Datasets:

Zaid

/

quac_expanded

like 1

C_b315806c59da410c906ac324c184dc36_1

Béla Fleck and the Flecktones

Bela Fleck and the Flecktones is an American band that combines jazz and bluegrass music. The band's name is a play on 1960s rock band Dick Dale and the Del-Tones. The Flecktones formed in 1988 when Bela Fleck was invited to perform on the PBS TV series The Lonesome Pine Specials. The original members were Fleck on banjo, Victor Wooten on bass guitar, his brother Roy Wooten on Drumitar, and Howard Levy on harmonica and keyboards.

Recording

Their debut album, Bela Fleck and the Flecktones (Warner Bros, 1989), received a Grammy nomination for Best Contemporary Jazz Album, as did their second album, Flight of the Cosmic Hippo (Warner Bros., 1991), which also received a nomination for Best Instrumental Composition for the song "Blu-Blop". Their second album contained the Flecktones's version of "The Star Spangled Banner". Their next album had another cartoon cover and the palindromic title UFO TOFU (Warner Bros., 1992). The song "Bonnie & Slyde" had Fleck playing banjo atypically with a slide, an idea suggested to him by slide guitarist Bonnie Raitt. UFO Tofu would be the last album the Flecktones recorded with their original lineup until Rocket Science in 2011. Howard Levy left the band in December 1992. While the departure of Levy was tough for the band, it was not unexpected. During their 1992 tour it became evident to the band that Levy was not happy with the rigors of touring and wanted to spend more time with his wife and children. The remaining trio, consisting of Fleck and the Wooten brothers, recorded their fourth album, Three Flew Over the Cuckoo's Nest. "'Once we started rehearsing, everything was fine,' said Fleck. 'We started finding ways to sound good, and it was real exciting.'" Without Levy, the Flecktones as usual spent most of 1993 on the road and released Three Flew Over the Cuckoo's Nest in September of that year. In July 1996 the Flecktones released their fifth album, and first live album, Live Art. Devoted fans who had been seeing the band for several years were clamoring for an album to capture the experience of live Flecktones, and this album fit the bill. The trio took home a Grammy for Best Pop Instrumental Performance in 1997 for the track "Sinister Minister". Q: what was their first recording ? A: Their debut album, Bela Fleck and the Flecktones (Warner Bros, 1989),

C_b315806c59da410c906ac324c184dc36_1_q#1

how did this recording perform?

0y

2x

C_b315806c59da410c906ac324c184dc36_1

Béla Fleck and the Flecktones

Bela Fleck and the Flecktones is an American band that combines jazz and bluegrass music. The band's name is a play on 1960s rock band Dick Dale and the Del-Tones. The Flecktones formed in 1988 when Bela Fleck was invited to perform on the PBS TV series The Lonesome Pine Specials. The original members were Fleck on banjo, Victor Wooten on bass guitar, his brother Roy Wooten on Drumitar, and Howard Levy on harmonica and keyboards.

Recording

Their debut album, Bela Fleck and the Flecktones (Warner Bros, 1989), received a Grammy nomination for Best Contemporary Jazz Album, as did their second album, Flight of the Cosmic Hippo (Warner Bros., 1991), which also received a nomination for Best Instrumental Composition for the song "Blu-Blop". Their second album contained the Flecktones's version of "The Star Spangled Banner". Their next album had another cartoon cover and the palindromic title UFO TOFU (Warner Bros., 1992). The song "Bonnie & Slyde" had Fleck playing banjo atypically with a slide, an idea suggested to him by slide guitarist Bonnie Raitt. UFO Tofu would be the last album the Flecktones recorded with their original lineup until Rocket Science in 2011. Howard Levy left the band in December 1992. While the departure of Levy was tough for the band, it was not unexpected. During their 1992 tour it became evident to the band that Levy was not happy with the rigors of touring and wanted to spend more time with his wife and children. The remaining trio, consisting of Fleck and the Wooten brothers, recorded their fourth album, Three Flew Over the Cuckoo's Nest. "'Once we started rehearsing, everything was fine,' said Fleck. 'We started finding ways to sound good, and it was real exciting.'" Without Levy, the Flecktones as usual spent most of 1993 on the road and released Three Flew Over the Cuckoo's Nest in September of that year. In July 1996 the Flecktones released their fifth album, and first live album, Live Art. Devoted fans who had been seeing the band for several years were clamoring for an album to capture the experience of live Flecktones, and this album fit the bill. The trio took home a Grammy for Best Pop Instrumental Performance in 1997 for the track "Sinister Minister". Q: what was their first recording ? A: Their debut album, Bela Fleck and the Flecktones (Warner Bros, 1989), Q: how did this recording perform? A: received a Grammy nomination for Best Contemporary Jazz Album,

C_b315806c59da410c906ac324c184dc36_1_q#2

did they win the award?

0y

0y

C_b315806c59da410c906ac324c184dc36_1

Béla Fleck and the Flecktones

Bela Fleck and the Flecktones is an American band that combines jazz and bluegrass music. The band's name is a play on 1960s rock band Dick Dale and the Del-Tones. The Flecktones formed in 1988 when Bela Fleck was invited to perform on the PBS TV series The Lonesome Pine Specials. The original members were Fleck on banjo, Victor Wooten on bass guitar, his brother Roy Wooten on Drumitar, and Howard Levy on harmonica and keyboards.

Recording

Their debut album, Bela Fleck and the Flecktones (Warner Bros, 1989), received a Grammy nomination for Best Contemporary Jazz Album, as did their second album, Flight of the Cosmic Hippo (Warner Bros., 1991), which also received a nomination for Best Instrumental Composition for the song "Blu-Blop". Their second album contained the Flecktones's version of "The Star Spangled Banner". Their next album had another cartoon cover and the palindromic title UFO TOFU (Warner Bros., 1992). The song "Bonnie & Slyde" had Fleck playing banjo atypically with a slide, an idea suggested to him by slide guitarist Bonnie Raitt. UFO Tofu would be the last album the Flecktones recorded with their original lineup until Rocket Science in 2011. Howard Levy left the band in December 1992. While the departure of Levy was tough for the band, it was not unexpected. During their 1992 tour it became evident to the band that Levy was not happy with the rigors of touring and wanted to spend more time with his wife and children. The remaining trio, consisting of Fleck and the Wooten brothers, recorded their fourth album, Three Flew Over the Cuckoo's Nest. "'Once we started rehearsing, everything was fine,' said Fleck. 'We started finding ways to sound good, and it was real exciting.'" Without Levy, the Flecktones as usual spent most of 1993 on the road and released Three Flew Over the Cuckoo's Nest in September of that year. In July 1996 the Flecktones released their fifth album, and first live album, Live Art. Devoted fans who had been seeing the band for several years were clamoring for an album to capture the experience of live Flecktones, and this album fit the bill. The trio took home a Grammy for Best Pop Instrumental Performance in 1997 for the track "Sinister Minister". Q: what was their first recording ? A: Their debut album, Bela Fleck and the Flecktones (Warner Bros, 1989), Q: how did this recording perform? A: received a Grammy nomination for Best Contemporary Jazz Album, Q: did they win the award? A: received a Grammy nomination for Best Contemporary Jazz Album, as did their second album,

C_b315806c59da410c906ac324c184dc36_1_q#3

what followed this success?

0y

2x

C_b315806c59da410c906ac324c184dc36_1

Béla Fleck and the Flecktones

Bela Fleck and the Flecktones is an American band that combines jazz and bluegrass music. The band's name is a play on 1960s rock band Dick Dale and the Del-Tones. The Flecktones formed in 1988 when Bela Fleck was invited to perform on the PBS TV series The Lonesome Pine Specials. The original members were Fleck on banjo, Victor Wooten on bass guitar, his brother Roy Wooten on Drumitar, and Howard Levy on harmonica and keyboards.

Recording

Their debut album, Bela Fleck and the Flecktones (Warner Bros, 1989), received a Grammy nomination for Best Contemporary Jazz Album, as did their second album, Flight of the Cosmic Hippo (Warner Bros., 1991), which also received a nomination for Best Instrumental Composition for the song "Blu-Blop". Their second album contained the Flecktones's version of "The Star Spangled Banner". Their next album had another cartoon cover and the palindromic title UFO TOFU (Warner Bros., 1992). The song "Bonnie & Slyde" had Fleck playing banjo atypically with a slide, an idea suggested to him by slide guitarist Bonnie Raitt. UFO Tofu would be the last album the Flecktones recorded with their original lineup until Rocket Science in 2011. Howard Levy left the band in December 1992. While the departure of Levy was tough for the band, it was not unexpected. During their 1992 tour it became evident to the band that Levy was not happy with the rigors of touring and wanted to spend more time with his wife and children. The remaining trio, consisting of Fleck and the Wooten brothers, recorded their fourth album, Three Flew Over the Cuckoo's Nest. "'Once we started rehearsing, everything was fine,' said Fleck. 'We started finding ways to sound good, and it was real exciting.'" Without Levy, the Flecktones as usual spent most of 1993 on the road and released Three Flew Over the Cuckoo's Nest in September of that year. In July 1996 the Flecktones released their fifth album, and first live album, Live Art. Devoted fans who had been seeing the band for several years were clamoring for an album to capture the experience of live Flecktones, and this album fit the bill. The trio took home a Grammy for Best Pop Instrumental Performance in 1997 for the track "Sinister Minister". Q: what was their first recording ? A: Their debut album, Bela Fleck and the Flecktones (Warner Bros, 1989), Q: how did this recording perform? A: received a Grammy nomination for Best Contemporary Jazz Album, Q: did they win the award? A: received a Grammy nomination for Best Contemporary Jazz Album, as did their second album, Q: what followed this success? A: Their next album had another cartoon cover and the palindromic title UFO TOFU (Warner Bros., 1992).

C_b315806c59da410c906ac324c184dc36_1_q#4

how did this album perform?

1n

2x

C_b315806c59da410c906ac324c184dc36_1

Béla Fleck and the Flecktones

Bela Fleck and the Flecktones is an American band that combines jazz and bluegrass music. The band's name is a play on 1960s rock band Dick Dale and the Del-Tones. The Flecktones formed in 1988 when Bela Fleck was invited to perform on the PBS TV series The Lonesome Pine Specials. The original members were Fleck on banjo, Victor Wooten on bass guitar, his brother Roy Wooten on Drumitar, and Howard Levy on harmonica and keyboards.

Recording

Their debut album, Bela Fleck and the Flecktones (Warner Bros, 1989), received a Grammy nomination for Best Contemporary Jazz Album, as did their second album, Flight of the Cosmic Hippo (Warner Bros., 1991), which also received a nomination for Best Instrumental Composition for the song "Blu-Blop". Their second album contained the Flecktones's version of "The Star Spangled Banner". Their next album had another cartoon cover and the palindromic title UFO TOFU (Warner Bros., 1992). The song "Bonnie & Slyde" had Fleck playing banjo atypically with a slide, an idea suggested to him by slide guitarist Bonnie Raitt. UFO Tofu would be the last album the Flecktones recorded with their original lineup until Rocket Science in 2011. Howard Levy left the band in December 1992. While the departure of Levy was tough for the band, it was not unexpected. During their 1992 tour it became evident to the band that Levy was not happy with the rigors of touring and wanted to spend more time with his wife and children. The remaining trio, consisting of Fleck and the Wooten brothers, recorded their fourth album, Three Flew Over the Cuckoo's Nest. "'Once we started rehearsing, everything was fine,' said Fleck. 'We started finding ways to sound good, and it was real exciting.'" Without Levy, the Flecktones as usual spent most of 1993 on the road and released Three Flew Over the Cuckoo's Nest in September of that year. In July 1996 the Flecktones released their fifth album, and first live album, Live Art. Devoted fans who had been seeing the band for several years were clamoring for an album to capture the experience of live Flecktones, and this album fit the bill. The trio took home a Grammy for Best Pop Instrumental Performance in 1997 for the track "Sinister Minister". Q: what was their first recording ? A: Their debut album, Bela Fleck and the Flecktones (Warner Bros, 1989), Q: how did this recording perform? A: received a Grammy nomination for Best Contemporary Jazz Album, Q: did they win the award? A: received a Grammy nomination for Best Contemporary Jazz Album, as did their second album, Q: what followed this success? A: Their next album had another cartoon cover and the palindromic title UFO TOFU (Warner Bros., 1992). Q: how did this album perform? A: unknown

C_b315806c59da410c906ac324c184dc36_1_q#5

what other albums did they record?

0y

2x

C_b315806c59da410c906ac324c184dc36_1

Béla Fleck and the Flecktones

Bela Fleck and the Flecktones is an American band that combines jazz and bluegrass music. The band's name is a play on 1960s rock band Dick Dale and the Del-Tones. The Flecktones formed in 1988 when Bela Fleck was invited to perform on the PBS TV series The Lonesome Pine Specials. The original members were Fleck on banjo, Victor Wooten on bass guitar, his brother Roy Wooten on Drumitar, and Howard Levy on harmonica and keyboards.

Recording

Their debut album, Bela Fleck and the Flecktones (Warner Bros, 1989), received a Grammy nomination for Best Contemporary Jazz Album, as did their second album, Flight of the Cosmic Hippo (Warner Bros., 1991), which also received a nomination for Best Instrumental Composition for the song "Blu-Blop". Their second album contained the Flecktones's version of "The Star Spangled Banner". Their next album had another cartoon cover and the palindromic title UFO TOFU (Warner Bros., 1992). The song "Bonnie & Slyde" had Fleck playing banjo atypically with a slide, an idea suggested to him by slide guitarist Bonnie Raitt. UFO Tofu would be the last album the Flecktones recorded with their original lineup until Rocket Science in 2011. Howard Levy left the band in December 1992. While the departure of Levy was tough for the band, it was not unexpected. During their 1992 tour it became evident to the band that Levy was not happy with the rigors of touring and wanted to spend more time with his wife and children. The remaining trio, consisting of Fleck and the Wooten brothers, recorded their fourth album, Three Flew Over the Cuckoo's Nest. "'Once we started rehearsing, everything was fine,' said Fleck. 'We started finding ways to sound good, and it was real exciting.'" Without Levy, the Flecktones as usual spent most of 1993 on the road and released Three Flew Over the Cuckoo's Nest in September of that year. In July 1996 the Flecktones released their fifth album, and first live album, Live Art. Devoted fans who had been seeing the band for several years were clamoring for an album to capture the experience of live Flecktones, and this album fit the bill. The trio took home a Grammy for Best Pop Instrumental Performance in 1997 for the track "Sinister Minister". Q: what was their first recording ? A: Their debut album, Bela Fleck and the Flecktones (Warner Bros, 1989), Q: how did this recording perform? A: received a Grammy nomination for Best Contemporary Jazz Album, Q: did they win the award? A: received a Grammy nomination for Best Contemporary Jazz Album, as did their second album, Q: what followed this success? A: Their next album had another cartoon cover and the palindromic title UFO TOFU (Warner Bros., 1992). Q: how did this album perform? A: unknown Q: what other albums did they record? A: Live Art.

C_b315806c59da410c906ac324c184dc36_1_q#6

how did this album perform?

0y

2x

C_b315806c59da410c906ac324c184dc36_1

Béla Fleck and the Flecktones

Bela Fleck and the Flecktones is an American band that combines jazz and bluegrass music. The band's name is a play on 1960s rock band Dick Dale and the Del-Tones. The Flecktones formed in 1988 when Bela Fleck was invited to perform on the PBS TV series The Lonesome Pine Specials. The original members were Fleck on banjo, Victor Wooten on bass guitar, his brother Roy Wooten on Drumitar, and Howard Levy on harmonica and keyboards.

Recording

Their debut album, Bela Fleck and the Flecktones (Warner Bros, 1989), received a Grammy nomination for Best Contemporary Jazz Album, as did their second album, Flight of the Cosmic Hippo (Warner Bros., 1991), which also received a nomination for Best Instrumental Composition for the song "Blu-Blop". Their second album contained the Flecktones's version of "The Star Spangled Banner". Their next album had another cartoon cover and the palindromic title UFO TOFU (Warner Bros., 1992). The song "Bonnie & Slyde" had Fleck playing banjo atypically with a slide, an idea suggested to him by slide guitarist Bonnie Raitt. UFO Tofu would be the last album the Flecktones recorded with their original lineup until Rocket Science in 2011. Howard Levy left the band in December 1992. While the departure of Levy was tough for the band, it was not unexpected. During their 1992 tour it became evident to the band that Levy was not happy with the rigors of touring and wanted to spend more time with his wife and children. The remaining trio, consisting of Fleck and the Wooten brothers, recorded their fourth album, Three Flew Over the Cuckoo's Nest. "'Once we started rehearsing, everything was fine,' said Fleck. 'We started finding ways to sound good, and it was real exciting.'" Without Levy, the Flecktones as usual spent most of 1993 on the road and released Three Flew Over the Cuckoo's Nest in September of that year. In July 1996 the Flecktones released their fifth album, and first live album, Live Art. Devoted fans who had been seeing the band for several years were clamoring for an album to capture the experience of live Flecktones, and this album fit the bill. The trio took home a Grammy for Best Pop Instrumental Performance in 1997 for the track "Sinister Minister". Q: what was their first recording ? A: Their debut album, Bela Fleck and the Flecktones (Warner Bros, 1989), Q: how did this recording perform? A: received a Grammy nomination for Best Contemporary Jazz Album, Q: did they win the award? A: received a Grammy nomination for Best Contemporary Jazz Album, as did their second album, Q: what followed this success? A: Their next album had another cartoon cover and the palindromic title UFO TOFU (Warner Bros., 1992). Q: how did this album perform? A: unknown Q: what other albums did they record? A: Live Art. Q: how did this album perform? A: The trio took home a Grammy for Best Pop Instrumental Performance

C_b315806c59da410c906ac324c184dc36_1_q#7

what other information on this album?

0y

2x

C_b315806c59da410c906ac324c184dc36_1

Béla Fleck and the Flecktones

Bela Fleck and the Flecktones is an American band that combines jazz and bluegrass music. The band's name is a play on 1960s rock band Dick Dale and the Del-Tones. The Flecktones formed in 1988 when Bela Fleck was invited to perform on the PBS TV series The Lonesome Pine Specials. The original members were Fleck on banjo, Victor Wooten on bass guitar, his brother Roy Wooten on Drumitar, and Howard Levy on harmonica and keyboards.

Recording

Their debut album, Bela Fleck and the Flecktones (Warner Bros, 1989), received a Grammy nomination for Best Contemporary Jazz Album, as did their second album, Flight of the Cosmic Hippo (Warner Bros., 1991), which also received a nomination for Best Instrumental Composition for the song "Blu-Blop". Their second album contained the Flecktones's version of "The Star Spangled Banner". Their next album had another cartoon cover and the palindromic title UFO TOFU (Warner Bros., 1992). The song "Bonnie & Slyde" had Fleck playing banjo atypically with a slide, an idea suggested to him by slide guitarist Bonnie Raitt. UFO Tofu would be the last album the Flecktones recorded with their original lineup until Rocket Science in 2011. Howard Levy left the band in December 1992. While the departure of Levy was tough for the band, it was not unexpected. During their 1992 tour it became evident to the band that Levy was not happy with the rigors of touring and wanted to spend more time with his wife and children. The remaining trio, consisting of Fleck and the Wooten brothers, recorded their fourth album, Three Flew Over the Cuckoo's Nest. "'Once we started rehearsing, everything was fine,' said Fleck. 'We started finding ways to sound good, and it was real exciting.'" Without Levy, the Flecktones as usual spent most of 1993 on the road and released Three Flew Over the Cuckoo's Nest in September of that year. In July 1996 the Flecktones released their fifth album, and first live album, Live Art. Devoted fans who had been seeing the band for several years were clamoring for an album to capture the experience of live Flecktones, and this album fit the bill. The trio took home a Grammy for Best Pop Instrumental Performance in 1997 for the track "Sinister Minister". Q: what was their first recording ? A: Their debut album, Bela Fleck and the Flecktones (Warner Bros, 1989), Q: how did this recording perform? A: received a Grammy nomination for Best Contemporary Jazz Album, Q: did they win the award? A: received a Grammy nomination for Best Contemporary Jazz Album, as did their second album, Q: what followed this success? A: Their next album had another cartoon cover and the palindromic title UFO TOFU (Warner Bros., 1992). Q: how did this album perform? A: unknown Q: what other albums did they record? A: Live Art. Q: how did this album perform? A: The trio took home a Grammy for Best Pop Instrumental Performance Q: what other information on this album? A: Devoted fans who had been seeing the band for several years were clamoring for an album to capture the experience of live Flecktones,

C_b315806c59da410c906ac324c184dc36_1_q#8

were the fans satisfied?

2m

0y

C_0a6483654ad34939804f307c41b5461d_1

Terence McKenna

Terence Kemp McKenna (November 16, 1946 - April 3, 2000) was an American ethnobotanist, mystic, psychonaut, lecturer, author, and an advocate for the responsible use of naturally occurring psychedelic plants. He spoke and wrote about a variety of subjects, including psychedelic drugs, plant-based entheogens, shamanism, metaphysics, alchemy, language, philosophy, culture, technology, environmentalism, and the theoretical origins of human consciousness. He was called the "Timothy Leary of the '90s", "one of the leading authorities on the ontological foundations of shamanism", and the "intellectual voice of rave culture". McKenna formulated a concept about the nature of time based on fractal patterns he claimed to have discovered in the I Ching, which he called novelty theory, proposing this predicted the end of time in the year 2012.

Studying and traveling

In 1965, McKenna enrolled in the University of California, Berkeley and was accepted into the Tussman Experimental College. In 1967, while in college, he discovered and began studying shamanism through the study of Tibetan folk religion. That same year, which he called his "opium and kabbala phase" he traveled to Jerusalem, where he met Kathleen Harrison, who would later become his wife. In 1969, McKenna traveled to Nepal led by his interest in Tibetan painting and hallucinogenic shamanism. He sought out shaman of the Bon tradition, which predated Tibetan Buddhism, trying to learn more about the shamanic use of visionary plants. During his time there, he also studied the Tibetan language and worked as a hashish smuggler, until "one of his Bombay-to-Aspen shipments fell into the hands of U. S. Customs." He then wandered through southeast Asia viewing ruins, and spent time as a professional butterfly collector in Indonesia. After the partial completion of his studies, and his mother's death from cancer in 1971, McKenna, his brother Dennis, and three friends traveled to the Colombian Amazon in search of oo-koo-he, a plant preparation containing dimethyltryptamine (DMT). Instead of oo-koo-he they found fields full of gigantic Psilocybe cubensis mushrooms, which became the new focus of the expedition. In La Chorrera, at the urging of his brother, McKenna was the subject of a psychedelic experiment in which the brothers attempted to bond harmine (harmine is another psychedelic compound they used synergistically with the mushrooms) with their own neural DNA, through the use of a set specific vocal techniques. They hypothesised this would give them access to the collective memory of the human species, and would manifest the alchemists' Philosopher's Stone which they viewed as a "hyperdimensional union of spirit and matter". McKenna claimed the experiment put him in contact with "Logos": an informative, divine voice he believed was universal to visionary religious experience. The voice's reputed revelations and his brother's simultaneous peculiar psychedelic experience prompted him to explore the structure of an early form of the I Ching, which led to his "Novelty Theory". During their stay in the Amazon, McKenna also became romantically involved with his interpreter, Ev. In 1972, McKenna returned to U.C. Berkeley to finish his studies and in 1975, he graduated with a degree in ecology, shamanism, and conservation of natural resources. In the autumn of 1975, after parting with his girlfriend Ev earlier in the year, McKenna began a relationship with his future wife and the mother of his two children, Kathleen Harrison. Soon after graduating, McKenna and Dennis published a book inspired by their Amazon experiences, The Invisible Landscape: Mind, Hallucinogens and the I Ching. The brothers' experiences in the Amazon would later be the main focus of McKenna's book True Hallucinations, published in 1993. McKenna also began lecturing locally around Berkeley and started appearing on some underground radio stations.

C_0a6483654ad34939804f307c41b5461d_1_q#0

Where did he study?

2m

0y

C_0a6483654ad34939804f307c41b5461d_1

Terence McKenna

Terence Kemp McKenna (November 16, 1946 - April 3, 2000) was an American ethnobotanist, mystic, psychonaut, lecturer, author, and an advocate for the responsible use of naturally occurring psychedelic plants. He spoke and wrote about a variety of subjects, including psychedelic drugs, plant-based entheogens, shamanism, metaphysics, alchemy, language, philosophy, culture, technology, environmentalism, and the theoretical origins of human consciousness. He was called the "Timothy Leary of the '90s", "one of the leading authorities on the ontological foundations of shamanism", and the "intellectual voice of rave culture". McKenna formulated a concept about the nature of time based on fractal patterns he claimed to have discovered in the I Ching, which he called novelty theory, proposing this predicted the end of time in the year 2012.

Studying and traveling

In 1965, McKenna enrolled in the University of California, Berkeley and was accepted into the Tussman Experimental College. In 1967, while in college, he discovered and began studying shamanism through the study of Tibetan folk religion. That same year, which he called his "opium and kabbala phase" he traveled to Jerusalem, where he met Kathleen Harrison, who would later become his wife. In 1969, McKenna traveled to Nepal led by his interest in Tibetan painting and hallucinogenic shamanism. He sought out shaman of the Bon tradition, which predated Tibetan Buddhism, trying to learn more about the shamanic use of visionary plants. During his time there, he also studied the Tibetan language and worked as a hashish smuggler, until "one of his Bombay-to-Aspen shipments fell into the hands of U. S. Customs." He then wandered through southeast Asia viewing ruins, and spent time as a professional butterfly collector in Indonesia. After the partial completion of his studies, and his mother's death from cancer in 1971, McKenna, his brother Dennis, and three friends traveled to the Colombian Amazon in search of oo-koo-he, a plant preparation containing dimethyltryptamine (DMT). Instead of oo-koo-he they found fields full of gigantic Psilocybe cubensis mushrooms, which became the new focus of the expedition. In La Chorrera, at the urging of his brother, McKenna was the subject of a psychedelic experiment in which the brothers attempted to bond harmine (harmine is another psychedelic compound they used synergistically with the mushrooms) with their own neural DNA, through the use of a set specific vocal techniques. They hypothesised this would give them access to the collective memory of the human species, and would manifest the alchemists' Philosopher's Stone which they viewed as a "hyperdimensional union of spirit and matter". McKenna claimed the experiment put him in contact with "Logos": an informative, divine voice he believed was universal to visionary religious experience. The voice's reputed revelations and his brother's simultaneous peculiar psychedelic experience prompted him to explore the structure of an early form of the I Ching, which led to his "Novelty Theory". During their stay in the Amazon, McKenna also became romantically involved with his interpreter, Ev. In 1972, McKenna returned to U.C. Berkeley to finish his studies and in 1975, he graduated with a degree in ecology, shamanism, and conservation of natural resources. In the autumn of 1975, after parting with his girlfriend Ev earlier in the year, McKenna began a relationship with his future wife and the mother of his two children, Kathleen Harrison. Soon after graduating, McKenna and Dennis published a book inspired by their Amazon experiences, The Invisible Landscape: Mind, Hallucinogens and the I Ching. The brothers' experiences in the Amazon would later be the main focus of McKenna's book True Hallucinations, published in 1993. McKenna also began lecturing locally around Berkeley and started appearing on some underground radio stations. Q: Where did he study? A: the University of California,

C_0a6483654ad34939804f307c41b5461d_1_q#1

What did he study?

2m

0y

C_0a6483654ad34939804f307c41b5461d_1

Terence McKenna

Terence Kemp McKenna (November 16, 1946 - April 3, 2000) was an American ethnobotanist, mystic, psychonaut, lecturer, author, and an advocate for the responsible use of naturally occurring psychedelic plants. He spoke and wrote about a variety of subjects, including psychedelic drugs, plant-based entheogens, shamanism, metaphysics, alchemy, language, philosophy, culture, technology, environmentalism, and the theoretical origins of human consciousness. He was called the "Timothy Leary of the '90s", "one of the leading authorities on the ontological foundations of shamanism", and the "intellectual voice of rave culture". McKenna formulated a concept about the nature of time based on fractal patterns he claimed to have discovered in the I Ching, which he called novelty theory, proposing this predicted the end of time in the year 2012.

Studying and traveling

In 1965, McKenna enrolled in the University of California, Berkeley and was accepted into the Tussman Experimental College. In 1967, while in college, he discovered and began studying shamanism through the study of Tibetan folk religion. That same year, which he called his "opium and kabbala phase" he traveled to Jerusalem, where he met Kathleen Harrison, who would later become his wife. In 1969, McKenna traveled to Nepal led by his interest in Tibetan painting and hallucinogenic shamanism. He sought out shaman of the Bon tradition, which predated Tibetan Buddhism, trying to learn more about the shamanic use of visionary plants. During his time there, he also studied the Tibetan language and worked as a hashish smuggler, until "one of his Bombay-to-Aspen shipments fell into the hands of U. S. Customs." He then wandered through southeast Asia viewing ruins, and spent time as a professional butterfly collector in Indonesia. After the partial completion of his studies, and his mother's death from cancer in 1971, McKenna, his brother Dennis, and three friends traveled to the Colombian Amazon in search of oo-koo-he, a plant preparation containing dimethyltryptamine (DMT). Instead of oo-koo-he they found fields full of gigantic Psilocybe cubensis mushrooms, which became the new focus of the expedition. In La Chorrera, at the urging of his brother, McKenna was the subject of a psychedelic experiment in which the brothers attempted to bond harmine (harmine is another psychedelic compound they used synergistically with the mushrooms) with their own neural DNA, through the use of a set specific vocal techniques. They hypothesised this would give them access to the collective memory of the human species, and would manifest the alchemists' Philosopher's Stone which they viewed as a "hyperdimensional union of spirit and matter". McKenna claimed the experiment put him in contact with "Logos": an informative, divine voice he believed was universal to visionary religious experience. The voice's reputed revelations and his brother's simultaneous peculiar psychedelic experience prompted him to explore the structure of an early form of the I Ching, which led to his "Novelty Theory". During their stay in the Amazon, McKenna also became romantically involved with his interpreter, Ev. In 1972, McKenna returned to U.C. Berkeley to finish his studies and in 1975, he graduated with a degree in ecology, shamanism, and conservation of natural resources. In the autumn of 1975, after parting with his girlfriend Ev earlier in the year, McKenna began a relationship with his future wife and the mother of his two children, Kathleen Harrison. Soon after graduating, McKenna and Dennis published a book inspired by their Amazon experiences, The Invisible Landscape: Mind, Hallucinogens and the I Ching. The brothers' experiences in the Amazon would later be the main focus of McKenna's book True Hallucinations, published in 1993. McKenna also began lecturing locally around Berkeley and started appearing on some underground radio stations. Q: Where did he study? A: the University of California, Q: What did he study? A: Tibetan folk religion.

C_0a6483654ad34939804f307c41b5461d_1_q#2

Did he graduate?

