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: Namdev's padas are not mere poems, according to Callewaert and Lath. Like other Bhakti movement sants, Namdev composed bhajans, that is songs meant to be sung to music. A Bhajan literally means "a thing enjoyed or shared". Namdev's songs were composed to be melodious and carry a spiritual message. They built on one among the many ancient Indian traditions for making music and singing. Namdev's bhajans, note Callewaert and Lath, deployed particular species of Raag, used Bhanita (or Chhap, a stamp of the composer's name inside the poem, in his case Nama), applied a Tek (or dhruva, repeated refrain) and a meter than helps harmonise the wording with the musical instrument, all according to Sangita manuals refined from the 8th to 13th centuries.  The musical genre of Namdev's literary works was a form of Prabandha - itself a very large and rich genre that includes dhrupad, thumri, tappa, geet, bhajan and other species. In some species of Indian music, it is the music that dominates while words and their meaning are secondary. In contrast, in Namdev's bhajan the spiritual message in the words has a central role, and the structure resonates with the singing and music. The songs and music that went with Namdev's works, were usually transmitted verbally across generations, in a guru-sisya-parampara (teacher-student tradition), within singing gharanas (family-like musical units).  Callewaert and Lath state that, "each single song of Namdev is a musical and textual unit and this unit is the basis for textual considerations". The unit contained Antaras, which are the smallest independent unit within that can be shifted around, dropped or added, without affecting the harmony or meaning, when a bhajan is being sung with music. In Namdev's songs, the dominant pattern is Caturasra, or an avarta with the 4x4 square pattern of musical matras (beat).
Question: where there any people who opposed Nandev and his teachings?
Answer: Callewaert and Lath state that, "each single song of Namdev is a musical and textual unit and this unit is the basis for textual considerations".

IN: Lewis Alan Hoad (23 November 1934 - 3 July 1994) was an Australian World No. 1 tennis player. In his 1979 autobiography, Jack Kramer, the long-time tennis promoter and great player himself, ranked Hoad as one of the 21 best players of all time. For five straight years, beginning in 1952, he was ranked in the world top 10 for amateurs, reaching the World No. 1 spot in 1956. Hoad was a member of the Australian team that between 1952 and 1956 won the Davis Cup four times.

Lewis Hoad was born on 23 November 1934, in the working-class Sydney inner suburb of Glebe, the eldest of three sons of tramway electrician Alan Hoad and his wife Ailsa Lyle. Hoad started playing tennis at age five with a racket gifted by a local social club. As a young child he would wake up at 5 a.m. and hit tennis balls against a wall and garage door until the neighbours complained and he was allowed to practice on the courts of the Hereford Tennis Club behind the house. At age 10 he competed in the seaside tournament at Manly in the under 16 category.  In his youth he often played with Ken Rosewall and they became known as the Sydney 'twins', although they had very different physiques, personalities and playing styles. Their first match was in their early teens and was played as an opener of an exhibition match between Australia and America. Rosewall won 6-0, 6-0. Hoad built up great physical strength, especially in his hands and arms, by training at a police boys' club, where he made a name as a boxer. Hoad was about 12 when he was introduced to Adrian Quist, a former Australian tennis champion and then general manager of the Dunlop sports goods company. Quist played a couple of sets with Hoad and was impressed by his natural ability. When Hoad was 14 he left school and joined the Dunlop payroll, following the pattern of that 'shamateur' era when most of Australia's brightest tennis prospects were employed by sporting goods companies.  Hoad had just turned 15 when he and Rosewall were selected to play for New South Wales in an interstate contest against Victoria. In November 1949 Hoad won the junior title at the New South Wales Championships and that same weekend he also competed in the final of the junior table tennis championship in Sydney.

Where was he born?

OUT: in the working-class Sydney inner suburb of Glebe,

Background: "Sympathy for the Devil" is a samba rock song by the Rolling Stones, written by Mick Jagger and Keith Richards. Sung by Jagger, the song refers to the Devil, written in the first-person narrative, recounting atrocities committed throughout the history of humanity as if they were somehow "inspired" (or at least witnessed) by him. Although it has been deemed by some as "a homage", in reality, no admiration (or even sympathy, for that matter) is declared for the Devil in the song -other than his "own" request. It is performed in a rock arrangement with a samba rhythm, first appearing as the opening track on their 1968 album Beggars Banquet.
Context: In an interview with Creem, Jagger said, "[When people started taking us as devil worshippers], I thought it was a really odd thing, because it was only one song, after all. It wasn't like it was a whole album, with lots of occult signs on the back. People seemed to embrace the image so readily, [and] it has carried all the way over into heavy metal bands today. Some people have made a living out of doing this; for example, Jimmy Page."  Of the change in public perception the band experienced after the song's release, Richards said in a 1971 interview with Rolling Stone, "Before, we were just innocent kids out for a good time, they're saying, 'They're evil, they're evil.' Oh, I'm evil, really? So that makes you start thinking about evil... What is evil? Half of it, I don't know how much people think of Mick as the devil or as just a good rock performer or what? There are black magicians who think we are acting as unknown agents of Lucifer and others who think we are Lucifer. Everybody's Lucifer."  Contrary to a widespread misconception, it was "Under My Thumb" and not "Sympathy for the Devil" that the Rolling Stones were performing when Meredith Hunter was killed at the Altamont Free Concert. Rolling Stone magazine's early articles on the incident misreported that the killing took place during "Sympathy for the Devil", but the Stones in fact played "Sympathy for the Devil" earlier in the concert; it was interrupted by a fight and restarted, Jagger commenting, "We're always having--something very funny happens when we start that number." Several other songs were performed before Hunter was killed.
Question: what was the aftermath of?
Answer:
Richards said in a 1971 interview with Rolling Stone, "Before, we were just innocent kids out for a good time, they're saying, 'They're evil, they're evil.