What are the names of the five Middle French prose works? Answer the above question based on the context below: Up to c.1210, continental Arthurian romance was expressed primarily through poetry; after this date the tales began to be told in prose. The most significant of these 13th-century prose romances was the Vulgate Cycle (also known as the Lancelot-Grail Cycle), a series of five Middle French prose works written in the first half of that century. These works were the Estoire del Saint Grail, the Estoire de Merlin, the Lancelot propre (or Prose Lancelot, which made up half the entire Vulgate Cycle on its own), the Queste del Saint Graal and the Mort Artu, which combine to form the first coherent version of the entire Arthurian legend. The cycle continued the trend towards reducing the role played by Arthur in his own legend, partly through the introduction of the character of Galahad and an expansion of the role of Merlin. It also made Mordred the result of an incestuous relationship between Arthur and his sister Morgause and established the role of Camelot, first mentioned in passing in Chretien's Lancelot, as Arthur's primary court. This series of texts was quickly followed by the Post-Vulgate Cycle (c.123040), of which the Suite du Merlin is a part, which greatly reduced the importance of Lancelot's affair with Guinevere but continued to sideline Arthur, and to focus more on the Grail quest. As such, Arthur became even more of a relatively minor character in these French prose romances; in the Vulgate itself he only figures significantly in the Estoire de Merlin and the Mort Artu. During this period, Arthur was made one of the Nine Worthies, a group of three pagan, three Jewish and three Christian exemplars of chivalry. The Worthies were first listed in Jacques de Longuyon's Voeux du Paon in 1312, and subsequently became a common subject in literature and art.
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Answer: Estoire del Saint Grail
Q: What is the last name of the person who named their fake child Cyrus? Answer the above question based on the context below: Patsy Douglas comes up with an ingenious way to get a seat on the crowded New York subway: she pretends to have a baby, using a doll discarded by the advertising agency where she works. One day, however, her agency's primary client, short-tempered Cyrus Baxter, happens to be seated beside her. (His chauffeur had abruptly quit after Baxter berated him for getting stuck in a traffic jam.) He is delighted when he overhears that she named her "child" Cyrus after him. He becomes acquainted with her, letting her assume that he works for Baxter as a watchman. Later, when the agency's two bosses, Sam Morley and Barry Holmes see Baxter to try to get him to sign a contract for a new advertising campaign, he insists they keep her happy, to their puzzlement. Morley and Holmes discover that she has been fired; they quickly hire her back and promote her from her secretarial duties. Meanwhile, Baxter keeps seeing Patsy, trying to help her with his namesake. She manages to maintain her charade, but Morley sees them together and assumes that she is Baxter's mistress. Patsy discovers her new friend's identity when her bosses send her to present their latest idea. Meanwhile, Baxter's temper improves under Patsy's influence. When Morley and Holmes finally learn the truth, Patsy wants to confess all to Baxter, but they insist she carry on the masquerade until they get his signature on the contract. She reluctantly agrees, after they point out that they will probably have to close if they do not get Baxter's business, throwing hundreds out of work. When Morley shows Baxter a photograph of the baby (actually a picture of his partner as a child), Baxter notices a resemblance to Holmes and assumes he is the father. To placate him, Morley arranges for Holmes to start dating Patsy. In the process, however, he becomes jealous, having fallen in love without realizing it.
A: Douglas
Question: What is the name of the band that did not meet commercial expectations and broke up in 1978? Answer the above question based on the context below: Marquee Moon was released on February 8, 1977, in the United States and on March 4 in the United Kingdom, where it was an unexpected success and reached number 28 on the country's albums chart. The record's two singlesthe title track and "Prove It"both charted on the UK Top 30. Its commercial success in the UK was partly fueled by Nick Kent's rave two-page review of the album for NME.While holidaying in London after Marquee Moon's completion, Verlaine saw that Television had been put on NME's front cover and notified Elektra's press department, who encouraged the band to capitalize on their success there with a tour of the UK. However, the label had already organized for the band to perform on Peter Gabriel's American tour as a supporting act. Television played small theatres and some larger club venues, and received more mainstream exposure, but were not well received by Gabriel's middle-American progressive rock audiences, and found the tour unnerving.In May, Television embarked on a highly successful theatre tour of the UK with Blondie as their supporting act. They were enthusiastically received by audiences there, and Verlaine said it was refreshing to perform at large theatres after playing smaller clubs for four years. He nonetheless felt that Blondie did not suit their show because they were too different artistically, even though both groups had emerged from the music scene at CBGB. Blondie guitarist Chris Stein said that Television were "so competitive" and unaccommodating on the tour, and that they did not treat it like a joint effort. He recalled one show where "all our equipment was shoved up at the [Glasgow] Apollo and we had like three feet of room so that [Verlaine] could stand still in this vast space."By the time of Television's return to the US, Elektra had given up on promoting Marquee Moon, which they dismissed as a commercial failure. Marquee Moon sold fewer than 80,000 copies in the US and failed to chart on the Billboard 200. The group was dispirited by their inability to meet...
Answer: Television
What is the title of the song that peaked at number 21 on the Billboard Hot 100? Answer the above question based on the context below: "What You Waiting For?" was released as the lead single from Love. Angel. Music. Baby. on September 28, 2004. The single peaked at number 47 on the Billboard Hot 100, and was commercially successful overseas, topping the chart in Australia and reaching the top 10 in several countries including France, Netherlands, New Zealand, Sweden, and the United Kingdom. "Rich Girl", featuring Eve, was released as the album's second single on December 14, 2004, becoming Stefani's first top-10 entry as a solo artist in the US when it peaked at number seven on the Billboard Hot 100. Elsewhere, the song performed equally as successfully as "What You Waiting For?". "Hollaback Girl" was released as the third single on March 15, 2005. It became the album's best-selling and most popular single, while also becoming the first single to sell one million digital copies in the US. The song topped the Billboard Hot 100 within six weeks of its release, earning Stefani her first number-one single on the chart."Cool" was released as the fourth single from the album on July 5, 2005. The song fared moderately on the charts, reaching the top 10 in Australia and New Zealand, as well as the top 20 in Denmark, Germany, Ireland, Norway, the UK and the US. "Luxurious" was released as the fifth single in October 2005. The single version features rapper Slim Thug. The song was less successful than the previous singles from the album, peaking at number 21 on the Billboard Hot 100. "Crash" was not originally planned as a single, but due to Stefani's pregnancy, her second solo album was delayed, and the song was released as the sixth and final single from the album on January 24, 2006.
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Answer:
Luxurious