input: In early February 2009, Shinee won the "Best Newcomer" award along with Davichi and Mighty Mouth at the 18th Seoul Music Awards. Shinee's second extended play, Romeo, was released on May 25. Its lead single, "Juliette", was released earlier on May 18. The song is an instrumental remake of Corbin Bleu's "Deal with It". Shinee had their first stage performance for the song on KBS's Music Bank in June, 2009, where the group also received the award for the first place.  Shinee released the digital version of their third extended play, 2009, Year of Us on October 19, 2009, with a physical release on October 22. The lead single, "Ring Ding Dong", was released digitally on October 14 and charted atop of several Korean music charts and gained popularity all over Asia. In early December 2009, the group was also awarded with the "Popularity" award along with Super Junior at the 24th Golden Disk Awards.  On July 19, 2010, the group released their second full length studio album, Lucifer, which topped various physical and digital sales charts in South Korea. The songs on the album "were more carefully selected than ever," and the album is said to "[give] listeners a great chance to experience the diverse musical characters and more mature vocal skills of the members." The group made their comeback on July 23, 2010 at KBS Music Bank. For its outstanding choreography, "Lucifer", was nominated for the Best Dance Performance Award at the Mnet Asian Music Awards. Lucifer became the 6th best-selling album of 2010 in South Korea, selling over 120,000 copies. In October, 2010, the album was re-released under the title Hello. Amidst their promotional activities for the second studio album, the group also participated in the SMTown Live '10 World Tour on August 21, 2010. On December 26, 2010, Shinee commenced their first concert tour, Shinee World, at Yoyogi National Gymnasium in Tokyo. The event was attended by approximately 24,000 people.

Answer this question "How did the public view the group?"
output: the group was also awarded with the "Popularity" award

input: Sanchez made 58 appearances for Mexico between 1977 and 1994, scoring 29 goals. Prior to representing the senior side, as a teenager he represented Mexico at the 1975 Pan American Games on home soil, where he won a gold medal, and at the 1976 Summer Olympics. He participated in three FIFA World Cup tournaments, making 8 World Cup appearances in total, and scoring once. He helped Mexico win the 1977 CONCACAF Championship to seal qualification for the 1978 FIFA World Cup in Argentina; at the age of 19, he took part in the final tournament, where Mexico lost all three of their group games and suffered a first round elimination.  After Mexico failed to qualify for the 1982 FIFA World Cup in Spain, Sanchez was a part of the Mexico team that reached the quarter-finals of the 1986 World Cup on home soil, losing out to eventual runners-up West Germany in a penalty shootout. He scored his only World Cup goal during his nation's opening match of the tournament on 3 June, the winning goal in a 2-1 victory over Belgium, although he also missed a penalty in Mexico's second group match against Paraguay, and was later booked, causing him to miss the final group match. Four years later, however, Mexico once again missed out on the final tournament as they were suspended from the 1990 FIFA World Cup in Italy.  Despite his advancing age, he later played a key role in helping Mexico to the final of the 1993 Copa America, at the age of 35; he scored once in a 2-0 victory over Ecuador in the semi-finals, although Mexico eventually finished as runners-up to Argentina. Sanchez later also appeared at the 1994 FIFA World Cup in the United States, his final major tournament, where Mexico suffered a round of 16 elimination; he made his only appearance in the tournament on 19 June, in Mexico's opening match of the competition, a 1-0 defeat to Norway.

Answer this question "Did he play for any non Mexican teams?"
output: 

input: Merleau-Ponty distinguishes between primary and secondary modes of expression. This distinction appears in Phenomenology of Perception (p. 207, 2nd note [Fr. ed.]) and is sometimes repeated in terms of spoken and speaking language (le langage parle et le langage parlant) (The Prose of the World, p. 10). Spoken language (le langage parle), or secondary expression, returns to our linguistic baggage, to the cultural heritage that we have acquired, as well as the brute mass of relationships between signs and significations. Speaking language (le langage parlant), or primary expression, such as it is, is language in the production of a sense, language at the advent of a thought, at the moment where it makes itself an advent of sense.  It is speaking language, that is to say, primary expression, that interests Merleau-Ponty and which keeps his attention through his treatment of the nature of production and the reception of expressions, a subject which also overlaps with an analysis of action, of intentionality, of perception, as well as the links between freedom and external conditions.  The notion of style occupies an important place in "Indirect Language and the Voices of Silence". In spite of certain similarities with Andre Malraux, Merleau-Ponty distinguishes himself from Malraux in respect to three conceptions of style, the last of which is employed in Malraux's The Voices of Silence. Merleau-Ponty remarks that in this work "style" is sometimes used by Malraux in a highly subjective sense, understood as a projection of the artist's individuality. Sometimes it is used, on the contrary, in a very metaphysical sense (in Merleau-Ponty's opinion, a mystical sense), in which style is connected with a conception of an "uber-artist" expressing "the Spirit of Painting". Finally, it sometimes is reduced to simply designating a categorization of an artistic school or movement. (However, this account of Malraux's notion of style--a key element in his thinking--is open to serious question.)  For Merleau-Ponty, it is these uses of the notion of style that lead Malraux to postulate a cleavage between the objectivity of Italian Renaissance painting and the subjectivity of painting in his own time, a conclusion that Merleau-Ponty disputes. According to Merleau-Ponty, it is important to consider the heart of this problematic, by recognizing that style is first of all a demand owed to the primacy of perception, which also implies taking into consideration the dimensions of historicity and intersubjectivity. (However, Merleau-Ponty's reading of Malraux has been questioned in a recent major study of Malraux's theory of art which argues that Merleau-Ponty seriously misunderstood Malraux.) For Merleau-Ponty, style is born of the interaction between two or more fields of being. Rather than being exclusive to individual human consciousness, consciousness is born of the pre-conscious style of the world, of Nature.

Answer this question "What is his most well-known contribution to the art world?"
output:
Malraux to postulate a cleavage between the objectivity of Italian Renaissance painting