Answer the question at the end by quoting:

Rivera was born and raised in Long Beach, California, to Rosa Saavedra and Pedro Rivera, who were from Mexico. Her parents raised Rivera and her sister and four brothers in a tight-knit, musical household; her brother Lupillo is also a regional Mexican musician. Rivera spoke both English and Spanish fluently. Her family introduced her to traditional Mexican music, including the genres of banda, nortena, and ranchera.
Rivera made her first recording in 1992 as a Father's Day present to her father; she made more recordings and signed to Capitol/EMI's Latin division. Her first album, Chacalosa (slang for "party girl"), was released in 1995. At the onset of her musical career, she was told many times she would not make it. At that time and still today, the genre known as regional Mexican music was and is dominated by men. In a 2011 interview with Billboard magazine, she stated, "It was hard knocking on those doors to get my music played. One radio programmer in L.A., the meanest son of a bitch in the world, threw my CD in the trash right in my face." Those were the kind of issues Rivera faced as a female trying to crack the regional Mexican genre. She then released the albums We are Rivera and Farewell to Selena independently, the latter a tribute album to Tejano music singer Selena who was murdered in 1995. She signed to Sony Music in the late 1990s, and then with Fonovisa Records in 1999; in the same year, Rivera released her first commercial album with Fonovisa, titled Que Me Entierren Con la Banda, featuring local hit "Las Malandrinas". Rivera stated that she wrote "Las Malandrinas" to pay homage to her female fans. She also said, "The song blew up. People became interested. That's when Jenni Rivera the artist was actually born." In 2001, she released the records Dejate Amar and Se las Voy a Dar a Otro, which garnered her, her first Latin Grammy nomination for Best Banda Album. She became the first American--born artist to be nominated for the award in 2003. Her 2003 release Homenaje a Las Grandes (in English "Homage to the Great Ones") was a tribute album to female Mexican singers. In 2004, she released her first compilation disc titled Simplemente... La Mejor, which became her first record to detonate a chart in the United States.

Did she ever win any awards with her recordings?

her first Latin Grammy nomination for Best Banda Album.

Answer the question at the end by quoting:

Remment Lucas "Rem" Koolhaas (Dutch pronunciation: [rem ko:lha:s]; born 17 November 1944) is a Dutch architect, architectural theorist, urbanist and Professor in Practice of Architecture and Urban Design at the Graduate School of Design at Harvard University. Koolhaas studied at the Architectural Association School of Architecture in London and at Cornell University in Ithaca, New York. Koolhaas is the founding partner of OMA, and of its research-oriented counterpart AMO based in Rotterdam, the Netherlands. In 2005, he co-founded Volume Magazine together with Mark Wigley and Ole Bouman.
Koolhaas's next landmark publications were a product of his position as professor at Harvard University, in the Design school's "Project on the City"; firstly the 720-page Mutations, followed by The Harvard Design School Guide to Shopping (2002) and The Great Leap Forward (2002). All three books involved Koolhaas's students analysing what others would regard as "non-cities", sprawling conglomerates such as Lagos in Nigeria, west Africa, which the authors argue are highly functional despite a lack of infrastructure. The authors also examine the influence of shopping habits and the recent rapid growth of cities in China. Critics of the books have criticised Koolhaas for being cynical - as if Western capitalism and globalization demolish all cultural identity - highlighted in the notion expounded in the books that "In the end, there will be little else for us to do but shop". However, such cynicism can alternatively be read as a "realism" about the transformation of cultural life, where airports and even museums (due to finance problems) rely just as much on operating gift shops. When it comes to transforming these observations into practice, Koolhaas mobilizes what he regards as the omnipotent forces of urbanism into unique design forms and connections organised along the lines of present-day society. Koolhaas continuously incorporates his observations of the contemporary city within his design activities: calling such a condition the 'culture of congestion'. Again, shopping is examined for "intellectual comfort", whilst the unregulated taste and densification of Chinese cities is analysed according to "performance", a criterion involving variables with debatable credibility: density, newness, shape, size, money etc. For example, in his design for the new CCTV headquarters in Beijing (2009), Koolhaas did not opt for the stereotypical skyscraper, often used to symbolise and landmark such government enterprises, but instead designed a series of volumes which not only tie together the numerous departments onto the nebulous site, but also introduced routes (again, the concept of cross-programming) for the general public through the site, allowing them some degree of access to the production procedure. Through his ruthlessly raw approach, Koolhaas hopes to extract the architect from the anxiety of a dead profession and resurrect a contemporary interpretation of the sublime, however fleeting it may be. In 2003, Content, a 544-page magazine-style book designed by &&& Creative and published by Koolhaas, gives an overview of the last decade of OMA projects including his designs for the Prada shops, the Seattle Public Library, a plan to save Cambridge from Harvard by rechanneling the Charles River, Lagos' future as Earth's third-biggest city, as well as interviews with Martha Stewart and Robert Venturi and Denise Scott Brown.

Did he include his own research in the books?
All three books involved Koolhaas's students