2m

0y

C_0a6483654ad34939804f307c41b5461d_1

Terence McKenna

Terence Kemp McKenna (November 16, 1946 - April 3, 2000) was an American ethnobotanist, mystic, psychonaut, lecturer, author, and an advocate for the responsible use of naturally occurring psychedelic plants. He spoke and wrote about a variety of subjects, including psychedelic drugs, plant-based entheogens, shamanism, metaphysics, alchemy, language, philosophy, culture, technology, environmentalism, and the theoretical origins of human consciousness. He was called the "Timothy Leary of the '90s", "one of the leading authorities on the ontological foundations of shamanism", and the "intellectual voice of rave culture". McKenna formulated a concept about the nature of time based on fractal patterns he claimed to have discovered in the I Ching, which he called novelty theory, proposing this predicted the end of time in the year 2012.

Studying and traveling

In 1965, McKenna enrolled in the University of California, Berkeley and was accepted into the Tussman Experimental College. In 1967, while in college, he discovered and began studying shamanism through the study of Tibetan folk religion. That same year, which he called his "opium and kabbala phase" he traveled to Jerusalem, where he met Kathleen Harrison, who would later become his wife. In 1969, McKenna traveled to Nepal led by his interest in Tibetan painting and hallucinogenic shamanism. He sought out shaman of the Bon tradition, which predated Tibetan Buddhism, trying to learn more about the shamanic use of visionary plants. During his time there, he also studied the Tibetan language and worked as a hashish smuggler, until "one of his Bombay-to-Aspen shipments fell into the hands of U. S. Customs." He then wandered through southeast Asia viewing ruins, and spent time as a professional butterfly collector in Indonesia. After the partial completion of his studies, and his mother's death from cancer in 1971, McKenna, his brother Dennis, and three friends traveled to the Colombian Amazon in search of oo-koo-he, a plant preparation containing dimethyltryptamine (DMT). Instead of oo-koo-he they found fields full of gigantic Psilocybe cubensis mushrooms, which became the new focus of the expedition. In La Chorrera, at the urging of his brother, McKenna was the subject of a psychedelic experiment in which the brothers attempted to bond harmine (harmine is another psychedelic compound they used synergistically with the mushrooms) with their own neural DNA, through the use of a set specific vocal techniques. They hypothesised this would give them access to the collective memory of the human species, and would manifest the alchemists' Philosopher's Stone which they viewed as a "hyperdimensional union of spirit and matter". McKenna claimed the experiment put him in contact with "Logos": an informative, divine voice he believed was universal to visionary religious experience. The voice's reputed revelations and his brother's simultaneous peculiar psychedelic experience prompted him to explore the structure of an early form of the I Ching, which led to his "Novelty Theory". During their stay in the Amazon, McKenna also became romantically involved with his interpreter, Ev. In 1972, McKenna returned to U.C. Berkeley to finish his studies and in 1975, he graduated with a degree in ecology, shamanism, and conservation of natural resources. In the autumn of 1975, after parting with his girlfriend Ev earlier in the year, McKenna began a relationship with his future wife and the mother of his two children, Kathleen Harrison. Soon after graduating, McKenna and Dennis published a book inspired by their Amazon experiences, The Invisible Landscape: Mind, Hallucinogens and the I Ching. The brothers' experiences in the Amazon would later be the main focus of McKenna's book True Hallucinations, published in 1993. McKenna also began lecturing locally around Berkeley and started appearing on some underground radio stations. Q: Where did he study? A: the University of California, Q: What did he study? A: Tibetan folk religion. Q: Did he graduate? A: he graduated with a degree in ecology, shamanism,

C_0a6483654ad34939804f307c41b5461d_1_q#3

Are there any other interesting aspects about this article?

2m

2x

C_fe907a545efb49ad960c0a3908a4292c_0

Ricky Martin

Enrique Martin Morales (born December 24, 1971), commonly known as Ricky Martin, is a Puerto Rican singer, actor and author. Martin began his career at age 12 with the all-boy pop group Menudo. After five years with the group, he released several Spanish-language solo albums throughout the 1990s. He also acted on stage and on TV in Mexico, where he achieved modest stardom.

1999-2002: Crossover to English

After receiving commercial success throughout Asia, Europe, and Latin America, Martin prepared his first English album in 1999 in an attempt to cross over to the United States market. The self-titled album, which debuted at number one on the Billboard 200 and sold 661,000 copies in its first week of release, became the most successful album debut on the Billboard charts by a Hispanic artist. It contained material by writers and producers such as Desmond Child, Diane Warren, William Orbit, George Noriega and his longtime childhood friend Draco Rosa. The album also featured special guests: Madonna on the Spanish-English duet "Be Careful (Cuidado con mi Corazon)" and Meja on "Private Emotion". Two weeks after the album's release, Martin was featured on the cover of Time with the title "Latin Music Goes Pop!". Before the album's release, Janet Jackson collaborated with Ricky Martin for the Latin American version of "Ask for More", a promotional single and commercial released as part of an advertising campaign for soft drink company Pepsi. The first and most prominent single was "Livin' la Vida Loca", which reached number one in many countries around the world, including the United States, United Kingdom, Canada, Ireland and New Zealand. "Livin' la Vida Loca" is Ricky Martin's biggest hit. The video for "Livin 'La Vida Loca" was directed by Wayne Isham and starring model Nina Moric. It was followed by "She's All I Ever Had" which peaked at number two on the Billboard Hot 100. Both tracks peaked at number one on the Hot Latin Songs. "Livin' la Vida Loca" is generally seen as the song that began the Latin pop explosion of 1999 and made the transition of other Latin artists (first Jennifer Lopez and Enrique Iglesias, then later Shakira) into the English-speaking market easier. Ricky Martin became one of the top-selling albums of 1999, and was certified 7x platinum in the United States, selling over 22 million copies worldwide. In October 1999, Martin embarked on a very successful year-long Livin' la Vida Loca Tour. After this success, a new English-language album, Sound Loaded, was released in November 2000. It debuted at number four on the Billboard 200 and was certified 2x platinum by the RIAA. "She Bangs" and "Nobody Wants to Be Lonely" (duet with Christina Aguilera) peaked at number twelve and thirteen on the Billboard Hot 100, respectively. Both singles reached number one on the Hot Latin Songs. Sound Loaded has sold over 8 million copies worldwide. In February 2001, Martin released a Spanish greatest hits album entitled La Historia, which went to number one for five weeks on the Billboard Top Latin Albums and debuted at number eighty-three on the Billboard 200. It also topped the chart in Sweden for three weeks. The album contained reworkings of two of his early songs "Fuego Contra Fuego" and "El Amor de Mi Vida". In November 2001, an English-language greatest hits album, The Best of Ricky Martin was released outside North America. It contained two new remixes of "Amor".

C_fe907a545efb49ad960c0a3908a4292c_0_q#0

What was he trying in america

0y

2x

C_fe907a545efb49ad960c0a3908a4292c_0

Ricky Martin

Enrique Martin Morales (born December 24, 1971), commonly known as Ricky Martin, is a Puerto Rican singer, actor and author. Martin began his career at age 12 with the all-boy pop group Menudo. After five years with the group, he released several Spanish-language solo albums throughout the 1990s. He also acted on stage and on TV in Mexico, where he achieved modest stardom.

1999-2002: Crossover to English

After receiving commercial success throughout Asia, Europe, and Latin America, Martin prepared his first English album in 1999 in an attempt to cross over to the United States market. The self-titled album, which debuted at number one on the Billboard 200 and sold 661,000 copies in its first week of release, became the most successful album debut on the Billboard charts by a Hispanic artist. It contained material by writers and producers such as Desmond Child, Diane Warren, William Orbit, George Noriega and his longtime childhood friend Draco Rosa. The album also featured special guests: Madonna on the Spanish-English duet "Be Careful (Cuidado con mi Corazon)" and Meja on "Private Emotion". Two weeks after the album's release, Martin was featured on the cover of Time with the title "Latin Music Goes Pop!". Before the album's release, Janet Jackson collaborated with Ricky Martin for the Latin American version of "Ask for More", a promotional single and commercial released as part of an advertising campaign for soft drink company Pepsi. The first and most prominent single was "Livin' la Vida Loca", which reached number one in many countries around the world, including the United States, United Kingdom, Canada, Ireland and New Zealand. "Livin' la Vida Loca" is Ricky Martin's biggest hit. The video for "Livin 'La Vida Loca" was directed by Wayne Isham and starring model Nina Moric. It was followed by "She's All I Ever Had" which peaked at number two on the Billboard Hot 100. Both tracks peaked at number one on the Hot Latin Songs. "Livin' la Vida Loca" is generally seen as the song that began the Latin pop explosion of 1999 and made the transition of other Latin artists (first Jennifer Lopez and Enrique Iglesias, then later Shakira) into the English-speaking market easier. Ricky Martin became one of the top-selling albums of 1999, and was certified 7x platinum in the United States, selling over 22 million copies worldwide. In October 1999, Martin embarked on a very successful year-long Livin' la Vida Loca Tour. After this success, a new English-language album, Sound Loaded, was released in November 2000. It debuted at number four on the Billboard 200 and was certified 2x platinum by the RIAA. "She Bangs" and "Nobody Wants to Be Lonely" (duet with Christina Aguilera) peaked at number twelve and thirteen on the Billboard Hot 100, respectively. Both singles reached number one on the Hot Latin Songs. Sound Loaded has sold over 8 million copies worldwide. In February 2001, Martin released a Spanish greatest hits album entitled La Historia, which went to number one for five weeks on the Billboard Top Latin Albums and debuted at number eighty-three on the Billboard 200. It also topped the chart in Sweden for three weeks. The album contained reworkings of two of his early songs "Fuego Contra Fuego" and "El Amor de Mi Vida". In November 2001, an English-language greatest hits album, The Best of Ricky Martin was released outside North America. It contained two new remixes of "Amor". Q: What was he trying in america A: After receiving commercial success throughout Asia, Europe, and Latin America, Martin prepared his first English album in 1999

C_fe907a545efb49ad960c0a3908a4292c_0_q#1

What was this for

0y

2x

C_fe907a545efb49ad960c0a3908a4292c_0

Ricky Martin

Enrique Martin Morales (born December 24, 1971), commonly known as Ricky Martin, is a Puerto Rican singer, actor and author. Martin began his career at age 12 with the all-boy pop group Menudo. After five years with the group, he released several Spanish-language solo albums throughout the 1990s. He also acted on stage and on TV in Mexico, where he achieved modest stardom.

1999-2002: Crossover to English

After receiving commercial success throughout Asia, Europe, and Latin America, Martin prepared his first English album in 1999 in an attempt to cross over to the United States market. The self-titled album, which debuted at number one on the Billboard 200 and sold 661,000 copies in its first week of release, became the most successful album debut on the Billboard charts by a Hispanic artist. It contained material by writers and producers such as Desmond Child, Diane Warren, William Orbit, George Noriega and his longtime childhood friend Draco Rosa. The album also featured special guests: Madonna on the Spanish-English duet "Be Careful (Cuidado con mi Corazon)" and Meja on "Private Emotion". Two weeks after the album's release, Martin was featured on the cover of Time with the title "Latin Music Goes Pop!". Before the album's release, Janet Jackson collaborated with Ricky Martin for the Latin American version of "Ask for More", a promotional single and commercial released as part of an advertising campaign for soft drink company Pepsi. The first and most prominent single was "Livin' la Vida Loca", which reached number one in many countries around the world, including the United States, United Kingdom, Canada, Ireland and New Zealand. "Livin' la Vida Loca" is Ricky Martin's biggest hit. The video for "Livin 'La Vida Loca" was directed by Wayne Isham and starring model Nina Moric. It was followed by "She's All I Ever Had" which peaked at number two on the Billboard Hot 100. Both tracks peaked at number one on the Hot Latin Songs. "Livin' la Vida Loca" is generally seen as the song that began the Latin pop explosion of 1999 and made the transition of other Latin artists (first Jennifer Lopez and Enrique Iglesias, then later Shakira) into the English-speaking market easier. Ricky Martin became one of the top-selling albums of 1999, and was certified 7x platinum in the United States, selling over 22 million copies worldwide. In October 1999, Martin embarked on a very successful year-long Livin' la Vida Loca Tour. After this success, a new English-language album, Sound Loaded, was released in November 2000. It debuted at number four on the Billboard 200 and was certified 2x platinum by the RIAA. "She Bangs" and "Nobody Wants to Be Lonely" (duet with Christina Aguilera) peaked at number twelve and thirteen on the Billboard Hot 100, respectively. Both singles reached number one on the Hot Latin Songs. Sound Loaded has sold over 8 million copies worldwide. In February 2001, Martin released a Spanish greatest hits album entitled La Historia, which went to number one for five weeks on the Billboard Top Latin Albums and debuted at number eighty-three on the Billboard 200. It also topped the chart in Sweden for three weeks. The album contained reworkings of two of his early songs "Fuego Contra Fuego" and "El Amor de Mi Vida". In November 2001, an English-language greatest hits album, The Best of Ricky Martin was released outside North America. It contained two new remixes of "Amor". Q: What was he trying in america A: After receiving commercial success throughout Asia, Europe, and Latin America, Martin prepared his first English album in 1999 Q: What was this for A: in an attempt to cross over to the United States market.

C_fe907a545efb49ad960c0a3908a4292c_0_q#2

What was the album called and did it sell well

0y

2x

C_fe907a545efb49ad960c0a3908a4292c_0

Ricky Martin

Enrique Martin Morales (born December 24, 1971), commonly known as Ricky Martin, is a Puerto Rican singer, actor and author. Martin began his career at age 12 with the all-boy pop group Menudo. After five years with the group, he released several Spanish-language solo albums throughout the 1990s. He also acted on stage and on TV in Mexico, where he achieved modest stardom.

1999-2002: Crossover to English

After receiving commercial success throughout Asia, Europe, and Latin America, Martin prepared his first English album in 1999 in an attempt to cross over to the United States market. The self-titled album, which debuted at number one on the Billboard 200 and sold 661,000 copies in its first week of release, became the most successful album debut on the Billboard charts by a Hispanic artist. It contained material by writers and producers such as Desmond Child, Diane Warren, William Orbit, George Noriega and his longtime childhood friend Draco Rosa. The album also featured special guests: Madonna on the Spanish-English duet "Be Careful (Cuidado con mi Corazon)" and Meja on "Private Emotion". Two weeks after the album's release, Martin was featured on the cover of Time with the title "Latin Music Goes Pop!". Before the album's release, Janet Jackson collaborated with Ricky Martin for the Latin American version of "Ask for More", a promotional single and commercial released as part of an advertising campaign for soft drink company Pepsi. The first and most prominent single was "Livin' la Vida Loca", which reached number one in many countries around the world, including the United States, United Kingdom, Canada, Ireland and New Zealand. "Livin' la Vida Loca" is Ricky Martin's biggest hit. The video for "Livin 'La Vida Loca" was directed by Wayne Isham and starring model Nina Moric. It was followed by "She's All I Ever Had" which peaked at number two on the Billboard Hot 100. Both tracks peaked at number one on the Hot Latin Songs. "Livin' la Vida Loca" is generally seen as the song that began the Latin pop explosion of 1999 and made the transition of other Latin artists (first Jennifer Lopez and Enrique Iglesias, then later Shakira) into the English-speaking market easier. Ricky Martin became one of the top-selling albums of 1999, and was certified 7x platinum in the United States, selling over 22 million copies worldwide. In October 1999, Martin embarked on a very successful year-long Livin' la Vida Loca Tour. After this success, a new English-language album, Sound Loaded, was released in November 2000. It debuted at number four on the Billboard 200 and was certified 2x platinum by the RIAA. "She Bangs" and "Nobody Wants to Be Lonely" (duet with Christina Aguilera) peaked at number twelve and thirteen on the Billboard Hot 100, respectively. Both singles reached number one on the Hot Latin Songs. Sound Loaded has sold over 8 million copies worldwide. In February 2001, Martin released a Spanish greatest hits album entitled La Historia, which went to number one for five weeks on the Billboard Top Latin Albums and debuted at number eighty-three on the Billboard 200. It also topped the chart in Sweden for three weeks. The album contained reworkings of two of his early songs "Fuego Contra Fuego" and "El Amor de Mi Vida". In November 2001, an English-language greatest hits album, The Best of Ricky Martin was released outside North America. It contained two new remixes of "Amor". Q: What was he trying in america A: After receiving commercial success throughout Asia, Europe, and Latin America, Martin prepared his first English album in 1999 Q: What was this for A: in an attempt to cross over to the United States market. Q: What was the album called and did it sell well A: The self-titled album, which debuted at number one on the Billboard 200 and sold 661,000 copies in its first week of release,

C_fe907a545efb49ad960c0a3908a4292c_0_q#3

Why is this so special

0y

2x

C_fe907a545efb49ad960c0a3908a4292c_0

Ricky Martin

Enrique Martin Morales (born December 24, 1971), commonly known as Ricky Martin, is a Puerto Rican singer, actor and author. Martin began his career at age 12 with the all-boy pop group Menudo. After five years with the group, he released several Spanish-language solo albums throughout the 1990s. He also acted on stage and on TV in Mexico, where he achieved modest stardom.

1999-2002: Crossover to English

After receiving commercial success throughout Asia, Europe, and Latin America, Martin prepared his first English album in 1999 in an attempt to cross over to the United States market. The self-titled album, which debuted at number one on the Billboard 200 and sold 661,000 copies in its first week of release, became the most successful album debut on the Billboard charts by a Hispanic artist. It contained material by writers and producers such as Desmond Child, Diane Warren, William Orbit, George Noriega and his longtime childhood friend Draco Rosa. The album also featured special guests: Madonna on the Spanish-English duet "Be Careful (Cuidado con mi Corazon)" and Meja on "Private Emotion". Two weeks after the album's release, Martin was featured on the cover of Time with the title "Latin Music Goes Pop!". Before the album's release, Janet Jackson collaborated with Ricky Martin for the Latin American version of "Ask for More", a promotional single and commercial released as part of an advertising campaign for soft drink company Pepsi. The first and most prominent single was "Livin' la Vida Loca", which reached number one in many countries around the world, including the United States, United Kingdom, Canada, Ireland and New Zealand. "Livin' la Vida Loca" is Ricky Martin's biggest hit. The video for "Livin 'La Vida Loca" was directed by Wayne Isham and starring model Nina Moric. It was followed by "She's All I Ever Had" which peaked at number two on the Billboard Hot 100. Both tracks peaked at number one on the Hot Latin Songs. "Livin' la Vida Loca" is generally seen as the song that began the Latin pop explosion of 1999 and made the transition of other Latin artists (first Jennifer Lopez and Enrique Iglesias, then later Shakira) into the English-speaking market easier. Ricky Martin became one of the top-selling albums of 1999, and was certified 7x platinum in the United States, selling over 22 million copies worldwide. In October 1999, Martin embarked on a very successful year-long Livin' la Vida Loca Tour. After this success, a new English-language album, Sound Loaded, was released in November 2000. It debuted at number four on the Billboard 200 and was certified 2x platinum by the RIAA. "She Bangs" and "Nobody Wants to Be Lonely" (duet with Christina Aguilera) peaked at number twelve and thirteen on the Billboard Hot 100, respectively. Both singles reached number one on the Hot Latin Songs. Sound Loaded has sold over 8 million copies worldwide. In February 2001, Martin released a Spanish greatest hits album entitled La Historia, which went to number one for five weeks on the Billboard Top Latin Albums and debuted at number eighty-three on the Billboard 200. It also topped the chart in Sweden for three weeks. The album contained reworkings of two of his early songs "Fuego Contra Fuego" and "El Amor de Mi Vida". In November 2001, an English-language greatest hits album, The Best of Ricky Martin was released outside North America. It contained two new remixes of "Amor". Q: What was he trying in america A: After receiving commercial success throughout Asia, Europe, and Latin America, Martin prepared his first English album in 1999 Q: What was this for A: in an attempt to cross over to the United States market. Q: What was the album called and did it sell well A: The self-titled album, which debuted at number one on the Billboard 200 and sold 661,000 copies in its first week of release, Q: Why is this so special A: became the most successful album debut on the Billboard charts by a Hispanic artist.

C_fe907a545efb49ad960c0a3908a4292c_0_q#4

Who wrote the album

0y

2x

C_fe907a545efb49ad960c0a3908a4292c_0

Ricky Martin

Enrique Martin Morales (born December 24, 1971), commonly known as Ricky Martin, is a Puerto Rican singer, actor and author. Martin began his career at age 12 with the all-boy pop group Menudo. After five years with the group, he released several Spanish-language solo albums throughout the 1990s. He also acted on stage and on TV in Mexico, where he achieved modest stardom.

1999-2002: Crossover to English

After receiving commercial success throughout Asia, Europe, and Latin America, Martin prepared his first English album in 1999 in an attempt to cross over to the United States market. The self-titled album, which debuted at number one on the Billboard 200 and sold 661,000 copies in its first week of release, became the most successful album debut on the Billboard charts by a Hispanic artist. It contained material by writers and producers such as Desmond Child, Diane Warren, William Orbit, George Noriega and his longtime childhood friend Draco Rosa. The album also featured special guests: Madonna on the Spanish-English duet "Be Careful (Cuidado con mi Corazon)" and Meja on "Private Emotion". Two weeks after the album's release, Martin was featured on the cover of Time with the title "Latin Music Goes Pop!". Before the album's release, Janet Jackson collaborated with Ricky Martin for the Latin American version of "Ask for More", a promotional single and commercial released as part of an advertising campaign for soft drink company Pepsi. The first and most prominent single was "Livin' la Vida Loca", which reached number one in many countries around the world, including the United States, United Kingdom, Canada, Ireland and New Zealand. "Livin' la Vida Loca" is Ricky Martin's biggest hit. The video for "Livin 'La Vida Loca" was directed by Wayne Isham and starring model Nina Moric. It was followed by "She's All I Ever Had" which peaked at number two on the Billboard Hot 100. Both tracks peaked at number one on the Hot Latin Songs. "Livin' la Vida Loca" is generally seen as the song that began the Latin pop explosion of 1999 and made the transition of other Latin artists (first Jennifer Lopez and Enrique Iglesias, then later Shakira) into the English-speaking market easier. Ricky Martin became one of the top-selling albums of 1999, and was certified 7x platinum in the United States, selling over 22 million copies worldwide. In October 1999, Martin embarked on a very successful year-long Livin' la Vida Loca Tour. After this success, a new English-language album, Sound Loaded, was released in November 2000. It debuted at number four on the Billboard 200 and was certified 2x platinum by the RIAA. "She Bangs" and "Nobody Wants to Be Lonely" (duet with Christina Aguilera) peaked at number twelve and thirteen on the Billboard Hot 100, respectively. Both singles reached number one on the Hot Latin Songs. Sound Loaded has sold over 8 million copies worldwide. In February 2001, Martin released a Spanish greatest hits album entitled La Historia, which went to number one for five weeks on the Billboard Top Latin Albums and debuted at number eighty-three on the Billboard 200. It also topped the chart in Sweden for three weeks. The album contained reworkings of two of his early songs "Fuego Contra Fuego" and "El Amor de Mi Vida". In November 2001, an English-language greatest hits album, The Best of Ricky Martin was released outside North America. It contained two new remixes of "Amor". Q: What was he trying in america A: After receiving commercial success throughout Asia, Europe, and Latin America, Martin prepared his first English album in 1999 Q: What was this for A: in an attempt to cross over to the United States market. Q: What was the album called and did it sell well A: The self-titled album, which debuted at number one on the Billboard 200 and sold 661,000 copies in its first week of release, Q: Why is this so special A: became the most successful album debut on the Billboard charts by a Hispanic artist. Q: Who wrote the album A: It contained material by writers and producers such as Desmond Child, Diane Warren, William Orbit, George Noriega and his longtime childhood friend Draco Rosa.

C_fe907a545efb49ad960c0a3908a4292c_0_q#5

Was anyone featureed

0y

2x

C_fe907a545efb49ad960c0a3908a4292c_0

Ricky Martin

Enrique Martin Morales (born December 24, 1971), commonly known as Ricky Martin, is a Puerto Rican singer, actor and author. Martin began his career at age 12 with the all-boy pop group Menudo. After five years with the group, he released several Spanish-language solo albums throughout the 1990s. He also acted on stage and on TV in Mexico, where he achieved modest stardom.

1999-2002: Crossover to English

After receiving commercial success throughout Asia, Europe, and Latin America, Martin prepared his first English album in 1999 in an attempt to cross over to the United States market. The self-titled album, which debuted at number one on the Billboard 200 and sold 661,000 copies in its first week of release, became the most successful album debut on the Billboard charts by a Hispanic artist. It contained material by writers and producers such as Desmond Child, Diane Warren, William Orbit, George Noriega and his longtime childhood friend Draco Rosa. The album also featured special guests: Madonna on the Spanish-English duet "Be Careful (Cuidado con mi Corazon)" and Meja on "Private Emotion". Two weeks after the album's release, Martin was featured on the cover of Time with the title "Latin Music Goes Pop!". Before the album's release, Janet Jackson collaborated with Ricky Martin for the Latin American version of "Ask for More", a promotional single and commercial released as part of an advertising campaign for soft drink company Pepsi. The first and most prominent single was "Livin' la Vida Loca", which reached number one in many countries around the world, including the United States, United Kingdom, Canada, Ireland and New Zealand. "Livin' la Vida Loca" is Ricky Martin's biggest hit. The video for "Livin 'La Vida Loca" was directed by Wayne Isham and starring model Nina Moric. It was followed by "She's All I Ever Had" which peaked at number two on the Billboard Hot 100. Both tracks peaked at number one on the Hot Latin Songs. "Livin' la Vida Loca" is generally seen as the song that began the Latin pop explosion of 1999 and made the transition of other Latin artists (first Jennifer Lopez and Enrique Iglesias, then later Shakira) into the English-speaking market easier. Ricky Martin became one of the top-selling albums of 1999, and was certified 7x platinum in the United States, selling over 22 million copies worldwide. In October 1999, Martin embarked on a very successful year-long Livin' la Vida Loca Tour. After this success, a new English-language album, Sound Loaded, was released in November 2000. It debuted at number four on the Billboard 200 and was certified 2x platinum by the RIAA. "She Bangs" and "Nobody Wants to Be Lonely" (duet with Christina Aguilera) peaked at number twelve and thirteen on the Billboard Hot 100, respectively. Both singles reached number one on the Hot Latin Songs. Sound Loaded has sold over 8 million copies worldwide. In February 2001, Martin released a Spanish greatest hits album entitled La Historia, which went to number one for five weeks on the Billboard Top Latin Albums and debuted at number eighty-three on the Billboard 200. It also topped the chart in Sweden for three weeks. The album contained reworkings of two of his early songs "Fuego Contra Fuego" and "El Amor de Mi Vida". In November 2001, an English-language greatest hits album, The Best of Ricky Martin was released outside North America. It contained two new remixes of "Amor". Q: What was he trying in america A: After receiving commercial success throughout Asia, Europe, and Latin America, Martin prepared his first English album in 1999 Q: What was this for A: in an attempt to cross over to the United States market. Q: What was the album called and did it sell well A: The self-titled album, which debuted at number one on the Billboard 200 and sold 661,000 copies in its first week of release, Q: Why is this so special A: became the most successful album debut on the Billboard charts by a Hispanic artist. Q: Who wrote the album A: It contained material by writers and producers such as Desmond Child, Diane Warren, William Orbit, George Noriega and his longtime childhood friend Draco Rosa. Q: Was anyone featureed A: The album also featured special guests: Madonna on the Spanish-English duet "Be Careful (Cuidado con mi Corazon)" and Meja on "Private Emotion

C_fe907a545efb49ad960c0a3908a4292c_0_q#6

What did this do

0y

2x

C_fe907a545efb49ad960c0a3908a4292c_0

Ricky Martin

Enrique Martin Morales (born December 24, 1971), commonly known as Ricky Martin, is a Puerto Rican singer, actor and author. Martin began his career at age 12 with the all-boy pop group Menudo. After five years with the group, he released several Spanish-language solo albums throughout the 1990s. He also acted on stage and on TV in Mexico, where he achieved modest stardom.

1999-2002: Crossover to English

After receiving commercial success throughout Asia, Europe, and Latin America, Martin prepared his first English album in 1999 in an attempt to cross over to the United States market. The self-titled album, which debuted at number one on the Billboard 200 and sold 661,000 copies in its first week of release, became the most successful album debut on the Billboard charts by a Hispanic artist. It contained material by writers and producers such as Desmond Child, Diane Warren, William Orbit, George Noriega and his longtime childhood friend Draco Rosa. The album also featured special guests: Madonna on the Spanish-English duet "Be Careful (Cuidado con mi Corazon)" and Meja on "Private Emotion". Two weeks after the album's release, Martin was featured on the cover of Time with the title "Latin Music Goes Pop!". Before the album's release, Janet Jackson collaborated with Ricky Martin for the Latin American version of "Ask for More", a promotional single and commercial released as part of an advertising campaign for soft drink company Pepsi. The first and most prominent single was "Livin' la Vida Loca", which reached number one in many countries around the world, including the United States, United Kingdom, Canada, Ireland and New Zealand. "Livin' la Vida Loca" is Ricky Martin's biggest hit. The video for "Livin 'La Vida Loca" was directed by Wayne Isham and starring model Nina Moric. It was followed by "She's All I Ever Had" which peaked at number two on the Billboard Hot 100. Both tracks peaked at number one on the Hot Latin Songs. "Livin' la Vida Loca" is generally seen as the song that began the Latin pop explosion of 1999 and made the transition of other Latin artists (first Jennifer Lopez and Enrique Iglesias, then later Shakira) into the English-speaking market easier. Ricky Martin became one of the top-selling albums of 1999, and was certified 7x platinum in the United States, selling over 22 million copies worldwide. In October 1999, Martin embarked on a very successful year-long Livin' la Vida Loca Tour. After this success, a new English-language album, Sound Loaded, was released in November 2000. It debuted at number four on the Billboard 200 and was certified 2x platinum by the RIAA. "She Bangs" and "Nobody Wants to Be Lonely" (duet with Christina Aguilera) peaked at number twelve and thirteen on the Billboard Hot 100, respectively. Both singles reached number one on the Hot Latin Songs. Sound Loaded has sold over 8 million copies worldwide. In February 2001, Martin released a Spanish greatest hits album entitled La Historia, which went to number one for five weeks on the Billboard Top Latin Albums and debuted at number eighty-three on the Billboard 200. It also topped the chart in Sweden for three weeks. The album contained reworkings of two of his early songs "Fuego Contra Fuego" and "El Amor de Mi Vida". In November 2001, an English-language greatest hits album, The Best of Ricky Martin was released outside North America. It contained two new remixes of "Amor". Q: What was he trying in america A: After receiving commercial success throughout Asia, Europe, and Latin America, Martin prepared his first English album in 1999 Q: What was this for A: in an attempt to cross over to the United States market. Q: What was the album called and did it sell well A: The self-titled album, which debuted at number one on the Billboard 200 and sold 661,000 copies in its first week of release, Q: Why is this so special A: became the most successful album debut on the Billboard charts by a Hispanic artist. Q: Who wrote the album A: It contained material by writers and producers such as Desmond Child, Diane Warren, William Orbit, George Noriega and his longtime childhood friend Draco Rosa. Q: Was anyone featureed A: The album also featured special guests: Madonna on the Spanish-English duet "Be Careful (Cuidado con mi Corazon)" and Meja on "Private Emotion Q: What did this do A: Two weeks after the album's release, Martin was featured on the cover of Time with the title "Latin Music Goes Pop!". Before the album's release, Janet Jackson

C_fe907a545efb49ad960c0a3908a4292c_0_q#7

Who did this beat out

0y

2x

C_fe907a545efb49ad960c0a3908a4292c_0

Ricky Martin

Enrique Martin Morales (born December 24, 1971), commonly known as Ricky Martin, is a Puerto Rican singer, actor and author. Martin began his career at age 12 with the all-boy pop group Menudo. After five years with the group, he released several Spanish-language solo albums throughout the 1990s. He also acted on stage and on TV in Mexico, where he achieved modest stardom.

