input: VanDerveer was born on June 26, 1953, to Dunbar and Rita VanDerveer, who named their first child "Tara" after the plantation in Gone with the Wind. She was born in Melrose, Massachusetts, a part of Greater Boston, but grew up in a small town in West Hill, near Schenectady, New York. Her parents were interested in a well-rounded education. Her father was studying for a doctorate at the school now known as the University at Albany. He took the family to Chautauqua in the summer, where she immersed in arts as well as sports. At the age of ten, her parents bought her a flute, and arranged for lessons. Two years later, one of the premier flutists in the world was staying in Chautauqua, and her father arranged for lessons with this distinguished teacher. Although she learned to play, she did not enjoy the experience, and gave up the flute in ninth grade. The love of music stayed with her though, and in later years she would take up the piano. There were no sports teams for girls when she was in high school, but she played a number of sports including basketball, in rec leagues and pickup. When she was younger, she played with both boys and girls. As she entered her high school years, the girls dropped out for other interests, so she was more apt to play with boys. To help make sure she would be chosen, she bought the best basketball she could afford, so if the boys wanted to play with her basketball, they would have to pick her. Her father wasn't completely supportive of her basketball interest, calling her in from the neighbor's basketball hoop, telling her, "Basketball won't take you anywhere. Come in and do your algebra." Tara was equally certain that algebra wasn't going to take her anywhere. Her family moved to Niagara Falls in her sophomore year in high school. The house in West Hill had a gravel driveway, making a basketball hoop impractical, but when her parents got her a hoop for Christmas when they were in Niagara Falls. By then, she thought she was too old for basketball, although she would take it up again after she transferred to Buffalo Seminary, an all-girls college preparatory school, in her junior year. She ended up earning a place in the Buffalo Seminary's Athletic Hall of Fame.

Answer this question "Where was she born?"
output: She was born in Melrose, Massachusetts,

input: Harris considers Islam to be "especially belligerent and inimical to the norms of civil discourse," relative to other world religions. He asserts that the "dogmatic commitment to using violence to defend one's faith, both from within and without" to varying degrees, is a central Islamic doctrine that is found in few other religions to the same degree, and that "this difference has consequences in the real world." In 2006, after the Jyllands-Posten Muhammad cartoons controversy, Harris wrote, "The idea that Islam is a 'peaceful religion hijacked by extremists' is a dangerous fantasy--and it is now a particularly dangerous fantasy for Muslims to indulge. It is not at all clear how we should proceed in our dialogue with the Muslim world, but deluding ourselves with euphemisms is not the answer. It now appears to be a truism in foreign policy circles that real reform in the Muslim world cannot be imposed from the outside. But it is important to recognize why this is so--it is so because the Muslim world is utterly deranged by its religious tribalism. In confronting the religious literalism and ignorance of the Muslim world, we must appreciate how terrifyingly isolated Muslims have become in intellectual terms." He states that his criticism of the religion is aimed not at Muslims as people, but at the doctrine of Islam. Harris wrote a response to controversy over his criticism of Islam, which also aired on a debate hosted by The Huffington Post on whether critics of Islam are unfairly labeled as bigots: Is it really true that the sins for which I hold Islam accountable are "committed at least to an equal extent by many other groups, especially [my] own"? ... The freedom to poke fun at Mormonism is guaranteed [not by the First Amendment but] by the fact that Mormons do not dispatch assassins to silence their critics or summon murderous hordes in response to satire. ... Can any reader of this page imagine the staging of a similar play [to The Book of Mormon] about Islam in the United States, or anywhere else, in the year 2013? ... At this moment in history, there is only one religion that systematically stifles free expression with credible threats of violence. The truth is, we have already lost our First Amendment rights with respect to Islam--and because they brand any observation of this fact a symptom of Islamophobia, Muslim apologists like Greenwald are largely to blame. Harris has criticized common usage of the term "Islamophobia". "My criticism of Islam is a criticism of beliefs and their consequences," he wrote following a controversial clash with Ben Affleck in October 2014 on the show Real Time with Bill Maher, "but my fellow liberals reflexively view it as an expression of intolerance toward people." During an email exchange with Glenn Greenwald, a critic of the New Atheists, Harris argued that "Islamophobia is a term of propaganda designed to protect Islam from the forces of secularism by conflating all criticism of it with racism and xenophobia. And it is doing its job, because people like you have been taken in by it."

Answer this question "Can you please tell me more about how we have lost our first amendment rights"
output: because they brand any observation of this fact a symptom of Islamophobia, Muslim apologists like Greenwald are largely to blame.

input: Strauss wrote two early symphonies: Symphony No. 1 (1880) and Symphony No. 2 (1884). However, Strauss's style began to truly develop and change when, in 1885, he met Alexander Ritter, a noted composer and violinist, and the husband of one of Richard Wagner's nieces. It was Ritter who persuaded Strauss to abandon the conservative style of his youth and begin writing tone poems. He also introduced Strauss to the essays of Wagner and the writings of Arthur Schopenhauer. Strauss went on to conduct one of Ritter's operas, and at Strauss's request Ritter later wrote a poem describing the events depicted in Strauss's tone poem Death and Transfiguration. The new influences from Ritter resulted in what is widely regarded as Strauss's first piece to show his mature personality, the tone poem Don Juan (1888), which displays a new kind of virtuosity in its bravura orchestral manner. Strauss went on to write a series of increasingly ambitious tone poems: Death and Transfiguration (1889), Till Eulenspiegel's Merry Pranks (1895), Thus Spoke Zarathustra (1896), Don Quixote (1897), Ein Heldenleben (1898), Symphonia Domestica (1903) and An Alpine Symphony (1911-1915). One commentator has observed of these works that "no orchestra could exist without his tone poems, written to celebrate the glories of the post-Wagnerian symphony orchestra." James Hepokoski notes a shift in Strauss's technique in the tone poems, occurring between 1892 and 1893. It was after this point that Strauss rejected the philosophy of Schopenhauer and began more forcefully critiquing the institution of the symphony and the symphonic poem, thereby differentiating the second cycle of tone poems from the first.

Answer this question "Why was he more critical?"
output:
thereby differentiating the second cycle of tone poems from the first.