Problem: Background: Michael Bennett (April 8, 1943 - July 2, 1987) was an American musical theatre director, writer, choreographer, and dancer. He won seven Tony Awards for his choreography and direction of Broadway shows and was nominated for an additional eleven. Bennett choreographed Promises, Promises, Follies and Company. In 1976, he won the Tony Award for Best Direction of a Musical and the Tony Award for Best Choreography for the musical A Chorus Line.
Context: Unlike his more famous contemporary Bob Fosse, Bennett was not known for a particular choreographic style. Instead, Bennett's choreography was motivated by the form of the musical involved, or the distinct characters interpreted.  In Act 2 of Company, Bennett defied the usual choreographic expectations by deliberately taking the polish off the standard Broadway production number. The company stumbled through the steps of a hat and cane routine ("Side By Side") and thus revealed to the audience the physical limitations of the characters' singing and dancing. Bennett made the audience aware that this group had been flung together to perform, and that they were in over their heads. He intended the number to be not about the routine, but rather the characters behind it.  The song "One" from A Chorus Line functions in a different way. The various phases of construction/rehearsal of the number are shown, and because the show is about professional dancers, the last performance of the song-and-dance routine has all the gloss and polish expected of Broadway production values. Bennett's choreography also reveals the cost of the number to the people behind it.  Bennett was influenced by the work of Jerome Robbins. "What Michael Bennett perceived early in Robbins' work was totality, all the sums of a given piece adding to a unified whole". In Dreamgirls, Bennett's musical staging was described as a "mesmerizing sense of movement":  The most thrilling breakthrough of the extraordinary show is that whereas in A Chorus Line Michael Bennett choreographed the cast, in Dreamgirls he has choreographed the set.... Bennett's use of [the plexiglass towers that dominated the set] was revolutionary. The towers moved to create constantly changing perspectives and space, like an automated ballet.... They energized the action, driving it forcefully along. It's why there were no set-piece dance routines in the show: Dance and movement were organic to the entire action. But Bennett had made the mechanical set his dancers."
Question: What were some strong points regarding his choreographic style?
Answer: Bennett's choreography was motivated by the form of the musical involved, or the distinct characters interpreted.

Problem: Background: Armando Christian Perez (born January 15, 1981), known by the stage name Pitbull or Mr. Worldwide, is an American rapper. His first recorded mainstream performance was on a solo track from Lil Jon's 2002 album Kings of Crunk. In 2004, Pitbull released his debut album M.I.A.M.I. under TVT Records. It included production producers Lil Jon and Jim Jonsin.
Context: In 2004, Pitbull released his debut album M.I.A.M.I., with the lead single being "Culo" produced by Lil Jon and the Diaz Brothers. It peaked at No. 32 on the Billboard Hot 100 chart and No. 11 on the Hot Rap Tracks chart. Other singles included "Dammit Man", "Back Up", "Toma", and "That's Nasty" (both featuring Lil Jon). He joined the Anger Management Tour, the 2000 hip-hop concert tour headlined by Eminem and 50 Cent. Pitbull also appeared on the Ying Yang Twins' single "Shake", which peaked at No.41 on the Hot 100 and No.12 on the rap chart, Adassa's chart topping single "Kamasutra" & Twista's "Hit the Floor" (#94 Hot 100, No. 20 Rap). Remix album Money Is Still a Major Issue was released in November 2005; it included new track "Everybody Get Up", a duet with hip-hop/R&B group Pretty Ricky.  TVT Records, Pitbull's label at the time, and Slip-n-Slide Records disputed over the release of Welcome to the 305, an unreleased album by Slip-n-Slide that Pitbull had recorded in 2001. A Miami judge ruled that Slip-n-Slide had a legal right to release the album as it was recorded when Pitbull was a Slip-N-Slide artist, and prior to him signing with TVT Records. A U.S. District Court judge affirmed the decision further. TVT was then ordered in March 2007 to pay Slip-n-Slide $9.1 million for attempting to block the album's release to record stores and digital download entities.  In 2005 Pitbull and rapper Sean 'Diddy' Combs co-founded Bad Boy Latino, a subsidiary of Combs' Bad Boy Records label. It primarily focuses on Latin hip hop, Latin soul, Latin pop and other tropical music and has offices in New York and Miami, Florida. Along with co-founding it, Perez currently heads the A&R division of the label.
Question: did it received any media attention?
Answer: on the Billboard Hot 100 chart and No. 11 on the Hot Rap Tracks chart.

Problem: Background: Patsy Cline (born Virginia Patterson Hensley; September 8, 1932 - March 5, 1963) was an American country music singer and part of the Nashville sound during the late 1950s and early 1960s. She successfully "crossed over" to pop music and was one of the most influential, successful, and acclaimed vocalists of the 20th century. She died at age 30 in the crash of a private airplane. Cline was known for her rich tone, emotionally expressive and bold contralto voice, and her role as a country music pioneer.
Context: Bill Peer, her second manager, gave her the name Patsy, from her middle name, Patterson. (Bill Peer, who had a country music band in Brunswick, MD, also had an infant daughter named Patsy). In 1955 he gained a contract for her at Four Star Records, the label he was then affiliated with. Four Star was under contract to the Coral subsidiary of Decca Records. Patsy signed with Decca at her first opportunity three years later.  Her first contract allowed her to record compositions only by Four Star writers, which Cline found limiting. Later, she expressed regret over signing with the label, but thinking that nobody else would have her, she took the deal. Her first record for Four Star was "A Church, A Courtroom & Then Good-Bye," which attracted little attention, although it led to appearances on the Grand Ole Opry. As these performances were not "records" per se, they were not governed by her contract, and she could sing what she wanted, within reason. This somewhat eased her "stifled" feeling.  Between 1955 and 1957, Cline recorded honky tonk material, with songs like "Fingerprints," "Pick Me Up On Your Way Down," "Don't Ever Leave Me Again," and "A Stranger In My Arms." Cline co-wrote the last two. None of these songs gained notable success. She experimented with rockabilly.  According to Decca Records producer Owen Bradley, the Four Star compositions only hinted at Patsy's potential. Bradley thought that her voice was best-suited for pop music, but Cline sided with Peer and the other Four Star producers, insisting that she could only record country songs, as her contract also stated. Every time Bradley tried to get her to sing the torch songs that would become her signature, she would panic, missing her familiar country fiddle and steel guitar. She often rebelled, only wishing to sing country and yodel. She recorded 51 songs with Four Star.
Question: Wh would she panic?
Answer:
she could only record country songs, as her contract also stated.