1999-2002: Crossover to English

After receiving commercial success throughout Asia, Europe, and Latin America, Martin prepared his first English album in 1999 in an attempt to cross over to the United States market. The self-titled album, which debuted at number one on the Billboard 200 and sold 661,000 copies in its first week of release, became the most successful album debut on the Billboard charts by a Hispanic artist. It contained material by writers and producers such as Desmond Child, Diane Warren, William Orbit, George Noriega and his longtime childhood friend Draco Rosa. The album also featured special guests: Madonna on the Spanish-English duet "Be Careful (Cuidado con mi Corazon)" and Meja on "Private Emotion". Two weeks after the album's release, Martin was featured on the cover of Time with the title "Latin Music Goes Pop!". Before the album's release, Janet Jackson collaborated with Ricky Martin for the Latin American version of "Ask for More", a promotional single and commercial released as part of an advertising campaign for soft drink company Pepsi. The first and most prominent single was "Livin' la Vida Loca", which reached number one in many countries around the world, including the United States, United Kingdom, Canada, Ireland and New Zealand. "Livin' la Vida Loca" is Ricky Martin's biggest hit. The video for "Livin 'La Vida Loca" was directed by Wayne Isham and starring model Nina Moric. It was followed by "She's All I Ever Had" which peaked at number two on the Billboard Hot 100. Both tracks peaked at number one on the Hot Latin Songs. "Livin' la Vida Loca" is generally seen as the song that began the Latin pop explosion of 1999 and made the transition of other Latin artists (first Jennifer Lopez and Enrique Iglesias, then later Shakira) into the English-speaking market easier. Ricky Martin became one of the top-selling albums of 1999, and was certified 7x platinum in the United States, selling over 22 million copies worldwide. In October 1999, Martin embarked on a very successful year-long Livin' la Vida Loca Tour. After this success, a new English-language album, Sound Loaded, was released in November 2000. It debuted at number four on the Billboard 200 and was certified 2x platinum by the RIAA. "She Bangs" and "Nobody Wants to Be Lonely" (duet with Christina Aguilera) peaked at number twelve and thirteen on the Billboard Hot 100, respectively. Both singles reached number one on the Hot Latin Songs. Sound Loaded has sold over 8 million copies worldwide. In February 2001, Martin released a Spanish greatest hits album entitled La Historia, which went to number one for five weeks on the Billboard Top Latin Albums and debuted at number eighty-three on the Billboard 200. It also topped the chart in Sweden for three weeks. The album contained reworkings of two of his early songs "Fuego Contra Fuego" and "El Amor de Mi Vida". In November 2001, an English-language greatest hits album, The Best of Ricky Martin was released outside North America. It contained two new remixes of "Amor". Q: What was he trying in america A: After receiving commercial success throughout Asia, Europe, and Latin America, Martin prepared his first English album in 1999 Q: What was this for A: in an attempt to cross over to the United States market. Q: What was the album called and did it sell well A: The self-titled album, which debuted at number one on the Billboard 200 and sold 661,000 copies in its first week of release, Q: Why is this so special A: became the most successful album debut on the Billboard charts by a Hispanic artist. Q: Who wrote the album A: It contained material by writers and producers such as Desmond Child, Diane Warren, William Orbit, George Noriega and his longtime childhood friend Draco Rosa. Q: Was anyone featureed A: The album also featured special guests: Madonna on the Spanish-English duet "Be Careful (Cuidado con mi Corazon)" and Meja on "Private Emotion Q: What did this do A: Two weeks after the album's release, Martin was featured on the cover of Time with the title "Latin Music Goes Pop!". Before the album's release, Janet Jackson Q: Who did this beat out A: Before the album's release, Janet Jackson collaborated with Ricky Martin for the Latin American version of "Ask for More", a promotional single and commercial

C_fe907a545efb49ad960c0a3908a4292c_0_q#8

What was this part of

0y

2x

C_fe907a545efb49ad960c0a3908a4292c_1

Ricky Martin

Enrique Martin Morales (born December 24, 1971), commonly known as Ricky Martin, is a Puerto Rican singer, actor and author. Martin began his career at age 12 with the all-boy pop group Menudo. After five years with the group, he released several Spanish-language solo albums throughout the 1990s. He also acted on stage and on TV in Mexico, where he achieved modest stardom.

1983-1990: Menudo

After achieving modest fame in Puerto Rico for his work in television commercials, Martin auditioned for membership in the Puerto Rican boy band Menudo. Although the executives enjoyed his dancing and singing at his first two auditions, Martin was rejected because he was too short. By the third audition, his persistence impressed executives, and in 1984, 12-year-old Martin became a member. A month after joining Menudo, he made his debut performance with the group at the Luis A. Ferre Performing Arts Center in San Juan. During this performance, he inadvertently disobeyed the choreography by walking around the stage, when it was planned that he would stay still, and was chastised by the band manager after the show: "The mistake was such a big deal that from that moment on, never again did I move when I wasn't supposed to move...That was the discipline of Menudo: You either did things the way you were told or you were not part of the group." The song "Asignatura Pendiente" from Almas del Silencio (2003) was inspired by the first time Martin left Puerto Rico to tour with Menudo. Although Martin enjoyed traveling and performing onstage with Menudo, he found the band's busy schedule and strict management exhausting, and later reflected that the experience "cost" him his childhood. He considered leaving the group while on tour in Brazil, but ultimately decided to stay out of fear of media backlash and being sued for breach of contract. Martin also began struggling with his sexuality, noting the stark contrast between his status as a sex symbol and his own emotions. Despite this, Martin acknowledged his "opportunity to have so many amazing experiences with so many amazing people" during his time with the group. He developed an interest in philanthropy when the group became UNICEF ambassadors, often working with impoverished children in third world countries. His experiences as an ambassador affected him greatly and inspired him to continue working with charities later in life. By 1987, Menudo's record sales began to decline, and the group changed its image, adopting an edgier look and performing more rock-influenced songs. The band released the album Somos Los Hijos del Rock in Spanish, and to appeal to the Menudo's Filipino fanbase, the group released In Action, recording songs in both English and Tagalog. After recording 11 albums with the group, Martin left Menudo in July 1989, at age 17, hoping to rest and evaluate his career path. He performed his final show with the group at the same venue where he'd performed his first performance as a member. Martin returned to Puerto Rico to graduate from high school, and 13 days after turning 18, he moved to New York City to celebrate his financial independence; since he was a minor during his time as a member of Menudo, Martin was not allowed to access his own bank accounts. He was accepted into New York University's Tisch School of the Arts, but months before classes began, Martin dropped out and moved to Mexico City to perform in the play Mama Ama el Rock (Mom Loves Rock).

C_fe907a545efb49ad960c0a3908a4292c_1_q#0

What did he gain fame for

0y

2x

C_fe907a545efb49ad960c0a3908a4292c_1

Ricky Martin

Enrique Martin Morales (born December 24, 1971), commonly known as Ricky Martin, is a Puerto Rican singer, actor and author. Martin began his career at age 12 with the all-boy pop group Menudo. After five years with the group, he released several Spanish-language solo albums throughout the 1990s. He also acted on stage and on TV in Mexico, where he achieved modest stardom.

1983-1990: Menudo

After achieving modest fame in Puerto Rico for his work in television commercials, Martin auditioned for membership in the Puerto Rican boy band Menudo. Although the executives enjoyed his dancing and singing at his first two auditions, Martin was rejected because he was too short. By the third audition, his persistence impressed executives, and in 1984, 12-year-old Martin became a member. A month after joining Menudo, he made his debut performance with the group at the Luis A. Ferre Performing Arts Center in San Juan. During this performance, he inadvertently disobeyed the choreography by walking around the stage, when it was planned that he would stay still, and was chastised by the band manager after the show: "The mistake was such a big deal that from that moment on, never again did I move when I wasn't supposed to move...That was the discipline of Menudo: You either did things the way you were told or you were not part of the group." The song "Asignatura Pendiente" from Almas del Silencio (2003) was inspired by the first time Martin left Puerto Rico to tour with Menudo. Although Martin enjoyed traveling and performing onstage with Menudo, he found the band's busy schedule and strict management exhausting, and later reflected that the experience "cost" him his childhood. He considered leaving the group while on tour in Brazil, but ultimately decided to stay out of fear of media backlash and being sued for breach of contract. Martin also began struggling with his sexuality, noting the stark contrast between his status as a sex symbol and his own emotions. Despite this, Martin acknowledged his "opportunity to have so many amazing experiences with so many amazing people" during his time with the group. He developed an interest in philanthropy when the group became UNICEF ambassadors, often working with impoverished children in third world countries. His experiences as an ambassador affected him greatly and inspired him to continue working with charities later in life. By 1987, Menudo's record sales began to decline, and the group changed its image, adopting an edgier look and performing more rock-influenced songs. The band released the album Somos Los Hijos del Rock in Spanish, and to appeal to the Menudo's Filipino fanbase, the group released In Action, recording songs in both English and Tagalog. After recording 11 albums with the group, Martin left Menudo in July 1989, at age 17, hoping to rest and evaluate his career path. He performed his final show with the group at the same venue where he'd performed his first performance as a member. Martin returned to Puerto Rico to graduate from high school, and 13 days after turning 18, he moved to New York City to celebrate his financial independence; since he was a minor during his time as a member of Menudo, Martin was not allowed to access his own bank accounts. He was accepted into New York University's Tisch School of the Arts, but months before classes began, Martin dropped out and moved to Mexico City to perform in the play Mama Ama el Rock (Mom Loves Rock). Q: What did he gain fame for A: After achieving modest fame in Puerto Rico for his work in television commercials, Martin auditioned for membership in the Puerto Rican boy band Menudo.

C_fe907a545efb49ad960c0a3908a4292c_1_q#1

How did his auditions go

0y

2x

C_fe907a545efb49ad960c0a3908a4292c_1

Ricky Martin

Enrique Martin Morales (born December 24, 1971), commonly known as Ricky Martin, is a Puerto Rican singer, actor and author. Martin began his career at age 12 with the all-boy pop group Menudo. After five years with the group, he released several Spanish-language solo albums throughout the 1990s. He also acted on stage and on TV in Mexico, where he achieved modest stardom.

1983-1990: Menudo

After achieving modest fame in Puerto Rico for his work in television commercials, Martin auditioned for membership in the Puerto Rican boy band Menudo. Although the executives enjoyed his dancing and singing at his first two auditions, Martin was rejected because he was too short. By the third audition, his persistence impressed executives, and in 1984, 12-year-old Martin became a member. A month after joining Menudo, he made his debut performance with the group at the Luis A. Ferre Performing Arts Center in San Juan. During this performance, he inadvertently disobeyed the choreography by walking around the stage, when it was planned that he would stay still, and was chastised by the band manager after the show: "The mistake was such a big deal that from that moment on, never again did I move when I wasn't supposed to move...That was the discipline of Menudo: You either did things the way you were told or you were not part of the group." The song "Asignatura Pendiente" from Almas del Silencio (2003) was inspired by the first time Martin left Puerto Rico to tour with Menudo. Although Martin enjoyed traveling and performing onstage with Menudo, he found the band's busy schedule and strict management exhausting, and later reflected that the experience "cost" him his childhood. He considered leaving the group while on tour in Brazil, but ultimately decided to stay out of fear of media backlash and being sued for breach of contract. Martin also began struggling with his sexuality, noting the stark contrast between his status as a sex symbol and his own emotions. Despite this, Martin acknowledged his "opportunity to have so many amazing experiences with so many amazing people" during his time with the group. He developed an interest in philanthropy when the group became UNICEF ambassadors, often working with impoverished children in third world countries. His experiences as an ambassador affected him greatly and inspired him to continue working with charities later in life. By 1987, Menudo's record sales began to decline, and the group changed its image, adopting an edgier look and performing more rock-influenced songs. The band released the album Somos Los Hijos del Rock in Spanish, and to appeal to the Menudo's Filipino fanbase, the group released In Action, recording songs in both English and Tagalog. After recording 11 albums with the group, Martin left Menudo in July 1989, at age 17, hoping to rest and evaluate his career path. He performed his final show with the group at the same venue where he'd performed his first performance as a member. Martin returned to Puerto Rico to graduate from high school, and 13 days after turning 18, he moved to New York City to celebrate his financial independence; since he was a minor during his time as a member of Menudo, Martin was not allowed to access his own bank accounts. He was accepted into New York University's Tisch School of the Arts, but months before classes began, Martin dropped out and moved to Mexico City to perform in the play Mama Ama el Rock (Mom Loves Rock). Q: What did he gain fame for A: After achieving modest fame in Puerto Rico for his work in television commercials, Martin auditioned for membership in the Puerto Rican boy band Menudo. Q: How did his auditions go A: Although the executives enjoyed his dancing and singing at his first two auditions, Martin was rejected because he was too short.

C_fe907a545efb49ad960c0a3908a4292c_1_q#2

Did he try again

0y

2x

C_fe907a545efb49ad960c0a3908a4292c_1

Ricky Martin

Enrique Martin Morales (born December 24, 1971), commonly known as Ricky Martin, is a Puerto Rican singer, actor and author. Martin began his career at age 12 with the all-boy pop group Menudo. After five years with the group, he released several Spanish-language solo albums throughout the 1990s. He also acted on stage and on TV in Mexico, where he achieved modest stardom.

1983-1990: Menudo

After achieving modest fame in Puerto Rico for his work in television commercials, Martin auditioned for membership in the Puerto Rican boy band Menudo. Although the executives enjoyed his dancing and singing at his first two auditions, Martin was rejected because he was too short. By the third audition, his persistence impressed executives, and in 1984, 12-year-old Martin became a member. A month after joining Menudo, he made his debut performance with the group at the Luis A. Ferre Performing Arts Center in San Juan. During this performance, he inadvertently disobeyed the choreography by walking around the stage, when it was planned that he would stay still, and was chastised by the band manager after the show: "The mistake was such a big deal that from that moment on, never again did I move when I wasn't supposed to move...That was the discipline of Menudo: You either did things the way you were told or you were not part of the group." The song "Asignatura Pendiente" from Almas del Silencio (2003) was inspired by the first time Martin left Puerto Rico to tour with Menudo. Although Martin enjoyed traveling and performing onstage with Menudo, he found the band's busy schedule and strict management exhausting, and later reflected that the experience "cost" him his childhood. He considered leaving the group while on tour in Brazil, but ultimately decided to stay out of fear of media backlash and being sued for breach of contract. Martin also began struggling with his sexuality, noting the stark contrast between his status as a sex symbol and his own emotions. Despite this, Martin acknowledged his "opportunity to have so many amazing experiences with so many amazing people" during his time with the group. He developed an interest in philanthropy when the group became UNICEF ambassadors, often working with impoverished children in third world countries. His experiences as an ambassador affected him greatly and inspired him to continue working with charities later in life. By 1987, Menudo's record sales began to decline, and the group changed its image, adopting an edgier look and performing more rock-influenced songs. The band released the album Somos Los Hijos del Rock in Spanish, and to appeal to the Menudo's Filipino fanbase, the group released In Action, recording songs in both English and Tagalog. After recording 11 albums with the group, Martin left Menudo in July 1989, at age 17, hoping to rest and evaluate his career path. He performed his final show with the group at the same venue where he'd performed his first performance as a member. Martin returned to Puerto Rico to graduate from high school, and 13 days after turning 18, he moved to New York City to celebrate his financial independence; since he was a minor during his time as a member of Menudo, Martin was not allowed to access his own bank accounts. He was accepted into New York University's Tisch School of the Arts, but months before classes began, Martin dropped out and moved to Mexico City to perform in the play Mama Ama el Rock (Mom Loves Rock). Q: What did he gain fame for A: After achieving modest fame in Puerto Rico for his work in television commercials, Martin auditioned for membership in the Puerto Rican boy band Menudo. Q: How did his auditions go A: Although the executives enjoyed his dancing and singing at his first two auditions, Martin was rejected because he was too short. Q: Did he try again A: By the third audition, his persistence impressed executives, and in 1984, 12-year-old Martin became a member.

C_fe907a545efb49ad960c0a3908a4292c_1_q#3

What happened when he was on tour

0y

2x

C_fe907a545efb49ad960c0a3908a4292c_1

Ricky Martin

Enrique Martin Morales (born December 24, 1971), commonly known as Ricky Martin, is a Puerto Rican singer, actor and author. Martin began his career at age 12 with the all-boy pop group Menudo. After five years with the group, he released several Spanish-language solo albums throughout the 1990s. He also acted on stage and on TV in Mexico, where he achieved modest stardom.

1983-1990: Menudo

After achieving modest fame in Puerto Rico for his work in television commercials, Martin auditioned for membership in the Puerto Rican boy band Menudo. Although the executives enjoyed his dancing and singing at his first two auditions, Martin was rejected because he was too short. By the third audition, his persistence impressed executives, and in 1984, 12-year-old Martin became a member. A month after joining Menudo, he made his debut performance with the group at the Luis A. Ferre Performing Arts Center in San Juan. During this performance, he inadvertently disobeyed the choreography by walking around the stage, when it was planned that he would stay still, and was chastised by the band manager after the show: "The mistake was such a big deal that from that moment on, never again did I move when I wasn't supposed to move...That was the discipline of Menudo: You either did things the way you were told or you were not part of the group." The song "Asignatura Pendiente" from Almas del Silencio (2003) was inspired by the first time Martin left Puerto Rico to tour with Menudo. Although Martin enjoyed traveling and performing onstage with Menudo, he found the band's busy schedule and strict management exhausting, and later reflected that the experience "cost" him his childhood. He considered leaving the group while on tour in Brazil, but ultimately decided to stay out of fear of media backlash and being sued for breach of contract. Martin also began struggling with his sexuality, noting the stark contrast between his status as a sex symbol and his own emotions. Despite this, Martin acknowledged his "opportunity to have so many amazing experiences with so many amazing people" during his time with the group. He developed an interest in philanthropy when the group became UNICEF ambassadors, often working with impoverished children in third world countries. His experiences as an ambassador affected him greatly and inspired him to continue working with charities later in life. By 1987, Menudo's record sales began to decline, and the group changed its image, adopting an edgier look and performing more rock-influenced songs. The band released the album Somos Los Hijos del Rock in Spanish, and to appeal to the Menudo's Filipino fanbase, the group released In Action, recording songs in both English and Tagalog. After recording 11 albums with the group, Martin left Menudo in July 1989, at age 17, hoping to rest and evaluate his career path. He performed his final show with the group at the same venue where he'd performed his first performance as a member. Martin returned to Puerto Rico to graduate from high school, and 13 days after turning 18, he moved to New York City to celebrate his financial independence; since he was a minor during his time as a member of Menudo, Martin was not allowed to access his own bank accounts. He was accepted into New York University's Tisch School of the Arts, but months before classes began, Martin dropped out and moved to Mexico City to perform in the play Mama Ama el Rock (Mom Loves Rock). Q: What did he gain fame for A: After achieving modest fame in Puerto Rico for his work in television commercials, Martin auditioned for membership in the Puerto Rican boy band Menudo. Q: How did his auditions go A: Although the executives enjoyed his dancing and singing at his first two auditions, Martin was rejected because he was too short. Q: Did he try again A: By the third audition, his persistence impressed executives, and in 1984, 12-year-old Martin became a member. Q: What happened when he was on tour A: he made his debut performance with the group at the Luis A. Ferre Performing Arts Center in San Juan. During this performance, he inadvertently disobeyed the choreography

C_fe907a545efb49ad960c0a3908a4292c_1_q#4

What did he do to disobey

0y

2x

C_fe907a545efb49ad960c0a3908a4292c_1

Ricky Martin

Enrique Martin Morales (born December 24, 1971), commonly known as Ricky Martin, is a Puerto Rican singer, actor and author. Martin began his career at age 12 with the all-boy pop group Menudo. After five years with the group, he released several Spanish-language solo albums throughout the 1990s. He also acted on stage and on TV in Mexico, where he achieved modest stardom.

1983-1990: Menudo

After achieving modest fame in Puerto Rico for his work in television commercials, Martin auditioned for membership in the Puerto Rican boy band Menudo. Although the executives enjoyed his dancing and singing at his first two auditions, Martin was rejected because he was too short. By the third audition, his persistence impressed executives, and in 1984, 12-year-old Martin became a member. A month after joining Menudo, he made his debut performance with the group at the Luis A. Ferre Performing Arts Center in San Juan. During this performance, he inadvertently disobeyed the choreography by walking around the stage, when it was planned that he would stay still, and was chastised by the band manager after the show: "The mistake was such a big deal that from that moment on, never again did I move when I wasn't supposed to move...That was the discipline of Menudo: You either did things the way you were told or you were not part of the group." The song "Asignatura Pendiente" from Almas del Silencio (2003) was inspired by the first time Martin left Puerto Rico to tour with Menudo. Although Martin enjoyed traveling and performing onstage with Menudo, he found the band's busy schedule and strict management exhausting, and later reflected that the experience "cost" him his childhood. He considered leaving the group while on tour in Brazil, but ultimately decided to stay out of fear of media backlash and being sued for breach of contract. Martin also began struggling with his sexuality, noting the stark contrast between his status as a sex symbol and his own emotions. Despite this, Martin acknowledged his "opportunity to have so many amazing experiences with so many amazing people" during his time with the group. He developed an interest in philanthropy when the group became UNICEF ambassadors, often working with impoverished children in third world countries. His experiences as an ambassador affected him greatly and inspired him to continue working with charities later in life. By 1987, Menudo's record sales began to decline, and the group changed its image, adopting an edgier look and performing more rock-influenced songs. The band released the album Somos Los Hijos del Rock in Spanish, and to appeal to the Menudo's Filipino fanbase, the group released In Action, recording songs in both English and Tagalog. After recording 11 albums with the group, Martin left Menudo in July 1989, at age 17, hoping to rest and evaluate his career path. He performed his final show with the group at the same venue where he'd performed his first performance as a member. Martin returned to Puerto Rico to graduate from high school, and 13 days after turning 18, he moved to New York City to celebrate his financial independence; since he was a minor during his time as a member of Menudo, Martin was not allowed to access his own bank accounts. He was accepted into New York University's Tisch School of the Arts, but months before classes began, Martin dropped out and moved to Mexico City to perform in the play Mama Ama el Rock (Mom Loves Rock). Q: What did he gain fame for A: After achieving modest fame in Puerto Rico for his work in television commercials, Martin auditioned for membership in the Puerto Rican boy band Menudo. Q: How did his auditions go A: Although the executives enjoyed his dancing and singing at his first two auditions, Martin was rejected because he was too short. Q: Did he try again A: By the third audition, his persistence impressed executives, and in 1984, 12-year-old Martin became a member. Q: What happened when he was on tour A: he made his debut performance with the group at the Luis A. Ferre Performing Arts Center in San Juan. During this performance, he inadvertently disobeyed the choreography Q: What did he do to disobey A: he inadvertently disobeyed the choreography by walking around the stage, when it was planned that he would stay still,

C_fe907a545efb49ad960c0a3908a4292c_1_q#5

what did he say about it

0y

2x

C_fe907a545efb49ad960c0a3908a4292c_1

Ricky Martin

Enrique Martin Morales (born December 24, 1971), commonly known as Ricky Martin, is a Puerto Rican singer, actor and author. Martin began his career at age 12 with the all-boy pop group Menudo. After five years with the group, he released several Spanish-language solo albums throughout the 1990s. He also acted on stage and on TV in Mexico, where he achieved modest stardom.

1983-1990: Menudo

After achieving modest fame in Puerto Rico for his work in television commercials, Martin auditioned for membership in the Puerto Rican boy band Menudo. Although the executives enjoyed his dancing and singing at his first two auditions, Martin was rejected because he was too short. By the third audition, his persistence impressed executives, and in 1984, 12-year-old Martin became a member. A month after joining Menudo, he made his debut performance with the group at the Luis A. Ferre Performing Arts Center in San Juan. During this performance, he inadvertently disobeyed the choreography by walking around the stage, when it was planned that he would stay still, and was chastised by the band manager after the show: "The mistake was such a big deal that from that moment on, never again did I move when I wasn't supposed to move...That was the discipline of Menudo: You either did things the way you were told or you were not part of the group." The song "Asignatura Pendiente" from Almas del Silencio (2003) was inspired by the first time Martin left Puerto Rico to tour with Menudo. Although Martin enjoyed traveling and performing onstage with Menudo, he found the band's busy schedule and strict management exhausting, and later reflected that the experience "cost" him his childhood. He considered leaving the group while on tour in Brazil, but ultimately decided to stay out of fear of media backlash and being sued for breach of contract. Martin also began struggling with his sexuality, noting the stark contrast between his status as a sex symbol and his own emotions. Despite this, Martin acknowledged his "opportunity to have so many amazing experiences with so many amazing people" during his time with the group. He developed an interest in philanthropy when the group became UNICEF ambassadors, often working with impoverished children in third world countries. His experiences as an ambassador affected him greatly and inspired him to continue working with charities later in life. By 1987, Menudo's record sales began to decline, and the group changed its image, adopting an edgier look and performing more rock-influenced songs. The band released the album Somos Los Hijos del Rock in Spanish, and to appeal to the Menudo's Filipino fanbase, the group released In Action, recording songs in both English and Tagalog. After recording 11 albums with the group, Martin left Menudo in July 1989, at age 17, hoping to rest and evaluate his career path. He performed his final show with the group at the same venue where he'd performed his first performance as a member. Martin returned to Puerto Rico to graduate from high school, and 13 days after turning 18, he moved to New York City to celebrate his financial independence; since he was a minor during his time as a member of Menudo, Martin was not allowed to access his own bank accounts. He was accepted into New York University's Tisch School of the Arts, but months before classes began, Martin dropped out and moved to Mexico City to perform in the play Mama Ama el Rock (Mom Loves Rock). Q: What did he gain fame for A: After achieving modest fame in Puerto Rico for his work in television commercials, Martin auditioned for membership in the Puerto Rican boy band Menudo. Q: How did his auditions go A: Although the executives enjoyed his dancing and singing at his first two auditions, Martin was rejected because he was too short. Q: Did he try again A: By the third audition, his persistence impressed executives, and in 1984, 12-year-old Martin became a member. Q: What happened when he was on tour A: he made his debut performance with the group at the Luis A. Ferre Performing Arts Center in San Juan. During this performance, he inadvertently disobeyed the choreography Q: What did he do to disobey A: he inadvertently disobeyed the choreography by walking around the stage, when it was planned that he would stay still, Q: what did he say about it A: The mistake was such a big deal that from that moment on, never again did I move when I wasn't supposed to move...That was the discipline of Menudo:

C_fe907a545efb49ad960c0a3908a4292c_1_q#6

What was said if this didnt happen

0y

2x

C_fe907a545efb49ad960c0a3908a4292c_1

Ricky Martin

Enrique Martin Morales (born December 24, 1971), commonly known as Ricky Martin, is a Puerto Rican singer, actor and author. Martin began his career at age 12 with the all-boy pop group Menudo. After five years with the group, he released several Spanish-language solo albums throughout the 1990s. He also acted on stage and on TV in Mexico, where he achieved modest stardom.

1983-1990: Menudo

After achieving modest fame in Puerto Rico for his work in television commercials, Martin auditioned for membership in the Puerto Rican boy band Menudo. Although the executives enjoyed his dancing and singing at his first two auditions, Martin was rejected because he was too short. By the third audition, his persistence impressed executives, and in 1984, 12-year-old Martin became a member. A month after joining Menudo, he made his debut performance with the group at the Luis A. Ferre Performing Arts Center in San Juan. During this performance, he inadvertently disobeyed the choreography by walking around the stage, when it was planned that he would stay still, and was chastised by the band manager after the show: "The mistake was such a big deal that from that moment on, never again did I move when I wasn't supposed to move...That was the discipline of Menudo: You either did things the way you were told or you were not part of the group." The song "Asignatura Pendiente" from Almas del Silencio (2003) was inspired by the first time Martin left Puerto Rico to tour with Menudo. Although Martin enjoyed traveling and performing onstage with Menudo, he found the band's busy schedule and strict management exhausting, and later reflected that the experience "cost" him his childhood. He considered leaving the group while on tour in Brazil, but ultimately decided to stay out of fear of media backlash and being sued for breach of contract. Martin also began struggling with his sexuality, noting the stark contrast between his status as a sex symbol and his own emotions. Despite this, Martin acknowledged his "opportunity to have so many amazing experiences with so many amazing people" during his time with the group. He developed an interest in philanthropy when the group became UNICEF ambassadors, often working with impoverished children in third world countries. His experiences as an ambassador affected him greatly and inspired him to continue working with charities later in life. By 1987, Menudo's record sales began to decline, and the group changed its image, adopting an edgier look and performing more rock-influenced songs. The band released the album Somos Los Hijos del Rock in Spanish, and to appeal to the Menudo's Filipino fanbase, the group released In Action, recording songs in both English and Tagalog. After recording 11 albums with the group, Martin left Menudo in July 1989, at age 17, hoping to rest and evaluate his career path. He performed his final show with the group at the same venue where he'd performed his first performance as a member. Martin returned to Puerto Rico to graduate from high school, and 13 days after turning 18, he moved to New York City to celebrate his financial independence; since he was a minor during his time as a member of Menudo, Martin was not allowed to access his own bank accounts. He was accepted into New York University's Tisch School of the Arts, but months before classes began, Martin dropped out and moved to Mexico City to perform in the play Mama Ama el Rock (Mom Loves Rock). Q: What did he gain fame for A: After achieving modest fame in Puerto Rico for his work in television commercials, Martin auditioned for membership in the Puerto Rican boy band Menudo. Q: How did his auditions go A: Although the executives enjoyed his dancing and singing at his first two auditions, Martin was rejected because he was too short. Q: Did he try again A: By the third audition, his persistence impressed executives, and in 1984, 12-year-old Martin became a member. Q: What happened when he was on tour A: he made his debut performance with the group at the Luis A. Ferre Performing Arts Center in San Juan. During this performance, he inadvertently disobeyed the choreography Q: What did he do to disobey A: he inadvertently disobeyed the choreography by walking around the stage, when it was planned that he would stay still, Q: what did he say about it A: The mistake was such a big deal that from that moment on, never again did I move when I wasn't supposed to move...That was the discipline of Menudo: Q: What was said if this didnt happen A: That was the discipline of Menudo: You either did things the way you were told or you were not part of the group.

C_fe907a545efb49ad960c0a3908a4292c_1_q#7

What was a song they wrote

0y

2x

C_fe907a545efb49ad960c0a3908a4292c_1

Ricky Martin

Enrique Martin Morales (born December 24, 1971), commonly known as Ricky Martin, is a Puerto Rican singer, actor and author. Martin began his career at age 12 with the all-boy pop group Menudo. After five years with the group, he released several Spanish-language solo albums throughout the 1990s. He also acted on stage and on TV in Mexico, where he achieved modest stardom.

