input: On February 22, 2013, Refused were awarded "The special prize for Swedish music exports" by the Minister of Trade. Lyxzen and Sandstrom chose to criticize the current Government at the ceremony, instead thanking the efforts of popular education, in particular Workers' Educational Association (ABF) and youth centers (in Sweden associated with social democracy) while Jon Brannstrom chose to not accept the prize on his behalf later stating he wished they "[...] had said no to the prize and instead held a press conference about why we had turned it down".  On October 31, 2014, Jon Brannstrom stated on the official Refused Facebook page that he had been fired from the band (the band would later state that he left the band in 2013), implying that Refused were still active and planned on performing again in the future. On November 25, 2014, the band announced that they would perform their first shows in three years at the Reading and Leeds Festivals, Groezrock and Amnesia Rockfest in the summer of 2015. They also headlined Punk Rock Bowling in Las Vegas in May 2015. Around the same time, rumours surfaced of a new album being recorded for release in 2015 after ...And You Will Know Us By The Trail Of Dead's Autrey Fulbright II posted a photo on Instagram claiming that Lyxzen had been in the studio recording vocals for the album.  On April 27, 2015, it was announced that Refused would release their fourth studio album, Freedom, in June 2015 via Epitaph Records. The album was produced by Nick Launay and includes further collaborations such as two songs produced with Max Martin-collaborator Shellback (Taylor Swift). The news was announced along with the release of the album's opening track, "Elektra," as its lead single.  On November 20, 2017, members of Refused revealed on social media that the band has been in the studio working on their next album.

Answer this question "What are they doing now?"
output: 

input: Poulenc, a highly accomplished pianist, usually composed at the piano and wrote many pieces for the instrument throughout his career. In Henri Hell's view, Poulenc's piano writing can be divided into the percussive and the gentler style reminiscent of the harpsichord. Hell considers that the finest of Poulenc's music for piano is in the accompaniments to the songs, a view shared by Poulenc himself. The vast majority of the piano works are, in the view of the writer Keith W Daniel, "what might be called 'miniatures'". Looking back at his piano music in the 1950s, the composer viewed it critically: "I tolerate the Mouvements perpetuels, my old Suite en ut [in C], and the Trois pieces. I like very much my two collections of Improvisations, an Intermezzo in A flat, and certain Nocturnes. I condemn Napoli and the Soirees de Nazelles without reprieve."  Of the pieces cited with approval by Poulenc, the fifteen Improvisations were composed at intervals between 1932 and 1959. All are brief: the longest lasts a little more than three minutes. They vary from swift and balletic to tender lyricism, old-fashioned march, perpetuum mobile, waltz and a poignant musical portrait of the singer Edith Piaf. Poulenc's favoured Intermezzo was the last of three. Numbers one and two were composed in August 1934; the A flat followed in March 1943. The commentators Marina and Victor Ledin describe the work as "the embodiment of the word 'charming'. The music seems simply to roll off the pages, each sound following another in such an honest and natural way, with eloquence and unmistakable Frenchness." The eight nocturnes were composed across nearly a decade (1929-38). Whether or not Poulenc originally conceived them as an integral set, he gave the eighth the title "To serve as Coda for the Cycle" (Pour servir de Coda au Cycle). Although they share their generic title with the nocturnes of Field, Chopin and Faure, Poulenc's do not resemble those of the earlier composers, being "night-scenes and sound-images of public and private events" rather than romantic tone poems.  The pieces Poulenc found merely tolerable were all early works: Trois mouvements perpetuels dates from 1919, the Suite in C from 1920 and the Trois pieces from 1928. All consist of short sections, the longest being the "Hymne", the second of the three 1928 pieces, which lasts about four minutes. Of the two works their composer singled out for censure, Napoli (1925) is a three-movement portrait of Italy, and Les Soirees de Nazelles is described by the composer Geoffrey Bush as "the French equivalent of Elgar's Enigma Variations" - miniature character sketches of his friends. Despite Poulenc's scorn for the work, Bush judges it ingenious and witty. Among the piano music not mentioned, favourably or harshly, by Poulenc, the best known pieces include the two Novelettes (1927-28), the set of six miniatures for children, Villageoises (1933), a piano version of the seven-movement Suite francaise (1935), and L'embarquement pour Cythere for two pianos (1953).

Answer this question "What type of music did he play?"
output: can be divided into the percussive and the gentler style reminiscent of the harpsichord.

input: Gerald Wirth became the choir's artistic director in 2001. However, since then, the choir has come under pressure to modernize and has faced criticism of their musical standards, leading to a split with the Vienna State Opera. The choir has for the first time had to advertise for recruits after a rival choir school was established by Ioan Holender, director of the opera company. He complained of both falling standards and poor communication with the choir. He said that the State Opera sometimes trained boys for particular stage roles, only to find out on the day of performance that they were unavailable as they had gone on tour with the choir. Some boys were attracted to the rival choir school by the prospect of a more relaxed atmosphere and of performance fees being paid directly to them.  The Vienna Boys' Choir has sought to update its image, recording pop music selections and adopting an alternative uniform to the sailor suits used since the 1920s, allowing the boys to dance as they sing. After Eugen Jesser died in May 2008, Walter Nettig became the choir's president. Gerald Wirth has been the artistic director since 2001, and he also became the choir's president in 2013.  In 2010, following sexual abuse allegations from two former choristers stemming from the late 1960s and early 1980s, the Vienna Boys' Choir opened a confidential phone and e-mail hotline to allow others to come forward. Eight possible victims came forward saying they were abused, either by staff or other choir members.

Answer this question "what changes did they make?"
output:
The Vienna Boys' Choir has sought to update its image, recording pop music selections and adopting an alternative uniform to the sailor suits used since the 1920s,