Problem: Background: "Bohemian Rhapsody" is a song by the British rock band Queen. It was written by Freddie Mercury for the band's 1975 album A Night at the Opera. It is a six-minute suite, consisting of several sections without a chorus: an intro, a ballad segment, an operatic passage, a hard rock part and a reflective coda. The song is a more accessible take on the 1970s progressive rock genre.
Context: I'm going to shatter some illusions, it was just one of those pieces I wrote for the album: just writing my batch of songs. In its early stages I almost rejected it, but then it grew. We started deciding on a single about halfway through. There were a few contenders - we were thinking of "The Prophet's Song" at one point - but then "Bohemian Rhapsody" seemed the one. There was a time when the others wanted to chop it around a bit, but I refused. If it was going to be released, it would be in its entirety. We knew it was very risky, but we had so much confidence in that song - I did anyway. I felt, underneath it all, that if it was successful it would earn a lot of respect. People were all going, You're joking, they'll never play it, you'll only hear the first few bars and then they'll fade it out. We had numerous rows. EMI were shocked - a six-minute single? You must be joking! The same in America - oh, you just got away with it in Britain. When we finished the album, the Night at the Opera album, that was the track on it that we thought we were gonna release as a single in the UK first. And when we released it in Britain we didn't necessarily think it'd be released in America, cause we know even over here, you know, the AM tastes are even more [hesitates] stricter. Anyway we did have thoughts about even in the UK, perhaps editing it down at all, but we listened to it over and over again and there was no way we could edit it. We tried a few ideas, but if you edited it, you always lost some part of the song, so we had to leave it all in. And luckily it took off anyway. The vocal harmonies was something we wanted to do from the beginning, as we are always keen to do that kind of thing. We wanted to be a group that could do the heaviness of hard rock, but also have harmonies swooping around all over the place. We thought there was some real power and emotion in that combination. The guitar solo was pretty much off the cuff, except I think I had plenty of time to think about that one. I remember playing along with it in the studio for a while when other things were being done. I knew what kind of melody I wanted to play.
Question: Did they do any interviews?
Answer:

Problem: Background: Armando Christian Perez (born January 15, 1981), known by the stage name Pitbull or Mr. Worldwide, is an American rapper. His first recorded mainstream performance was on a solo track from Lil Jon's 2002 album Kings of Crunk. In 2004, Pitbull released his debut album M.I.A.M.I. under TVT Records. It included production producers Lil Jon and Jim Jonsin.
Context: In January 2006, Pitbull guest-starred in UPN's South Beach. Pitbull recorded "Nuestro Himno" in collaboration with Wyclef Jean, Carlos Ponce, and Olga Tanon. On Listennn... the Album, the debut album by Terror Squad member and Miami radio personality DJ Khaled, Pitbull performed on three singles: "Holla at Me" and "Born-N-Raised" alongside other Southern-based rappers. He dedicated the album to his father, who died in May of that year. Along with the usual party-oriented tracks, Pitbull also included politically themed tracks in El Mariel. The album was released on October 31, 2006, and included singles "Bojangles", "Ay Chico (Lengua Afuera)", "Fuego", and duet with Puerto Rican singer Ken-Y, "Dime (Remix)". El Mariel topped the Billboard independent albums chart and peaked at No. 17 on the Billboard 200 and No. 2 on the rap chart. Pitbull's third album, titled The Boatlift, was released in November 2007, spawned by the single "Secret Admirer" featuring Lloyd on the chorus. Earlier, Pitbull announced that this album would have a more gangsta rap edge than his earlier albums. Subsequent singles included "Go Girl" featuring Trina, and "The Anthem" featuring and produced Lil Jon, that song sampling the hook from the song "El Africano" by Wilfrido Vargas and the beat from the song "Calabria" by Rune RK. "Go Girl" peaked at No. 80 on the Billboard Hot 100 and No. 36 on the Hot Rap Tracks chart; "The Anthem" No. 36 on the Hot 100 and No.11 on the Hot Rap Tracks. His variety show, Pitbull's La Esquina, debuted May 2007 and ran through 2009 on the mun2 cable network. Pitbull also appeared on DJ Laz' "Move Shake Drop" and DJ Felli Fel's "Feel It".
Question: Did the band stay away from conterversay?
Answer: debuted May 2007 and ran through 2009

Problem: Background: A disc jockey, often abbreviated as DJ, is a person who plays existing recorded music for a live audience. Most common types of DJs include radio DJ, club DJ who performs at a nightclub or music festival, and turntablist who uses record players, usually turntables, to manipulate sounds on phonograph records. Originally, the "disc" in "disc jockey" referred to gramophone records, but now "DJ" is used as an all-encompassing term to describe someone who mixes recorded music from any source, including cassettes, CDs, or digital audio files on a CDJ or laptop. The title "DJ" is commonly used by DJs in front of their real names or adopted pseudonyms or stage names.
Context: Several techniques are used by DJs as a means to better mix and blend recorded music. These techniques primarily include the cueing, equalization and audio mixing of two or more sound sources. The complexity and frequency of special techniques depends largely on the setting in which a DJ is working. Radio DJs are less likely to focus on advanced music-mixing procedures than club DJs, who rely on a smooth transition between songs using a range of techniques. However, some radio DJs are experienced club DJs, so they use the same sophisticated mixing techniques. Club DJ turntable techniques include beatmatching, phrasing and slip-cueing to preserve energy on a dance floor. Turntablism embodies the art of cutting, beat juggling, scratching, needle drops, phase shifting, back spinning and more to perform the transitions and overdubs of samples in a more creative manner (although turntablism is often considered a use of the turntable as a musical instrument rather than a tool for blending recorded music). Professional DJs may use harmonic mixing to choose songs that are in compatible musical keys. Recent advances in technology in both DJ hardware and software can provide assisted or automatic completion of some traditional DJ techniques and skills. Examples include phrasing and beatmatching, which can be partially or completely automated by utilizing DJ software that performs automatic synchronization of sound recordings, a feature commonly labelled "sync". Most DJ mixers now include a beat-counter which analyzes the tempo of an incoming sound source and displays its tempo in beats per minute (BPM), which may assist with beatmatching analog sound sources. In the past, being a DJ has largely been a self-taught craft but with the complexities of new technologies and the convergence with music production methods, there are a growing number of schools and organizations that offer instruction on the techniques.
Question: Do they go to school to learn how to DJ?
Answer:
largely been a self-taught craft but with the complexities of new technologies and the convergence with music production methods, there are a growing number of schools