1983-1990: Menudo

After achieving modest fame in Puerto Rico for his work in television commercials, Martin auditioned for membership in the Puerto Rican boy band Menudo. Although the executives enjoyed his dancing and singing at his first two auditions, Martin was rejected because he was too short. By the third audition, his persistence impressed executives, and in 1984, 12-year-old Martin became a member. A month after joining Menudo, he made his debut performance with the group at the Luis A. Ferre Performing Arts Center in San Juan. During this performance, he inadvertently disobeyed the choreography by walking around the stage, when it was planned that he would stay still, and was chastised by the band manager after the show: "The mistake was such a big deal that from that moment on, never again did I move when I wasn't supposed to move...That was the discipline of Menudo: You either did things the way you were told or you were not part of the group." The song "Asignatura Pendiente" from Almas del Silencio (2003) was inspired by the first time Martin left Puerto Rico to tour with Menudo. Although Martin enjoyed traveling and performing onstage with Menudo, he found the band's busy schedule and strict management exhausting, and later reflected that the experience "cost" him his childhood. He considered leaving the group while on tour in Brazil, but ultimately decided to stay out of fear of media backlash and being sued for breach of contract. Martin also began struggling with his sexuality, noting the stark contrast between his status as a sex symbol and his own emotions. Despite this, Martin acknowledged his "opportunity to have so many amazing experiences with so many amazing people" during his time with the group. He developed an interest in philanthropy when the group became UNICEF ambassadors, often working with impoverished children in third world countries. His experiences as an ambassador affected him greatly and inspired him to continue working with charities later in life. By 1987, Menudo's record sales began to decline, and the group changed its image, adopting an edgier look and performing more rock-influenced songs. The band released the album Somos Los Hijos del Rock in Spanish, and to appeal to the Menudo's Filipino fanbase, the group released In Action, recording songs in both English and Tagalog. After recording 11 albums with the group, Martin left Menudo in July 1989, at age 17, hoping to rest and evaluate his career path. He performed his final show with the group at the same venue where he'd performed his first performance as a member. Martin returned to Puerto Rico to graduate from high school, and 13 days after turning 18, he moved to New York City to celebrate his financial independence; since he was a minor during his time as a member of Menudo, Martin was not allowed to access his own bank accounts. He was accepted into New York University's Tisch School of the Arts, but months before classes began, Martin dropped out and moved to Mexico City to perform in the play Mama Ama el Rock (Mom Loves Rock). Q: What did he gain fame for A: After achieving modest fame in Puerto Rico for his work in television commercials, Martin auditioned for membership in the Puerto Rican boy band Menudo. Q: How did his auditions go A: Although the executives enjoyed his dancing and singing at his first two auditions, Martin was rejected because he was too short. Q: Did he try again A: By the third audition, his persistence impressed executives, and in 1984, 12-year-old Martin became a member. Q: What happened when he was on tour A: he made his debut performance with the group at the Luis A. Ferre Performing Arts Center in San Juan. During this performance, he inadvertently disobeyed the choreography Q: What did he do to disobey A: he inadvertently disobeyed the choreography by walking around the stage, when it was planned that he would stay still, Q: what did he say about it A: The mistake was such a big deal that from that moment on, never again did I move when I wasn't supposed to move...That was the discipline of Menudo: Q: What was said if this didnt happen A: That was the discipline of Menudo: You either did things the way you were told or you were not part of the group. Q: What was a song they wrote A: The song "Asignatura Pendiente" from Almas del Silencio (2003) was inspired by the first time Martin left Puerto Rico to tour with Menudo.

C_fe907a545efb49ad960c0a3908a4292c_1_q#8

What did this do to them

0y

2x

C_133f84a9bbc04b609c8f9eef31495991_0

Jenny from the Block

"Jenny from the Block" is a song recorded by American singer Jennifer Lopez, which features American rappers Jadakiss and Styles P; both members of The LOX. It was released by Epic Records on September 26, 2002, as the lead single from her third studio album This Is Me... Then (2002).

Music video

The song's accompanying music video was directed by Francis Lawrence. Its theme revolves around the media invading Lopez's life, particularly her relationship with then-boyfriend, Ben Affleck. The video was filmed entirely in Los Angeles, CA from October 18-20, 2002. It premiered on MTV's TRL on November 5, 2002, and on BET's 106 & Park on December 9, 2002. The video begins with surveillance camera footage of Lopez and Affleck in their apartment. Lopez is then shown dancing in the apartment to music on her Mp3 player, which is captured by the paparazzi. She is also seen performing the song (clothed in different outfits) amid bright lights on the streets of New York City with Jadakiss and Styles P. Separate scenes depict Lopez and Affleck on a yacht, sun baking, and swimming in the ocean. Footage of the couple having lunch at a restaurant and stopping at a gas station is also captured by the paparazzi. Lopez later visits a jewelry store, and sings "Loving You" in a recording studio. Finally, the couple are shown spending time together by a pool. Speaking of the video, Melissa Ng of The Spectator wrote: "Before celebrities become stars, they dream about gaining fame, fortune, and being in the spotlight [sic] Jennifer Lopez released a video for her single, Jenny From the Block. The video is basically about how she cannot find privacy with her fiance Ben Affleck. A lot of glamour is associated with fame and fortune; however, along with that glamour comes the loss of privacy." Speaking of the video, Justine Ashley Costanza of International Business Times wrote in 2012: "Back when Lopez was engaged to the wholesome actor, she decided it would be best to make a video about how hard their lives were. Poor J-Lo couldn't lounge on her yacht, be adored in a hot tub, or wear her $1 million engagement ring without someone taking her picture. It's not easy being overly wealthy superstars. The video's premise shows Lopez dealing with the perils of fame the only way she knows how...by taking off most of what she's wearing."

C_133f84a9bbc04b609c8f9eef31495991_0_q#0

When did they start making the music video

2m

2x

C_133f84a9bbc04b609c8f9eef31495991_0

Jenny from the Block

"Jenny from the Block" is a song recorded by American singer Jennifer Lopez, which features American rappers Jadakiss and Styles P; both members of The LOX. It was released by Epic Records on September 26, 2002, as the lead single from her third studio album This Is Me... Then (2002).

Music video

The song's accompanying music video was directed by Francis Lawrence. Its theme revolves around the media invading Lopez's life, particularly her relationship with then-boyfriend, Ben Affleck. The video was filmed entirely in Los Angeles, CA from October 18-20, 2002. It premiered on MTV's TRL on November 5, 2002, and on BET's 106 & Park on December 9, 2002. The video begins with surveillance camera footage of Lopez and Affleck in their apartment. Lopez is then shown dancing in the apartment to music on her Mp3 player, which is captured by the paparazzi. She is also seen performing the song (clothed in different outfits) amid bright lights on the streets of New York City with Jadakiss and Styles P. Separate scenes depict Lopez and Affleck on a yacht, sun baking, and swimming in the ocean. Footage of the couple having lunch at a restaurant and stopping at a gas station is also captured by the paparazzi. Lopez later visits a jewelry store, and sings "Loving You" in a recording studio. Finally, the couple are shown spending time together by a pool. Speaking of the video, Melissa Ng of The Spectator wrote: "Before celebrities become stars, they dream about gaining fame, fortune, and being in the spotlight [sic] Jennifer Lopez released a video for her single, Jenny From the Block. The video is basically about how she cannot find privacy with her fiance Ben Affleck. A lot of glamour is associated with fame and fortune; however, along with that glamour comes the loss of privacy." Speaking of the video, Justine Ashley Costanza of International Business Times wrote in 2012: "Back when Lopez was engaged to the wholesome actor, she decided it would be best to make a video about how hard their lives were. Poor J-Lo couldn't lounge on her yacht, be adored in a hot tub, or wear her $1 million engagement ring without someone taking her picture. It's not easy being overly wealthy superstars. The video's premise shows Lopez dealing with the perils of fame the only way she knows how...by taking off most of what she's wearing." Q: When did they start making the music video A: 2002.

C_133f84a9bbc04b609c8f9eef31495991_0_q#1

Who produced it

2m

2x

C_133f84a9bbc04b609c8f9eef31495991_0

Jenny from the Block

"Jenny from the Block" is a song recorded by American singer Jennifer Lopez, which features American rappers Jadakiss and Styles P; both members of The LOX. It was released by Epic Records on September 26, 2002, as the lead single from her third studio album This Is Me... Then (2002).

Music video

The song's accompanying music video was directed by Francis Lawrence. Its theme revolves around the media invading Lopez's life, particularly her relationship with then-boyfriend, Ben Affleck. The video was filmed entirely in Los Angeles, CA from October 18-20, 2002. It premiered on MTV's TRL on November 5, 2002, and on BET's 106 & Park on December 9, 2002. The video begins with surveillance camera footage of Lopez and Affleck in their apartment. Lopez is then shown dancing in the apartment to music on her Mp3 player, which is captured by the paparazzi. She is also seen performing the song (clothed in different outfits) amid bright lights on the streets of New York City with Jadakiss and Styles P. Separate scenes depict Lopez and Affleck on a yacht, sun baking, and swimming in the ocean. Footage of the couple having lunch at a restaurant and stopping at a gas station is also captured by the paparazzi. Lopez later visits a jewelry store, and sings "Loving You" in a recording studio. Finally, the couple are shown spending time together by a pool. Speaking of the video, Melissa Ng of The Spectator wrote: "Before celebrities become stars, they dream about gaining fame, fortune, and being in the spotlight [sic] Jennifer Lopez released a video for her single, Jenny From the Block. The video is basically about how she cannot find privacy with her fiance Ben Affleck. A lot of glamour is associated with fame and fortune; however, along with that glamour comes the loss of privacy." Speaking of the video, Justine Ashley Costanza of International Business Times wrote in 2012: "Back when Lopez was engaged to the wholesome actor, she decided it would be best to make a video about how hard their lives were. Poor J-Lo couldn't lounge on her yacht, be adored in a hot tub, or wear her $1 million engagement ring without someone taking her picture. It's not easy being overly wealthy superstars. The video's premise shows Lopez dealing with the perils of fame the only way she knows how...by taking off most of what she's wearing." Q: When did they start making the music video A: 2002. Q: Who produced it A: video was directed by Francis Lawrence.

C_133f84a9bbc04b609c8f9eef31495991_0_q#2

where was it staged

2m

2x

C_133f84a9bbc04b609c8f9eef31495991_0

Jenny from the Block

"Jenny from the Block" is a song recorded by American singer Jennifer Lopez, which features American rappers Jadakiss and Styles P; both members of The LOX. It was released by Epic Records on September 26, 2002, as the lead single from her third studio album This Is Me... Then (2002).

Music video

The song's accompanying music video was directed by Francis Lawrence. Its theme revolves around the media invading Lopez's life, particularly her relationship with then-boyfriend, Ben Affleck. The video was filmed entirely in Los Angeles, CA from October 18-20, 2002. It premiered on MTV's TRL on November 5, 2002, and on BET's 106 & Park on December 9, 2002. The video begins with surveillance camera footage of Lopez and Affleck in their apartment. Lopez is then shown dancing in the apartment to music on her Mp3 player, which is captured by the paparazzi. She is also seen performing the song (clothed in different outfits) amid bright lights on the streets of New York City with Jadakiss and Styles P. Separate scenes depict Lopez and Affleck on a yacht, sun baking, and swimming in the ocean. Footage of the couple having lunch at a restaurant and stopping at a gas station is also captured by the paparazzi. Lopez later visits a jewelry store, and sings "Loving You" in a recording studio. Finally, the couple are shown spending time together by a pool. Speaking of the video, Melissa Ng of The Spectator wrote: "Before celebrities become stars, they dream about gaining fame, fortune, and being in the spotlight [sic] Jennifer Lopez released a video for her single, Jenny From the Block. The video is basically about how she cannot find privacy with her fiance Ben Affleck. A lot of glamour is associated with fame and fortune; however, along with that glamour comes the loss of privacy." Speaking of the video, Justine Ashley Costanza of International Business Times wrote in 2012: "Back when Lopez was engaged to the wholesome actor, she decided it would be best to make a video about how hard their lives were. Poor J-Lo couldn't lounge on her yacht, be adored in a hot tub, or wear her $1 million engagement ring without someone taking her picture. It's not easy being overly wealthy superstars. The video's premise shows Lopez dealing with the perils of fame the only way she knows how...by taking off most of what she's wearing." Q: When did they start making the music video A: 2002. Q: Who produced it A: video was directed by Francis Lawrence. Q: where was it staged A: Los Angeles, CA from

C_133f84a9bbc04b609c8f9eef31495991_0_q#3

how long did production take

2m

2x

C_67aa8d10f433429bbacd2bfbd49a1591_0

Ian Chappell

Ian Michael Chappell (born 26 September 1943) is a former cricketer who played for South Australia and Australia. He captained Australia between 1971 and 1975 before taking a central role in the breakaway World Series Cricket organisation. Born into a cricketing family--his grandfather and brother also captained Australia--Chappell made a hesitant start to international cricket playing as a right-hand middle-order batsman and spin bowler. He found his niche when promoted to bat at number three.

Promotion to number three

A string of big scores and a record number of catches during the 1968-69 season earned Chappell the Australian Cricketer of the Year award. Against the touring West Indies, Chappell hit 188 not out, 123, 117, 180 and 165 before the New Year. Two of these centuries came in the Test series, when Chappell's average for 548 runs was 68.50. Chappell was elevated to number three in the batting order and became a less-frequent bowler; he was also appointed vice-captain of the team. Following up with a successful tour of India in late 1969, Chappell demonstrated his fluency against spin bowling by compiling Test innings of 138 at Delhi and 99 at Kolkata. His ability against both fast and slow bowling earned high praise, including from his captain Bill Lawry. When the Australians arrived in South Africa in early 1970, following their victory over India, Lawry told the local media that Chappell was the best all-round batsman in the world. His appraisal looked misguided when Chappell managed just 92 runs (at 11.5 average), with a top score of 34, as Australia lost 0-4. On this tour, Chappell clashed with cricket administrators over pay and conditions for the first time. The South African authorities requested that an extra Test be added to the fixture and the Australian Board of Control consented. Incensed that the players were not consulted about the change, Chappell led a group of his teammates in a demand for more money to play the proposed game. Eventually the match was cancelled after Chappell and his supporters refused to back down.

C_67aa8d10f433429bbacd2bfbd49a1591_0_q#0

what was he promoted to number three?

2m

0y

C_67aa8d10f433429bbacd2bfbd49a1591_0

Ian Chappell

Ian Michael Chappell (born 26 September 1943) is a former cricketer who played for South Australia and Australia. He captained Australia between 1971 and 1975 before taking a central role in the breakaway World Series Cricket organisation. Born into a cricketing family--his grandfather and brother also captained Australia--Chappell made a hesitant start to international cricket playing as a right-hand middle-order batsman and spin bowler. He found his niche when promoted to bat at number three.

Promotion to number three

A string of big scores and a record number of catches during the 1968-69 season earned Chappell the Australian Cricketer of the Year award. Against the touring West Indies, Chappell hit 188 not out, 123, 117, 180 and 165 before the New Year. Two of these centuries came in the Test series, when Chappell's average for 548 runs was 68.50. Chappell was elevated to number three in the batting order and became a less-frequent bowler; he was also appointed vice-captain of the team. Following up with a successful tour of India in late 1969, Chappell demonstrated his fluency against spin bowling by compiling Test innings of 138 at Delhi and 99 at Kolkata. His ability against both fast and slow bowling earned high praise, including from his captain Bill Lawry. When the Australians arrived in South Africa in early 1970, following their victory over India, Lawry told the local media that Chappell was the best all-round batsman in the world. His appraisal looked misguided when Chappell managed just 92 runs (at 11.5 average), with a top score of 34, as Australia lost 0-4. On this tour, Chappell clashed with cricket administrators over pay and conditions for the first time. The South African authorities requested that an extra Test be added to the fixture and the Australian Board of Control consented. Incensed that the players were not consulted about the change, Chappell led a group of his teammates in a demand for more money to play the proposed game. Eventually the match was cancelled after Chappell and his supporters refused to back down. Q: what was he promoted to number three? A: Chappell was elevated to number three in the batting order and became a less-frequent bowler; he was also appointed vice-captain of the team.

C_67aa8d10f433429bbacd2bfbd49a1591_0_q#1

how was he as number three?

2m

0y

C_67aa8d10f433429bbacd2bfbd49a1591_0

Ian Chappell

Ian Michael Chappell (born 26 September 1943) is a former cricketer who played for South Australia and Australia. He captained Australia between 1971 and 1975 before taking a central role in the breakaway World Series Cricket organisation. Born into a cricketing family--his grandfather and brother also captained Australia--Chappell made a hesitant start to international cricket playing as a right-hand middle-order batsman and spin bowler. He found his niche when promoted to bat at number three.

Promotion to number three

A string of big scores and a record number of catches during the 1968-69 season earned Chappell the Australian Cricketer of the Year award. Against the touring West Indies, Chappell hit 188 not out, 123, 117, 180 and 165 before the New Year. Two of these centuries came in the Test series, when Chappell's average for 548 runs was 68.50. Chappell was elevated to number three in the batting order and became a less-frequent bowler; he was also appointed vice-captain of the team. Following up with a successful tour of India in late 1969, Chappell demonstrated his fluency against spin bowling by compiling Test innings of 138 at Delhi and 99 at Kolkata. His ability against both fast and slow bowling earned high praise, including from his captain Bill Lawry. When the Australians arrived in South Africa in early 1970, following their victory over India, Lawry told the local media that Chappell was the best all-round batsman in the world. His appraisal looked misguided when Chappell managed just 92 runs (at 11.5 average), with a top score of 34, as Australia lost 0-4. On this tour, Chappell clashed with cricket administrators over pay and conditions for the first time. The South African authorities requested that an extra Test be added to the fixture and the Australian Board of Control consented. Incensed that the players were not consulted about the change, Chappell led a group of his teammates in a demand for more money to play the proposed game. Eventually the match was cancelled after Chappell and his supporters refused to back down. Q: what was he promoted to number three? A: Chappell was elevated to number three in the batting order and became a less-frequent bowler; he was also appointed vice-captain of the team. Q: how was he as number three? A: Lawry told the local media that Chappell was the best all-round batsman in the world.

C_67aa8d10f433429bbacd2bfbd49a1591_0_q#2

Are there any other interesting aspects about this article?

2m

0y

C_67aa8d10f433429bbacd2bfbd49a1591_0

Ian Chappell

Ian Michael Chappell (born 26 September 1943) is a former cricketer who played for South Australia and Australia. He captained Australia between 1971 and 1975 before taking a central role in the breakaway World Series Cricket organisation. Born into a cricketing family--his grandfather and brother also captained Australia--Chappell made a hesitant start to international cricket playing as a right-hand middle-order batsman and spin bowler. He found his niche when promoted to bat at number three.

Promotion to number three

A string of big scores and a record number of catches during the 1968-69 season earned Chappell the Australian Cricketer of the Year award. Against the touring West Indies, Chappell hit 188 not out, 123, 117, 180 and 165 before the New Year. Two of these centuries came in the Test series, when Chappell's average for 548 runs was 68.50. Chappell was elevated to number three in the batting order and became a less-frequent bowler; he was also appointed vice-captain of the team. Following up with a successful tour of India in late 1969, Chappell demonstrated his fluency against spin bowling by compiling Test innings of 138 at Delhi and 99 at Kolkata. His ability against both fast and slow bowling earned high praise, including from his captain Bill Lawry. When the Australians arrived in South Africa in early 1970, following their victory over India, Lawry told the local media that Chappell was the best all-round batsman in the world. His appraisal looked misguided when Chappell managed just 92 runs (at 11.5 average), with a top score of 34, as Australia lost 0-4. On this tour, Chappell clashed with cricket administrators over pay and conditions for the first time. The South African authorities requested that an extra Test be added to the fixture and the Australian Board of Control consented. Incensed that the players were not consulted about the change, Chappell led a group of his teammates in a demand for more money to play the proposed game. Eventually the match was cancelled after Chappell and his supporters refused to back down. Q: what was he promoted to number three? A: Chappell was elevated to number three in the batting order and became a less-frequent bowler; he was also appointed vice-captain of the team. Q: how was he as number three? A: Lawry told the local media that Chappell was the best all-round batsman in the world. Q: Are there any other interesting aspects about this article? A: A string of big scores and a record number of catches during the 1968-69 season earned Chappell the Australian Cricketer of the Year award.

C_67aa8d10f433429bbacd2bfbd49a1591_0_q#3

who did he play for?

1n

2x

C_67aa8d10f433429bbacd2bfbd49a1591_0

Ian Chappell

Ian Michael Chappell (born 26 September 1943) is a former cricketer who played for South Australia and Australia. He captained Australia between 1971 and 1975 before taking a central role in the breakaway World Series Cricket organisation. Born into a cricketing family--his grandfather and brother also captained Australia--Chappell made a hesitant start to international cricket playing as a right-hand middle-order batsman and spin bowler. He found his niche when promoted to bat at number three.

Promotion to number three

A string of big scores and a record number of catches during the 1968-69 season earned Chappell the Australian Cricketer of the Year award. Against the touring West Indies, Chappell hit 188 not out, 123, 117, 180 and 165 before the New Year. Two of these centuries came in the Test series, when Chappell's average for 548 runs was 68.50. Chappell was elevated to number three in the batting order and became a less-frequent bowler; he was also appointed vice-captain of the team. Following up with a successful tour of India in late 1969, Chappell demonstrated his fluency against spin bowling by compiling Test innings of 138 at Delhi and 99 at Kolkata. His ability against both fast and slow bowling earned high praise, including from his captain Bill Lawry. When the Australians arrived in South Africa in early 1970, following their victory over India, Lawry told the local media that Chappell was the best all-round batsman in the world. His appraisal looked misguided when Chappell managed just 92 runs (at 11.5 average), with a top score of 34, as Australia lost 0-4. On this tour, Chappell clashed with cricket administrators over pay and conditions for the first time. The South African authorities requested that an extra Test be added to the fixture and the Australian Board of Control consented. Incensed that the players were not consulted about the change, Chappell led a group of his teammates in a demand for more money to play the proposed game. Eventually the match was cancelled after Chappell and his supporters refused to back down. Q: what was he promoted to number three? A: Chappell was elevated to number three in the batting order and became a less-frequent bowler; he was also appointed vice-captain of the team. Q: how was he as number three? A: Lawry told the local media that Chappell was the best all-round batsman in the world. Q: Are there any other interesting aspects about this article? A: A string of big scores and a record number of catches during the 1968-69 season earned Chappell the Australian Cricketer of the Year award. Q: who did he play for? A: unknown

C_67aa8d10f433429bbacd2bfbd49a1591_0_q#4

who were some of his team mates?

2m

0y

C_67aa8d10f433429bbacd2bfbd49a1591_0

Ian Chappell

Ian Michael Chappell (born 26 September 1943) is a former cricketer who played for South Australia and Australia. He captained Australia between 1971 and 1975 before taking a central role in the breakaway World Series Cricket organisation. Born into a cricketing family--his grandfather and brother also captained Australia--Chappell made a hesitant start to international cricket playing as a right-hand middle-order batsman and spin bowler. He found his niche when promoted to bat at number three.

Promotion to number three

A string of big scores and a record number of catches during the 1968-69 season earned Chappell the Australian Cricketer of the Year award. Against the touring West Indies, Chappell hit 188 not out, 123, 117, 180 and 165 before the New Year. Two of these centuries came in the Test series, when Chappell's average for 548 runs was 68.50. Chappell was elevated to number three in the batting order and became a less-frequent bowler; he was also appointed vice-captain of the team. Following up with a successful tour of India in late 1969, Chappell demonstrated his fluency against spin bowling by compiling Test innings of 138 at Delhi and 99 at Kolkata. His ability against both fast and slow bowling earned high praise, including from his captain Bill Lawry. When the Australians arrived in South Africa in early 1970, following their victory over India, Lawry told the local media that Chappell was the best all-round batsman in the world. His appraisal looked misguided when Chappell managed just 92 runs (at 11.5 average), with a top score of 34, as Australia lost 0-4. On this tour, Chappell clashed with cricket administrators over pay and conditions for the first time. The South African authorities requested that an extra Test be added to the fixture and the Australian Board of Control consented. Incensed that the players were not consulted about the change, Chappell led a group of his teammates in a demand for more money to play the proposed game. Eventually the match was cancelled after Chappell and his supporters refused to back down. Q: what was he promoted to number three? A: Chappell was elevated to number three in the batting order and became a less-frequent bowler; he was also appointed vice-captain of the team. Q: how was he as number three? A: Lawry told the local media that Chappell was the best all-round batsman in the world. Q: Are there any other interesting aspects about this article? A: A string of big scores and a record number of catches during the 1968-69 season earned Chappell the Australian Cricketer of the Year award. Q: who did he play for? A: unknown Q: who were some of his team mates? A: Bill Lawry.

C_67aa8d10f433429bbacd2bfbd49a1591_0_q#5

Did he set any records?

1n

2x

C_67aa8d10f433429bbacd2bfbd49a1591_1

Ian Chappell

Ian Michael Chappell (born 26 September 1943) is a former cricketer who played for South Australia and Australia. He captained Australia between 1971 and 1975 before taking a central role in the breakaway World Series Cricket organisation. Born into a cricketing family--his grandfather and brother also captained Australia--Chappell made a hesitant start to international cricket playing as a right-hand middle-order batsman and spin bowler. He found his niche when promoted to bat at number three.

Family and early career

The first of three sons born in Adelaide,Unley to Martin and Jeanne (nee Richardson), Chappell was steeped in the game from an early age. His father was a noted Adelaide grade cricketer who put a bat in his hands as soon as he could walk, and his maternal grandfather was famous all-round sportsman Vic Richardson, who captained Australia at the end of a nineteen-Test career. Chappell was given weekly batting lessons from the age of five, as were younger brothers Greg and Trevor, who both also went on to play for Australia. Chappell grew up in the beachside suburb of Glenelg and attended the local St Leonard's Primary School where he played his first competitive match at the age of seven. He was later selected for the South Australian state schoolboys team. He then enrolled at Prince Alfred College, a private secondary school noted for producing many Test cricketers, including the Australian captains Joe Darling and Clem Hill. His other sporting pursuits included Australian football and baseball: Chappell's performances for South Australia in the Claxton Shield won him All-Australian selection in 1964 and 1966 as a catcher. He credits Vic Richardson, who had represented both SA and Australia in baseball during the 1920s, for his love of the sport. At the age of 18, his form in grade cricket for Glenelg led to his first-class debut for South Australia (SA) against Tasmania in early 1962. Chappell replaced West Indian Gary Sobers who was selected for a Test match in the Caribbean. The aggressive style of Sobers and South-Australia captain Les Favell heavily influenced Chappell during his formative years in senior cricket. In 1962-63, Chappell made his initial first-class century against a New South Wales team led by Australian captain Richie Benaud, who was bemused by the young batsman's habit of gritting his teeth as he faced up; to Benaud, it looked as if he was grinning. Chappell spent the northern summer of 1963 as a professional in England's Lancashire League with Ramsbottom and played a single first-class match for Lancashire against Cambridge University.

C_67aa8d10f433429bbacd2bfbd49a1591_1_q#0

Was Ian a captain?

1n

2x

C_67aa8d10f433429bbacd2bfbd49a1591_1

Ian Chappell

Ian Michael Chappell (born 26 September 1943) is a former cricketer who played for South Australia and Australia. He captained Australia between 1971 and 1975 before taking a central role in the breakaway World Series Cricket organisation. Born into a cricketing family--his grandfather and brother also captained Australia--Chappell made a hesitant start to international cricket playing as a right-hand middle-order batsman and spin bowler. He found his niche when promoted to bat at number three.

Family and early career

The first of three sons born in Adelaide,Unley to Martin and Jeanne (nee Richardson), Chappell was steeped in the game from an early age. His father was a noted Adelaide grade cricketer who put a bat in his hands as soon as he could walk, and his maternal grandfather was famous all-round sportsman Vic Richardson, who captained Australia at the end of a nineteen-Test career. Chappell was given weekly batting lessons from the age of five, as were younger brothers Greg and Trevor, who both also went on to play for Australia. Chappell grew up in the beachside suburb of Glenelg and attended the local St Leonard's Primary School where he played his first competitive match at the age of seven. He was later selected for the South Australian state schoolboys team. He then enrolled at Prince Alfred College, a private secondary school noted for producing many Test cricketers, including the Australian captains Joe Darling and Clem Hill. His other sporting pursuits included Australian football and baseball: Chappell's performances for South Australia in the Claxton Shield won him All-Australian selection in 1964 and 1966 as a catcher. He credits Vic Richardson, who had represented both SA and Australia in baseball during the 1920s, for his love of the sport. At the age of 18, his form in grade cricket for Glenelg led to his first-class debut for South Australia (SA) against Tasmania in early 1962. Chappell replaced West Indian Gary Sobers who was selected for a Test match in the Caribbean. The aggressive style of Sobers and South-Australia captain Les Favell heavily influenced Chappell during his formative years in senior cricket. In 1962-63, Chappell made his initial first-class century against a New South Wales team led by Australian captain Richie Benaud, who was bemused by the young batsman's habit of gritting his teeth as he faced up; to Benaud, it looked as if he was grinning. Chappell spent the northern summer of 1963 as a professional in England's Lancashire League with Ramsbottom and played a single first-class match for Lancashire against Cambridge University. Q: Was Ian a captain? A: unknown

C_67aa8d10f433429bbacd2bfbd49a1591_1_q#1

Who was Ian's family?

0y

2x

C_67aa8d10f433429bbacd2bfbd49a1591_1

Ian Chappell

Ian Michael Chappell (born 26 September 1943) is a former cricketer who played for South Australia and Australia. He captained Australia between 1971 and 1975 before taking a central role in the breakaway World Series Cricket organisation. Born into a cricketing family--his grandfather and brother also captained Australia--Chappell made a hesitant start to international cricket playing as a right-hand middle-order batsman and spin bowler. He found his niche when promoted to bat at number three.

Family and early career

The first of three sons born in Adelaide,Unley to Martin and Jeanne (nee Richardson), Chappell was steeped in the game from an early age. His father was a noted Adelaide grade cricketer who put a bat in his hands as soon as he could walk, and his maternal grandfather was famous all-round sportsman Vic Richardson, who captained Australia at the end of a nineteen-Test career. Chappell was given weekly batting lessons from the age of five, as were younger brothers Greg and Trevor, who both also went on to play for Australia. Chappell grew up in the beachside suburb of Glenelg and attended the local St Leonard's Primary School where he played his first competitive match at the age of seven. He was later selected for the South Australian state schoolboys team. He then enrolled at Prince Alfred College, a private secondary school noted for producing many Test cricketers, including the Australian captains Joe Darling and Clem Hill. His other sporting pursuits included Australian football and baseball: Chappell's performances for South Australia in the Claxton Shield won him All-Australian selection in 1964 and 1966 as a catcher. He credits Vic Richardson, who had represented both SA and Australia in baseball during the 1920s, for his love of the sport. At the age of 18, his form in grade cricket for Glenelg led to his first-class debut for South Australia (SA) against Tasmania in early 1962. Chappell replaced West Indian Gary Sobers who was selected for a Test match in the Caribbean. The aggressive style of Sobers and South-Australia captain Les Favell heavily influenced Chappell during his formative years in senior cricket. In 1962-63, Chappell made his initial first-class century against a New South Wales team led by Australian captain Richie Benaud, who was bemused by the young batsman's habit of gritting his teeth as he faced up; to Benaud, it looked as if he was grinning. Chappell spent the northern summer of 1963 as a professional in England's Lancashire League with Ramsbottom and played a single first-class match for Lancashire against Cambridge University. Q: Was Ian a captain? A: unknown Q: Who was Ian's family? A: Chappell was given weekly batting lessons from the age of five, as were younger brothers Greg and Trevor, who both also went on to play for Australia.

