Problem: Premiata Forneria Marconi (PFM) (translation: Award-winning Marconi Bakery) is an Italian progressive rock band. PFM were the first Italian group to have success abroad, entering both the British and American charts. Between 1973 and 1977 they released five albums with English lyrics. They also had several successful European and American tours, playing at the popular Reading Festival in England and on a very popular national television program in the United States.

The original core members of PFM were Franco Mussida (guitars, vocals), Flavio Premoli (keyboards), Luciano Dovesi (bass), who preceded Giorgio Piazza (bass), and Franz Di Cioccio (drums, vocals). They came together in the mid 1960s while playing together as backup musicians for many different Italian pop, rock and folk singers such as Lucio Battisti, Mina, Adriano Celentano and Fabrizio De Andre. They appeared on many recordings for other artists during this period and quickly established themselves as top players on the Italian scene before forming the group 'I quelli' (English translation 'Them', or 'Those Guys') in 1968. I quelli released one album and some successful Italian singles. Premiata Forneria Marconi was officially formed in Milan in 1970 when the members of I quelli met Mauro Pagani from the group Dalton. Pagani helped the group expand their sound to include violin and flute. By this time they were already highly experienced musicians who were easily able to play the kind of complex progressive heavy rock played by the leading English and American groups. Their early live performances included songs by groups such as King Crimson and Jethro Tull. Other early influences included Chicago, Ekseption, and The Flock. They had a long name, as Italian progressive bands tended to have back then (Banco del Mutuo Soccorso, Raccomandata con Ricevuta di Ritorno, etc.), and so were usually referred to as 'La Premiata', and later 'PFM'. After rejecting Isotta Fraschini (an Italian car maker) the group finally settled on Pagani's suggestion, 'Forneria Marconi' (meaning 'Marconi Bakery'), borrowed from the sign of a shop in the small town of Chiari, near Brescia. However, record producer and friend Alessandro Colombini suggested the name was not strong enough, so the title 'Premiata' (award-winning) was added. Some objected that 'Premiata Forneria Marconi' was too long a name, but the group's philosophy stated that the more difficult to remember a band's name, the more difficult to forget it.

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Answer with quotes: Premiata Forneria Marconi was officially formed in Milan in 1970 when the members of I quelli met Mauro Pagani from the group Dalton.

Problem: Alejo Carpentier y Valmont (December 26, 1904 - April 24, 1980) was a Cuban novelist, essayist, and musicologist who greatly influenced Latin American literature during its famous "boom" period. Born in Lausanne, Switzerland, Carpentier grew up in Havana, Cuba, and despite his European birthplace, he strongly self-identified as Cuban throughout his life. He traveled extensively, particularly in France, and to South America and Mexico, where he met prominent members of the Latin American cultural and artistic community. Carpentier took a keen interest in Latin American politics and often aligned himself with revolutionary movements, such as Fidel Castro's Communist Revolution in Cuba in the mid-20th century.

The Baroque style dates back to the cultural period of the 17th and early 18th centuries. It is most often defined as "the dominant style of art in Europe between the Mannerist and Rococo eras, a style characterized by dynamic movement, overt emotion and self-confident rhetoric". Carpentier first became fascinated with this style in architecture and sculpture; however, he later describes el barroco as un espiritu, and not un estilo historico ("a spirit, not an historical style"). Wakefield insists that this attitude towards the Baroque stemmed from Carpentier's background in both Europe and Latin America which allowed him to take on a superior front in the face of post-colonialism and ultimately have the literary upper-hand where he could use European style to tell the Latin American story. Carpentier developed his vision of the baroque in his early works before he described himself as a baroque writer. He experimented with the technique in several developmental stages: "first as a cultural style of aesthetic fascination, later as a literary device to create period ambiance, and finally as a weapon of postcolonial pride, defiance and one-upmanship". This style strongly presents itself when comparing works such as the early Ecue-Yamba-O to the celebrated El reino de este mundo, regarding Carpentier's use of more historically eloquent vocabulary in the latter, instead of the authentic language of the ethnically-inspired characters. Here he escapes the stereotype of "nativism" by incorporating European standards, but continues to achieve a sense of normalcy without the expected use of the colloquialisms which the protagonist Ti Noel would undoubtedly use. Kaup claims that Carpentier utilizes what is known as the "New World Baroque", since Latin America didn't come into contact with the Enlightenment or "European modernity". This contraconquista (counter conquest) allows the New World authors to experiment with new identities and the manners of expressing them. As such, Carpentier observed in his 1975 essay that "American Baroque develop[ed] along with criollo culture ...: the awareness of being Other, of being new, of being symbiotic, of being a criollo; and the criollo spirit is itself a Baroque spirit." This criollo of the New World Baroque is often seen as the dominant style of European literature emerging as a subordinate literary construction in Latin America.

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Kaup claims that Carpentier utilizes what is known as the "New World Baroque", since Latin America didn't come into contact with the Enlightenment or "European modernity".