input: Rani Mukerji was born in Mumbai on 21 March 1978. Her father, Ram Mukherjee (born to the Mukherjee-Samarth family), is a former film director and one of the founders of Filmalaya Studios. Her mother, Krishna Mukherjee, is a former playback singer. Her elder brother, Raja Mukherjee, is a film producer and director. Her maternal aunt, Debashree Roy, is a Bengali film actress and her paternal cousin, Kajol, is a Hindi film actress and her contemporary. Another paternal cousin, Ayan Mukerji, is a scriptwriter and film director. Despite her parents and most of her relatives being members of the Indian film industry, Mukerji was uninterested in pursuing a career in film. She said, "There were already too many actresses at home and I wanted to be someone different". Mukerji received her education at Maneckji Cooper High School in Juhu and graduated with a degree in Home Science from SNDT Women's University. She is a trained Odissi dancer and began learning the dance form while in the tenth grade. As part of an annual tradition, the Mukherjee family celebrates the festival of Durga Puja in the suburban neighbourhood of Santacruz every year. Mukerji, a practising Hindu, takes part in the festivities with her entire family. In 1994, director Salim Khan approached her to play the lead female role in his directorial, Aa Gale Lag Jaa. Her father disapproved of a full-time career in film at such a young age, so she rejected the offer. At the age of eighteen, Mukerji experimented with acting by portraying a supporting role in her father's Bengali language film Biyer Phool (1996). The film starred Prosenjit and Indrani Haldar in lead roles and narrates the story of two sisters; Mukerji played the younger sibling of Haldar's character. Soon after, Khan approached her with another film offer to play the protagonist of the social drama Raja Ki Aayegi Baraat, Mukerji accepted the role due to her mother's insistence that she continue to pursue acting on an experimental basis. Before she began work on the film, Mukerji trained at Roshan Taneja's acting institute.

Answer this question "Where was she born?"
output: Mumbai

input: In May 1969, after leaving the Brooklyn Underground, Vaughan joined a band called the Southern Distributor. He had learned The Yardbirds' "Jeff's Boogie" and played the song at the audition. Mike Steinbach, the group's drummer, commented: "The kid was fourteen. We auditioned him on 'Jeff's Boogie,' really fast instrumental guitar, and he played it note for note." Although they played pop rock covers, Vaughan conveyed his interest in the addition of blues songs to the group's repertoire; he was told that he wouldn't earn a living playing blues music and the band parted ways. Later that year, bassist Tommy Shannon walked into a Dallas club and heard Vaughan playing guitar. Fascinated by the skillful playing, which he described as "incredible even then", Shannon borrowed a bass guitar and the two jammed. Within a few years, they began performing together in a band called Krackerjack. In February 1970, Vaughan joined a band called Liberation, which was a nine-piece group with a horn section. Having spent the past month briefly playing bass with Jimmie in Texas Storm, he had originally auditioned as bassist. Impressed by Vaughan's guitar playing, Scott Phares, the group's original guitarist, modestly became the bassist. In mid-1970, they performed at the Adolphus Hotel in downtown Dallas, where ZZ Top asked them to perform. During Liberation's break, Vaughan jammed with ZZ Top on the Nightcaps song "Thunderbird". Phares later described the performance: "They tore the house down. It was awesome. It was one of those magical evenings. Stevie fit in like a glove on a hand." Attending Justin F. Kimball High School during the early 1970s, Vaughan's late-night gigs contributed to his neglect in his studies, including music theory; he would often sleep during class. His musical career pursuit was disapproved by many of the school's administrators, but he was also encouraged by many people to strive for a career in art, including his art teacher. In his sophomore year, he attended an evening class for experimental art at Southern Methodist University, but bailed when it conflicted with rehearsal. Vaughan later spoke of his dislike of the school and stated that he had to receive a daily note from the principal about his grooming.

Answer this question "what else did he do at this time?"
output: rehearsal.

input: Evola's dissent from standard biological concepts of race had roots in his aristocratic elitism, since Nazi Volkisch ideology inadequately separated aristocracy from "commoners." According to Furlong, Evola developed "the law of the regression of castes" in Revolt Against the Modern World and other writings on racism from the 1930s and World War II period. In Evola's view "power and civilization have progressed from one to another of the four castes--sacred leaders, warrior nobility, bourgeoisie (economy, 'merchants') and slaves". Furlong explains: "for Evola, the core of racial superiority lay in the spiritual qualities of the higher castes, which expressed themselves in physical as well as in cultural features, but were not determined by them. The law of the regression of castes places racism at the core of Evola's philosophy, since he sees an increasing predominance of lower races as directly expressed through modern mass democracies." Prior to the end of War, Evola had frequently used the term "Aryan" to mean the nobility, who in his view were imbued with traditional spirituality. Wolff notes that Evola seems to have stopped writing about race in 1945, but adds that the intellectual themes of Evola's writings were otherwise unchanged. Evola continued to write about elitism and his contempt for the weak. His "doctrine of the Aryan-Roman 'super-race was simply restated as a doctrine of the 'leaders of men'...no longer with reference to the SS, but to the mediaeval Teutonic knights of the Knights Templar, already mentioned in Rivolta." Evola spoke of "inferior non-European races". Peter Merkl wrote that "Evola was never prepared to discount the value of blood altogether". Evola wrote: "a certain balanced consciousness and dignity of race can be considered healthy" in a time where "the exaltation of the negro and all the rest, anticolonialist psychosis and integrationist fanatiscm [are] all parallel phenomena in the decline of Europe and the West." While not totally against race-mixing, in 1957, Evola wrote an article attributing the perceived acceleration of American decadence to the influence of "negroes" and the opposition to segregation. Furlong noted that this article is "among the most extreme in phraseology of any he wrote, and exhibits a degree of intolerance that leaves no doubt as to his deep prejudice against black people."

Answer this question "Did he have any accomplishments?"
output:
Furlong noted that this article is "among the most extreme in phraseology of any he wrote,