Question:
Nando Reis (Portuguese pronunciation: ['nadu 'Rejs], born Jose Fernando Gomes dos Reis; January 12, 1963) is a Brazilian musician and producer, best known as the former bassist and one of the lead singers of Brazilian rock band Titas and for his successful solo career, with his own band called Os Infernais. He has also produced a few albums, including some related to Cassia Eller, who has made several significant partnerships with him, and Marisa Monte. In 2012, Nando Reis was listed among the top ten Brazilian artists at the ECAD list of artists who earned the most from copyright in the first semester of that year.
Nando Reis was born in Sao Paulo to Cecilia Leonel and Jose Carlos Galvao Gomes dos Reis. He was given his prename "Jose" just like his brothers, Jose Carlos, the oldest of the children, and Jose Luiz (who is deaf), the younger. His two sisters also shared the same prenames: Maria Cecilia, the older, and Maria Luiza, the youngest of the five, which developed cerebral palsy.  His mother was an acoustic guitar teacher and his father was an engineer. Jose Carlos taught him a little bit of Rock 'n' Roll, showing him Rolling Stones's album Between the Buttons. Maria Cecilia taught him to play the acoustic guitar and took him to a show of Gal Costa and Gilberto Gil.  He was given his first acoustic guitar by his grandmother, at the age of 7, and was taught his first chords by his sister. However, most of his skills were acquired alone, when he learned songs of Caetano Veloso all by himself.  Some friends of Jose Carlos played in a rock band. Once, he took Nando to a small performance at the garage of the bassist house. Impressed with the solos of the guitarist, he asked him to teach him, but he never made it. He also tried the drums, but gave up. He decided then to play the bass guitar, as his attempts to play the electric guitar and the drums failed. Other artists, such as The Beatles, Led Zeppelin and Alice Cooper kept joining his main influences. At the age of eleven, he had classes of classic guitar and harmony with Alexandre ("Maranhao"), a friend of Jose Carlos. His first compositions were all based on poems. Most of them were long, showing his appreciation for long songs.  In 1978, he entered Equipe School. There, he formed a band called "Os Camaroes" (The Shrimps) with some friends, and managed to win a local music festival. When he met Paulo Miklos and Arnaldo Antunes, who took part of the festival, he made the first compositions with what would later become Titas. When the high school was over, he waited three years to pass the Mathematics vestibular. Even though Titas where already planning their first show, the university occupied most of his time. Therefore, he decided to quit it.
Answer this question using a quote from the text above:

What they did afterwards?

Answer:
Impressed with the solos of the guitarist, he asked him to teach him, but he never made it.

input: Barnes was 41 when the First World War broke out and so too old for military service. From 1915 to 1923, he played exclusively for Saltaire in the Bradford League, taking 904 wickets at an average of 5.26. He took a hundred wickets in a season five times, a rare feat in the Bradford League's history. From 1924 to 1930, he played for Castleton Moor and Rochdale in the Central Lancashire League. He was with Rawtenstall in the Lancashire League from 1931 to 1933. Then, aged 61, he returned to the Bradford League to play for Keighley in 1934, which was his final season in league cricket.  Barnes declined the opportunity to join the tour to Australia in 1920-21, when he was 47 years old. He had wanted to bring his family with him, but it became clear that he would have to pay their traveling expenses. He was not selected by England nor did he seek selection by the Players after the First World War. He did not play first-class cricket again until 1927 when he was 54 years old. From then until 1930, he made nine appearances for Wales.  Barnes took 49 wickets for Wales in 1928, including seven for 51 and five for 67 in an eight wicket win over the touring West Indians. He also made two first-class appearances for the Minor Counties in 1929 and took eight for 41 in a drawn game against the South Africans at Stoke-on-Trent. Barnes' final first-class appearance was for Wales against Marylebone Cricket Club (MCC) at Lord's in 1930.  Barnes made 177 appearances for Staffordshire in the Minor Counties Championship between 1904 and 1935. This was in two parts: 1904 to 1914; and 1924 to 1935. His career record for Staffordshire was 1,432 wickets at an average of 8.03.

Answer this question "What league did he try after this"
output: He was with Rawtenstall in the Lancashire League from 1931 to 1933. Then, aged 61,

Answer the question at the end by quoting:

Rene Noel Theophile Girard (; French: [ZiRaR]; 25 December 1923 - 4 November 2015) was a French historian, literary critic, and philosopher of social science whose work belongs to the tradition of anthropological philosophy. Girard was the author of nearly thirty books, with his writings spanning many academic domains.
In Things Hidden Since the Foundation of the World, Girard discusses for the first time Christianity and the Bible. The Gospels ostensibly present themselves as a typical mythical account, with a victim-god lynched by a unanimous crowd, an event that is then commemorated by Christians through ritual sacrifice -- a material re-presentation in this case -- in the Eucharist. The parallel is perfect except for one detail: the truth of the innocence of the victim is proclaimed by the text and the writer. The mythical account is usually built on the lie of the guilt of the victim in as much as it is an account of the event seen from the viewpoint of the anonymous lynchers. This ignorance is indispensable to the efficacy of the sacrificial violence.  The evangelical "good news" clearly affirms the innocence of the victim, thus becoming, by attacking ignorance, the germ of the destruction of the sacrificial order on which rests the equilibrium of societies. Already the Old Testament shows this turning inside-out of the mythic accounts with regard to the innocence of the victims (Abel, Joseph, Job...), and the Hebrews were conscious of the uniqueness of their religious tradition. With the Gospels, it is with full clarity that are unveiled these "things hidden since the foundation of the world" (Matthew 13:35), the foundation of social order on murder, described in all its repulsive ugliness in the account of the Passion.  This revelation is even clearer because the text is a work on desire and violence, from the serpent setting alight the desire of Eve in paradise to the prodigious strength of the mimetism that brings about the denial of Peter during the Passion (Mark 14: 66-72; Luke 22:54-62). Girard reinterprets certain biblical expressions in light of his theories; for instance, he sees "scandal" (skandalon, literally, a "snare", or an "impediment placed in the way and causing one to stumble or fall") as signifying mimetic rivalry, for example Peter's denial of Jesus. No one escapes responsibility, neither the envious nor the envied: "Woe to the man through whom scandal comes" (Matthew 18:7).

What else was discussed about the text?
the text is a work on desire and violence, from the serpent setting alight the desire of Eve in paradise