input: Fossella was born on Staten Island into a Roman Catholic family of Irish and Italian descent. Fossella's great-grandfather James A. O'Leary represented Staten Island in Congress from 1935 to 1944. One of his uncles, Frank Fossella, was a prominent Staten Island Democrat who was a City Council member for four years, ending in 1985. His father, Vito John Fossella Sr., served in various appointed positions in the city administrations of Democratic Mayors Edward I. Koch and Abraham D. Beame, then became a successful construction engineer. Fossella, the fourth of seven children, was a basketball player at Monsignor Farrell High School, where he got his first political experience in the student council. He briefly played violin and percussion with the Christian pop band Sonseed. He attended Iona College in New Rochelle, then transferred to the Wharton School of the University of Pennsylvania, where he received a Bachelor of Science degree in economics in 1987. At Penn, he was a member of the Sigma Phi Epsilon fraternity. After college, Fossella worked as a management consultant at the accounting firm Deloitte & Touche. Deloitte Touche Tohmatsu was the second largest campaign contributor to Fossella in the 2006 campaign cycle and among the largest contributors in the 2008 campaign cycle. Fossella then attended law school. He received a Juris Doctor from the Fordham University School of Law in 1993, and worked as an associate at a medical malpractice defense law firm Schiavetti Begos & Nicholson. In 1990, Fossella married Mary Patricia Rowan. They have three children and live in the Great Kills neighborhood on Staten Island. Fossella also had a daughter out-of-wedlock in 2005 with retired Lt. Col. Laura Fay.

Answer this question "Did he have any notable family members?"
output: Fossella's great-grandfather James A. O'Leary represented Staten Island in Congress from 1935 to 1944.

input: 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.

Answer this question "When was the book released?"
output: 2003,

input: In the 3rd century the Roman Empire almost collapsed and its army was becoming increasingly Germanic in make-up, so that in the 4th century when Huns pushed German tribes westward, they spilled across the Empire's borders and began to settle there. The Visigoths settled in Italy and then Spain, in the north the Franks settled into Gaul and western Germany, and in the 5th century Scandinavians such as the Angles, Saxons and Jutes invaded Britain. By the close of the 6th century the Western Roman Empire was almost completely replaced with smaller less politically organized, but vigorous, Germanic kingdoms. Although these kingdoms were never homogeneous, they shared certain common cultural features. They settled in their new lands and become farmers and fishermen. Archaeological evidence shows no tradition of monumental artwork, such as architecture or large sculpture in permanent materials, but a preference instead for "mobile" art for personal display, usually also with a practical function, such as weapons, horse harness, tools, and jewelry which fastened clothes. The surviving art of the Germanic peoples is almost entirely personal adornment, portable, and before conversion to Christianity was buried with its owner. Much art in organic materials has no doubt not survived. Three styles dominate Germanic art. The polychrome style originated with the Goths who had settled in the Black Sea area. The animal style was found in Scandinavia, north Germany and England. Finally there was Insular art or the Hiberno-Saxon style, a brief but prosperous period after Christianization that saw the fusion of animal style, Celtic, Mediterranean and other motifs and techniques.

Answer this question "What Was the rest ruled by"
output:
smaller less politically organized, but vigorous, Germanic kingdoms.