Question:
Frederick II (26 December 1194 - 13 December 1250; Sicilian: Fidiricu, Italian: Federico, German: Friedrich) was King of Sicily from 1198, King of Germany from 1212, King of Italy and Holy Roman Emperor from 1220 and King of Jerusalem from 1225. His mother Constance was Queen of Sicily and his father was Henry VI of the Hohenstaufen dynasty. Frederick's reign saw the Holy Roman Empire reaching its all time territorial peak.
Historians rate Frederick II as a highly significant European monarch of the Middle Ages. This reputation was present even in Frederick's era. Lansing and English, two British historians, argue that medieval Palermo has been overlooked in favor of Paris and London: One effect of this approach has been to privilege historical winners, [and] aspects of medieval Europe that became important in later centuries, above all the nation state.... Arguably the liveliest cultural innovation in the 13th century was Mediterranean, centered on Frederick II's polyglot court and administration in Palermo.... Sicily and the Italian South in later centuries suffered a long slide into overtaxed poverty and marginality. Textbook narratives therefore focus not on medieval Palermo, with its Muslim and Jewish bureaucracies and Arabic-speaking monarch, but on the historical winners, Paris and London. Modern medievalists no longer accept the notion, sponsored by the popes, of Frederick as an anti-Christian. They argue that Frederick understood himself as a Christian monarch in the sense of a Byzantine emperor, thus as God's "viceroy" on earth. Whatever his personal feelings toward religion, certainly submission to the pope did not enter into the matter in the slightest. This was in line with the Hohenstaufen Kaiser-Idee, the ideology claiming the Holy Roman Emperor to be the legitimate successor to the Roman Emperors. 20th century treatments of Frederick vary from the sober (Wolfgang Sturner) to the dramatic (Ernst Kantorowicz). However, all agree on Frederick II's significance as Holy Roman Emperor. In the judgment of British historian Geoffrey Barraclough, Frederick's extensive concessions to German princes--which he made in the hopes of securing his base for his Italian projects--undid the political power of his predecessors and postponed German unity for centuries. However, the modern approach to Frederick II tends to be focused on the continuity between Frederick and his predecessors as Kings of Sicily and Holy Roman Emperors, and the similarities between him and other thirteenth-century monarchs. David Abulafia, in a biography subtitled "A Medieval Emperor," argues that Frederick's reputation as an enlightened figure ahead of his time is undeserved, and that Frederick was mostly a conventionally Christian monarch who sought to rule in a conventional medieval manner.
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what did he do

Answer:
enlightened figure ahead of his time

input: "Pride" reached #3 on the UK Singles Chart and #8 on the Dutch Singles Chart. The song was the band's first top 40 hit in the United States where it peaked at #33. It gained considerable US album-oriented rock radio airplay and its video was on heavy rotation on MTV, thus helping U2 continue its commercial breakthrough begun with the War album. It reached #1 in New Zealand, the first time a U2 single topped a country's singles chart. Initial critical reactions to "Pride" were mixed, especially in regards to the lyrics. Robert Christgau in The Village Voice complained of "the moralism with the turn-somebody-else's-cheek glorification of Martin Luther King's martyrdom." Meanwhile, Kurt Loder of Rolling Stone wrote that "'Pride' gets over only on the strength of its resounding beat and big, droning bass line, not on the nobility of its lyrics, which are unremarkable." But the 1984 Pazz & Jop poll of 240 music critics ranked "Pride" as the 12th best single of that year, a higher ranking than the overall album, which finished 29th. The single's ranking remained the highest of any U2 single until "One" achieved 8th in 1992. And in 1989, Spin named the song the 65th-greatest single in history. Rolling Stone magazine later (2010) placed the song at number 388 in their list "The 500 Greatest Songs of All Time". The Rock and Roll Hall of Fame selected "Pride (In the Name of Love)" as one of 500 Songs that Shaped Rock and Roll. Music television network VH1 ranked the song number 38 on the "100 Greatest Songs of the 80s" countdown in its series The Greatest. In 2004, Mojo placed the song at number 63 on its list of the "100 Epic Rock Tracks". In 2007, the Roots covered "Pride" in a medley with "Sunday Bloody Sunday" for an NAACP dinner honoring Bono. The band also mixed in some of their own "False Media" and bits of Edwin Starr's "War."

Answer this question "What was Bono's opinion about the song?"
output:

Answer the question at the end by quoting:

Bela Fleck and the Flecktones is an American band that combines jazz and bluegrass music. The band's name is a play on 1960s rock band Dick Dale and the Del-Tones. The Flecktones formed in 1988 when Bela Fleck was invited to perform on the PBS TV series The Lonesome Pine Specials. The original members were Fleck on banjo, Victor Wooten on bass guitar, his brother Roy Wooten on Drumitar, and Howard Levy on harmonica and keyboards.
Their debut album, Bela Fleck and the Flecktones (Warner Bros, 1989), received a Grammy nomination for Best Contemporary Jazz Album, as did their second album, Flight of the Cosmic Hippo (Warner Bros., 1991), which also received a nomination for Best Instrumental Composition for the song "Blu-Blop". Their second album contained the Flecktones's version of "The Star Spangled Banner". Their next album had another cartoon cover and the palindromic title UFO TOFU (Warner Bros., 1992). The song "Bonnie & Slyde" had Fleck playing banjo atypically with a slide, an idea suggested to him by slide guitarist Bonnie Raitt. UFO Tofu would be the last album the Flecktones recorded with their original lineup until Rocket Science in 2011. Howard Levy left the band in December 1992. While the departure of Levy was tough for the band, it was not unexpected. During their 1992 tour it became evident to the band that Levy was not happy with the rigors of touring and wanted to spend more time with his wife and children. The remaining trio, consisting of Fleck and the Wooten brothers, recorded their fourth album, Three Flew Over the Cuckoo's Nest. "'Once we started rehearsing, everything was fine,' said Fleck. 'We started finding ways to sound good, and it was real exciting.'" Without Levy, the Flecktones as usual spent most of 1993 on the road and released Three Flew Over the Cuckoo's Nest in September of that year. In July 1996 the Flecktones released their fifth album, and first live album, Live Art. Devoted fans who had been seeing the band for several years were clamoring for an album to capture the experience of live Flecktones, and this album fit the bill. The trio took home a Grammy for Best Pop Instrumental Performance in 1997 for the track "Sinister Minister".

did they win the award?
received a Grammy nomination for Best Contemporary Jazz Album, as did their second album,