input: Kaikhosru Shapurji Sorabji was born Leon Dudley Sorabji in Chingford, Essex (now Greater London), on 14 August 1892. His father, Shapurji Sorabji, was a civil engineer of Parsi parentage from Bombay, India, born on 18 August 1863. His mother, Madeleine Marguerite Mathilde Sorabji (nee Madeline Matilda Worthy; 13 August 1866 - 5 May 1959), was English. She is said to have been a singer, pianist and organist, but no evidence has been found to support these claims. They married on 18 February 1892. Shapurji Sorabji had married in India in 1880 but, as no record of his first wife's death or his divorce from her has yet been traced, it is possible that he married the composer's mother bigamously.  Very little is known of Sorabji's biography, particularly his early life and musical beginnings. He studied music with Charles Arthur Trew from the early 1910s until around 1915, during a private education that is thought to have ended at about the same time. He reportedly started to learn the piano from his mother at an early age, and he later received help (but no lessons) from his mother's friend Emily Edroff-Smith.  The first significant insight into Sorabji's life comes from his correspondence with Peter Warlock, which began in 1913. At least partly as a result of Warlock's influence, Sorabji began to focus on composition and music criticism. In those letters he showed great interest in interacting with the world of musicians--an attitude that changed dramatically in later years. The first significant instance of such interaction took place in November 1919. Sorabji had sent several of his scores, including that of his First Piano Sonata, to Ernest Newman, who paid them no attention. Sorabji then played the piece to Ferruccio Busoni, who expressed some reservations about the work, but gave him a letter of recommendation, which helped Sorabji get it published.  Already as a teenager, Sorabji took great interest in recent developments in art music--in the work of Schoenberg, Scriabin, Mahler and Debussy, among others--at a time when they received scant attention in the United Kingdom. This interest, along with his ethnicity, cemented his reputation as an outsider. He and his music had their detractors, but some musicians received his work positively: Frederick Delius, who heard a 1930 radio broadcast of Sorabji playing his own piece Le jardin parfume: Poem for Piano Solo, sent a letter of admiration to Sorabji; the French-Swiss pianist Alfred Cortot expressed interest in performing Sorabji's piano concertos; and Alban Berg reportedly took an interest in Sorabji's music.  Although Sorabji performed some of his works in the UK and abroad in the 1920s, the most important period of his pianistic career was a result of his friendship with the Scottish composer Erik Chisholm. Their first meeting took place when Sorabji went to Glasgow to premiere his Piano Sonata No. 4 on 1 April 1930 for Chisholm's Active Society for the Propagation of Contemporary Music. In the Society's concerts Sorabji played some of the longest works he had written to date: in addition to the Fourth Piano Sonata, he premiered Opus clavicembalisticum and Piano Toccata No. 2 and gave a performance of his Nocturne, "Jami". The two remained friends until Chisholm's death in 1965, although their correspondence became less frequent after Chisholm moved to South Africa.

Answer this question "What year was he born?"
output: 1892.

input: Ronstadt's early family life was filled with music and tradition, which influenced the stylistic and musical choices she later made in her career. Growing up, she listened to many types of music, including Mexican music, which was sung by her entire family and was a staple in her childhood.  Ronstadt has remarked that everything she has recorded on her own records - rock 'n' roll, jazz, rhythm and blues, gospel, opera, country, choral, and mariachi - is all music she heard her family sing in their living room, or heard played on the radio, by the age of 10. She credits her mother for her appreciation of Gilbert and Sullivan and her father for introducing her to the traditional pop and Great American Songbook repertoire that she would, in turn, help reintroduce to an entire generation.  Early on, her singing style had been influenced by singers such as Lola Beltran and Edith Piaf; she has called their singing and rhythms "more like Greek music ... It's sort of like 6/8 time signature ... very hard driving and very intense." She also drew influence from country singer Hank Williams.  She has said that "all girl singers" eventually "have to curtsy to Ella Fitzgerald and Billie Holiday". Of Maria Callas, Ronstadt says, "There's no one in her league. That's it. Period. I learn more ... about singing rock n roll from listening to Maria Callas records than I ever would from listening to pop music for a month of Sundays. ... She's the greatest chick singer ever." She admires Callas for her musicianship and her attempts to push 20th-century singing, particularly opera, back into the bel canto "natural style of singing".  A self-described product of American radio of the 1950s and 1960s, Ronstadt is a fan of its eclectic and diverse music programming.

Answer this question "Were there other influences?"
output: Growing up, she listened to many types of music, including Mexican music, which was sung by her entire family and was a staple in her childhood.

input: Khomeini was not allowed to return to Iran during the Shah's reign (as he had been in exile). On 17 January 1979, the Shah left the country (ostensibly "on vacation"), never to return. Two weeks later, on Thursday, 1 February 1979, Khomeini returned in triumph to Iran, welcomed by a joyous crowd estimated (by BBC) to be of up to five million people. On his chartered Air France flight back to Tehran 120 journalists accompanied him, including three women. One of the journalists, Peter Jennings, asked: "Ayatollah, would you be so kind as to tell us how you feel about being back in Iran?" Khomeini answered via his aide Sadegh Ghotbzadeh: "Hichi" (Nothing). This statement--much discussed at the time and since--was considered by some reflective of his mystical beliefs and non-attachment to ego. Others considered it a warning to Iranians who hoped he would be a "mainstream nationalist leader" that they were in for disappointment.  To others, it was a reflection of an unfeeling leader incapable or unconcerned with understanding the thoughts, beliefs, or the needs of the Iranian populace.  Khomeini adamantly opposed the provisional government of Shapour Bakhtiar, promising "I shall kick their teeth in. I appoint the government." On 11 February (Bahman 22), Khomeini appointed his own competing interim prime minister, Mehdi Bazargan, demanding, "since I have appointed him, he must be obeyed." It was "God's government," he warned, disobedience against him or Bazargan was considered a "revolt against God."  As Khomeini's movement gained momentum, soldiers began to defect to his side and Khomeini declared ill fortune on troops who did not surrender. On 11 February, as revolt spread and armories were taken over, the military declared neutrality and the Bakhtiar regime collapsed. On 30 and 31 March 1979, a referendum to replace the monarchy with an Islamic Republic passed with 98% voting in favour of the replacement, with the question: "should the monarchy be abolished in favour of an Islamic Government?"

Answer this question "Are there any other interesting aspects about this article?"
output: