In this task, you're given a question, along with a context passage which has extra information available on certain terms mentioned in it, i.e., the proper nouns in the passage. Your job is to determine whether information from more than one term is needed to answer the question. Indicate your choice as `a` for Yes or `b` for No.
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Question: Question: Who won the award for which Beyonce was nominated for due to Polachek's song "No Angel"? Passage:In 2010, she joined Jorge Elbrecht of Brooklyn-based Violens to record a "sgin" of Justin Bieber's "Never Let You Go": "We went on YouTube to find a video among the highest ranks of hits, and came across 'Never Let You Go'. We went on to make what we call a 'sgin' (anagram of the word 'sing')—an original song written specifically to synch into someone else's video on mute". Caroline shot and directed video for Violens' "It Couldn't Be Perceived". Polachek and Elbrecht collaborated again in 2014 on two singles, "I.V. Aided Dreams (feat. Caroline Polachek)" and "Full Mental Erase (feat. Caroline Polachek)". In 2012, she sang with Ice Choir (solo project of Kurt Feldman of The Pains of Being Pure at Heart) on the song "Everything Is Spoilt by Use" and directed/edited its official video. Caroline contributed vocals to Blood Orange's "Chamakay" (2013), collaborating with Blood Orange again on "Holy Will" (2018). In late 2013, Polachek wrote and produced "No Angel", which was featured on Beyoncé's critically acclaimed fifth studio album, Beyoncé. Thanks to this song, at the 57th Annual Grammy Awards, she received a Grammy Award nomination for Album of the Year. Polachek then collaborated with PC Music's, Danny L Harle in early 2016 on the single "Ashes of Love". Polachek collaborated with felicita throughout his album "Hej!" (PC Music 2018) including an arrangement of the Polish traditional song "Byl Sobie Krol" (released under the title "Marzipan"), and with Charli XCX on Pop 2 (2017) on tracks "Tears (feat. Caroline Polachek)" and "Delicious (feat. Tommy Cash).


Answer: a


Question: Question: Was Forbes or the Guardian founded first? Passage:"The Lazy Song" has received generally mixed reviews from contemporary music critics. Eric Henderson of Slant Magazine noted that in song Mars "paints a portrait of Al Bundy as a young man" and Andy Gill of The Independent classified the song as a "laidback acoustic groove". Tim Sendra of AllMusic said it was one of the tracks from Doo-Wops & Hooligans that captured the laid-back groove. Scott Mervis of the Pittsburgh Post-Gazette described the song as a "Jason Mraz/Sugar Ray-style reggae." Sean Fennessey, a reviewer of The Washington Post, felt the song was written in a "quality that is both endearing and damning". A mixed review came from Digital Spy reviewer Lewis Corner, who commented that the song is a "summery ditty more head-boppable than a Churchill nodding dog, which, given his current state of mind, is probably about all he could muster", giving it three stars out of five. and from Blues & Soul magazine who called it "reggae tinged" and found it to be "somewhat of a filler but for the likes of Peter Andre" is great. Entertainment Weeklys Leah Greenblatt considered that "other modes suit him less well; The Lazy Song is perhaps better left to Jason Mraz". Alexis Petridis of The Guardian, gave the song a negative review, writing that "The Lazy Song" "gets no further than the second verse before Mars – nothing if not keen to keep his fans abreast of his every activity in a world of 360-degree connectivity – announces that he's planning on having a wank". Nick Messitte writing for Forbes criticized the single for copying the "happy-go-lucky meanderings of Jason Mraz's "I'm Yours", but also using the same pattern as Travie McCoy and Mars' "Billionaire" (2011).


Answer: a


Question: Question: Has the Oxford University Press won the Best Scholarly Book Award prior to 2003? Passage:Clark’s first book, From Angels to Aliens: Teenagers, the Media, and the Supernatural (Oxford University Press, 2003), analyzed how young people of different religious backgrounds - and with no religious backgrounds at all - made meaning of popular culture’s representations of the supernatural, based on their religious understanding. She introduced the term “the dark side of evangelicalism” to draw attention to the ways that popular culture such as horror films and apocalyptic video games draw upon Christianity’s historic narratives of demons, hell, and the afterlife, often in ways leaders of religious conservative movements reject in spite of the perennial interest these stories garner among young people. Basing her findings on the differing ways in which young people respond to popular cultural stories of the supernatural, Clark argued against the media effects perspective. Instead of people taking media alternatives more seriously than those of religion, popular media narratives reflect and contribute to ongoing challenges to traditional religious authority as lived out in everyday life. The book received the Best Scholarly Book Award of 2003 by the National Communication Association’s Ethnography division. As the first book on contemporary lived religion in the U.S. that explored the role of popular culture in young peoples’ lives, the book was reviewed in Washington Post Book World, Publishers Weekly, Christianity Today, Christian Century, and in several academic journals.


Answer:
b