input: In late April, Freed and Minnelli and their respective entourages arrived in Paris. The weather had become unseasonably hot, and working in unair-conditioned hotel rooms was uncomfortable. Minnelli began scouting locations while Freed and Lerner discussed the still incomplete script. Lerner had taken liberties with Colette's novella; the character of Honore, nonexistent in the original book and very minor in the Loos play, was now a major figure. Gigi's mother, originally a significant character, was reduced to a few lines of dialogue delivered off-screen. Lerner also expanded the focus on Gigi's relationship with her grandmother.  By mid-July, the composers had completed most of the score, but still were missing the title tune. Loewe was at the piano while Lerner was indisposed in the bathroom, and when the former began playing a melody the latter liked, he later recalled he jumped up, "[his] trousers still clinging to [his] ankles, and made his way to the living room. 'Play that again,' he said. And that melody ended up being the title song for Gigi."  In September, the cast and crew flew to California, where several interior scenes were filmed, among them the entire scene in Maxim's, which included a musical number by Jourdan. Lerner was unhappy with the look of the scene as it had been shot by Minnelli, and at considerable expense, the restaurant was recreated on a soundstage and the scene was reshot by director Charles Walters, since Minnelli was overseas working on a new project.  The film title design uses the artwork of Sem's work from the Belle Epoque.

Answer this question "When were they able to finish the score?"
output: By mid-July, the composers had completed most of the score, but still were missing the title tune.

input: Walsh is active in charity work and has performed in a number of concerts to raise money for charitable causes. He has also been a personal contributor to a number of charity causes including halfway houses for displaced adult women in Wichita, Kansas. Walsh funded the first talent-based scholarship at Kent State University in 2008.  Walsh's love of Santa Cruz Island grew into a lifelong commitment to conserve the environment there, and he has been active in preserving the island's parks. He is President of the Santa Cruz Island Foundation, and has served on the Foundation's board since the 1980s.  Walsh had often joked about running for office, announcing a mock presidential campaign in 1980 and a vice presidential campaign in 1992. Walsh ran for President of the United States in 1980, promising to make "Life's Been Good" the new national anthem if he won, and ran on a platform of "Free Gas For Everyone". Though Walsh was only 32 at the time of the election and thus would not have met the 35-year-old requirement to actually assume office, he said that he wanted to raise public awareness of the election. In 1992 Walsh ran for vice president with Rev. Goat Carson under the slogan "We Want Our Money Back!"  In an interview to promote his album Analog Man in 2012, Walsh revealed he was considering a serious bid for political office. "I think I would run seriously, and I think I would run for Congress," Walsh told WASH in Washington, D.C. "The root of the problem is that Congress is so dysfunctional. We're dead in the water until Congress gets to work and passes some new legislation to change things."  In 2017, Walsh contacted others in the music industry Zac Brown Band, Gary Clark Jr., Keith Urban to try to organize and perform what became VetsAid  - a concert series along the lines of the Farm Aid program spearheaded by country entertainer Willie Nelson.

Answer this question "Did he ever do it?"
output: mock presidential campaign in

input: The second album, Barrett, was recorded more sporadically than the first, with sessions taking place between February and July 1970. The album was produced by David Gilmour, and featured Gilmour on bass guitar, Richard Wright on keyboard and Humble Pie drummer Jerry Shirley. The first two songs attempted were for Barrett to play and/or sing to an existing backing track. However, Gilmour thought they were losing the "Barrett-ness". One track ("Rats") was originally recorded with Barrett on his own. That would later be overdubbed by musicians, despite the changing tempos. Shirley said of Barrett's playing: "He would never play the same tune twice. Sometimes Syd couldn't play anything that made sense; other times what he'd play was absolute magic." At times Barrett, who experienced synaesthesia, would say: "Perhaps we could make the middle darker and maybe the end a bit middle afternoonish. At the moment it's too windy and icy".  These sessions were happening while Pink Floyd had just begun to work on Atom Heart Mother. On various occasions, Barrett went to "spy" on the band as they recorded their album.  Wright said of the Barrett sessions:  Doing Syd's record was interesting, but extremely difficult. Dave [Gilmour] and Roger did the first one (The Madcap Laughs) and Dave and myself did the second one. But by then it was just trying to help Syd any way we could, rather than worrying about getting the best guitar sound. You could forget about that! It was just going into the studio and trying to get him to sing.

Answer this question "what did this spying activity result in?"
output: