input: In June 2009, the band played a short set to launch This Book Is Broken at the North by Northeast festival. They played a mix of new songs from their then-upcoming album and old favourites, and were joined by Feist, who also joined them on their second visit to Mexico City in October.  During the band's free performance at the Harbourfront Centre on July 11, 2009, they were joined by nearly all past contributors, including Feist, Emily Haines and James Shaw, Amy Millan and Evan Cranley, John Crossingham, Jason Collett and Julie Penner. This revue-like show celebrated other projects by members as well as including material from the then-upcoming album. Emcee Bruce McDonald announced the filming of a documentary directed by him and written by Don McKellar, Titled This Movie Is Broken, it includes concert footage and a fictional romance. Although McDonald announced at the concert that film submitted by fans would be used in the movie, the final cut of the movie included only one submission, a front-row recording of "Major Label Debut".  Broken Social Scene released their fourth full-length album on May 4, 2010. Entitled Forgiveness Rock Record, it was recorded at Soma in Chicago, with John McEntire producing, and in Toronto at the studio of Sebastian Grainger and James Shaw. For the first time, Amy Millan, Emily Haines, and Leslie Feist recorded a track together (albeit at different times). This album was short-listed for the 2010 Polaris Music Prize.  In August 2010, Broken Social Scene initiated their "All to All" remix series, which included seven different versions of the track from Forgiveness Rock Record. Every Monday a new remix was released and available for 24 hours via a different online partner. The first version, "All to All (Sebastien Sexy Legs Grainger Remix)", by Sebastien Grainger, was released August 9 via Pitchfork.

Answer this question "What record company produced the album ?"
output: John McEntire producing, and in Toronto at the studio of Sebastian Grainger and James Shaw.

input: Mukhina took an interest in gymnastics and figure skating at an early age. When an athletic scout visited her school, she eagerly volunteered to try out for gymnastics. She later joined the CSKA Moscow ("Central Red Army") sports club. In recognition of her accomplishments, Mukhina was inducted into the CSKA Hall of Fame.  Up until 1975, Mukhina was an unremarkable gymnast, and Soviet coaches largely ignored her. Then, two separate incidents brought her skills to the forefront for the Soviet team: Romanian domination of the Soviet gymnastics machine at the 1976 Olympics (for which the director for Soviet women's gymnastics, Larisa Latynina, was blamed; Latynina's response was, "it's not my fault that Nadia Comaneci was born in Romania"); and Mukhina's transition to working with men's coach Mikhail Klimenko, who transformed her into one of the most show-stopping gymnasts of her time. She burst onto the scene at the 1978 World Championships in Strasbourg, France. In one of the most stunning all-around performances in history, she won the gold medal, beating out Olympic Champions Nadia Comaneci and top-ranked Soviet gymnast Nellie Kim, among others. She also tied for the gold medal in the floor exercise event final, as well as winning the silver in balance beam and uneven bars. She made history in this competition by unveiling her signature moves: a full-twisting layout Korbut Flip on bars; a tucked double back salto dismount on beam (a move that is still being used over three decades later); and a full-twisting double back somersault on floor (still an E-rated move in the Code of Points) dubbed the "Muchina". Yet, in spite of these innovations, Mukhina maintained the classic Soviet style, inspired by ballet movements and expressive lines. She quickly established herself as an athlete to watch for at the 1980 Summer Olympics in Moscow.  A documentary film of the Soviet national team (1978) features Mukhina talking with her coach, Mikhail Klimenko, and footage of her rigorous training regimen.

Answer this question "what was her greatest achievement?"
output: She made history in this competition by unveiling her signature moves: a full-twisting layout Korbut Flip on bars; a tucked double back salto dismount on beam

input: Within a few years of moving to New York, Laswell founded a recording studio with producer/engineer Martin Bisi (of later indie rock renown) and hooked up with Jean Karakos and his fledgling label Celluloid Records. Under the Material moniker (now also a production unit consisting of Laswell and Beinhorn - Maher being long gone - and by 1984 consisting solely of Laswell) Laswell became the de facto house producer for Celluloid until the sale of the label in the later 1980s. During this time in the early to mid-1980s, Laswell was able to record some of his Material excursions (which ran the gamut from experimental jazz/funk to pop and R&B, featuring everyone from avant-jazz figures Henry Threadgill and Sonny Sharrock to Archie Shepp and pop star Whitney Houston) as well as projects such as Massacre, with Fred Frith and Fred Maher.  His association with Celluloid allowed some of his first forays into this so-called "collision music" - the term was coined for Laswell by the British writer Chris May, then editor of Black Music & Jazz Review and later a Celluloid staff member - and forays into world music. Recordings with the Golden Palominos and production on albums by Shango, Toure Kunda and Fela Kuti all appeared on the label. Celluloid also released a slew of 12" devoted to Hip-Hop, becoming a precursor to the popularity the form enjoyed starting in the mid-1980s. Fab 5 Freddy, Phase II and Afrika Bambaataa all appeared on the label. Criminally forgotten, Laswell also put together the very successful 12" World Destruction which paired PiL's John Lydon with Afrika Bambaataa - years before the Run-D.M.C./Aerosmith collaboration broke down the rock/hip-hop barrier. 1982 also saw Laswell's solo debut, Baselines.  Also recording a Laswell-helmed solo album for Celluloid was Ginger Baker, whom Laswell coaxed out of semi-retirement, giving the drummer's career a new boost. He likewise brought Sonny Sharrock out of semi-retirement and produced some of the guitarist's most acclaimed recordings, starting with the solo LP Guitar.

Answer this question "When did he found Celluloid Records?"
output:
- and by 1984 consisting solely of Laswell) Laswell became the de facto house producer for Celluloid until the sale of the label in the later 1980s.