Turn the facts in these two paragraphs into a series of 7 questions with answers. Use Q: before the question and A: before the answer, placing each on separate lines. 

Lamar’s new album, To Pimp a Butterfly, doesn’t explicitly bill itself as a movie like good kid, m.A.A.d city did, but the network of interlocking dramas explored here feels filmic nonetheless, and a variety of characters appear across the album’s expanse. The opener, "Wesley’s Theory", turns the downfall of action-star-turned-convicted-tax-dodger Wesley Snipes into a kind of Faustian parable. Snoop drops by on "Institutionalized"; Dre himself phones in on "Wesley". The mood is wry, theatrical, chaotic, ironic, and mournful, often all at once: On "For Free? (Interlude)" an impatient woman ticks off a laundry list of material demands before Kendrick snaps back that "This dick ain’t free!" and thunders through a history of black oppression, spoken-word style, as if to say, "This money you crave, it’s blood money." The album is dotted with surreal grace notes, like a parable: God appears in the guise of a homeless man in "How Much a Dollar Cost", and closer "Mortal Man" ends on a lengthy, unnerving fever-dream interview with the ghost of 2Pac.

The music, meanwhile, follows a long line of genre-busting freakouts (The Roots’ Phrenology, Common’s Electric Circus, Q-Tip’s Kamaal the Abstract, André 3000’s The Love Below) in kicking at the confines of rap music presentation. There’s half a jazz band present at all times; pianist Robert Glasper, producer/sax player Terrace Martin and bass wizard Thundercat give Butterfly a loose, fluid undertow every bit as tempestuous and unpredictable as the army of flows at Kendrick’s disposal. The rapper’s branching out, too, exploding into spastic slam poetry on "For Free?", switching from shouty gymnastics to drunken sobs on "u" and even effecting the lilt of a caring mother on "You Ain’t Gotta Lie (Momma Said)". It turns out Kendrick’s new direction was every direction at once.
system
Turn the facts in these two paragraphs into a series of 7 questions with answers. Use Q: before the question and A: before the answer, placing each on separate lines. 

Lamar’s new album, To Pimp a Butterfly, doesn’t explicitly bill itself as a movie like good kid, m.A.A.d city did, but the network of interlocking dramas explored here feels filmic nonetheless, and a variety of characters appear across the album’s expanse. The opener, "Wesley’s Theory", turns the downfall of action-star-turned-convicted-tax-dodger Wesley Snipes into a kind of Faustian parable. Snoop drops by on "Institutionalized"; Dre himself phones in on "Wesley". The mood is wry, theatrical, chaotic, ironic, and mournful, often all at once: On "For Free? (Interlude)" an impatient woman ticks off a laundry list of material demands before Kendrick snaps back that "This dick ain’t free!" and thunders through a history of black oppression, spoken-word style, as if to say, "This money you crave, it’s blood money." The album is dotted with surreal grace notes, like a parable: God appears in the guise of a homeless man in "How Much a Dollar Cost", and closer "Mortal Man" ends on a lengthy, unnerving fever-dream interview with the ghost of 2Pac.

The music, meanwhile, follows a long line of genre-busting freakouts (The Roots’ Phrenology, Common’s Electric Circus, Q-Tip’s Kamaal the Abstract, André 3000’s The Love Below) in kicking at the confines of rap music presentation. There’s half a jazz band present at all times; pianist Robert Glasper, producer/sax player Terrace Martin and bass wizard Thundercat give Butterfly a loose, fluid undertow every bit as tempestuous and unpredictable as the army of flows at Kendrick’s disposal. The rapper’s branching out, too, exploding into spastic slam poetry on "For Free?", switching from shouty gymnastics to drunken sobs on "u" and even effecting the lilt of a caring mother on "You Ain’t Gotta Lie (Momma Said)". It turns out Kendrick’s new direction was every direction at once.
user
Q: What is the name of the opening song from Kendrick Lamar's album "To Pimp a Butterfly?" 
A: Wesley's Theory.
Q: Who is "Wesley" in "Wesley's Theory" based on?
A: Wesley Snipes.
Q: Which hip-hop artist shows up in the song "Institutionalized?"
A: Snoop.
Q: Which song has the line "This dick ain't free!"?
A: "For Free? (Interlude).
Q: What happens at the end of the song "Mortal Man?"
A: The song ends a very long fever-dream interview with the ghost of 2Pac.
Q: How does the album break out of the hip-hop genre?
A: The album includes half a jazz band comprised of pianist Robert Glasper, producer/sax player Terrace Martin and bassist Thundercat.
Q: How does Kendrick Lamar branch out from the hip-hop genre on the album?
A: Kendrick Lamar does slam poetry on the song "For Free."
assistant
<|system|>
</s>
<|user|>
Turn the facts in these two paragraphs into a series of 7 questions with answers. Use Q: before the question and A: before the answer, placing each on separate lines. 

Lamar’s new album, To Pimp a Butterfly, doesn’t explicitly bill itself as a movie like good kid, m.A.A.d city did, but the network of interlocking dramas explored here feels filmic nonetheless, and a variety of characters appear across the album’s expanse. The opener, "Wesley’s Theory", turns the downfall of action-star-turned-convicted-tax-dodger Wesley Snipes into a kind of Faustian parable. Snoop drops by on "Institutionalized"; Dre himself phones in on "Wesley". The mood is wry, theatrical, chaotic, ironic, and mournful, often all at once: On "For Free? (Interlude)" an impatient woman ticks off a laundry list of material demands before Kendrick snaps back that "This dick ain’t free!" and thunders through a history of black oppression, spoken-word style, as if to say, "This money you crave, it’s blood money." The album is dotted with surreal grace notes, like a parable: God appears in the guise of a homeless man in "How Much a Dollar Cost", and closer "Mortal Man" ends on a lengthy, unnerving fever-dream interview with the ghost of 2Pac.

The music, meanwhile, follows a long line of genre-busting freakouts (The Roots’ Phrenology, Common’s Electric Circus, Q-Tip’s Kamaal the Abstract, André 3000’s The Love Below) in kicking at the confines of rap music presentation. There’s half a jazz band present at all times; pianist Robert Glasper, producer/sax player Terrace Martin and bass wizard Thundercat give Butterfly a loose, fluid undertow every bit as tempestuous and unpredictable as the army of flows at Kendrick’s disposal. The rapper’s branching out, too, exploding into spastic slam poetry on "For Free?", switching from shouty gymnastics to drunken sobs on "u" and even effecting the lilt of a caring mother on "You Ain’t Gotta Lie (Momma Said)". It turns out Kendrick’s new direction was every direction at once.</s>
<|assistant|>
Q: What is the name of the opening song from Kendrick Lamar's album "To Pimp a Butterfly?" 
A: Wesley's Theory.
Q: Who is "Wesley" in "Wesley's Theory" based on?
A: Wesley Snipes.
Q: Which hip-hop artist shows up in the song "Institutionalized?"
A: Snoop.
Q: Which song has the line "This dick ain't free!"?
A: "For Free? (Interlude).
Q: What happens at the end of the song "Mortal Man?"
A: The song ends a very long fever-dream interview with the ghost of 2Pac.
Q: How does the album break out of the hip-hop genre?
A: The album includes half a jazz band comprised of pianist Robert Glasper, producer/sax player Terrace Martin and bassist Thundercat.
Q: How does Kendrick Lamar branch out from the hip-hop genre on the album?
A: Kendrick Lamar does slam poetry on the song "For Free."</s>
