input: Please answer the following: This article: Sons of Soul bridged the gap between commercial and critical success for Tony! Toni! Tone!, helping them become one of the most popular acts in R&B at the time. Its success exemplified the genre's commercial resurgence during the early 1990s, when hip hop became the predominant African-American music genre in the mainstream. In 1994, Greg Kot of the Chicago Tribune attributed its resurgence to younger artists' blend of live instrumentation and hip hop production values, and cited Sons of Soul as "the most accomplished merger of hip-hop attitude with a '70s R&B aesthetic." The Atlanta Journal-Constitution hailed it as "a gentle reminder of those glory days" and felt that the group having both vocal and musical talents is most indicative of a return to early R&B's aesthetics. Furthermore, they garnered mainstream attention in a year of several high-profile controversies with R&B and hip hop artists such as Michael Jackson and Snoop Dogg. David W. Brown of The Harvard Crimson wrote that Tony! Toni! Tone! is "known primarily for the quality of its music, not its extracurricular reputation, unlike other groups such as Jodeci who rely on a playa-gangsta-mack image to sell-records."Along with acts such as Mint Condition and R. Kelly, Tony! Toni! Tone! played live instruments that complemented their hip hop sensibilities. Their concerts featured visual elements such as incense smoke and kaleidoscopic stage lighting, the group's eccentric wardrobe, and additional instrumentalists, including another guitarist, two drummers, two keyboardists, a violinist, a trumpeter, and a saxophonist. The Charlotte Observer remarked on the group in 1994: "[T]heir use of live instruments on record and onstage makes them an anomaly in the synthesized and sampled world of modern R&B." With the group's reliance on traditional soul and R&B values of songwriting and instrumentation, Sons of Soul was a precursor to the neo soul movement of the 1990s. Matt Weitz of The Dallas Morning News wrote in 1993 that the group had distinguished... contains an answer for the question: Whose concerts featured visual elements such as incense smoke and kaleidoscopic stage lighting?, what is it ?
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output: Tony! Toni! Tone!

Please answer this: This article: The paintings depict isolated figures enclosed in spaces that are undefined, overwhelmingly claustrophobic, reductive and eerie. Coming early in Bacon's career, they are uneven in quality, but show a clear progression especially in how they utilise and present ideas he was still clearly developing and coming to terms with. Head I (actually begun in the winter of 1948) and Head II show formless pieces of flesh that broadly resemble human heads; they have half-open eyes and a pharynx, though it is positioned much higher than would be expected in a human. Heads III, IV and V show fully formed busts recognisable as men, and are characterised by a haunted atmosphere. These two broad ideas coalesce in Head VI, which is as physiologically tortured as the first two paintings, and as spectral as the middle three. In Head VI the figure has developed and is now shown wearing vestments, the first indication in Bacon's work of the influence of Velazquez, while the focus has become the open mouth and the study of the human scream.Bacon said that chance played a significant role in his work, and that he often approached a canvas without having a clear idea of what might emerge. This was especially the case in the mid- to late 1940s, a period when he was drinking heavily and spending most nights in Soho casinos and poker rooms. The following morning he would often approach his canvas "in a bad mood of drinking ... under tremendous hangovers and drink; I sometimes hardly knew what I was doing." He incorporated his appetite for chance into his work: an image often would morph midway through into something quite different from what he had first intended. He actively sought out this freedom and felt it crucial to his progression as an artist. To him, lifestyle and art were intertwined; he said that "perhaps the drink helped me to be a bit freer." This is very evident in the 1949 series, which began as a rather morbid study of a collapsed head, but evolved over the six surviving panels into a reworking of Velazquez masterpieces,... contains an answer for the question: What is the name of the person whose appetite for chance was reportedly incorporated into his work?, what is it ?
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Answer: Bacon

input question: This article: Byzantines were avid players of tavli (Byzantine Greek: ), a game known in English as backgammon, which is still popular in former Byzantine realms, and still known by the name tavli in Greece. Byzantine nobles were devoted to horsemanship, particularly tzykanion, now known as polo. The game came from Sassanid Persia in the early period and a Tzykanisterion (stadium for playing the game) was built by Theodosius II (r. 408450) inside the Great Palace of Constantinople. Emperor Basil I (r. 867886) excelled at it; Emperor Alexander (r. 912913) died from exhaustion while playing, Emperor Alexios I Komnenos (r. 10811118) was injured while playing with Tatikios, and John I of Trebizond (r. 12351238) died from a fatal injury during a game. Aside from Constantinople and Trebizond, other Byzantine cities also featured tzykanisteria, most notably Sparta, Ephesus, and Athens, an indication of a thriving urban aristocracy. The game was introduced to the West by crusaders, who developed a taste for it particularly during the pro-Western reign of emperor Manuel I Komnenos. contains an answer for the question: What are the two names of the game that Emperor Alexander died while playing?, what is it ????
output answer:
polo