Problem: Background: The Beatles were an English rock band formed in Liverpool in 1960. With members John Lennon, Paul McCartney, George Harrison and Ringo Starr, they became widely regarded as the foremost and most influential music band. Rooted in skiffle, beat and 1950s rock and roll, the Beatles later experimented with several musical styles, ranging from pop ballads and Indian music to psychedelia and hard rock, often incorporating classical elements and unconventional recording techniques in innovative ways. In 1963 their enormous popularity first emerged as "Beatlemania"; as the group's music grew in sophistication, led by primary songwriters Lennon and McCartney, the band were integral to pop music's evolution into an art form and to the development of the counterculture of the 1960s.
Context: Touring internationally in June and July, the Beatles staged 37 shows over 27 days in Denmark, the Netherlands, Hong Kong, Australia and New Zealand. In August and September they returned to the US, with a 30-concert tour of 23 cities. Generating intense interest once again, the month-long tour attracted between 10,000 and 20,000 fans to each 30-minute performance in cities from San Francisco to New York.  In August, journalist Al Aronowitz arranged for the Beatles to meet Bob Dylan. Visiting the band in their New York hotel suite, Dylan introduced them to cannabis. Gould points out the musical and cultural significance of this meeting, before which the musicians' respective fanbases were "perceived as inhabiting two separate subcultural worlds": Dylan's audience of "college kids with artistic or intellectual leanings, a dawning political and social idealism, and a mildly bohemian style" contrasted with their fans, "veritable 'teenyboppers' - kids in high school or grade school whose lives were totally wrapped up in the commercialised popular culture of television, radio, pop records, fan magazines, and teen fashion. To many of Dylan's followers in the folk music scene, the Beatles were seen as idolaters, not idealists." Within six months of the meeting, according to Gould, "Lennon would be making records on which he openly imitated Dylan's nasal drone, brittle strum, and introspective vocal persona"; and six months after that, Dylan began performing with a backing band and electric instrumentation, and "dressed in the height of Mod fashion". As a result, Gould continues, the traditional division between folk and rock enthusiasts "nearly evaporated", as the Beatles' fans began to mature in their outlook and Dylan's audience embraced the new, youth-driven pop culture.  During the 1964 US tour, the group were confronted with the reality of racial segregation in the country at the time, particularly in the South. When informed that the 11 September show at the Gator Bowl in Jacksonville, Florida was to be held at a segregated venue, the Beatles expressed astonishment and announced that they would refuse to perform unless the show become integrated. Lennon stated: "We never play to segregated audiences and we aren't going to start now ... I'd sooner lose our appearance money." The group's stand drew controversy in the local media, but city officials relented and agreed to allow an integrated show. On the tour the group also refused to stay in segregated hotels. Documents reveal that for their subsequent US tours in 1965 and 1966, the Beatles included clauses in contracts stipulating that shows be integrated.
Question: Is there anything else interesting?
Answer: Documents reveal that for their subsequent US tours in 1965 and 1966, the Beatles included clauses in contracts stipulating that shows be integrated.

Problem: Background: Victor Jara was born in 1932 in Lonquen, near Santiago, to two peasants, Manuel Jara and Amanda Martinez. His father was illiterate and encouraged his children to work from an early age to help the family survive, rather than attend school. By the age of 6, Jara was already working on the land. His father could not support the family on his earnings as a peasant at the Ruiz-Tagle estate, nor was he able to find stable work.
Context: Early in his recording career, Jara showed a knack for antagonizing conservative Chileans, releasing a traditional comic song called "La beata" that depicted a religious woman with a crush on the priest to whom she goes for confession. The song was banned on radio stations and removed from record shops, but the controversy only added to Jara's reputation among young and progressive Chileans. More serious in the eyes of the Chilean right wing was Jara's growing identification with the socialist movement led by Salvador Allende. After visits to Cuba and the Soviet Union in the early 1960s, Jara had joined the Communist Party. The personal met the political in his songs about the poverty he had experienced firsthand.  Jara's songs spread outside Chile and were performed by American folk artists. His popularity was due not only to his songwriting skills but also to his exceptional power as a performer. He took a decisive turn toward political confrontation with his 1969 song "Preguntas por Puerto Montt" ("Questions About Puerto Montt"), which took direct aim at a government official who had ordered police to attack squatters in the town of Puerto Montt. The Chilean political situation deteriorated after the official was assassinated, and right-wing thugs beat up Jara on one occasion.  In 1970, Jara supported Allende, the Popular Unity coalition candidate for president, volunteering for political work and playing free concerts. He composed "Venceremos" ("We Will Triumph"), the theme song of Allende's Popular Unity movement, and welcomed Allende's election to the Chilean presidency in 1970. After the election, Jara continued to speak in support of Allende and played an important role in the new administration's efforts to reorient Chilean culture.  He and his wife, Joan Jara, were key participants in a cultural renaissance that swept Chile, organizing cultural events that supported the country's new socialist government. He set poems by Pablo Neruda to music and performed at a ceremony honoring him after Neruda received the Nobel Prize in Literature in 1972. Throughout rumblings of a right-wing coup, Jara held on to his teaching job at Chile's Technical University. His popular success during this time, as both a musician and a Communist, earned him a concert in Moscow. So successful was he that the Soviet Union tried to latch onto his popularity, claiming in their media that his vocal prowess was the result of surgery he had undergone while in Moscow.  Backed by the United States, which opposed Allende's socialist politics, the Chilean right wing staged a coup d'etat on September 11, 1973, resulting in the death of Allende and the installation of Augusto Pinochet as dictator. At the moment of the coup, Jara was on his way to the Technical University (today the Universidad de Santiago). That night, he slept at the university along with other teachers and students, and sang to raise morale.
Question: Where did Victor Jara go to school
Answer: