French suite: imitative ("Le rappel des oiseaux," "La poule") and character ("Les tendres plaintes", "L'entretien des Muses") pieces and works of pure virtuosity that resemble Scarlatti ("Les tourbillons," "Les trois mains") as well as pieces that reveal the experiments of a theorist and musical innovator ("L'Enharmonique", "Les Cyclopes"), which had a marked influence on Daquin, Royer, and Jacques Duphly. The suites are grouped in the traditional way, by key.  Rameau's three collections appeared in 1706, 1724 and 1726 or 1727, respectively. After this, he only composed a single piece for the harpsichord: "La Dauphine" (1747). Other works, such as "Les petits marteaux," have been doubtfully attributed to him.  During his semiretirement in the years 1740 to 1744, he wrote the Pieces de clavecin en concert (1741), which some musicologists consider the pinnacle of French Baroque chamber music. Adopting a formula successfully employed by Mondonville a few years earlier, these pieces differ from trio sonatas in that the harpsichord is not simply there as basso continuo to accompany other instruments (the violin, flute or viol) playing the melody but has an equal part in the "concert" with them. Rameau also claimed that the pieces would be equally satisfying as solo harpsichord works--although this statement is far from convincing, since the composer took the trouble to transcribe five of them himself--those where the lack of other instruments would show the least.

Answer this question "Were his pieces popular?"
output: 

input: South Park had previously parodied Scientology in a spoof at the 2000 MTV Movie Awards. The MTV short was titled "The Gauntlet" and included "John Travolta and the Church of Scientology" arriving in a spaceship to defeat Russell Crowe (as a gladiator) and attempt to recruit the boys into Scientology. Travolta, along with his fellow Scientologists, was depicted as a Psychlo, as he appeared in the film Battlefield Earth. They had also made fun of Scientology in an earlier episode, titled "Super Best Friends", in which David Blaine formed his own cult, called "Blaintology". Parker and Stone have acknowledged that this is meant to be a reference to Scientology.  Parker stated that Isaac Hayes' membership had previously kept the show's creators from writing a full episode which parodies Scientology. However, the decision to ultimately produce a South Park episode satirizing Scientology was partially inspired by the friendship the show's creators have with Penn Jillette. Jillette was originally planning to do an episode of Bullshit! based on Scientology, but Showtime prohibited him from doing so to avoid the possibility of legal action from the Church of Scientology. Parker commented, "We're going, That's fucked up. And hearing other people say, 'You can't do that' - you can only say 'You can't do that' so many times to Matt and me before we're gonna do it. Finally, we just had to tell Isaac, 'Dude, we totally love working with you, and this is nothing personal, it's just we're South Park, and if we don't do this, we're belittling everything else we've ripped on.'"  Although some questions were raised prior to the episode's screening about whether it was wise to take swipes at Cruise and Scientology, Comedy Central declared that it supported Stone and Parker. A Comedy Central spokesman told Radar magazine in November 2005 that "they are free, and have been, to satirize anybody and anything they want to. They've made fun of MTV, they've made fun of Viacom, they've made fun of Comedy Central, and we've never interfered with them."  During production on the episode, investigative journalist Mark Ebner served as a consultant to Matt Stone and Trey Parker. Ebner had previously authored The New York Times best seller Hollywood, Interrupted, which includes an analysis of the Church of Scientology and its effects on the culture in Hollywood, and has a chapter on Tom Cruise and John Travolta's relationship to Scientology. On the official Comedy Central website for the South Park episode, it is asserted that the section of "Trapped in the Closet" that explains Scientology's portrayal and beliefs was not exaggerated: "Nothing about what you see here is exaggerated in the slightest. Seriously." The title is a reference to the R. Kelly song of the same name, and a depiction of R. Kelly appears in the episode to sing a parody of it.

Answer this question "what happens after the parody was sung?"
output: