Background: Baker was born into a staunch Methodist family, the youngest son of Birmingham Gas Department's chief accountant, Charles Frederick Baker and Millie Baker. His early schooling was at King Edwards Grammar School. His elder brothers, Leonard and Norman studied law, and he had a sister, Edna who was the oldest of them all. In his teens Baker began to question what religion meant to him and decided to become a Quaker, since it was closer to what he believed in.
Context: While at Pithoragarh, Baker found his English construction education to be inadequate for the types of issues and materials he was faced with: termites and the yearly monsoon, as well as laterite, cow dung, and mud walls, respectively, Baker had no choice but to observe and learn from the methods and practices of vernacular architecture. He soon learned that the indigenous architecture and methods of these places were in fact the only viable means to deal with local problems. Inspired by his discoveries (which he modestly admitted were 'discoveries' only for him, and mere common knowledge to those who developed the practices he observed), he realized that unlike the Modernist architectural movement that was gaining popularity at the time denouncing all that was old just because it was old didn't make sense. Baker adopted local craftsmanship, traditional techniques and materials but then combined it with modern design principles and technology wherever it made sense to do so. This prudent adoption of modern technology helped local architecture retain its cultural identity and kept costs low due to the use of local materials. It also revived the local economy due to the use of local labour for both construction of the buildings and for manufacture of construction materials such as brick and lime surkhi. Baker built several schools, chapels and hospitals in the hills. Eventually, as word spread of his cost-effective buildings more clients from the plains started to contact Baker. One of the early clients was Welthy Fisher, who sought to set up a 'Literacy Village' in which she intended to use puppetry, music and art as teaching methods to help illiterate and newly-literate adults add to their skills. An ageing woman who risked her health to visit Laurie, she refused to leave until she received plans for the village. More and more hospital commissions were received as medical professionals realised that the surroundings for their patients were as much a part of the healing process as any other form of treatment, and that Baker seemed the only architect who cared enough to become familiarised with how to build what made Indian patients comfortable with those surroundings. His presence would also soon be required on-site at Ms. Fisher's "Village," and he became well known for his constant presence on the construction sites of all his projects, often finalising designs through hand-drawn instructions to masons and labourers on how to achieve certain design solutions.
Question: What did this mean to his cost
Answer: Baker had no choice but to observe and learn from the methods and practices of vernacular architecture.

Background: Abdul was born in San Fernando, California, to Jewish parents. Abdul's father, Harry Abdul, was born into the Syrian Jewish community in Aleppo, Syria, was raised in Brazil, and subsequently immigrated to the United States. Her mother, the concert pianist Lorraine M. Rykiss, grew up in one of the two Jewish families in Minnedosa, Manitoba, and has Ashkenazi Jewish ancestors from Ukraine. She has a sister named Wendy.
Context: Abdul was discovered by The Jacksons, after a few of the band members had watched her while attending a Los Angeles Lakers game. She was signed to do the choreography for the video to their single "Torture". "My only problem was how to tell the Jacksons how to dance," Abdul later recalled. "Imagine me telling them what routines to do. I was young, I was scared. I'm not quite sure how I got through that." The success of the choreography in the video led to Abdul's career of choreographer in music videos. It was also due to the success of the video that Abdul was chosen to be the choreographer for the Jacksons' Victory tour. Abdul choreographed videos for several singers throughout the 1980s, including many videos for Janet Jackson during her Control era. In 1995, Abdul released a dance workout video entitled Paula Abdul's Get Up and Dance! (re-released on DVD in 2003), a fast-paced, hip-hop style workout. In 1998, she released a second video called Cardio Dance (re-released on DVD in 2000). In December 2005, Abdul launched a cheerleading/fitness/dance DVD series called Cardio Cheer, which is marketed to children and teenage girls involved with cheerleading and dance. In film, Abdul choreographed sequences for the giant keyboard scene involving Tom Hanks's character in Big. Other credits include appearances in Coming to America, Action Jackson, Jerry Maguire, The Running Man, American Beauty, Can't Buy Me Love, and Oliver Stone's The Doors. Her television appearances include The Tracey Ullman Show, American Music Awards, the Academy Awards, and several commercials, such as The King's touchdown celebration, as seen in a string of popular Burger King television commercials that aired during the 2005-06 NFL season.
Question: Who was this for
Answer:
The Jacksons,