C_67aa8d10f433429bbacd2bfbd49a1591_1_q#2

How was Ian at the beginning of his career?

0y

2x

C_67aa8d10f433429bbacd2bfbd49a1591_1

Ian Chappell

Ian Michael Chappell (born 26 September 1943) is a former cricketer who played for South Australia and Australia. He captained Australia between 1971 and 1975 before taking a central role in the breakaway World Series Cricket organisation. Born into a cricketing family--his grandfather and brother also captained Australia--Chappell made a hesitant start to international cricket playing as a right-hand middle-order batsman and spin bowler. He found his niche when promoted to bat at number three.

Family and early career

The first of three sons born in Adelaide,Unley to Martin and Jeanne (nee Richardson), Chappell was steeped in the game from an early age. His father was a noted Adelaide grade cricketer who put a bat in his hands as soon as he could walk, and his maternal grandfather was famous all-round sportsman Vic Richardson, who captained Australia at the end of a nineteen-Test career. Chappell was given weekly batting lessons from the age of five, as were younger brothers Greg and Trevor, who both also went on to play for Australia. Chappell grew up in the beachside suburb of Glenelg and attended the local St Leonard's Primary School where he played his first competitive match at the age of seven. He was later selected for the South Australian state schoolboys team. He then enrolled at Prince Alfred College, a private secondary school noted for producing many Test cricketers, including the Australian captains Joe Darling and Clem Hill. His other sporting pursuits included Australian football and baseball: Chappell's performances for South Australia in the Claxton Shield won him All-Australian selection in 1964 and 1966 as a catcher. He credits Vic Richardson, who had represented both SA and Australia in baseball during the 1920s, for his love of the sport. At the age of 18, his form in grade cricket for Glenelg led to his first-class debut for South Australia (SA) against Tasmania in early 1962. Chappell replaced West Indian Gary Sobers who was selected for a Test match in the Caribbean. The aggressive style of Sobers and South-Australia captain Les Favell heavily influenced Chappell during his formative years in senior cricket. In 1962-63, Chappell made his initial first-class century against a New South Wales team led by Australian captain Richie Benaud, who was bemused by the young batsman's habit of gritting his teeth as he faced up; to Benaud, it looked as if he was grinning. Chappell spent the northern summer of 1963 as a professional in England's Lancashire League with Ramsbottom and played a single first-class match for Lancashire against Cambridge University. Q: Was Ian a captain? A: unknown Q: Who was Ian's family? A: Chappell was given weekly batting lessons from the age of five, as were younger brothers Greg and Trevor, who both also went on to play for Australia. Q: How was Ian at the beginning of his career? A: At the age of 18, his form in grade cricket for Glenelg led to his first-class debut for South Australia (SA) against Tasmania in early 1962.

C_67aa8d10f433429bbacd2bfbd49a1591_1_q#3

Did Ian's family also cricket?

0y

0y

C_67aa8d10f433429bbacd2bfbd49a1591_1

Ian Chappell

Ian Michael Chappell (born 26 September 1943) is a former cricketer who played for South Australia and Australia. He captained Australia between 1971 and 1975 before taking a central role in the breakaway World Series Cricket organisation. Born into a cricketing family--his grandfather and brother also captained Australia--Chappell made a hesitant start to international cricket playing as a right-hand middle-order batsman and spin bowler. He found his niche when promoted to bat at number three.

Family and early career

The first of three sons born in Adelaide,Unley to Martin and Jeanne (nee Richardson), Chappell was steeped in the game from an early age. His father was a noted Adelaide grade cricketer who put a bat in his hands as soon as he could walk, and his maternal grandfather was famous all-round sportsman Vic Richardson, who captained Australia at the end of a nineteen-Test career. Chappell was given weekly batting lessons from the age of five, as were younger brothers Greg and Trevor, who both also went on to play for Australia. Chappell grew up in the beachside suburb of Glenelg and attended the local St Leonard's Primary School where he played his first competitive match at the age of seven. He was later selected for the South Australian state schoolboys team. He then enrolled at Prince Alfred College, a private secondary school noted for producing many Test cricketers, including the Australian captains Joe Darling and Clem Hill. His other sporting pursuits included Australian football and baseball: Chappell's performances for South Australia in the Claxton Shield won him All-Australian selection in 1964 and 1966 as a catcher. He credits Vic Richardson, who had represented both SA and Australia in baseball during the 1920s, for his love of the sport. At the age of 18, his form in grade cricket for Glenelg led to his first-class debut for South Australia (SA) against Tasmania in early 1962. Chappell replaced West Indian Gary Sobers who was selected for a Test match in the Caribbean. The aggressive style of Sobers and South-Australia captain Les Favell heavily influenced Chappell during his formative years in senior cricket. In 1962-63, Chappell made his initial first-class century against a New South Wales team led by Australian captain Richie Benaud, who was bemused by the young batsman's habit of gritting his teeth as he faced up; to Benaud, it looked as if he was grinning. Chappell spent the northern summer of 1963 as a professional in England's Lancashire League with Ramsbottom and played a single first-class match for Lancashire against Cambridge University. Q: Was Ian a captain? A: unknown Q: Who was Ian's family? A: Chappell was given weekly batting lessons from the age of five, as were younger brothers Greg and Trevor, who both also went on to play for Australia. Q: How was Ian at the beginning of his career? A: At the age of 18, his form in grade cricket for Glenelg led to his first-class debut for South Australia (SA) against Tasmania in early 1962. Q: Did Ian's family also cricket? A: His father was a noted Adelaide grade cricketer who put a bat in his hands as soon as he could walk,

C_67aa8d10f433429bbacd2bfbd49a1591_1_q#4

Did his family teach Ian to play?

0y

2x

C_67aa8d10f433429bbacd2bfbd49a1591_1

Ian Chappell

Ian Michael Chappell (born 26 September 1943) is a former cricketer who played for South Australia and Australia. He captained Australia between 1971 and 1975 before taking a central role in the breakaway World Series Cricket organisation. Born into a cricketing family--his grandfather and brother also captained Australia--Chappell made a hesitant start to international cricket playing as a right-hand middle-order batsman and spin bowler. He found his niche when promoted to bat at number three.

Family and early career

The first of three sons born in Adelaide,Unley to Martin and Jeanne (nee Richardson), Chappell was steeped in the game from an early age. His father was a noted Adelaide grade cricketer who put a bat in his hands as soon as he could walk, and his maternal grandfather was famous all-round sportsman Vic Richardson, who captained Australia at the end of a nineteen-Test career. Chappell was given weekly batting lessons from the age of five, as were younger brothers Greg and Trevor, who both also went on to play for Australia. Chappell grew up in the beachside suburb of Glenelg and attended the local St Leonard's Primary School where he played his first competitive match at the age of seven. He was later selected for the South Australian state schoolboys team. He then enrolled at Prince Alfred College, a private secondary school noted for producing many Test cricketers, including the Australian captains Joe Darling and Clem Hill. His other sporting pursuits included Australian football and baseball: Chappell's performances for South Australia in the Claxton Shield won him All-Australian selection in 1964 and 1966 as a catcher. He credits Vic Richardson, who had represented both SA and Australia in baseball during the 1920s, for his love of the sport. At the age of 18, his form in grade cricket for Glenelg led to his first-class debut for South Australia (SA) against Tasmania in early 1962. Chappell replaced West Indian Gary Sobers who was selected for a Test match in the Caribbean. The aggressive style of Sobers and South-Australia captain Les Favell heavily influenced Chappell during his formative years in senior cricket. In 1962-63, Chappell made his initial first-class century against a New South Wales team led by Australian captain Richie Benaud, who was bemused by the young batsman's habit of gritting his teeth as he faced up; to Benaud, it looked as if he was grinning. Chappell spent the northern summer of 1963 as a professional in England's Lancashire League with Ramsbottom and played a single first-class match for Lancashire against Cambridge University. Q: Was Ian a captain? A: unknown Q: Who was Ian's family? A: Chappell was given weekly batting lessons from the age of five, as were younger brothers Greg and Trevor, who both also went on to play for Australia. Q: How was Ian at the beginning of his career? A: At the age of 18, his form in grade cricket for Glenelg led to his first-class debut for South Australia (SA) against Tasmania in early 1962. Q: Did Ian's family also cricket? A: His father was a noted Adelaide grade cricketer who put a bat in his hands as soon as he could walk, Q: Did his family teach Ian to play? A: Chappell was given weekly batting lessons from the age of five, as were younger brothers Greg and Trevor, who both also went on to play for Australia.

C_67aa8d10f433429bbacd2bfbd49a1591_1_q#5

Did anyone else in his family become a star like Ian?

0y

0y

C_67aa8d10f433429bbacd2bfbd49a1591_1

Ian Chappell

Ian Michael Chappell (born 26 September 1943) is a former cricketer who played for South Australia and Australia. He captained Australia between 1971 and 1975 before taking a central role in the breakaway World Series Cricket organisation. Born into a cricketing family--his grandfather and brother also captained Australia--Chappell made a hesitant start to international cricket playing as a right-hand middle-order batsman and spin bowler. He found his niche when promoted to bat at number three.

Family and early career

The first of three sons born in Adelaide,Unley to Martin and Jeanne (nee Richardson), Chappell was steeped in the game from an early age. His father was a noted Adelaide grade cricketer who put a bat in his hands as soon as he could walk, and his maternal grandfather was famous all-round sportsman Vic Richardson, who captained Australia at the end of a nineteen-Test career. Chappell was given weekly batting lessons from the age of five, as were younger brothers Greg and Trevor, who both also went on to play for Australia. Chappell grew up in the beachside suburb of Glenelg and attended the local St Leonard's Primary School where he played his first competitive match at the age of seven. He was later selected for the South Australian state schoolboys team. He then enrolled at Prince Alfred College, a private secondary school noted for producing many Test cricketers, including the Australian captains Joe Darling and Clem Hill. His other sporting pursuits included Australian football and baseball: Chappell's performances for South Australia in the Claxton Shield won him All-Australian selection in 1964 and 1966 as a catcher. He credits Vic Richardson, who had represented both SA and Australia in baseball during the 1920s, for his love of the sport. At the age of 18, his form in grade cricket for Glenelg led to his first-class debut for South Australia (SA) against Tasmania in early 1962. Chappell replaced West Indian Gary Sobers who was selected for a Test match in the Caribbean. The aggressive style of Sobers and South-Australia captain Les Favell heavily influenced Chappell during his formative years in senior cricket. In 1962-63, Chappell made his initial first-class century against a New South Wales team led by Australian captain Richie Benaud, who was bemused by the young batsman's habit of gritting his teeth as he faced up; to Benaud, it looked as if he was grinning. Chappell spent the northern summer of 1963 as a professional in England's Lancashire League with Ramsbottom and played a single first-class match for Lancashire against Cambridge University. Q: Was Ian a captain? A: unknown Q: Who was Ian's family? A: Chappell was given weekly batting lessons from the age of five, as were younger brothers Greg and Trevor, who both also went on to play for Australia. Q: How was Ian at the beginning of his career? A: At the age of 18, his form in grade cricket for Glenelg led to his first-class debut for South Australia (SA) against Tasmania in early 1962. Q: Did Ian's family also cricket? A: His father was a noted Adelaide grade cricketer who put a bat in his hands as soon as he could walk, Q: Did his family teach Ian to play? A: Chappell was given weekly batting lessons from the age of five, as were younger brothers Greg and Trevor, who both also went on to play for Australia. Q: Did anyone else in his family become a star like Ian? A: his maternal grandfather was famous all-round sportsman Vic Richardson, who captained Australia at the end of a nineteen-Test career.

C_67aa8d10f433429bbacd2bfbd49a1591_1_q#6

Did the whole family play on the same team?

1n

2x

C_93a80da562044176afdb316d5f893004_0

Art of Noise

Art of Noise (also The Art of Noise) were an English avant-garde synth-pop group formed in early 1983 by engineer/producer Gary Langan and programmer J. J. Jeczalik, along with arranger Anne Dudley, producer Trevor Horn and music journalist Paul Morley. The group had international Top 20 hits with "Kiss" and the instrumental "Peter Gunn", which won a 1986 Grammy Award. The group's mostly instrumental compositions were novel melodic sound collages based on digital sampler technology, which was new at the time. Inspired by turn-of-the-20th-century revolutions in music, the Art of Noise were initially packaged as a faceless anti- or non-group, blurring the distinction between the art and its creators.

Interim (compilations, failed reformations and solo work)

Although Dudley and Jeczalik had already dissolved the group, in 1990 they assisted in the promotion of the lightly remixed compilation The Ambient Collection, which the China label released to cash in on the burgeoning ambient house scene. Jeczalik approved the remixes that appeared on The FON Mixes the following year. The rest of the decade saw China Records releasing further Art of Noise compilations: The Drum and Bass Collection, Art Works, and reissues of Best of without the ZTT-era tracks. Some of these featured new remixes by other artists. According to an interview with J.J. Jeczalik reported in the ZTT fanzine Outside World in 1991, Jeczalik, Dudley and Langan were inspired by the commercial success of The FON Mixes and had discussed reuniting the group as a trio again. In preparation to record a new album, Jeczalik and Langan travelled to Cuba to gather new source material. However, no new recordings were produced with the new line-up, and the Art of Noise remained defunct. Dudley became well known for composing numerous film and television scores during the 1990s. The most famous of these is probably The Full Monty, which won an Academy Award for Original Music Score. She also collaborated with Killing Joke's Jaz Coleman on the 1990 album Songs from the Victorious City (inspired by a trip the two made to Egypt) and produced two tracks for the 1993 Deborah Harry album Debravation ("Strike Me Pink", which she also co-wrote and played keyboards on) and "Mood Ring"). She has scored orchestrations for dozens of pop releases over the years, and both scored and produced the album Voice for her neighbour Alison Moyet. Cathy Dennis added lyrics to one of Dudley's compositions and recorded it as "Too Many Walls", which became a US Top 10 hit in 1991. In 1995-1997, Jeczalik and In No Sense? Nonsense! coengineer Bob Kraushaar produced a number of instrumentals oriented toward dance clubs under the name Art of Silence, issuing an album titled artofsilence.co.uk. Jeczalik also embarked on a new career in trading in futures contracts. The Art of Noise also received a full writing credit for The Prodigy's "Firestarter", which samples the female "hey, hey" voice from "Close to the Edit". The Prodigy also contributed the remix "Instruments of Darkness (All of Us are One People)" to the 1991 compilation The FON Mixes. Also, an edited version of "Close to the Edit" is featured on the monthly educational Amiga game, Ready Robot Club. The Art of Noise are also credited for the music to the ITV series The Krypton Factor.

C_93a80da562044176afdb316d5f893004_0_q#0

what compilations did they have?

0y

0y

C_93a80da562044176afdb316d5f893004_0

Art of Noise

Art of Noise (also The Art of Noise) were an English avant-garde synth-pop group formed in early 1983 by engineer/producer Gary Langan and programmer J. J. Jeczalik, along with arranger Anne Dudley, producer Trevor Horn and music journalist Paul Morley. The group had international Top 20 hits with "Kiss" and the instrumental "Peter Gunn", which won a 1986 Grammy Award. The group's mostly instrumental compositions were novel melodic sound collages based on digital sampler technology, which was new at the time. Inspired by turn-of-the-20th-century revolutions in music, the Art of Noise were initially packaged as a faceless anti- or non-group, blurring the distinction between the art and its creators.

Interim (compilations, failed reformations and solo work)

Although Dudley and Jeczalik had already dissolved the group, in 1990 they assisted in the promotion of the lightly remixed compilation The Ambient Collection, which the China label released to cash in on the burgeoning ambient house scene. Jeczalik approved the remixes that appeared on The FON Mixes the following year. The rest of the decade saw China Records releasing further Art of Noise compilations: The Drum and Bass Collection, Art Works, and reissues of Best of without the ZTT-era tracks. Some of these featured new remixes by other artists. According to an interview with J.J. Jeczalik reported in the ZTT fanzine Outside World in 1991, Jeczalik, Dudley and Langan were inspired by the commercial success of The FON Mixes and had discussed reuniting the group as a trio again. In preparation to record a new album, Jeczalik and Langan travelled to Cuba to gather new source material. However, no new recordings were produced with the new line-up, and the Art of Noise remained defunct. Dudley became well known for composing numerous film and television scores during the 1990s. The most famous of these is probably The Full Monty, which won an Academy Award for Original Music Score. She also collaborated with Killing Joke's Jaz Coleman on the 1990 album Songs from the Victorious City (inspired by a trip the two made to Egypt) and produced two tracks for the 1993 Deborah Harry album Debravation ("Strike Me Pink", which she also co-wrote and played keyboards on) and "Mood Ring"). She has scored orchestrations for dozens of pop releases over the years, and both scored and produced the album Voice for her neighbour Alison Moyet. Cathy Dennis added lyrics to one of Dudley's compositions and recorded it as "Too Many Walls", which became a US Top 10 hit in 1991. In 1995-1997, Jeczalik and In No Sense? Nonsense! coengineer Bob Kraushaar produced a number of instrumentals oriented toward dance clubs under the name Art of Silence, issuing an album titled artofsilence.co.uk. Jeczalik also embarked on a new career in trading in futures contracts. The Art of Noise also received a full writing credit for The Prodigy's "Firestarter", which samples the female "hey, hey" voice from "Close to the Edit". The Prodigy also contributed the remix "Instruments of Darkness (All of Us are One People)" to the 1991 compilation The FON Mixes. Also, an edited version of "Close to the Edit" is featured on the monthly educational Amiga game, Ready Robot Club. The Art of Noise are also credited for the music to the ITV series The Krypton Factor. Q: what compilations did they have? A: they assisted in the promotion of the lightly remixed compilation

C_93a80da562044176afdb316d5f893004_0_q#1

what was the name of the compilation?

2m

2x

C_93a80da562044176afdb316d5f893004_0

Art of Noise

Art of Noise (also The Art of Noise) were an English avant-garde synth-pop group formed in early 1983 by engineer/producer Gary Langan and programmer J. J. Jeczalik, along with arranger Anne Dudley, producer Trevor Horn and music journalist Paul Morley. The group had international Top 20 hits with "Kiss" and the instrumental "Peter Gunn", which won a 1986 Grammy Award. The group's mostly instrumental compositions were novel melodic sound collages based on digital sampler technology, which was new at the time. Inspired by turn-of-the-20th-century revolutions in music, the Art of Noise were initially packaged as a faceless anti- or non-group, blurring the distinction between the art and its creators.

Interim (compilations, failed reformations and solo work)

Although Dudley and Jeczalik had already dissolved the group, in 1990 they assisted in the promotion of the lightly remixed compilation The Ambient Collection, which the China label released to cash in on the burgeoning ambient house scene. Jeczalik approved the remixes that appeared on The FON Mixes the following year. The rest of the decade saw China Records releasing further Art of Noise compilations: The Drum and Bass Collection, Art Works, and reissues of Best of without the ZTT-era tracks. Some of these featured new remixes by other artists. According to an interview with J.J. Jeczalik reported in the ZTT fanzine Outside World in 1991, Jeczalik, Dudley and Langan were inspired by the commercial success of The FON Mixes and had discussed reuniting the group as a trio again. In preparation to record a new album, Jeczalik and Langan travelled to Cuba to gather new source material. However, no new recordings were produced with the new line-up, and the Art of Noise remained defunct. Dudley became well known for composing numerous film and television scores during the 1990s. The most famous of these is probably The Full Monty, which won an Academy Award for Original Music Score. She also collaborated with Killing Joke's Jaz Coleman on the 1990 album Songs from the Victorious City (inspired by a trip the two made to Egypt) and produced two tracks for the 1993 Deborah Harry album Debravation ("Strike Me Pink", which she also co-wrote and played keyboards on) and "Mood Ring"). She has scored orchestrations for dozens of pop releases over the years, and both scored and produced the album Voice for her neighbour Alison Moyet. Cathy Dennis added lyrics to one of Dudley's compositions and recorded it as "Too Many Walls", which became a US Top 10 hit in 1991. In 1995-1997, Jeczalik and In No Sense? Nonsense! coengineer Bob Kraushaar produced a number of instrumentals oriented toward dance clubs under the name Art of Silence, issuing an album titled artofsilence.co.uk. Jeczalik also embarked on a new career in trading in futures contracts. The Art of Noise also received a full writing credit for The Prodigy's "Firestarter", which samples the female "hey, hey" voice from "Close to the Edit". The Prodigy also contributed the remix "Instruments of Darkness (All of Us are One People)" to the 1991 compilation The FON Mixes. Also, an edited version of "Close to the Edit" is featured on the monthly educational Amiga game, Ready Robot Club. The Art of Noise are also credited for the music to the ITV series The Krypton Factor. Q: what compilations did they have? A: they assisted in the promotion of the lightly remixed compilation Q: what was the name of the compilation? A: The Ambient Collection,

C_93a80da562044176afdb316d5f893004_0_q#2

who were they using as their recording company?

2m

2x

C_93a80da562044176afdb316d5f893004_0

Art of Noise

Art of Noise (also The Art of Noise) were an English avant-garde synth-pop group formed in early 1983 by engineer/producer Gary Langan and programmer J. J. Jeczalik, along with arranger Anne Dudley, producer Trevor Horn and music journalist Paul Morley. The group had international Top 20 hits with "Kiss" and the instrumental "Peter Gunn", which won a 1986 Grammy Award. The group's mostly instrumental compositions were novel melodic sound collages based on digital sampler technology, which was new at the time. Inspired by turn-of-the-20th-century revolutions in music, the Art of Noise were initially packaged as a faceless anti- or non-group, blurring the distinction between the art and its creators.

Interim (compilations, failed reformations and solo work)

Although Dudley and Jeczalik had already dissolved the group, in 1990 they assisted in the promotion of the lightly remixed compilation The Ambient Collection, which the China label released to cash in on the burgeoning ambient house scene. Jeczalik approved the remixes that appeared on The FON Mixes the following year. The rest of the decade saw China Records releasing further Art of Noise compilations: The Drum and Bass Collection, Art Works, and reissues of Best of without the ZTT-era tracks. Some of these featured new remixes by other artists. According to an interview with J.J. Jeczalik reported in the ZTT fanzine Outside World in 1991, Jeczalik, Dudley and Langan were inspired by the commercial success of The FON Mixes and had discussed reuniting the group as a trio again. In preparation to record a new album, Jeczalik and Langan travelled to Cuba to gather new source material. However, no new recordings were produced with the new line-up, and the Art of Noise remained defunct. Dudley became well known for composing numerous film and television scores during the 1990s. The most famous of these is probably The Full Monty, which won an Academy Award for Original Music Score. She also collaborated with Killing Joke's Jaz Coleman on the 1990 album Songs from the Victorious City (inspired by a trip the two made to Egypt) and produced two tracks for the 1993 Deborah Harry album Debravation ("Strike Me Pink", which she also co-wrote and played keyboards on) and "Mood Ring"). She has scored orchestrations for dozens of pop releases over the years, and both scored and produced the album Voice for her neighbour Alison Moyet. Cathy Dennis added lyrics to one of Dudley's compositions and recorded it as "Too Many Walls", which became a US Top 10 hit in 1991. In 1995-1997, Jeczalik and In No Sense? Nonsense! coengineer Bob Kraushaar produced a number of instrumentals oriented toward dance clubs under the name Art of Silence, issuing an album titled artofsilence.co.uk. Jeczalik also embarked on a new career in trading in futures contracts. The Art of Noise also received a full writing credit for The Prodigy's "Firestarter", which samples the female "hey, hey" voice from "Close to the Edit". The Prodigy also contributed the remix "Instruments of Darkness (All of Us are One People)" to the 1991 compilation The FON Mixes. Also, an edited version of "Close to the Edit" is featured on the monthly educational Amiga game, Ready Robot Club. The Art of Noise are also credited for the music to the ITV series The Krypton Factor. Q: what compilations did they have? A: they assisted in the promotion of the lightly remixed compilation Q: what was the name of the compilation? A: The Ambient Collection, Q: who were they using as their recording company? A: the China label

C_93a80da562044176afdb316d5f893004_0_q#3

did they get back together as a group?

0y

1n

C_93a80da562044176afdb316d5f893004_0

Art of Noise

Art of Noise (also The Art of Noise) were an English avant-garde synth-pop group formed in early 1983 by engineer/producer Gary Langan and programmer J. J. Jeczalik, along with arranger Anne Dudley, producer Trevor Horn and music journalist Paul Morley. The group had international Top 20 hits with "Kiss" and the instrumental "Peter Gunn", which won a 1986 Grammy Award. The group's mostly instrumental compositions were novel melodic sound collages based on digital sampler technology, which was new at the time. Inspired by turn-of-the-20th-century revolutions in music, the Art of Noise were initially packaged as a faceless anti- or non-group, blurring the distinction between the art and its creators.

Interim (compilations, failed reformations and solo work)

Although Dudley and Jeczalik had already dissolved the group, in 1990 they assisted in the promotion of the lightly remixed compilation The Ambient Collection, which the China label released to cash in on the burgeoning ambient house scene. Jeczalik approved the remixes that appeared on The FON Mixes the following year. The rest of the decade saw China Records releasing further Art of Noise compilations: The Drum and Bass Collection, Art Works, and reissues of Best of without the ZTT-era tracks. Some of these featured new remixes by other artists. According to an interview with J.J. Jeczalik reported in the ZTT fanzine Outside World in 1991, Jeczalik, Dudley and Langan were inspired by the commercial success of The FON Mixes and had discussed reuniting the group as a trio again. In preparation to record a new album, Jeczalik and Langan travelled to Cuba to gather new source material. However, no new recordings were produced with the new line-up, and the Art of Noise remained defunct. Dudley became well known for composing numerous film and television scores during the 1990s. The most famous of these is probably The Full Monty, which won an Academy Award for Original Music Score. She also collaborated with Killing Joke's Jaz Coleman on the 1990 album Songs from the Victorious City (inspired by a trip the two made to Egypt) and produced two tracks for the 1993 Deborah Harry album Debravation ("Strike Me Pink", which she also co-wrote and played keyboards on) and "Mood Ring"). She has scored orchestrations for dozens of pop releases over the years, and both scored and produced the album Voice for her neighbour Alison Moyet. Cathy Dennis added lyrics to one of Dudley's compositions and recorded it as "Too Many Walls", which became a US Top 10 hit in 1991. In 1995-1997, Jeczalik and In No Sense? Nonsense! coengineer Bob Kraushaar produced a number of instrumentals oriented toward dance clubs under the name Art of Silence, issuing an album titled artofsilence.co.uk. Jeczalik also embarked on a new career in trading in futures contracts. The Art of Noise also received a full writing credit for The Prodigy's "Firestarter", which samples the female "hey, hey" voice from "Close to the Edit". The Prodigy also contributed the remix "Instruments of Darkness (All of Us are One People)" to the 1991 compilation The FON Mixes. Also, an edited version of "Close to the Edit" is featured on the monthly educational Amiga game, Ready Robot Club. The Art of Noise are also credited for the music to the ITV series The Krypton Factor. Q: what compilations did they have? A: they assisted in the promotion of the lightly remixed compilation Q: what was the name of the compilation? A: The Ambient Collection, Q: who were they using as their recording company? A: the China label Q: did they get back together as a group? A: Jeczalik, Dudley and Langan were inspired by the commercial success of The FON Mixes and had discussed reuniting the group as a trio again.

C_93a80da562044176afdb316d5f893004_0_q#4

did they manage to reunite?

2m

1n

C_93a80da562044176afdb316d5f893004_0

Art of Noise

Art of Noise (also The Art of Noise) were an English avant-garde synth-pop group formed in early 1983 by engineer/producer Gary Langan and programmer J. J. Jeczalik, along with arranger Anne Dudley, producer Trevor Horn and music journalist Paul Morley. The group had international Top 20 hits with "Kiss" and the instrumental "Peter Gunn", which won a 1986 Grammy Award. The group's mostly instrumental compositions were novel melodic sound collages based on digital sampler technology, which was new at the time. Inspired by turn-of-the-20th-century revolutions in music, the Art of Noise were initially packaged as a faceless anti- or non-group, blurring the distinction between the art and its creators.

Interim (compilations, failed reformations and solo work)

Although Dudley and Jeczalik had already dissolved the group, in 1990 they assisted in the promotion of the lightly remixed compilation The Ambient Collection, which the China label released to cash in on the burgeoning ambient house scene. Jeczalik approved the remixes that appeared on The FON Mixes the following year. The rest of the decade saw China Records releasing further Art of Noise compilations: The Drum and Bass Collection, Art Works, and reissues of Best of without the ZTT-era tracks. Some of these featured new remixes by other artists. According to an interview with J.J. Jeczalik reported in the ZTT fanzine Outside World in 1991, Jeczalik, Dudley and Langan were inspired by the commercial success of The FON Mixes and had discussed reuniting the group as a trio again. In preparation to record a new album, Jeczalik and Langan travelled to Cuba to gather new source material. However, no new recordings were produced with the new line-up, and the Art of Noise remained defunct. Dudley became well known for composing numerous film and television scores during the 1990s. The most famous of these is probably The Full Monty, which won an Academy Award for Original Music Score. She also collaborated with Killing Joke's Jaz Coleman on the 1990 album Songs from the Victorious City (inspired by a trip the two made to Egypt) and produced two tracks for the 1993 Deborah Harry album Debravation ("Strike Me Pink", which she also co-wrote and played keyboards on) and "Mood Ring"). She has scored orchestrations for dozens of pop releases over the years, and both scored and produced the album Voice for her neighbour Alison Moyet. Cathy Dennis added lyrics to one of Dudley's compositions and recorded it as "Too Many Walls", which became a US Top 10 hit in 1991. In 1995-1997, Jeczalik and In No Sense? Nonsense! coengineer Bob Kraushaar produced a number of instrumentals oriented toward dance clubs under the name Art of Silence, issuing an album titled artofsilence.co.uk. Jeczalik also embarked on a new career in trading in futures contracts. The Art of Noise also received a full writing credit for The Prodigy's "Firestarter", which samples the female "hey, hey" voice from "Close to the Edit". The Prodigy also contributed the remix "Instruments of Darkness (All of Us are One People)" to the 1991 compilation The FON Mixes. Also, an edited version of "Close to the Edit" is featured on the monthly educational Amiga game, Ready Robot Club. The Art of Noise are also credited for the music to the ITV series The Krypton Factor. Q: what compilations did they have? A: they assisted in the promotion of the lightly remixed compilation Q: what was the name of the compilation? A: The Ambient Collection, Q: who were they using as their recording company? A: the China label Q: did they get back together as a group? A: Jeczalik, Dudley and Langan were inspired by the commercial success of The FON Mixes and had discussed reuniting the group as a trio again. Q: did they manage to reunite? A: However, no new recordings were produced with the new line-up, and the Art of Noise remained defunct.

C_93a80da562044176afdb316d5f893004_0_q#5

who went solo?

0y

2x

C_93a80da562044176afdb316d5f893004_0

Art of Noise

Art of Noise (also The Art of Noise) were an English avant-garde synth-pop group formed in early 1983 by engineer/producer Gary Langan and programmer J. J. Jeczalik, along with arranger Anne Dudley, producer Trevor Horn and music journalist Paul Morley. The group had international Top 20 hits with "Kiss" and the instrumental "Peter Gunn", which won a 1986 Grammy Award. The group's mostly instrumental compositions were novel melodic sound collages based on digital sampler technology, which was new at the time. Inspired by turn-of-the-20th-century revolutions in music, the Art of Noise were initially packaged as a faceless anti- or non-group, blurring the distinction between the art and its creators.

Interim (compilations, failed reformations and solo work)

Although Dudley and Jeczalik had already dissolved the group, in 1990 they assisted in the promotion of the lightly remixed compilation The Ambient Collection, which the China label released to cash in on the burgeoning ambient house scene. Jeczalik approved the remixes that appeared on The FON Mixes the following year. The rest of the decade saw China Records releasing further Art of Noise compilations: The Drum and Bass Collection, Art Works, and reissues of Best of without the ZTT-era tracks. Some of these featured new remixes by other artists. According to an interview with J.J. Jeczalik reported in the ZTT fanzine Outside World in 1991, Jeczalik, Dudley and Langan were inspired by the commercial success of The FON Mixes and had discussed reuniting the group as a trio again. In preparation to record a new album, Jeczalik and Langan travelled to Cuba to gather new source material. However, no new recordings were produced with the new line-up, and the Art of Noise remained defunct. Dudley became well known for composing numerous film and television scores during the 1990s. The most famous of these is probably The Full Monty, which won an Academy Award for Original Music Score. She also collaborated with Killing Joke's Jaz Coleman on the 1990 album Songs from the Victorious City (inspired by a trip the two made to Egypt) and produced two tracks for the 1993 Deborah Harry album Debravation ("Strike Me Pink", which she also co-wrote and played keyboards on) and "Mood Ring"). She has scored orchestrations for dozens of pop releases over the years, and both scored and produced the album Voice for her neighbour Alison Moyet. Cathy Dennis added lyrics to one of Dudley's compositions and recorded it as "Too Many Walls", which became a US Top 10 hit in 1991. In 1995-1997, Jeczalik and In No Sense? Nonsense! coengineer Bob Kraushaar produced a number of instrumentals oriented toward dance clubs under the name Art of Silence, issuing an album titled artofsilence.co.uk. Jeczalik also embarked on a new career in trading in futures contracts. The Art of Noise also received a full writing credit for The Prodigy's "Firestarter", which samples the female "hey, hey" voice from "Close to the Edit". The Prodigy also contributed the remix "Instruments of Darkness (All of Us are One People)" to the 1991 compilation The FON Mixes. Also, an edited version of "Close to the Edit" is featured on the monthly educational Amiga game, Ready Robot Club. The Art of Noise are also credited for the music to the ITV series The Krypton Factor. Q: what compilations did they have? A: they assisted in the promotion of the lightly remixed compilation Q: what was the name of the compilation? A: The Ambient Collection, Q: who were they using as their recording company? A: the China label Q: did they get back together as a group? A: Jeczalik, Dudley and Langan were inspired by the commercial success of The FON Mixes and had discussed reuniting the group as a trio again. Q: did they manage to reunite? A: However, no new recordings were produced with the new line-up, and the Art of Noise remained defunct. Q: who went solo? A: Dudley became well known for composing numerous film and television scores during the 1990s.

C_93a80da562044176afdb316d5f893004_0_q#6

who did she work with?

0y

2x

C_93a80da562044176afdb316d5f893004_0

Art of Noise

Art of Noise (also The Art of Noise) were an English avant-garde synth-pop group formed in early 1983 by engineer/producer Gary Langan and programmer J. J. Jeczalik, along with arranger Anne Dudley, producer Trevor Horn and music journalist Paul Morley. The group had international Top 20 hits with "Kiss" and the instrumental "Peter Gunn", which won a 1986 Grammy Award. The group's mostly instrumental compositions were novel melodic sound collages based on digital sampler technology, which was new at the time. Inspired by turn-of-the-20th-century revolutions in music, the Art of Noise were initially packaged as a faceless anti- or non-group, blurring the distinction between the art and its creators.

Interim (compilations, failed reformations and solo work)

Although Dudley and Jeczalik had already dissolved the group, in 1990 they assisted in the promotion of the lightly remixed compilation The Ambient Collection, which the China label released to cash in on the burgeoning ambient house scene. Jeczalik approved the remixes that appeared on The FON Mixes the following year. The rest of the decade saw China Records releasing further Art of Noise compilations: The Drum and Bass Collection, Art Works, and reissues of Best of without the ZTT-era tracks. Some of these featured new remixes by other artists. According to an interview with J.J. Jeczalik reported in the ZTT fanzine Outside World in 1991, Jeczalik, Dudley and Langan were inspired by the commercial success of The FON Mixes and had discussed reuniting the group as a trio again. In preparation to record a new album, Jeczalik and Langan travelled to Cuba to gather new source material. However, no new recordings were produced with the new line-up, and the Art of Noise remained defunct. Dudley became well known for composing numerous film and television scores during the 1990s. The most famous of these is probably The Full Monty, which won an Academy Award for Original Music Score. She also collaborated with Killing Joke's Jaz Coleman on the 1990 album Songs from the Victorious City (inspired by a trip the two made to Egypt) and produced two tracks for the 1993 Deborah Harry album Debravation ("Strike Me Pink", which she also co-wrote and played keyboards on) and "Mood Ring"). She has scored orchestrations for dozens of pop releases over the years, and both scored and produced the album Voice for her neighbour Alison Moyet. Cathy Dennis added lyrics to one of Dudley's compositions and recorded it as "Too Many Walls", which became a US Top 10 hit in 1991. In 1995-1997, Jeczalik and In No Sense? Nonsense! coengineer Bob Kraushaar produced a number of instrumentals oriented toward dance clubs under the name Art of Silence, issuing an album titled artofsilence.co.uk. Jeczalik also embarked on a new career in trading in futures contracts. The Art of Noise also received a full writing credit for The Prodigy's "Firestarter", which samples the female "hey, hey" voice from "Close to the Edit". The Prodigy also contributed the remix "Instruments of Darkness (All of Us are One People)" to the 1991 compilation The FON Mixes. Also, an edited version of "Close to the Edit" is featured on the monthly educational Amiga game, Ready Robot Club. The Art of Noise are also credited for the music to the ITV series The Krypton Factor. Q: what compilations did they have? A: they assisted in the promotion of the lightly remixed compilation Q: what was the name of the compilation? A: The Ambient Collection, Q: who were they using as their recording company? A: the China label Q: did they get back together as a group? A: Jeczalik, Dudley and Langan were inspired by the commercial success of The FON Mixes and had discussed reuniting the group as a trio again. Q: did they manage to reunite? A: However, no new recordings were produced with the new line-up, and the Art of Noise remained defunct. Q: who went solo? A: Dudley became well known for composing numerous film and television scores during the 1990s. Q: who did she work with? A: The most famous of these is probably The Full Monty,

C_93a80da562044176afdb316d5f893004_0_q#7

were any of her songs hits?

0y

0y

C_93a80da562044176afdb316d5f893004_0

Art of Noise

Art of Noise (also The Art of Noise) were an English avant-garde synth-pop group formed in early 1983 by engineer/producer Gary Langan and programmer J. J. Jeczalik, along with arranger Anne Dudley, producer Trevor Horn and music journalist Paul Morley. The group had international Top 20 hits with "Kiss" and the instrumental "Peter Gunn", which won a 1986 Grammy Award. The group's mostly instrumental compositions were novel melodic sound collages based on digital sampler technology, which was new at the time. Inspired by turn-of-the-20th-century revolutions in music, the Art of Noise were initially packaged as a faceless anti- or non-group, blurring the distinction between the art and its creators.

Interim (compilations, failed reformations and solo work)

Although Dudley and Jeczalik had already dissolved the group, in 1990 they assisted in the promotion of the lightly remixed compilation The Ambient Collection, which the China label released to cash in on the burgeoning ambient house scene. Jeczalik approved the remixes that appeared on The FON Mixes the following year. The rest of the decade saw China Records releasing further Art of Noise compilations: The Drum and Bass Collection, Art Works, and reissues of Best of without the ZTT-era tracks. Some of these featured new remixes by other artists. According to an interview with J.J. Jeczalik reported in the ZTT fanzine Outside World in 1991, Jeczalik, Dudley and Langan were inspired by the commercial success of The FON Mixes and had discussed reuniting the group as a trio again. In preparation to record a new album, Jeczalik and Langan travelled to Cuba to gather new source material. However, no new recordings were produced with the new line-up, and the Art of Noise remained defunct. Dudley became well known for composing numerous film and television scores during the 1990s. The most famous of these is probably The Full Monty, which won an Academy Award for Original Music Score. She also collaborated with Killing Joke's Jaz Coleman on the 1990 album Songs from the Victorious City (inspired by a trip the two made to Egypt) and produced two tracks for the 1993 Deborah Harry album Debravation ("Strike Me Pink", which she also co-wrote and played keyboards on) and "Mood Ring"). She has scored orchestrations for dozens of pop releases over the years, and both scored and produced the album Voice for her neighbour Alison Moyet. Cathy Dennis added lyrics to one of Dudley's compositions and recorded it as "Too Many Walls", which became a US Top 10 hit in 1991. In 1995-1997, Jeczalik and In No Sense? Nonsense! coengineer Bob Kraushaar produced a number of instrumentals oriented toward dance clubs under the name Art of Silence, issuing an album titled artofsilence.co.uk. Jeczalik also embarked on a new career in trading in futures contracts. The Art of Noise also received a full writing credit for The Prodigy's "Firestarter", which samples the female "hey, hey" voice from "Close to the Edit". The Prodigy also contributed the remix "Instruments of Darkness (All of Us are One People)" to the 1991 compilation The FON Mixes. Also, an edited version of "Close to the Edit" is featured on the monthly educational Amiga game, Ready Robot Club. The Art of Noise are also credited for the music to the ITV series The Krypton Factor. Q: what compilations did they have? A: they assisted in the promotion of the lightly remixed compilation Q: what was the name of the compilation? A: The Ambient Collection, Q: who were they using as their recording company? A: the China label Q: did they get back together as a group? A: Jeczalik, Dudley and Langan were inspired by the commercial success of The FON Mixes and had discussed reuniting the group as a trio again. Q: did they manage to reunite? A: However, no new recordings were produced with the new line-up, and the Art of Noise remained defunct. Q: who went solo? A: Dudley became well known for composing numerous film and television scores during the 1990s. Q: who did she work with? A: The most famous of these is probably The Full Monty, Q: were any of her songs hits? A: Dudley's compositions and recorded it as "Too Many Walls", which became a US Top 10 hit in 1991.

C_93a80da562044176afdb316d5f893004_0_q#8

did she win any awards?

2m

0y

C_93a80da562044176afdb316d5f893004_0

Art of Noise

Art of Noise (also The Art of Noise) were an English avant-garde synth-pop group formed in early 1983 by engineer/producer Gary Langan and programmer J. J. Jeczalik, along with arranger Anne Dudley, producer Trevor Horn and music journalist Paul Morley. The group had international Top 20 hits with "Kiss" and the instrumental "Peter Gunn", which won a 1986 Grammy Award. The group's mostly instrumental compositions were novel melodic sound collages based on digital sampler technology, which was new at the time. Inspired by turn-of-the-20th-century revolutions in music, the Art of Noise were initially packaged as a faceless anti- or non-group, blurring the distinction between the art and its creators.

Interim (compilations, failed reformations and solo work)

Although Dudley and Jeczalik had already dissolved the group, in 1990 they assisted in the promotion of the lightly remixed compilation The Ambient Collection, which the China label released to cash in on the burgeoning ambient house scene. Jeczalik approved the remixes that appeared on The FON Mixes the following year. The rest of the decade saw China Records releasing further Art of Noise compilations: The Drum and Bass Collection, Art Works, and reissues of Best of without the ZTT-era tracks. Some of these featured new remixes by other artists. According to an interview with J.J. Jeczalik reported in the ZTT fanzine Outside World in 1991, Jeczalik, Dudley and Langan were inspired by the commercial success of The FON Mixes and had discussed reuniting the group as a trio again. In preparation to record a new album, Jeczalik and Langan travelled to Cuba to gather new source material. However, no new recordings were produced with the new line-up, and the Art of Noise remained defunct. Dudley became well known for composing numerous film and television scores during the 1990s. The most famous of these is probably The Full Monty, which won an Academy Award for Original Music Score. She also collaborated with Killing Joke's Jaz Coleman on the 1990 album Songs from the Victorious City (inspired by a trip the two made to Egypt) and produced two tracks for the 1993 Deborah Harry album Debravation ("Strike Me Pink", which she also co-wrote and played keyboards on) and "Mood Ring"). She has scored orchestrations for dozens of pop releases over the years, and both scored and produced the album Voice for her neighbour Alison Moyet. Cathy Dennis added lyrics to one of Dudley's compositions and recorded it as "Too Many Walls", which became a US Top 10 hit in 1991. In 1995-1997, Jeczalik and In No Sense? Nonsense! coengineer Bob Kraushaar produced a number of instrumentals oriented toward dance clubs under the name Art of Silence, issuing an album titled artofsilence.co.uk. Jeczalik also embarked on a new career in trading in futures contracts. The Art of Noise also received a full writing credit for The Prodigy's "Firestarter", which samples the female "hey, hey" voice from "Close to the Edit". The Prodigy also contributed the remix "Instruments of Darkness (All of Us are One People)" to the 1991 compilation The FON Mixes. Also, an edited version of "Close to the Edit" is featured on the monthly educational Amiga game, Ready Robot Club. The Art of Noise are also credited for the music to the ITV series The Krypton Factor. Q: what compilations did they have? A: they assisted in the promotion of the lightly remixed compilation Q: what was the name of the compilation? A: The Ambient Collection, Q: who were they using as their recording company? A: the China label Q: did they get back together as a group? A: Jeczalik, Dudley and Langan were inspired by the commercial success of The FON Mixes and had discussed reuniting the group as a trio again. Q: did they manage to reunite? A: However, no new recordings were produced with the new line-up, and the Art of Noise remained defunct. Q: who went solo? A: Dudley became well known for composing numerous film and television scores during the 1990s. Q: who did she work with? A: The most famous of these is probably The Full Monty, Q: were any of her songs hits? A: Dudley's compositions and recorded it as "Too Many Walls", which became a US Top 10 hit in 1991. Q: did she win any awards? A: The Full Monty, which won an Academy Award for Original Music Score.

C_93a80da562044176afdb316d5f893004_0_q#9

did she change her label company?

2m

1n

C_93a80da562044176afdb316d5f893004_0

Art of Noise

Art of Noise (also The Art of Noise) were an English avant-garde synth-pop group formed in early 1983 by engineer/producer Gary Langan and programmer J. J. Jeczalik, along with arranger Anne Dudley, producer Trevor Horn and music journalist Paul Morley. The group had international Top 20 hits with "Kiss" and the instrumental "Peter Gunn", which won a 1986 Grammy Award. The group's mostly instrumental compositions were novel melodic sound collages based on digital sampler technology, which was new at the time. Inspired by turn-of-the-20th-century revolutions in music, the Art of Noise were initially packaged as a faceless anti- or non-group, blurring the distinction between the art and its creators.

Interim (compilations, failed reformations and solo work)

Although Dudley and Jeczalik had already dissolved the group, in 1990 they assisted in the promotion of the lightly remixed compilation The Ambient Collection, which the China label released to cash in on the burgeoning ambient house scene. Jeczalik approved the remixes that appeared on The FON Mixes the following year. The rest of the decade saw China Records releasing further Art of Noise compilations: The Drum and Bass Collection, Art Works, and reissues of Best of without the ZTT-era tracks. Some of these featured new remixes by other artists. According to an interview with J.J. Jeczalik reported in the ZTT fanzine Outside World in 1991, Jeczalik, Dudley and Langan were inspired by the commercial success of The FON Mixes and had discussed reuniting the group as a trio again. In preparation to record a new album, Jeczalik and Langan travelled to Cuba to gather new source material. However, no new recordings were produced with the new line-up, and the Art of Noise remained defunct. Dudley became well known for composing numerous film and television scores during the 1990s. The most famous of these is probably The Full Monty, which won an Academy Award for Original Music Score. She also collaborated with Killing Joke's Jaz Coleman on the 1990 album Songs from the Victorious City (inspired by a trip the two made to Egypt) and produced two tracks for the 1993 Deborah Harry album Debravation ("Strike Me Pink", which she also co-wrote and played keyboards on) and "Mood Ring"). She has scored orchestrations for dozens of pop releases over the years, and both scored and produced the album Voice for her neighbour Alison Moyet. Cathy Dennis added lyrics to one of Dudley's compositions and recorded it as "Too Many Walls", which became a US Top 10 hit in 1991. In 1995-1997, Jeczalik and In No Sense? Nonsense! coengineer Bob Kraushaar produced a number of instrumentals oriented toward dance clubs under the name Art of Silence, issuing an album titled artofsilence.co.uk. Jeczalik also embarked on a new career in trading in futures contracts. The Art of Noise also received a full writing credit for The Prodigy's "Firestarter", which samples the female "hey, hey" voice from "Close to the Edit". The Prodigy also contributed the remix "Instruments of Darkness (All of Us are One People)" to the 1991 compilation The FON Mixes. Also, an edited version of "Close to the Edit" is featured on the monthly educational Amiga game, Ready Robot Club. The Art of Noise are also credited for the music to the ITV series The Krypton Factor. Q: what compilations did they have? A: they assisted in the promotion of the lightly remixed compilation Q: what was the name of the compilation? A: The Ambient Collection, Q: who were they using as their recording company? A: the China label Q: did they get back together as a group? A: Jeczalik, Dudley and Langan were inspired by the commercial success of The FON Mixes and had discussed reuniting the group as a trio again. Q: did they manage to reunite? A: However, no new recordings were produced with the new line-up, and the Art of Noise remained defunct. Q: who went solo? A: Dudley became well known for composing numerous film and television scores during the 1990s. Q: who did she work with? A: The most famous of these is probably The Full Monty, Q: were any of her songs hits? A: Dudley's compositions and recorded it as "Too Many Walls", which became a US Top 10 hit in 1991. Q: did she win any awards? A: The Full Monty, which won an Academy Award for Original Music Score. Q: did she change her label company? A: The rest of the decade saw China Records releasing further Art of Noise compilations:

C_93a80da562044176afdb316d5f893004_0_q#10

did she work in any movies?

2m

0y

C_93a80da562044176afdb316d5f893004_1

Art of Noise

Art of Noise (also The Art of Noise) were an English avant-garde synth-pop group formed in early 1983 by engineer/producer Gary Langan and programmer J. J. Jeczalik, along with arranger Anne Dudley, producer Trevor Horn and music journalist Paul Morley. The group had international Top 20 hits with "Kiss" and the instrumental "Peter Gunn", which won a 1986 Grammy Award. The group's mostly instrumental compositions were novel melodic sound collages based on digital sampler technology, which was new at the time. Inspired by turn-of-the-20th-century revolutions in music, the Art of Noise were initially packaged as a faceless anti- or non-group, blurring the distinction between the art and its creators.

"In No Sense? Nonsense!", "Below The Waste", and The Split (1987-1990)

By 1987, the band's membership was down to just Jeczalik and Dudley. That year saw the release of their album In No Sense? Nonsense! The album featured Jeczalik's most advanced rhythmic collages to date, plus lush string arrangements, pieces for boys' choir, and keyboard melodies from Dudley. It did not produce any hits, although their record label made efforts to push remixes of "Dragnet" into the dance clubs and the single reached No. 60 on the UK charts. In 1987, The Art of Noise provided the score for two movies, Hiding Out and Dragnet, and one particular movement was used in both films. Their brass-based connecting passage between sections from the original Dragnet television show's theme song was used as incidental music during a dramatic scene--an armed chase through the rafters of a gymnasium--near the end of Hiding Out. In 1988, a one-off collaboration with singer Tom Jones (a cover of Prince's "Kiss"--a staple in Jones' stage shows) renewed the public's interest in the Art of Noise and provided the group's biggest hit in the mainstream. The track appeared on several albums by Jones, and China Records included the song on the greatest hits compilation The Best of The Art of Noise, the first edition of which also contained tracks licensed from ZTT. The follow-up album, Below the Waste, failed to achieve much success upon its release in 1989. While it did spawn the memorable single "Yebo!" (featuring the unique vocals of Zulu performers Mahlathini and the Mahotella Queens). Both cassette and CD versions include two bonus tracks in the form of "Robinson Crusoe", and the "James Bond Theme". In 1990, Dudley and Jeczalik declared that the Art of Noise had officially disbanded.

C_93a80da562044176afdb316d5f893004_1_q#0

Did they have any albums come out during this time?

0y

0y

C_93a80da562044176afdb316d5f893004_1

Art of Noise

Art of Noise (also The Art of Noise) were an English avant-garde synth-pop group formed in early 1983 by engineer/producer Gary Langan and programmer J. J. Jeczalik, along with arranger Anne Dudley, producer Trevor Horn and music journalist Paul Morley. The group had international Top 20 hits with "Kiss" and the instrumental "Peter Gunn", which won a 1986 Grammy Award. The group's mostly instrumental compositions were novel melodic sound collages based on digital sampler technology, which was new at the time. Inspired by turn-of-the-20th-century revolutions in music, the Art of Noise were initially packaged as a faceless anti- or non-group, blurring the distinction between the art and its creators.

"In No Sense? Nonsense!", "Below The Waste", and The Split (1987-1990)

By 1987, the band's membership was down to just Jeczalik and Dudley. That year saw the release of their album In No Sense? Nonsense! The album featured Jeczalik's most advanced rhythmic collages to date, plus lush string arrangements, pieces for boys' choir, and keyboard melodies from Dudley. It did not produce any hits, although their record label made efforts to push remixes of "Dragnet" into the dance clubs and the single reached No. 60 on the UK charts. In 1987, The Art of Noise provided the score for two movies, Hiding Out and Dragnet, and one particular movement was used in both films. Their brass-based connecting passage between sections from the original Dragnet television show's theme song was used as incidental music during a dramatic scene--an armed chase through the rafters of a gymnasium--near the end of Hiding Out. In 1988, a one-off collaboration with singer Tom Jones (a cover of Prince's "Kiss"--a staple in Jones' stage shows) renewed the public's interest in the Art of Noise and provided the group's biggest hit in the mainstream. The track appeared on several albums by Jones, and China Records included the song on the greatest hits compilation The Best of The Art of Noise, the first edition of which also contained tracks licensed from ZTT. The follow-up album, Below the Waste, failed to achieve much success upon its release in 1989. While it did spawn the memorable single "Yebo!" (featuring the unique vocals of Zulu performers Mahlathini and the Mahotella Queens). Both cassette and CD versions include two bonus tracks in the form of "Robinson Crusoe", and the "James Bond Theme". In 1990, Dudley and Jeczalik declared that the Art of Noise had officially disbanded. Q: Did they have any albums come out during this time? A: Below the Waste,

C_93a80da562044176afdb316d5f893004_1_q#1

Was this popular?

0y

0y

C_93a80da562044176afdb316d5f893004_1

Art of Noise

Art of Noise (also The Art of Noise) were an English avant-garde synth-pop group formed in early 1983 by engineer/producer Gary Langan and programmer J. J. Jeczalik, along with arranger Anne Dudley, producer Trevor Horn and music journalist Paul Morley. The group had international Top 20 hits with "Kiss" and the instrumental "Peter Gunn", which won a 1986 Grammy Award. The group's mostly instrumental compositions were novel melodic sound collages based on digital sampler technology, which was new at the time. Inspired by turn-of-the-20th-century revolutions in music, the Art of Noise were initially packaged as a faceless anti- or non-group, blurring the distinction between the art and its creators.

"In No Sense? Nonsense!", "Below The Waste", and The Split (1987-1990)

By 1987, the band's membership was down to just Jeczalik and Dudley. That year saw the release of their album In No Sense? Nonsense! The album featured Jeczalik's most advanced rhythmic collages to date, plus lush string arrangements, pieces for boys' choir, and keyboard melodies from Dudley. It did not produce any hits, although their record label made efforts to push remixes of "Dragnet" into the dance clubs and the single reached No. 60 on the UK charts. In 1987, The Art of Noise provided the score for two movies, Hiding Out and Dragnet, and one particular movement was used in both films. Their brass-based connecting passage between sections from the original Dragnet television show's theme song was used as incidental music during a dramatic scene--an armed chase through the rafters of a gymnasium--near the end of Hiding Out. In 1988, a one-off collaboration with singer Tom Jones (a cover of Prince's "Kiss"--a staple in Jones' stage shows) renewed the public's interest in the Art of Noise and provided the group's biggest hit in the mainstream. The track appeared on several albums by Jones, and China Records included the song on the greatest hits compilation The Best of The Art of Noise, the first edition of which also contained tracks licensed from ZTT. The follow-up album, Below the Waste, failed to achieve much success upon its release in 1989. While it did spawn the memorable single "Yebo!" (featuring the unique vocals of Zulu performers Mahlathini and the Mahotella Queens). Both cassette and CD versions include two bonus tracks in the form of "Robinson Crusoe", and the "James Bond Theme". In 1990, Dudley and Jeczalik declared that the Art of Noise had officially disbanded. Q: Did they have any albums come out during this time? A: Below the Waste, Q: Was this popular? A: failed to achieve much success upon its release

C_93a80da562044176afdb316d5f893004_1_q#2

What were some of the songs from this album?

0y

0y

C_93a80da562044176afdb316d5f893004_1

Art of Noise

Art of Noise (also The Art of Noise) were an English avant-garde synth-pop group formed in early 1983 by engineer/producer Gary Langan and programmer J. J. Jeczalik, along with arranger Anne Dudley, producer Trevor Horn and music journalist Paul Morley. The group had international Top 20 hits with "Kiss" and the instrumental "Peter Gunn", which won a 1986 Grammy Award. The group's mostly instrumental compositions were novel melodic sound collages based on digital sampler technology, which was new at the time. Inspired by turn-of-the-20th-century revolutions in music, the Art of Noise were initially packaged as a faceless anti- or non-group, blurring the distinction between the art and its creators.

"In No Sense? Nonsense!", "Below The Waste", and The Split (1987-1990)

By 1987, the band's membership was down to just Jeczalik and Dudley. That year saw the release of their album In No Sense? Nonsense! The album featured Jeczalik's most advanced rhythmic collages to date, plus lush string arrangements, pieces for boys' choir, and keyboard melodies from Dudley. It did not produce any hits, although their record label made efforts to push remixes of "Dragnet" into the dance clubs and the single reached No. 60 on the UK charts. In 1987, The Art of Noise provided the score for two movies, Hiding Out and Dragnet, and one particular movement was used in both films. Their brass-based connecting passage between sections from the original Dragnet television show's theme song was used as incidental music during a dramatic scene--an armed chase through the rafters of a gymnasium--near the end of Hiding Out. In 1988, a one-off collaboration with singer Tom Jones (a cover of Prince's "Kiss"--a staple in Jones' stage shows) renewed the public's interest in the Art of Noise and provided the group's biggest hit in the mainstream. The track appeared on several albums by Jones, and China Records included the song on the greatest hits compilation The Best of The Art of Noise, the first edition of which also contained tracks licensed from ZTT. The follow-up album, Below the Waste, failed to achieve much success upon its release in 1989. While it did spawn the memorable single "Yebo!" (featuring the unique vocals of Zulu performers Mahlathini and the Mahotella Queens). Both cassette and CD versions include two bonus tracks in the form of "Robinson Crusoe", and the "James Bond Theme". In 1990, Dudley and Jeczalik declared that the Art of Noise had officially disbanded. Q: Did they have any albums come out during this time? A: Below the Waste, Q: Was this popular? A: failed to achieve much success upon its release Q: What were some of the songs from this album? A: "Yebo!" (

C_93a80da562044176afdb316d5f893004_1_q#3

Were there other songs from this album?

0y

0y

C_93a80da562044176afdb316d5f893004_1

Art of Noise

Art of Noise (also The Art of Noise) were an English avant-garde synth-pop group formed in early 1983 by engineer/producer Gary Langan and programmer J. J. Jeczalik, along with arranger Anne Dudley, producer Trevor Horn and music journalist Paul Morley. The group had international Top 20 hits with "Kiss" and the instrumental "Peter Gunn", which won a 1986 Grammy Award. The group's mostly instrumental compositions were novel melodic sound collages based on digital sampler technology, which was new at the time. Inspired by turn-of-the-20th-century revolutions in music, the Art of Noise were initially packaged as a faceless anti- or non-group, blurring the distinction between the art and its creators.

"In No Sense? Nonsense!", "Below The Waste", and The Split (1987-1990)

By 1987, the band's membership was down to just Jeczalik and Dudley. That year saw the release of their album In No Sense? Nonsense! The album featured Jeczalik's most advanced rhythmic collages to date, plus lush string arrangements, pieces for boys' choir, and keyboard melodies from Dudley. It did not produce any hits, although their record label made efforts to push remixes of "Dragnet" into the dance clubs and the single reached No. 60 on the UK charts. In 1987, The Art of Noise provided the score for two movies, Hiding Out and Dragnet, and one particular movement was used in both films. Their brass-based connecting passage between sections from the original Dragnet television show's theme song was used as incidental music during a dramatic scene--an armed chase through the rafters of a gymnasium--near the end of Hiding Out. In 1988, a one-off collaboration with singer Tom Jones (a cover of Prince's "Kiss"--a staple in Jones' stage shows) renewed the public's interest in the Art of Noise and provided the group's biggest hit in the mainstream. The track appeared on several albums by Jones, and China Records included the song on the greatest hits compilation The Best of The Art of Noise, the first edition of which also contained tracks licensed from ZTT. The follow-up album, Below the Waste, failed to achieve much success upon its release in 1989. While it did spawn the memorable single "Yebo!" (featuring the unique vocals of Zulu performers Mahlathini and the Mahotella Queens). Both cassette and CD versions include two bonus tracks in the form of "Robinson Crusoe", and the "James Bond Theme". In 1990, Dudley and Jeczalik declared that the Art of Noise had officially disbanded. Q: Did they have any albums come out during this time? A: Below the Waste, Q: Was this popular? A: failed to achieve much success upon its release Q: What were some of the songs from this album? A: "Yebo!" ( Q: Were there other songs from this album? A: Both cassette and CD versions include two bonus tracks in the form of "Robinson Crusoe", and the "James Bond Theme".

