Problem: Background: Arijit Singh is an Indian musician, singer, composer, music producer, recordist and music programmer. He sings predominantly in Hindi and Bengali, but has also lent his voice to various other Indian languages. Singh is regarded as one of the most versatile and successful singers in the History of Indian Music and Hindi Cinema. At the start of his singing career, he received nominations for the Upcoming Male Vocalist of the Year award at the 2013 Mirchi Music Awards for renditions of "Phir Le Aya Dil" and "Duaa", winning the award for the latter.
Context: Singh has played a great role in the Bollywood singing career of one of his contemporaries today Ash King. Regarding his help King told the Times of India, "When I met Arijit in London through a mutual friend, he wasn't a star singer yet. I knew he'd be big someday. When I came back (to Kolkata) in 2010, Arijit invited me to Mumbai and recommended me to Pritam for the song 'I Love You' and 'Te Amo'. He has been a great motivating force."  Singh said in an interview that he would love to serve people through his NGO named "Let There Be Light" which works for the Below Poverty Line (BPL) community. His NGO aims to include activities like bloodbank camp (with proof and records and photographs of all the blood being delivered properly), distribution of clothes, books, stationery, etc. to Below Poverty Line children on a huge scale and seasonal human ground activities.  In an interview, he spoke about his desire to work for people. "I try and help people in whichever way I can. I owned an NGO long time ago which is now turned into something which helps the people in whichever way they can. For example, we collected a lot of things for victims of the Nepal earthquake. The biggest problem is that we are not ready for anything bad that happens, be it during disasters or helping people post one. For example, the first earthquake in Nepal happened on 25 April and it took me a while to collect something as basic as matchboxes, candles and so on. People basically are not ready to help others. I firmly feel that we over here need a lot of awareness when it comes to population and at times I even feel bad for the Government."
Question: Where did he distribute these too?
Answer: Below Poverty Line children on a huge scale and seasonal human ground activities.

Problem: Background: George Orson Welles was born May 6, 1915, in Kenosha, Wisconsin, son of Richard Head Welles (b. Richard Hodgdon Wells, November 12, 1872, near St. Joseph, Missouri; d. December 28, 1930, Chicago, Illinois) and Beatrice Ives Welles (b. Beatrice Lucy Ives, September 1, 1883, Springfield, Illinois; d. May 10, 1924, Chicago).
Context: Simultaneously with his work in the theatre, Welles worked extensively in radio as an actor, writer, director and producer, often without credit. Between 1935 and 1937 he was earning as much as $2,000 a week, shuttling between radio studios at such a pace that he would arrive barely in time for a quick scan of his lines before he was on the air. While he was directing the Voodoo Macbeth Welles was dashing between Harlem and midtown Manhattan three times a day to meet his radio commitments.  In addition to continuing as a repertory player on The March of Time, in the fall of 1936 Welles adapted and performed Hamlet in an early two-part episode of CBS Radio's Columbia Workshop. His performance as the announcer in the series' April 1937 presentation of Archibald MacLeish's verse drama The Fall of the City was an important development in his radio career and made the 21-year-old Welles an overnight star.  In July 1937, the Mutual Network gave Welles a seven-week series to adapt Les Miserables. It was his first job as a writer-director for radio, the radio debut of the Mercury Theatre, and one of Welles's earliest and finest achievements. He invented the use of narration in radio.  "By making himself the center of the storytelling process, Welles fostered the impression of self-adulation that was to haunt his career to his dying day," wrote critic Andrew Sarris. "For the most part, however, Welles was singularly generous to the other members of his cast and inspired loyalty from them above and beyond the call of professionalism."  That September, Mutual chose Welles to play Lamont Cranston, also known as The Shadow. He performed the role anonymously through mid-September 1938.
Question: Did he do this for radio or theater?
Answer: His performance as the announcer in the series' April 1937 presentation of Archibald MacLeish's verse drama The Fall of the City was an important development in his radio career

Problem: Background: Namdev, also transliterated as Namdeo and Namadeva, (traditionally, c. 1270 - c. 1350) was a poet-saint from Maharashtra, India who is significant to the Varkari sect of Hinduism. He is also venerated in Sikhism, as well as Hindu warrior-ascetic traditions such as the Dadupanthis and the Niranjani Sampraday that emerged in north India during the Islamic rule. The details of Namdev's life are unclear. He is the subject of many miracle-filled hagiographies composed centuries after he died.
Context: The literary works of Namdev were influenced by Vaishnava philosophy and a belief in Vithoba. Along with the Jnanesvari, a sacred work of Jnanesvar, and of Bhakti movement teacher-writers such as Tukaram, the writings of Namdev form the basis of the beliefs held by the Varkari sect of Hinduism. He was thus among those responsible for disseminating the monotheistic Varkari faith that had emerged first in Karnataka in the mid-to-late 12th century and then spread to Pandharpur in Maharashtra.  Namdev and Jnanesvar used the Marathi language to convey their beliefs rather than using the traditional Sanskrit language that was essentially a buttress for the pre-eminence of the Brahmin priests. Namdev's style was to compose simply worded praise for Vithoba and to use a melodic device called samkirtana, both of which were accessible to common people. Shima Iwao says that "He taught that all can be saved equally, without regard to caste, through devotion (bhakti) to Vithoba" and that he greatly influenced groups of people who were forbidden by the Brahmin elite from studying the Vedas, such as women and members of the Shudra and untouchable communities.  The earliest anthological record of Namdev's works occurs in the Guru Granth Sahib, the Sikh scriptures compiled in 1604, although Novetzke notes that while the manuscript records of Namdev mostly date from the 17th and 18th centuries, there exists a manuscript from 1581 that presents a rarely recounted variant version of Namdev's Tirthavli, a Marathi-language autobiographical piece. It is evident that the Guru Granth record is an accurate rendition of what Namdev wrote: the oral tradition probably accounts significantly for the changes and additions that appear to have been made by that time. The numerous subsequently produced manuscripts also show variant texts and additions that are attributed to him. Of around 2500 abhangs that were credited to him and written in the Marathi language, perhaps only 600 - 700 are authentic. The surviving manuscripts are geographically dispersed and of uncertain provenance.
Question: What happened as a result?
Answer:
Namdev and Jnanesvar used the Marathi language to convey their beliefs rather than using the traditional Sanskrit language