Question: Given the following context:  Joshua and his boss, Vincent, are driving to a hospital. Both have been shot and are in pain. Joshua thinks back to his childhood, when his father was shot in front of his eyes. In a flashback, Joshua and his partner, Mickey, visit people that owe money to Vincent.  They encounter a crazy druggie who tells them that a small-time drug dealer named Frankie Tahoe wants to kill Vincent. Joshua and Mickey inform Vincent, and the trio intimidate a guy who works for Tahoe into telling them where he can be found.  They find Tahoe at a nightclub. During a talk, Tahoe insults the religion of Joshua and Vincent, which they hold dear, and Vincent beats Tahoe to death with a baseball bat. The trio dump the body in a landfill. While doing this, Vincent reveals that Mickey and Vincent's wife have been having an affair. Vincent then kills Mickey. While Joshua and Vincent are having breakfast, Joshua tells his boss that he has become weary of the violence and wants to retire. Vincent admits that he has violent outbursts but insists that Joshua owes him his life. Angered, Vincent says that Joshua cannot retire.  He leaves to go home, where he discovers two men watching his house. While confronting them, Joshua appears. The men tell Vincent that they have been ordered to deliver him to Nino, a powerful crime boss. When Nino calls his men, Vincent answers the cellphone. Vincent and Joshua get in the car and are driven to Nino's house.  answer the following question:  What is the first name of the person who insults a religion?
Answer: Frankie

[Q]: Given the following context:  Homework features singles that had significant impact in the French house and global dance music scenes. The first single from the album, "Alive", was included as a B-side on the single "The New Wave", which was released in April 1994. The album's second single was "Da Funk"; it was initially released in 1995 by Soma and was re-released by Virgin Records in 1996. It became the duo's first number-one single on the Billboard Hot Dance/Club Play chart. The song reached number seven on British and French charts. The third single, "Around the World", was a critical and commercial success, becoming the second number-one single on the Billboard Hot Dance/Club Play chart, as well as reaching number 11 in Australia, number five in the United Kingdom and number 61 on the Billboard Hot 100. In October 2011, NME placed "Around the World" at number 21 on its list of "150 Best Tracks of the Past 15 Years". The album's fourth single was "Burnin'"; it was released in September 1997 and peaked at number 30 in the UK. The final single from Homework was "Revolution 909". It was released in February 1998 and reached number 47 in the UK and number 12 on the Billboard Hot Dance/Club Play chart.In 1999, the duo released a video collection featuring music videos of tracks and singles from the album under the name of D.A.F.T.: A Story About Dogs, Androids, Firemen and Tomatoes. Although its title derives from the appearances of dogs ("Da Funk" and "Fresh"), androids ("Around the World"), firemen ("Burnin'"), and tomatoes ("Revolution 909") in the videos, a cohesive plot does not connect its episodes.  answer the following question:  What is the title of the song that became the duo's first number one single on the Billboard Hot Dance/Club Play chart?
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[A]: Da Funk

input: Please answer the following: Given the following context:  The pay-what-you-want release, the first for a major act, made headlines worldwide and sparked debate about the implications for the music industry. According to Mojo, the release was "hailed as a revolution in the way major bands sell their music", and the media's reaction was "almost overwhelmingly positive". Time called it "easily the most important release in the recent history of the music business" and Jon Pareles of The New York Times wrote that "for the beleaguered recording business Radiohead has put in motion the most audacious experiment in years". The NME wrote that "the music world seemed to judder several rimes off its axis", and praised the fact that everyone, from fans to critics, had access to the album at the same time on release day: "the kind of moment of togetherness you don’t get very often." Singer Bono of U2 praised Radiohead as "courageous and imaginative in trying to figure out some new relationship with their audience".The release also drew criticism. Trent Reznor of Nine Inch Nails thought it did not go far enough, calling it "very much a bait and switch, to get you to pay for a Myspace-quality stream as a way to promote a very traditional record sale". Reznor independently released his sixth album Ghosts I-IV under a Creative Commons licence the following year. Singer Lily Allen called the release "arrogant", saying: "[Radiohead have] millions of pounds. It sends a weird message to younger bands who haven't done as well. You don't choose how to pay for eggs. Why should it be different for music?" In the Guardian, journalist Will Hodgkinson wrote that Radiohead had made it impossible for less successful musicians to compete and make a living from their music. Kim Gordon of Sonic Youth told the Guardian the release "seemed really community-oriented, but it wasn't catered towards their musician brothers and sisters, who don’t sell as many records as them. It makes everyone else look bad for not offering their music for whatever."Radiohead's managers defended the release as "a...  answer the following question:  What is the name of the person who told the Guardian that the band that released In Rainbows hoped to subvert the corporate music industry?
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output: Yorke

input: Please answer the following: Given the following context:  The plan of the rooms at Belton was passé for a grand house of its time. Following the Restoration and the influx of European ideas, it had become popular for large houses to follow the continental fashion of a suite of state rooms consisting of a withdrawing room, dressing room, and bedroom proceeding from either side of a central saloon or hall. These rooms were permanently reserved for use by a high ranking guest, such as a visiting monarch. While Belton does have a saloon at its centre, enfilades of state rooms of lessening grandeur do not flank it. The possible reason for this unusual layout is that, while the Brownlows possessed great wealth, their title was only a baronetcy, and their fortune was barely a century old. They would have been regarded as gentry, not aristocracy. As a result, building a suite of state rooms would have been in hope rather than anticipation of a royal guest. However, the lack of a fashionable and formal suite of state apartments coupled with the Brownlows' lack of social credentials did not prevent a visit from King William III to the newly completed house in 1695. The King occupied the "Best bedchamber", a large room with an adjoining closet, directly above the saloon, that led directly from the second floor Great Dining Chamber.This design followed the older style of having reception rooms and bedrooms scattered over the two main floors. The layout used followed Roger Pratt's theory that guest and family rooms should be quite separate. As a consequence of this philosophy, the family occupied the rooms on the first and second floors of the west and east wings, with the state rooms in the centre. The great staircase, designed to be grand and imposing, rose to the east side of the house, and formed part of the guest's state route from the Hall and Saloon on the first floor to the principal dining room and bedroom on the second.The principal entrance hall, reception and family bedrooms were placed on the ground and first floors above a low semi-basement containing service...  answer the following question:  What was the specific Roger Pratt philosophy whose consequence resulted in the family occupying the rooms on the first and second floors of the west and east wings, with the state rooms in the centre?
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output:
guest and family rooms should be quite separate