C_93a80da562044176afdb316d5f893004_1_q#4

What else is there to know about this album?

0y

0y

C_93a80da562044176afdb316d5f893004_1

Art of Noise

Art of Noise (also The Art of Noise) were an English avant-garde synth-pop group formed in early 1983 by engineer/producer Gary Langan and programmer J. J. Jeczalik, along with arranger Anne Dudley, producer Trevor Horn and music journalist Paul Morley. The group had international Top 20 hits with "Kiss" and the instrumental "Peter Gunn", which won a 1986 Grammy Award. The group's mostly instrumental compositions were novel melodic sound collages based on digital sampler technology, which was new at the time. Inspired by turn-of-the-20th-century revolutions in music, the Art of Noise were initially packaged as a faceless anti- or non-group, blurring the distinction between the art and its creators.

"In No Sense? Nonsense!", "Below The Waste", and The Split (1987-1990)

By 1987, the band's membership was down to just Jeczalik and Dudley. That year saw the release of their album In No Sense? Nonsense! The album featured Jeczalik's most advanced rhythmic collages to date, plus lush string arrangements, pieces for boys' choir, and keyboard melodies from Dudley. It did not produce any hits, although their record label made efforts to push remixes of "Dragnet" into the dance clubs and the single reached No. 60 on the UK charts. In 1987, The Art of Noise provided the score for two movies, Hiding Out and Dragnet, and one particular movement was used in both films. Their brass-based connecting passage between sections from the original Dragnet television show's theme song was used as incidental music during a dramatic scene--an armed chase through the rafters of a gymnasium--near the end of Hiding Out. In 1988, a one-off collaboration with singer Tom Jones (a cover of Prince's "Kiss"--a staple in Jones' stage shows) renewed the public's interest in the Art of Noise and provided the group's biggest hit in the mainstream. The track appeared on several albums by Jones, and China Records included the song on the greatest hits compilation The Best of The Art of Noise, the first edition of which also contained tracks licensed from ZTT. The follow-up album, Below the Waste, failed to achieve much success upon its release in 1989. While it did spawn the memorable single "Yebo!" (featuring the unique vocals of Zulu performers Mahlathini and the Mahotella Queens). Both cassette and CD versions include two bonus tracks in the form of "Robinson Crusoe", and the "James Bond Theme". In 1990, Dudley and Jeczalik declared that the Art of Noise had officially disbanded. Q: Did they have any albums come out during this time? A: Below the Waste, Q: Was this popular? A: failed to achieve much success upon its release Q: What were some of the songs from this album? A: "Yebo!" ( Q: Were there other songs from this album? A: Both cassette and CD versions include two bonus tracks in the form of "Robinson Crusoe", and the "James Bond Theme". Q: What else is there to know about this album? A: While it did spawn the memorable single "Yebo!" (featuring the unique vocals of Zulu performers Mahlathini and the Mahotella Queens).

C_93a80da562044176afdb316d5f893004_1_q#5

Did they release any other albums during this time?

0y

0y

C_93a80da562044176afdb316d5f893004_1

Art of Noise

Art of Noise (also The Art of Noise) were an English avant-garde synth-pop group formed in early 1983 by engineer/producer Gary Langan and programmer J. J. Jeczalik, along with arranger Anne Dudley, producer Trevor Horn and music journalist Paul Morley. The group had international Top 20 hits with "Kiss" and the instrumental "Peter Gunn", which won a 1986 Grammy Award. The group's mostly instrumental compositions were novel melodic sound collages based on digital sampler technology, which was new at the time. Inspired by turn-of-the-20th-century revolutions in music, the Art of Noise were initially packaged as a faceless anti- or non-group, blurring the distinction between the art and its creators.

"In No Sense? Nonsense!", "Below The Waste", and The Split (1987-1990)

By 1987, the band's membership was down to just Jeczalik and Dudley. That year saw the release of their album In No Sense? Nonsense! The album featured Jeczalik's most advanced rhythmic collages to date, plus lush string arrangements, pieces for boys' choir, and keyboard melodies from Dudley. It did not produce any hits, although their record label made efforts to push remixes of "Dragnet" into the dance clubs and the single reached No. 60 on the UK charts. In 1987, The Art of Noise provided the score for two movies, Hiding Out and Dragnet, and one particular movement was used in both films. Their brass-based connecting passage between sections from the original Dragnet television show's theme song was used as incidental music during a dramatic scene--an armed chase through the rafters of a gymnasium--near the end of Hiding Out. In 1988, a one-off collaboration with singer Tom Jones (a cover of Prince's "Kiss"--a staple in Jones' stage shows) renewed the public's interest in the Art of Noise and provided the group's biggest hit in the mainstream. The track appeared on several albums by Jones, and China Records included the song on the greatest hits compilation The Best of The Art of Noise, the first edition of which also contained tracks licensed from ZTT. The follow-up album, Below the Waste, failed to achieve much success upon its release in 1989. While it did spawn the memorable single "Yebo!" (featuring the unique vocals of Zulu performers Mahlathini and the Mahotella Queens). Both cassette and CD versions include two bonus tracks in the form of "Robinson Crusoe", and the "James Bond Theme". In 1990, Dudley and Jeczalik declared that the Art of Noise had officially disbanded. Q: Did they have any albums come out during this time? A: Below the Waste, Q: Was this popular? A: failed to achieve much success upon its release Q: What were some of the songs from this album? A: "Yebo!" ( Q: Were there other songs from this album? A: Both cassette and CD versions include two bonus tracks in the form of "Robinson Crusoe", and the "James Bond Theme". Q: What else is there to know about this album? A: While it did spawn the memorable single "Yebo!" (featuring the unique vocals of Zulu performers Mahlathini and the Mahotella Queens). Q: Did they release any other albums during this time? A: Sense? Nonsense!

C_93a80da562044176afdb316d5f893004_1_q#6

Was this popular?

0y

0y

C_93a80da562044176afdb316d5f893004_1

Art of Noise

Art of Noise (also The Art of Noise) were an English avant-garde synth-pop group formed in early 1983 by engineer/producer Gary Langan and programmer J. J. Jeczalik, along with arranger Anne Dudley, producer Trevor Horn and music journalist Paul Morley. The group had international Top 20 hits with "Kiss" and the instrumental "Peter Gunn", which won a 1986 Grammy Award. The group's mostly instrumental compositions were novel melodic sound collages based on digital sampler technology, which was new at the time. Inspired by turn-of-the-20th-century revolutions in music, the Art of Noise were initially packaged as a faceless anti- or non-group, blurring the distinction between the art and its creators.

"In No Sense? Nonsense!", "Below The Waste", and The Split (1987-1990)

By 1987, the band's membership was down to just Jeczalik and Dudley. That year saw the release of their album In No Sense? Nonsense! The album featured Jeczalik's most advanced rhythmic collages to date, plus lush string arrangements, pieces for boys' choir, and keyboard melodies from Dudley. It did not produce any hits, although their record label made efforts to push remixes of "Dragnet" into the dance clubs and the single reached No. 60 on the UK charts. In 1987, The Art of Noise provided the score for two movies, Hiding Out and Dragnet, and one particular movement was used in both films. Their brass-based connecting passage between sections from the original Dragnet television show's theme song was used as incidental music during a dramatic scene--an armed chase through the rafters of a gymnasium--near the end of Hiding Out. In 1988, a one-off collaboration with singer Tom Jones (a cover of Prince's "Kiss"--a staple in Jones' stage shows) renewed the public's interest in the Art of Noise and provided the group's biggest hit in the mainstream. The track appeared on several albums by Jones, and China Records included the song on the greatest hits compilation The Best of The Art of Noise, the first edition of which also contained tracks licensed from ZTT. The follow-up album, Below the Waste, failed to achieve much success upon its release in 1989. While it did spawn the memorable single "Yebo!" (featuring the unique vocals of Zulu performers Mahlathini and the Mahotella Queens). Both cassette and CD versions include two bonus tracks in the form of "Robinson Crusoe", and the "James Bond Theme". In 1990, Dudley and Jeczalik declared that the Art of Noise had officially disbanded. Q: Did they have any albums come out during this time? A: Below the Waste, Q: Was this popular? A: failed to achieve much success upon its release Q: What were some of the songs from this album? A: "Yebo!" ( Q: Were there other songs from this album? A: Both cassette and CD versions include two bonus tracks in the form of "Robinson Crusoe", and the "James Bond Theme". Q: What else is there to know about this album? A: While it did spawn the memorable single "Yebo!" (featuring the unique vocals of Zulu performers Mahlathini and the Mahotella Queens). Q: Did they release any other albums during this time? A: Sense? Nonsense! Q: Was this popular? A: It did not produce any hits, although their record label made efforts to push remixes of "Dragnet" into the dance clubs

C_93a80da562044176afdb316d5f893004_1_q#7

Was dragnets a song on the album?

0y

0y

C_93a80da562044176afdb316d5f893004_1

Art of Noise

Art of Noise (also The Art of Noise) were an English avant-garde synth-pop group formed in early 1983 by engineer/producer Gary Langan and programmer J. J. Jeczalik, along with arranger Anne Dudley, producer Trevor Horn and music journalist Paul Morley. The group had international Top 20 hits with "Kiss" and the instrumental "Peter Gunn", which won a 1986 Grammy Award. The group's mostly instrumental compositions were novel melodic sound collages based on digital sampler technology, which was new at the time. Inspired by turn-of-the-20th-century revolutions in music, the Art of Noise were initially packaged as a faceless anti- or non-group, blurring the distinction between the art and its creators.

"In No Sense? Nonsense!", "Below The Waste", and The Split (1987-1990)

By 1987, the band's membership was down to just Jeczalik and Dudley. That year saw the release of their album In No Sense? Nonsense! The album featured Jeczalik's most advanced rhythmic collages to date, plus lush string arrangements, pieces for boys' choir, and keyboard melodies from Dudley. It did not produce any hits, although their record label made efforts to push remixes of "Dragnet" into the dance clubs and the single reached No. 60 on the UK charts. In 1987, The Art of Noise provided the score for two movies, Hiding Out and Dragnet, and one particular movement was used in both films. Their brass-based connecting passage between sections from the original Dragnet television show's theme song was used as incidental music during a dramatic scene--an armed chase through the rafters of a gymnasium--near the end of Hiding Out. In 1988, a one-off collaboration with singer Tom Jones (a cover of Prince's "Kiss"--a staple in Jones' stage shows) renewed the public's interest in the Art of Noise and provided the group's biggest hit in the mainstream. The track appeared on several albums by Jones, and China Records included the song on the greatest hits compilation The Best of The Art of Noise, the first edition of which also contained tracks licensed from ZTT. The follow-up album, Below the Waste, failed to achieve much success upon its release in 1989. While it did spawn the memorable single "Yebo!" (featuring the unique vocals of Zulu performers Mahlathini and the Mahotella Queens). Both cassette and CD versions include two bonus tracks in the form of "Robinson Crusoe", and the "James Bond Theme". In 1990, Dudley and Jeczalik declared that the Art of Noise had officially disbanded. Q: Did they have any albums come out during this time? A: Below the Waste, Q: Was this popular? A: failed to achieve much success upon its release Q: What were some of the songs from this album? A: "Yebo!" ( Q: Were there other songs from this album? A: Both cassette and CD versions include two bonus tracks in the form of "Robinson Crusoe", and the "James Bond Theme". Q: What else is there to know about this album? A: While it did spawn the memorable single "Yebo!" (featuring the unique vocals of Zulu performers Mahlathini and the Mahotella Queens). Q: Did they release any other albums during this time? A: Sense? Nonsense! Q: Was this popular? A: It did not produce any hits, although their record label made efforts to push remixes of "Dragnet" into the dance clubs Q: Was dragnets a song on the album? A: made efforts to push remixes of "Dragnet" into the dance clubs and the single reached No. 60 on the UK charts.

C_93a80da562044176afdb316d5f893004_1_q#8

Who was in the band during this period?

2m

0y

C_93a80da562044176afdb316d5f893004_1

Art of Noise

Art of Noise (also The Art of Noise) were an English avant-garde synth-pop group formed in early 1983 by engineer/producer Gary Langan and programmer J. J. Jeczalik, along with arranger Anne Dudley, producer Trevor Horn and music journalist Paul Morley. The group had international Top 20 hits with "Kiss" and the instrumental "Peter Gunn", which won a 1986 Grammy Award. The group's mostly instrumental compositions were novel melodic sound collages based on digital sampler technology, which was new at the time. Inspired by turn-of-the-20th-century revolutions in music, the Art of Noise were initially packaged as a faceless anti- or non-group, blurring the distinction between the art and its creators.

"In No Sense? Nonsense!", "Below The Waste", and The Split (1987-1990)

By 1987, the band's membership was down to just Jeczalik and Dudley. That year saw the release of their album In No Sense? Nonsense! The album featured Jeczalik's most advanced rhythmic collages to date, plus lush string arrangements, pieces for boys' choir, and keyboard melodies from Dudley. It did not produce any hits, although their record label made efforts to push remixes of "Dragnet" into the dance clubs and the single reached No. 60 on the UK charts. In 1987, The Art of Noise provided the score for two movies, Hiding Out and Dragnet, and one particular movement was used in both films. Their brass-based connecting passage between sections from the original Dragnet television show's theme song was used as incidental music during a dramatic scene--an armed chase through the rafters of a gymnasium--near the end of Hiding Out. In 1988, a one-off collaboration with singer Tom Jones (a cover of Prince's "Kiss"--a staple in Jones' stage shows) renewed the public's interest in the Art of Noise and provided the group's biggest hit in the mainstream. The track appeared on several albums by Jones, and China Records included the song on the greatest hits compilation The Best of The Art of Noise, the first edition of which also contained tracks licensed from ZTT. The follow-up album, Below the Waste, failed to achieve much success upon its release in 1989. While it did spawn the memorable single "Yebo!" (featuring the unique vocals of Zulu performers Mahlathini and the Mahotella Queens). Both cassette and CD versions include two bonus tracks in the form of "Robinson Crusoe", and the "James Bond Theme". In 1990, Dudley and Jeczalik declared that the Art of Noise had officially disbanded. Q: Did they have any albums come out during this time? A: Below the Waste, Q: Was this popular? A: failed to achieve much success upon its release Q: What were some of the songs from this album? A: "Yebo!" ( Q: Were there other songs from this album? A: Both cassette and CD versions include two bonus tracks in the form of "Robinson Crusoe", and the "James Bond Theme". Q: What else is there to know about this album? A: While it did spawn the memorable single "Yebo!" (featuring the unique vocals of Zulu performers Mahlathini and the Mahotella Queens). Q: Did they release any other albums during this time? A: Sense? Nonsense! Q: Was this popular? A: It did not produce any hits, although their record label made efforts to push remixes of "Dragnet" into the dance clubs Q: Was dragnets a song on the album? A: made efforts to push remixes of "Dragnet" into the dance clubs and the single reached No. 60 on the UK charts. Q: Who was in the band during this period? A: the band's membership was down to just Jeczalik and Dudley.

C_93a80da562044176afdb316d5f893004_1_q#9

What else did they do during this time?

0y

0y

C_93a80da562044176afdb316d5f893004_1

Art of Noise

Art of Noise (also The Art of Noise) were an English avant-garde synth-pop group formed in early 1983 by engineer/producer Gary Langan and programmer J. J. Jeczalik, along with arranger Anne Dudley, producer Trevor Horn and music journalist Paul Morley. The group had international Top 20 hits with "Kiss" and the instrumental "Peter Gunn", which won a 1986 Grammy Award. The group's mostly instrumental compositions were novel melodic sound collages based on digital sampler technology, which was new at the time. Inspired by turn-of-the-20th-century revolutions in music, the Art of Noise were initially packaged as a faceless anti- or non-group, blurring the distinction between the art and its creators.

"In No Sense? Nonsense!", "Below The Waste", and The Split (1987-1990)

By 1987, the band's membership was down to just Jeczalik and Dudley. That year saw the release of their album In No Sense? Nonsense! The album featured Jeczalik's most advanced rhythmic collages to date, plus lush string arrangements, pieces for boys' choir, and keyboard melodies from Dudley. It did not produce any hits, although their record label made efforts to push remixes of "Dragnet" into the dance clubs and the single reached No. 60 on the UK charts. In 1987, The Art of Noise provided the score for two movies, Hiding Out and Dragnet, and one particular movement was used in both films. Their brass-based connecting passage between sections from the original Dragnet television show's theme song was used as incidental music during a dramatic scene--an armed chase through the rafters of a gymnasium--near the end of Hiding Out. In 1988, a one-off collaboration with singer Tom Jones (a cover of Prince's "Kiss"--a staple in Jones' stage shows) renewed the public's interest in the Art of Noise and provided the group's biggest hit in the mainstream. The track appeared on several albums by Jones, and China Records included the song on the greatest hits compilation The Best of The Art of Noise, the first edition of which also contained tracks licensed from ZTT. The follow-up album, Below the Waste, failed to achieve much success upon its release in 1989. While it did spawn the memorable single "Yebo!" (featuring the unique vocals of Zulu performers Mahlathini and the Mahotella Queens). Both cassette and CD versions include two bonus tracks in the form of "Robinson Crusoe", and the "James Bond Theme". In 1990, Dudley and Jeczalik declared that the Art of Noise had officially disbanded. Q: Did they have any albums come out during this time? A: Below the Waste, Q: Was this popular? A: failed to achieve much success upon its release Q: What were some of the songs from this album? A: "Yebo!" ( Q: Were there other songs from this album? A: Both cassette and CD versions include two bonus tracks in the form of "Robinson Crusoe", and the "James Bond Theme". Q: What else is there to know about this album? A: While it did spawn the memorable single "Yebo!" (featuring the unique vocals of Zulu performers Mahlathini and the Mahotella Queens). Q: Did they release any other albums during this time? A: Sense? Nonsense! Q: Was this popular? A: It did not produce any hits, although their record label made efforts to push remixes of "Dragnet" into the dance clubs Q: Was dragnets a song on the album? A: made efforts to push remixes of "Dragnet" into the dance clubs and the single reached No. 60 on the UK charts. Q: Who was in the band during this period? A: the band's membership was down to just Jeczalik and Dudley. Q: What else did they do during this time? A: In 1988, a one-off collaboration with singer Tom Jones (a cover of Prince's "Kiss"--a staple in Jones' stage shows) renewed the public's

C_93a80da562044176afdb316d5f893004_1_q#10

Was this a success?

0y

0y

C_93a80da562044176afdb316d5f893004_1

Art of Noise

Art of Noise (also The Art of Noise) were an English avant-garde synth-pop group formed in early 1983 by engineer/producer Gary Langan and programmer J. J. Jeczalik, along with arranger Anne Dudley, producer Trevor Horn and music journalist Paul Morley. The group had international Top 20 hits with "Kiss" and the instrumental "Peter Gunn", which won a 1986 Grammy Award. The group's mostly instrumental compositions were novel melodic sound collages based on digital sampler technology, which was new at the time. Inspired by turn-of-the-20th-century revolutions in music, the Art of Noise were initially packaged as a faceless anti- or non-group, blurring the distinction between the art and its creators.

"In No Sense? Nonsense!", "Below The Waste", and The Split (1987-1990)

By 1987, the band's membership was down to just Jeczalik and Dudley. That year saw the release of their album In No Sense? Nonsense! The album featured Jeczalik's most advanced rhythmic collages to date, plus lush string arrangements, pieces for boys' choir, and keyboard melodies from Dudley. It did not produce any hits, although their record label made efforts to push remixes of "Dragnet" into the dance clubs and the single reached No. 60 on the UK charts. In 1987, The Art of Noise provided the score for two movies, Hiding Out and Dragnet, and one particular movement was used in both films. Their brass-based connecting passage between sections from the original Dragnet television show's theme song was used as incidental music during a dramatic scene--an armed chase through the rafters of a gymnasium--near the end of Hiding Out. In 1988, a one-off collaboration with singer Tom Jones (a cover of Prince's "Kiss"--a staple in Jones' stage shows) renewed the public's interest in the Art of Noise and provided the group's biggest hit in the mainstream. The track appeared on several albums by Jones, and China Records included the song on the greatest hits compilation The Best of The Art of Noise, the first edition of which also contained tracks licensed from ZTT. The follow-up album, Below the Waste, failed to achieve much success upon its release in 1989. While it did spawn the memorable single "Yebo!" (featuring the unique vocals of Zulu performers Mahlathini and the Mahotella Queens). Both cassette and CD versions include two bonus tracks in the form of "Robinson Crusoe", and the "James Bond Theme". In 1990, Dudley and Jeczalik declared that the Art of Noise had officially disbanded. Q: Did they have any albums come out during this time? A: Below the Waste, Q: Was this popular? A: failed to achieve much success upon its release Q: What were some of the songs from this album? A: "Yebo!" ( Q: Were there other songs from this album? A: Both cassette and CD versions include two bonus tracks in the form of "Robinson Crusoe", and the "James Bond Theme". Q: What else is there to know about this album? A: While it did spawn the memorable single "Yebo!" (featuring the unique vocals of Zulu performers Mahlathini and the Mahotella Queens). Q: Did they release any other albums during this time? A: Sense? Nonsense! Q: Was this popular? A: It did not produce any hits, although their record label made efforts to push remixes of "Dragnet" into the dance clubs Q: Was dragnets a song on the album? A: made efforts to push remixes of "Dragnet" into the dance clubs and the single reached No. 60 on the UK charts. Q: Who was in the band during this period? A: the band's membership was down to just Jeczalik and Dudley. Q: What else did they do during this time? A: In 1988, a one-off collaboration with singer Tom Jones (a cover of Prince's "Kiss"--a staple in Jones' stage shows) renewed the public's Q: Was this a success? A: renewed the public's interest in the Art of Noise and provided the group's biggest hit in the mainstream.

C_93a80da562044176afdb316d5f893004_1_q#11

Did they break up at all during this period?

0y

0y

C_a4366f97d89441218ed9f1fea265a416_0

Tom Cousineau

Thomas Michael Cousineau (born May 6, 1957) is an American former college and professional football player who was a linebacker in the Canadian Football League (CFL) and National Football League (NFL) for nine seasons during the 1970s and 1980s. He played college football for Ohio State University, and twice earned All-American honors. He was the first overall pick of the 1979 NFL Draft, and played professionally for the CFL's Montreal Alouettes and the NFL's Cleveland Browns and San Francisco 49ers. Cousineau is a member of the College Football Hall of Fame, elected in the class of 2016.

Professional football career

Cousineau was drafted first overall in the 1979 NFL Draft by the Buffalo Bills, who acquired the pick as a part of a package of five draft picks from the San Francisco 49ers in a 1978 trade for O.J. Simpson. However, he never played a game for the Bills. He instead signed with the Canadian Football League Montreal Alouettes, who signed him for double the money originally offered by the Bills. Cousineau became a star for the Alouettes, becoming the Grey Cup Most Valuable Player in the 1979 season. He only played in four games in his third season because of an elbow injury while the Alouettes collapsed. In 1982, Cousineau wanted to return to the NFL, choosing to forego two optional years with the Alouettes. The Houston Oilers attempted to sign him, but the Bills (who still held Cousineau's NFL rights) matched the offer. Cleveland Browns owner Art Modell had long been interested in signing him. Cousineau was then traded from the Bills to the Cleveland Browns for a first-round draft choice (14th overall) in the 1983 NFL Draft, plus a second and a third draft choice in subsequent years. That first-round pick was used on future Hall of Fame quarterback Jim Kelly. Cousineau signed a five-year contract for $2.5 million, the highest contract ever at the time by the Browns. In 1983, Cousineau was arrested in connection with minor collision with a police car on Saint Patrick's Day He was charged with drunk driving, improperly using traffic lanes, and not having his driver's license. He was subsequently found not guilty of the drunk driving charge, but guilty of the moving violation (the driver's license charge was dropped). During Cousineau's four seasons with the Browns, he led the team in tackles for three seasons. He was named a 2nd-team All-NFL by the NEA in 1983, and by the AP in 1984, but never made the Pro Bowl in his career. He was considered an overpaid disappointment in Cleveland, while Bills fans fondly remember the fact that the man who once snubbed them for the CFL was traded for Jim Kelly. Cousineau signed with the San Francisco 49ers as a free agent after the 1985 season where he played two years as a reserve before retiring in 1987. Cousineau finished his NFL career with ten interceptions and 6.5 career sacks.

C_a4366f97d89441218ed9f1fea265a416_0_q#0

where did he start his career?

0y

2x

C_a4366f97d89441218ed9f1fea265a416_0

Tom Cousineau

Thomas Michael Cousineau (born May 6, 1957) is an American former college and professional football player who was a linebacker in the Canadian Football League (CFL) and National Football League (NFL) for nine seasons during the 1970s and 1980s. He played college football for Ohio State University, and twice earned All-American honors. He was the first overall pick of the 1979 NFL Draft, and played professionally for the CFL's Montreal Alouettes and the NFL's Cleveland Browns and San Francisco 49ers. Cousineau is a member of the College Football Hall of Fame, elected in the class of 2016.

Professional football career

Cousineau was drafted first overall in the 1979 NFL Draft by the Buffalo Bills, who acquired the pick as a part of a package of five draft picks from the San Francisco 49ers in a 1978 trade for O.J. Simpson. However, he never played a game for the Bills. He instead signed with the Canadian Football League Montreal Alouettes, who signed him for double the money originally offered by the Bills. Cousineau became a star for the Alouettes, becoming the Grey Cup Most Valuable Player in the 1979 season. He only played in four games in his third season because of an elbow injury while the Alouettes collapsed. In 1982, Cousineau wanted to return to the NFL, choosing to forego two optional years with the Alouettes. The Houston Oilers attempted to sign him, but the Bills (who still held Cousineau's NFL rights) matched the offer. Cleveland Browns owner Art Modell had long been interested in signing him. Cousineau was then traded from the Bills to the Cleveland Browns for a first-round draft choice (14th overall) in the 1983 NFL Draft, plus a second and a third draft choice in subsequent years. That first-round pick was used on future Hall of Fame quarterback Jim Kelly. Cousineau signed a five-year contract for $2.5 million, the highest contract ever at the time by the Browns. In 1983, Cousineau was arrested in connection with minor collision with a police car on Saint Patrick's Day He was charged with drunk driving, improperly using traffic lanes, and not having his driver's license. He was subsequently found not guilty of the drunk driving charge, but guilty of the moving violation (the driver's license charge was dropped). During Cousineau's four seasons with the Browns, he led the team in tackles for three seasons. He was named a 2nd-team All-NFL by the NEA in 1983, and by the AP in 1984, but never made the Pro Bowl in his career. He was considered an overpaid disappointment in Cleveland, while Bills fans fondly remember the fact that the man who once snubbed them for the CFL was traded for Jim Kelly. Cousineau signed with the San Francisco 49ers as a free agent after the 1985 season where he played two years as a reserve before retiring in 1987. Cousineau finished his NFL career with ten interceptions and 6.5 career sacks. Q: where did he start his career? A: He instead signed with the Canadian Football League Montreal Alouettes,

C_a4366f97d89441218ed9f1fea265a416_0_q#1

what were some of his successes on the team?

2m

2x

C_a4366f97d89441218ed9f1fea265a416_0

Tom Cousineau

Thomas Michael Cousineau (born May 6, 1957) is an American former college and professional football player who was a linebacker in the Canadian Football League (CFL) and National Football League (NFL) for nine seasons during the 1970s and 1980s. He played college football for Ohio State University, and twice earned All-American honors. He was the first overall pick of the 1979 NFL Draft, and played professionally for the CFL's Montreal Alouettes and the NFL's Cleveland Browns and San Francisco 49ers. Cousineau is a member of the College Football Hall of Fame, elected in the class of 2016.

Professional football career

Cousineau was drafted first overall in the 1979 NFL Draft by the Buffalo Bills, who acquired the pick as a part of a package of five draft picks from the San Francisco 49ers in a 1978 trade for O.J. Simpson. However, he never played a game for the Bills. He instead signed with the Canadian Football League Montreal Alouettes, who signed him for double the money originally offered by the Bills. Cousineau became a star for the Alouettes, becoming the Grey Cup Most Valuable Player in the 1979 season. He only played in four games in his third season because of an elbow injury while the Alouettes collapsed. In 1982, Cousineau wanted to return to the NFL, choosing to forego two optional years with the Alouettes. The Houston Oilers attempted to sign him, but the Bills (who still held Cousineau's NFL rights) matched the offer. Cleveland Browns owner Art Modell had long been interested in signing him. Cousineau was then traded from the Bills to the Cleveland Browns for a first-round draft choice (14th overall) in the 1983 NFL Draft, plus a second and a third draft choice in subsequent years. That first-round pick was used on future Hall of Fame quarterback Jim Kelly. Cousineau signed a five-year contract for $2.5 million, the highest contract ever at the time by the Browns. In 1983, Cousineau was arrested in connection with minor collision with a police car on Saint Patrick's Day He was charged with drunk driving, improperly using traffic lanes, and not having his driver's license. He was subsequently found not guilty of the drunk driving charge, but guilty of the moving violation (the driver's license charge was dropped). During Cousineau's four seasons with the Browns, he led the team in tackles for three seasons. He was named a 2nd-team All-NFL by the NEA in 1983, and by the AP in 1984, but never made the Pro Bowl in his career. He was considered an overpaid disappointment in Cleveland, while Bills fans fondly remember the fact that the man who once snubbed them for the CFL was traded for Jim Kelly. Cousineau signed with the San Francisco 49ers as a free agent after the 1985 season where he played two years as a reserve before retiring in 1987. Cousineau finished his NFL career with ten interceptions and 6.5 career sacks. Q: where did he start his career? A: He instead signed with the Canadian Football League Montreal Alouettes, Q: what were some of his successes on the team? A: becoming the Grey Cup Most Valuable Player in the 1979 season.

C_a4366f97d89441218ed9f1fea265a416_0_q#2

what position did he play?

1n

2x

C_a4366f97d89441218ed9f1fea265a416_0

Tom Cousineau

Thomas Michael Cousineau (born May 6, 1957) is an American former college and professional football player who was a linebacker in the Canadian Football League (CFL) and National Football League (NFL) for nine seasons during the 1970s and 1980s. He played college football for Ohio State University, and twice earned All-American honors. He was the first overall pick of the 1979 NFL Draft, and played professionally for the CFL's Montreal Alouettes and the NFL's Cleveland Browns and San Francisco 49ers. Cousineau is a member of the College Football Hall of Fame, elected in the class of 2016.

