input: Carpenter was born in Princeton, New Jersey, to Chapin Carpenter Jr., a Life Magazine executive, and Mary Bowie Robertson. Carpenter lived in Japan from 1969 to 1971 before moving to Washington, D.C. She attended Princeton Day School, a private coeducational prep school, before graduating from The Taft School in 1976. Carpenter described her childhood as "pretty typical suburban", with her musical interests defined chiefly by her sisters' albums of artists such as The Mamas & the Papas, The Beatles, and Judy Collins. When Carpenter was 16 her parents divorced, an event that affected Carpenter and that she wrote about in her song "House of Cards". Carpenter spent much of her time in high school playing the guitar and piano; while at Princeton Day School, her "classmates threatened to cut her guitar strings if she played 'Leaving on a Jet Plane' one more time." Despite her interest in music, Carpenter never considered performing publicly until, shortly after graduating from Taft, her father suggested that she perform at a local open-mic bar, a stressful experience for the shy Carpenter, who recalled, "I thought I was going to barf." Carpenter also hosted an open-mic night at a bar in the Cleveland Park neighborhood of Washington, DC for a number of years. Carpenter graduated from Brown University in 1981 with a degree in American Civilization. Carpenter played some summer sets in Washington's music scene, where she met guitarist John Jennings, who would become her producer and long-time collaborator. However, she considered music a hobby and planned on getting a "real job". She briefly quit performing, but after several job interviews decided to return to music. Carpenter was persuaded by Jennings to play original material instead of covers. Within a few years, she landed a manager and recorded a demo tape that led to a deal with Columbia Records.

Answer this question "Where was Mary Chapin Carpenter born?"
output: Carpenter was born in Princeton, New Jersey,

input: Roy began writing her first novel, The God of Small Things, in 1992, completing it in 1996. The book is semi-autobiographical and a major part captures her childhood experiences in Aymanam. The publication of The God of Small Things catapulted Roy to international fame. It received the 1997 Booker Prize for Fiction and was listed as one of the New York Times Notable Books of the Year for 1997. It reached fourth position on the New York Times Bestsellers list for Independent Fiction. From the beginning, the book was also a commercial success: Roy received half a million pounds as an advance. It was published in May, and the book had been sold in eighteen countries by the end of June. The God of Small Things received stellar reviews in major American newspapers such as The New York Times (a "dazzling first novel," "extraordinary", "at once so morally strenuous and so imaginatively supple") and the Los Angeles Times ("a novel of poignancy and considerable sweep"), and in Canadian publications such as the Toronto Star ("a lush, magical novel"). By the end of the year, it had become one of the five best books of 1997 by Time. Critical response in the United Kingdom was less positive, and the awarding of the Booker Prize caused controversy; Carmen Callil, a 1996 Booker Prize judge, called the novel "execrable", and The Guardian called the context "profoundly depressing". In India, the book was criticised especially for its unrestrained description of sexuality by E. K. Nayanar, then Chief Minister of Roy's home state Kerala, where she had to answer charges of obscenity.

Answer this question "What is the God of small things"
output: her first novel,

input: From 1967, the show had become closely associated with the BBC radio station Radio 1, usually being presented by DJs from the station, and between 1988 and 1991 the programme was simulcast on the radio station in FM stereo. However, during the last few years of the 1980s the association became less close, and was severed completely (although not permanently) in a radical shake-up known as the 'Year Zero' revamp. Following a fall in viewing figures and a general perception that the show had become 'uncool' (acts like The Clash had refused to appear in the show in previous years), a radical new format was introduced by incoming executive producer Stanley Appel (who had worked on the programme since 1966 as cameraman, production assistant, director and stand-in producer) in October 1991, in which the Radio 1 DJs were replaced by a team of relative unknowns, such as Claudia Simon and Tony Dortie who had previously worked for Children's BBC, 17-year-old local radio DJ Mark Franklin, Steve Anderson, Adrian Rose and Elayne Smith, who was replaced by Femi Oke in 1992. A brand new theme tune ('Now Get Out Of That'), title sequence and logo were introduced, and the entire programme moved from BBC Television Centre in London to BBC Elstree Centre in Borehamwood. The new presenting team would take turns hosting (initially usually in pairs but sometimes solo), and would often introduce acts in an out-of-vision voiceover over the song's instrumental introduction. They would sometimes even conduct short informal interviews with the performers, and initially the Top 10 countdown was run without any voiceover. Rules relating to performance were also altered meaning acts had to sing live as opposed to the backing tracks for instruments and mimed vocals for which the show was known. To incorporate the shift of dominance towards American artists, more use was made of out-of-studio performances, with acts in America able to transmit their song to the Top of the Pops audience "via satellite". These changes were widely unpopular and much of the presenting team were axed within a year, leaving the show hosted solely by Dortie and Franklin (apart from the Christmas Day editions, when both presenters appeared) from October 1992, on a week-by-week rotation.

Answer this question "What caused them to be less close?"
output:
Following a fall in viewing figures and a general perception that the show had become 'uncool' (