Professional football career

Cousineau was drafted first overall in the 1979 NFL Draft by the Buffalo Bills, who acquired the pick as a part of a package of five draft picks from the San Francisco 49ers in a 1978 trade for O.J. Simpson. However, he never played a game for the Bills. He instead signed with the Canadian Football League Montreal Alouettes, who signed him for double the money originally offered by the Bills. Cousineau became a star for the Alouettes, becoming the Grey Cup Most Valuable Player in the 1979 season. He only played in four games in his third season because of an elbow injury while the Alouettes collapsed. In 1982, Cousineau wanted to return to the NFL, choosing to forego two optional years with the Alouettes. The Houston Oilers attempted to sign him, but the Bills (who still held Cousineau's NFL rights) matched the offer. Cleveland Browns owner Art Modell had long been interested in signing him. Cousineau was then traded from the Bills to the Cleveland Browns for a first-round draft choice (14th overall) in the 1983 NFL Draft, plus a second and a third draft choice in subsequent years. That first-round pick was used on future Hall of Fame quarterback Jim Kelly. Cousineau signed a five-year contract for $2.5 million, the highest contract ever at the time by the Browns. In 1983, Cousineau was arrested in connection with minor collision with a police car on Saint Patrick's Day He was charged with drunk driving, improperly using traffic lanes, and not having his driver's license. He was subsequently found not guilty of the drunk driving charge, but guilty of the moving violation (the driver's license charge was dropped). During Cousineau's four seasons with the Browns, he led the team in tackles for three seasons. He was named a 2nd-team All-NFL by the NEA in 1983, and by the AP in 1984, but never made the Pro Bowl in his career. He was considered an overpaid disappointment in Cleveland, while Bills fans fondly remember the fact that the man who once snubbed them for the CFL was traded for Jim Kelly. Cousineau signed with the San Francisco 49ers as a free agent after the 1985 season where he played two years as a reserve before retiring in 1987. Cousineau finished his NFL career with ten interceptions and 6.5 career sacks. Q: where did he start his career? A: He instead signed with the Canadian Football League Montreal Alouettes, Q: what were some of his successes on the team? A: becoming the Grey Cup Most Valuable Player in the 1979 season. Q: what position did he play? A: unknown

C_a4366f97d89441218ed9f1fea265a416_0_q#3

what were some of his most important games?

2m

2x

C_a4366f97d89441218ed9f1fea265a416_0

Tom Cousineau

Thomas Michael Cousineau (born May 6, 1957) is an American former college and professional football player who was a linebacker in the Canadian Football League (CFL) and National Football League (NFL) for nine seasons during the 1970s and 1980s. He played college football for Ohio State University, and twice earned All-American honors. He was the first overall pick of the 1979 NFL Draft, and played professionally for the CFL's Montreal Alouettes and the NFL's Cleveland Browns and San Francisco 49ers. Cousineau is a member of the College Football Hall of Fame, elected in the class of 2016.

Professional football career

Cousineau was drafted first overall in the 1979 NFL Draft by the Buffalo Bills, who acquired the pick as a part of a package of five draft picks from the San Francisco 49ers in a 1978 trade for O.J. Simpson. However, he never played a game for the Bills. He instead signed with the Canadian Football League Montreal Alouettes, who signed him for double the money originally offered by the Bills. Cousineau became a star for the Alouettes, becoming the Grey Cup Most Valuable Player in the 1979 season. He only played in four games in his third season because of an elbow injury while the Alouettes collapsed. In 1982, Cousineau wanted to return to the NFL, choosing to forego two optional years with the Alouettes. The Houston Oilers attempted to sign him, but the Bills (who still held Cousineau's NFL rights) matched the offer. Cleveland Browns owner Art Modell had long been interested in signing him. Cousineau was then traded from the Bills to the Cleveland Browns for a first-round draft choice (14th overall) in the 1983 NFL Draft, plus a second and a third draft choice in subsequent years. That first-round pick was used on future Hall of Fame quarterback Jim Kelly. Cousineau signed a five-year contract for $2.5 million, the highest contract ever at the time by the Browns. In 1983, Cousineau was arrested in connection with minor collision with a police car on Saint Patrick's Day He was charged with drunk driving, improperly using traffic lanes, and not having his driver's license. He was subsequently found not guilty of the drunk driving charge, but guilty of the moving violation (the driver's license charge was dropped). During Cousineau's four seasons with the Browns, he led the team in tackles for three seasons. He was named a 2nd-team All-NFL by the NEA in 1983, and by the AP in 1984, but never made the Pro Bowl in his career. He was considered an overpaid disappointment in Cleveland, while Bills fans fondly remember the fact that the man who once snubbed them for the CFL was traded for Jim Kelly. Cousineau signed with the San Francisco 49ers as a free agent after the 1985 season where he played two years as a reserve before retiring in 1987. Cousineau finished his NFL career with ten interceptions and 6.5 career sacks. Q: where did he start his career? A: He instead signed with the Canadian Football League Montreal Alouettes, Q: what were some of his successes on the team? A: becoming the Grey Cup Most Valuable Player in the 1979 season. Q: what position did he play? A: unknown Q: what were some of his most important games? A: unknown

C_a4366f97d89441218ed9f1fea265a416_0_q#4

did he win any awards?

2m

0y

C_a4366f97d89441218ed9f1fea265a416_1

Tom Cousineau

Thomas Michael Cousineau (born May 6, 1957) is an American former college and professional football player who was a linebacker in the Canadian Football League (CFL) and National Football League (NFL) for nine seasons during the 1970s and 1980s. He played college football for Ohio State University, and twice earned All-American honors. He was the first overall pick of the 1979 NFL Draft, and played professionally for the CFL's Montreal Alouettes and the NFL's Cleveland Browns and San Francisco 49ers. Cousineau is a member of the College Football Hall of Fame, elected in the class of 2016.

College football career

Cousineau attended Ohio State University, where he played for legendary coach Woody Hayes' Ohio State Buckeyes football team from 1975 to 1978. During that span, Ohio State had an overall record of 36-10-2 and 28-4 in the Big Ten, were three-time Big Ten champs. The Buckeyes played four bowl games after each of the seasons he played: in the Rose Bowl, Orange Bowl, Sugar Bowl and Gator Bowl. They were a Top 5 team for 36 weeks over these four years and the No. 1 team in the nation for eight weeks in 1975, and ultimately finished fourth, sixth and 12th in the final Associated Press polls in 1975, 1976 and 1977, respectively. Cousineau majored in marketing. It is rumored that he frequently ate Ken Boock's lunch while attending Ohio State. He was a consensus first-team All-American, breaking the school record with 211 tackles in a single season in 1978, an average of 17.5 a game. He also broke the school record for most tackles in a game with 29 against Penn State in 1978, and was the MVP of the 1977 Orange Bowl. Cousineau's last game for the Buckeyes was the infamous 1978 Gator Bowl against Clemson, during which Coach Hayes punched Clemson linebacker Charlie Bauman in the final minutes of the game. Hayes was fired the following day for the incident. Cousineau still holds many of Ohio State's tackling records. As of 2016, he holds six of the top 10 single-game tackling records, 29 single-game tackles (since tied by fellow College Football Hall of Famer Chris Spielman), most solo tackles in a single game, (16 against SMU in 1978). He also ranks second on both the all-time OSU tackle list with 569 (three behind Marcus Marek) and on the career solo tackles list with 259. He was named an All-American in 1977 and 1978. The Chicago Tribune named him the MVP of the Big Ten in 1978. He graduated from OSU in 1979. In 2016, he became the 25th Ohio State player, along with seven Buckeye coaches, to be named to the College Football Hall of Fame.

C_a4366f97d89441218ed9f1fea265a416_1_q#0

Where did he attend college?

2m

2x

C_a4366f97d89441218ed9f1fea265a416_1

Tom Cousineau

Thomas Michael Cousineau (born May 6, 1957) is an American former college and professional football player who was a linebacker in the Canadian Football League (CFL) and National Football League (NFL) for nine seasons during the 1970s and 1980s. He played college football for Ohio State University, and twice earned All-American honors. He was the first overall pick of the 1979 NFL Draft, and played professionally for the CFL's Montreal Alouettes and the NFL's Cleveland Browns and San Francisco 49ers. Cousineau is a member of the College Football Hall of Fame, elected in the class of 2016.

College football career

Cousineau attended Ohio State University, where he played for legendary coach Woody Hayes' Ohio State Buckeyes football team from 1975 to 1978. During that span, Ohio State had an overall record of 36-10-2 and 28-4 in the Big Ten, were three-time Big Ten champs. The Buckeyes played four bowl games after each of the seasons he played: in the Rose Bowl, Orange Bowl, Sugar Bowl and Gator Bowl. They were a Top 5 team for 36 weeks over these four years and the No. 1 team in the nation for eight weeks in 1975, and ultimately finished fourth, sixth and 12th in the final Associated Press polls in 1975, 1976 and 1977, respectively. Cousineau majored in marketing. It is rumored that he frequently ate Ken Boock's lunch while attending Ohio State. He was a consensus first-team All-American, breaking the school record with 211 tackles in a single season in 1978, an average of 17.5 a game. He also broke the school record for most tackles in a game with 29 against Penn State in 1978, and was the MVP of the 1977 Orange Bowl. Cousineau's last game for the Buckeyes was the infamous 1978 Gator Bowl against Clemson, during which Coach Hayes punched Clemson linebacker Charlie Bauman in the final minutes of the game. Hayes was fired the following day for the incident. Cousineau still holds many of Ohio State's tackling records. As of 2016, he holds six of the top 10 single-game tackling records, 29 single-game tackles (since tied by fellow College Football Hall of Famer Chris Spielman), most solo tackles in a single game, (16 against SMU in 1978). He also ranks second on both the all-time OSU tackle list with 569 (three behind Marcus Marek) and on the career solo tackles list with 259. He was named an All-American in 1977 and 1978. The Chicago Tribune named him the MVP of the Big Ten in 1978. He graduated from OSU in 1979. In 2016, he became the 25th Ohio State player, along with seven Buckeye coaches, to be named to the College Football Hall of Fame. Q: Where did he attend college? A: Ohio State University,

C_a4366f97d89441218ed9f1fea265a416_1_q#1

What were his stats there?

2m

2x

C_a4366f97d89441218ed9f1fea265a416_1

Tom Cousineau

Thomas Michael Cousineau (born May 6, 1957) is an American former college and professional football player who was a linebacker in the Canadian Football League (CFL) and National Football League (NFL) for nine seasons during the 1970s and 1980s. He played college football for Ohio State University, and twice earned All-American honors. He was the first overall pick of the 1979 NFL Draft, and played professionally for the CFL's Montreal Alouettes and the NFL's Cleveland Browns and San Francisco 49ers. Cousineau is a member of the College Football Hall of Fame, elected in the class of 2016.

College football career

Cousineau attended Ohio State University, where he played for legendary coach Woody Hayes' Ohio State Buckeyes football team from 1975 to 1978. During that span, Ohio State had an overall record of 36-10-2 and 28-4 in the Big Ten, were three-time Big Ten champs. The Buckeyes played four bowl games after each of the seasons he played: in the Rose Bowl, Orange Bowl, Sugar Bowl and Gator Bowl. They were a Top 5 team for 36 weeks over these four years and the No. 1 team in the nation for eight weeks in 1975, and ultimately finished fourth, sixth and 12th in the final Associated Press polls in 1975, 1976 and 1977, respectively. Cousineau majored in marketing. It is rumored that he frequently ate Ken Boock's lunch while attending Ohio State. He was a consensus first-team All-American, breaking the school record with 211 tackles in a single season in 1978, an average of 17.5 a game. He also broke the school record for most tackles in a game with 29 against Penn State in 1978, and was the MVP of the 1977 Orange Bowl. Cousineau's last game for the Buckeyes was the infamous 1978 Gator Bowl against Clemson, during which Coach Hayes punched Clemson linebacker Charlie Bauman in the final minutes of the game. Hayes was fired the following day for the incident. Cousineau still holds many of Ohio State's tackling records. As of 2016, he holds six of the top 10 single-game tackling records, 29 single-game tackles (since tied by fellow College Football Hall of Famer Chris Spielman), most solo tackles in a single game, (16 against SMU in 1978). He also ranks second on both the all-time OSU tackle list with 569 (three behind Marcus Marek) and on the career solo tackles list with 259. He was named an All-American in 1977 and 1978. The Chicago Tribune named him the MVP of the Big Ten in 1978. He graduated from OSU in 1979. In 2016, he became the 25th Ohio State player, along with seven Buckeye coaches, to be named to the College Football Hall of Fame. Q: Where did he attend college? A: Ohio State University, Q: What were his stats there? A: he holds six of the top 10 single-game tackling records, 29 single-game tackles

C_a4366f97d89441218ed9f1fea265a416_1_q#2

How many years did he play there?

2m

2x

C_a4366f97d89441218ed9f1fea265a416_1

Tom Cousineau

Thomas Michael Cousineau (born May 6, 1957) is an American former college and professional football player who was a linebacker in the Canadian Football League (CFL) and National Football League (NFL) for nine seasons during the 1970s and 1980s. He played college football for Ohio State University, and twice earned All-American honors. He was the first overall pick of the 1979 NFL Draft, and played professionally for the CFL's Montreal Alouettes and the NFL's Cleveland Browns and San Francisco 49ers. Cousineau is a member of the College Football Hall of Fame, elected in the class of 2016.

College football career

Cousineau attended Ohio State University, where he played for legendary coach Woody Hayes' Ohio State Buckeyes football team from 1975 to 1978. During that span, Ohio State had an overall record of 36-10-2 and 28-4 in the Big Ten, were three-time Big Ten champs. The Buckeyes played four bowl games after each of the seasons he played: in the Rose Bowl, Orange Bowl, Sugar Bowl and Gator Bowl. They were a Top 5 team for 36 weeks over these four years and the No. 1 team in the nation for eight weeks in 1975, and ultimately finished fourth, sixth and 12th in the final Associated Press polls in 1975, 1976 and 1977, respectively. Cousineau majored in marketing. It is rumored that he frequently ate Ken Boock's lunch while attending Ohio State. He was a consensus first-team All-American, breaking the school record with 211 tackles in a single season in 1978, an average of 17.5 a game. He also broke the school record for most tackles in a game with 29 against Penn State in 1978, and was the MVP of the 1977 Orange Bowl. Cousineau's last game for the Buckeyes was the infamous 1978 Gator Bowl against Clemson, during which Coach Hayes punched Clemson linebacker Charlie Bauman in the final minutes of the game. Hayes was fired the following day for the incident. Cousineau still holds many of Ohio State's tackling records. As of 2016, he holds six of the top 10 single-game tackling records, 29 single-game tackles (since tied by fellow College Football Hall of Famer Chris Spielman), most solo tackles in a single game, (16 against SMU in 1978). He also ranks second on both the all-time OSU tackle list with 569 (three behind Marcus Marek) and on the career solo tackles list with 259. He was named an All-American in 1977 and 1978. The Chicago Tribune named him the MVP of the Big Ten in 1978. He graduated from OSU in 1979. In 2016, he became the 25th Ohio State player, along with seven Buckeye coaches, to be named to the College Football Hall of Fame. Q: Where did he attend college? A: Ohio State University, Q: What were his stats there? A: he holds six of the top 10 single-game tackling records, 29 single-game tackles Q: How many years did he play there? A: Ohio State Buckeyes football team from 1975 to 1978.

C_a4366f97d89441218ed9f1fea265a416_1_q#3

What awards did he win?

2m

2x

C_a4366f97d89441218ed9f1fea265a416_1

Tom Cousineau

Thomas Michael Cousineau (born May 6, 1957) is an American former college and professional football player who was a linebacker in the Canadian Football League (CFL) and National Football League (NFL) for nine seasons during the 1970s and 1980s. He played college football for Ohio State University, and twice earned All-American honors. He was the first overall pick of the 1979 NFL Draft, and played professionally for the CFL's Montreal Alouettes and the NFL's Cleveland Browns and San Francisco 49ers. Cousineau is a member of the College Football Hall of Fame, elected in the class of 2016.

College football career

Cousineau attended Ohio State University, where he played for legendary coach Woody Hayes' Ohio State Buckeyes football team from 1975 to 1978. During that span, Ohio State had an overall record of 36-10-2 and 28-4 in the Big Ten, were three-time Big Ten champs. The Buckeyes played four bowl games after each of the seasons he played: in the Rose Bowl, Orange Bowl, Sugar Bowl and Gator Bowl. They were a Top 5 team for 36 weeks over these four years and the No. 1 team in the nation for eight weeks in 1975, and ultimately finished fourth, sixth and 12th in the final Associated Press polls in 1975, 1976 and 1977, respectively. Cousineau majored in marketing. It is rumored that he frequently ate Ken Boock's lunch while attending Ohio State. He was a consensus first-team All-American, breaking the school record with 211 tackles in a single season in 1978, an average of 17.5 a game. He also broke the school record for most tackles in a game with 29 against Penn State in 1978, and was the MVP of the 1977 Orange Bowl. Cousineau's last game for the Buckeyes was the infamous 1978 Gator Bowl against Clemson, during which Coach Hayes punched Clemson linebacker Charlie Bauman in the final minutes of the game. Hayes was fired the following day for the incident. Cousineau still holds many of Ohio State's tackling records. As of 2016, he holds six of the top 10 single-game tackling records, 29 single-game tackles (since tied by fellow College Football Hall of Famer Chris Spielman), most solo tackles in a single game, (16 against SMU in 1978). He also ranks second on both the all-time OSU tackle list with 569 (three behind Marcus Marek) and on the career solo tackles list with 259. He was named an All-American in 1977 and 1978. The Chicago Tribune named him the MVP of the Big Ten in 1978. He graduated from OSU in 1979. In 2016, he became the 25th Ohio State player, along with seven Buckeye coaches, to be named to the College Football Hall of Fame. Q: Where did he attend college? A: Ohio State University, Q: What were his stats there? A: he holds six of the top 10 single-game tackling records, 29 single-game tackles Q: How many years did he play there? A: Ohio State Buckeyes football team from 1975 to 1978. Q: What awards did he win? A: He was named an All-American in 1977 and 1978.

C_a4366f97d89441218ed9f1fea265a416_1_q#4

What was his major?

1n

2x

C_4f7b8d89e29b402da38481fd6ce54d4e_0

Mickey Thompson

Marion Lee "Mickey" Thompson (December 7, 1928 - March 16, 1988) was an American auto racing builder and promoter. A hot rodder since his youth, Thompson increasingly pursued land speed records in his late 20s and early 30s. He achieved international fame in 1960 when he became the first American to break the 400 mph barrier, driving his Challenger 1 to a one-way top speed of 406.60 mph at the Bonneville Salt Flats and surpassing John Cobb's one-way world record mark of 402 mph. Thompson then turned to racing, winning many track and dragster championships.

Indy years

In 1962 Thompson entered three John Crosthwaite designed cars in the Indianapolis 500. Unusually, they used a stock V8 Buick engine and it was in the rear unlike the front engined, race tuned, Offenhauser powered cars used by most competitors. It was the first stock engine to be raced at Indy since 1946. Thompson's crew, led by Fritz Voigt, were young, smart and hard working. Working 12-14 hour days, the car was designed and built in 120 days. For the race, the engine (enlarged to 4.2 litre capacity, the maximum allowed by the regulations for "stock block" engines) had to be detuned because they were concerned it would not last the distance. Despite being more than 70 bhp down on the other cars, Dan Gurney qualified eighth and was in ninth place until a leaking oil seal seized the gearbox and ended his race on lap 94. He was placed 20th out of 33. The team won the Mechanical Achievement Award for original design, construction and accomplishment. Thompson's promotion skills pleased the sponsors with the publicity generated that year. For the 1963 Indianapolis 500 Crosthwaite designed the innovative Harvey Aluminium Special "roller skate car" with the then pioneering smaller profile (12 inch diameter) and wide racing tires (front 7 inches and rear 9 inches wide) and wheels. Thompson took five cars to Indianapolis. Two of the previous year's design with Chevrolet V8 engines and three roller skate cars. One of the new cars, the Harvey Titanium Special, featured a lightweight titanium chassis. Al Miller II raced one of the modified 1962 cars to ninth place despite only qualifying in 31st position. Duane Carter qualified one of the roller skate cars 15th but was only placed 23rd after an engine failure on the 100th lap. The small tire sizes and low car weights caused complaints amongst the old hands and owners, so for future races, cars were restricted to minimum tire sizes and minimum car weights. 1962 Formula One World Champion Graham Hill tested one of the roller skate cars at Indianapolis in 1963, but refused to race it citing its poor handling. In 1963 Thompson traveled to England where, along with Dante Duce, he demonstrated his Ford-powered top fuel Harvey Aluminum Special dragster at the Brighton Speed Trials. It was then displayed at the Racing Car Show in London in January 1964. Thompson brought three modified 12-inch tire cars to the 1964 Indianapolis 500, but new rules required him to use 15-inch tires. The Allstate sponsored team used Allstate tires and Ford engines. The chassis had to be altered to accommodate the larger Ford engines. Two of them qualified for the race. The car No.84 began the month with Masten Gregory as the driver but Eddie Johnson in car No.84 qualified 24th and finished 26th. Dave MacDonald in car No.83 qualified 14th and died in a fiery crash on the second lap.

C_4f7b8d89e29b402da38481fd6ce54d4e_0_q#0

What was his first race on the Indy Circuit?

0y

2x

C_4f7b8d89e29b402da38481fd6ce54d4e_0

Mickey Thompson

Marion Lee "Mickey" Thompson (December 7, 1928 - March 16, 1988) was an American auto racing builder and promoter. A hot rodder since his youth, Thompson increasingly pursued land speed records in his late 20s and early 30s. He achieved international fame in 1960 when he became the first American to break the 400 mph barrier, driving his Challenger 1 to a one-way top speed of 406.60 mph at the Bonneville Salt Flats and surpassing John Cobb's one-way world record mark of 402 mph. Thompson then turned to racing, winning many track and dragster championships.

Indy years

In 1962 Thompson entered three John Crosthwaite designed cars in the Indianapolis 500. Unusually, they used a stock V8 Buick engine and it was in the rear unlike the front engined, race tuned, Offenhauser powered cars used by most competitors. It was the first stock engine to be raced at Indy since 1946. Thompson's crew, led by Fritz Voigt, were young, smart and hard working. Working 12-14 hour days, the car was designed and built in 120 days. For the race, the engine (enlarged to 4.2 litre capacity, the maximum allowed by the regulations for "stock block" engines) had to be detuned because they were concerned it would not last the distance. Despite being more than 70 bhp down on the other cars, Dan Gurney qualified eighth and was in ninth place until a leaking oil seal seized the gearbox and ended his race on lap 94. He was placed 20th out of 33. The team won the Mechanical Achievement Award for original design, construction and accomplishment. Thompson's promotion skills pleased the sponsors with the publicity generated that year. For the 1963 Indianapolis 500 Crosthwaite designed the innovative Harvey Aluminium Special "roller skate car" with the then pioneering smaller profile (12 inch diameter) and wide racing tires (front 7 inches and rear 9 inches wide) and wheels. Thompson took five cars to Indianapolis. Two of the previous year's design with Chevrolet V8 engines and three roller skate cars. One of the new cars, the Harvey Titanium Special, featured a lightweight titanium chassis. Al Miller II raced one of the modified 1962 cars to ninth place despite only qualifying in 31st position. Duane Carter qualified one of the roller skate cars 15th but was only placed 23rd after an engine failure on the 100th lap. The small tire sizes and low car weights caused complaints amongst the old hands and owners, so for future races, cars were restricted to minimum tire sizes and minimum car weights. 1962 Formula One World Champion Graham Hill tested one of the roller skate cars at Indianapolis in 1963, but refused to race it citing its poor handling. In 1963 Thompson traveled to England where, along with Dante Duce, he demonstrated his Ford-powered top fuel Harvey Aluminum Special dragster at the Brighton Speed Trials. It was then displayed at the Racing Car Show in London in January 1964. Thompson brought three modified 12-inch tire cars to the 1964 Indianapolis 500, but new rules required him to use 15-inch tires. The Allstate sponsored team used Allstate tires and Ford engines. The chassis had to be altered to accommodate the larger Ford engines. Two of them qualified for the race. The car No.84 began the month with Masten Gregory as the driver but Eddie Johnson in car No.84 qualified 24th and finished 26th. Dave MacDonald in car No.83 qualified 14th and died in a fiery crash on the second lap. Q: What was his first race on the Indy Circuit? A: In 1962 Thompson entered three John Crosthwaite designed cars in the Indianapolis 500.

C_4f7b8d89e29b402da38481fd6ce54d4e_0_q#1

How did he do?

0y

2x

C_4f7b8d89e29b402da38481fd6ce54d4e_0

Mickey Thompson

Marion Lee "Mickey" Thompson (December 7, 1928 - March 16, 1988) was an American auto racing builder and promoter. A hot rodder since his youth, Thompson increasingly pursued land speed records in his late 20s and early 30s. He achieved international fame in 1960 when he became the first American to break the 400 mph barrier, driving his Challenger 1 to a one-way top speed of 406.60 mph at the Bonneville Salt Flats and surpassing John Cobb's one-way world record mark of 402 mph. Thompson then turned to racing, winning many track and dragster championships.

Indy years

In 1962 Thompson entered three John Crosthwaite designed cars in the Indianapolis 500. Unusually, they used a stock V8 Buick engine and it was in the rear unlike the front engined, race tuned, Offenhauser powered cars used by most competitors. It was the first stock engine to be raced at Indy since 1946. Thompson's crew, led by Fritz Voigt, were young, smart and hard working. Working 12-14 hour days, the car was designed and built in 120 days. For the race, the engine (enlarged to 4.2 litre capacity, the maximum allowed by the regulations for "stock block" engines) had to be detuned because they were concerned it would not last the distance. Despite being more than 70 bhp down on the other cars, Dan Gurney qualified eighth and was in ninth place until a leaking oil seal seized the gearbox and ended his race on lap 94. He was placed 20th out of 33. The team won the Mechanical Achievement Award for original design, construction and accomplishment. Thompson's promotion skills pleased the sponsors with the publicity generated that year. For the 1963 Indianapolis 500 Crosthwaite designed the innovative Harvey Aluminium Special "roller skate car" with the then pioneering smaller profile (12 inch diameter) and wide racing tires (front 7 inches and rear 9 inches wide) and wheels. Thompson took five cars to Indianapolis. Two of the previous year's design with Chevrolet V8 engines and three roller skate cars. One of the new cars, the Harvey Titanium Special, featured a lightweight titanium chassis. Al Miller II raced one of the modified 1962 cars to ninth place despite only qualifying in 31st position. Duane Carter qualified one of the roller skate cars 15th but was only placed 23rd after an engine failure on the 100th lap. The small tire sizes and low car weights caused complaints amongst the old hands and owners, so for future races, cars were restricted to minimum tire sizes and minimum car weights. 1962 Formula One World Champion Graham Hill tested one of the roller skate cars at Indianapolis in 1963, but refused to race it citing its poor handling. In 1963 Thompson traveled to England where, along with Dante Duce, he demonstrated his Ford-powered top fuel Harvey Aluminum Special dragster at the Brighton Speed Trials. It was then displayed at the Racing Car Show in London in January 1964. Thompson brought three modified 12-inch tire cars to the 1964 Indianapolis 500, but new rules required him to use 15-inch tires. The Allstate sponsored team used Allstate tires and Ford engines. The chassis had to be altered to accommodate the larger Ford engines. Two of them qualified for the race. The car No.84 began the month with Masten Gregory as the driver but Eddie Johnson in car No.84 qualified 24th and finished 26th. Dave MacDonald in car No.83 qualified 14th and died in a fiery crash on the second lap. Q: What was his first race on the Indy Circuit? A: In 1962 Thompson entered three John Crosthwaite designed cars in the Indianapolis 500. Q: How did he do? A: Unusually, they used a stock V8 Buick engine and it was in the rear unlike the front engined, race tuned, Offenhauser powered cars used by most competitors. It

C_4f7b8d89e29b402da38481fd6ce54d4e_0_q#2

How did the change in design affect the performance?

0y

2x

C_4f7b8d89e29b402da38481fd6ce54d4e_0

Mickey Thompson

Marion Lee "Mickey" Thompson (December 7, 1928 - March 16, 1988) was an American auto racing builder and promoter. A hot rodder since his youth, Thompson increasingly pursued land speed records in his late 20s and early 30s. He achieved international fame in 1960 when he became the first American to break the 400 mph barrier, driving his Challenger 1 to a one-way top speed of 406.60 mph at the Bonneville Salt Flats and surpassing John Cobb's one-way world record mark of 402 mph. Thompson then turned to racing, winning many track and dragster championships.

Indy years

In 1962 Thompson entered three John Crosthwaite designed cars in the Indianapolis 500. Unusually, they used a stock V8 Buick engine and it was in the rear unlike the front engined, race tuned, Offenhauser powered cars used by most competitors. It was the first stock engine to be raced at Indy since 1946. Thompson's crew, led by Fritz Voigt, were young, smart and hard working. Working 12-14 hour days, the car was designed and built in 120 days. For the race, the engine (enlarged to 4.2 litre capacity, the maximum allowed by the regulations for "stock block" engines) had to be detuned because they were concerned it would not last the distance. Despite being more than 70 bhp down on the other cars, Dan Gurney qualified eighth and was in ninth place until a leaking oil seal seized the gearbox and ended his race on lap 94. He was placed 20th out of 33. The team won the Mechanical Achievement Award for original design, construction and accomplishment. Thompson's promotion skills pleased the sponsors with the publicity generated that year. For the 1963 Indianapolis 500 Crosthwaite designed the innovative Harvey Aluminium Special "roller skate car" with the then pioneering smaller profile (12 inch diameter) and wide racing tires (front 7 inches and rear 9 inches wide) and wheels. Thompson took five cars to Indianapolis. Two of the previous year's design with Chevrolet V8 engines and three roller skate cars. One of the new cars, the Harvey Titanium Special, featured a lightweight titanium chassis. Al Miller II raced one of the modified 1962 cars to ninth place despite only qualifying in 31st position. Duane Carter qualified one of the roller skate cars 15th but was only placed 23rd after an engine failure on the 100th lap. The small tire sizes and low car weights caused complaints amongst the old hands and owners, so for future races, cars were restricted to minimum tire sizes and minimum car weights. 1962 Formula One World Champion Graham Hill tested one of the roller skate cars at Indianapolis in 1963, but refused to race it citing its poor handling. In 1963 Thompson traveled to England where, along with Dante Duce, he demonstrated his Ford-powered top fuel Harvey Aluminum Special dragster at the Brighton Speed Trials. It was then displayed at the Racing Car Show in London in January 1964. Thompson brought three modified 12-inch tire cars to the 1964 Indianapolis 500, but new rules required him to use 15-inch tires. The Allstate sponsored team used Allstate tires and Ford engines. The chassis had to be altered to accommodate the larger Ford engines. Two of them qualified for the race. The car No.84 began the month with Masten Gregory as the driver but Eddie Johnson in car No.84 qualified 24th and finished 26th. Dave MacDonald in car No.83 qualified 14th and died in a fiery crash on the second lap. Q: What was his first race on the Indy Circuit? A: In 1962 Thompson entered three John Crosthwaite designed cars in the Indianapolis 500. Q: How did he do? A: Unusually, they used a stock V8 Buick engine and it was in the rear unlike the front engined, race tuned, Offenhauser powered cars used by most competitors. It Q: How did the change in design affect the performance? A: Thompson's crew, led by Fritz Voigt, were young, smart and hard working. Working 12-14 hour days, the car was designed and built in 120 days.

C_4f7b8d89e29b402da38481fd6ce54d4e_0_q#3

Did the car place in the Race?

0y

0y

C_4f7b8d89e29b402da38481fd6ce54d4e_0

Mickey Thompson

Marion Lee "Mickey" Thompson (December 7, 1928 - March 16, 1988) was an American auto racing builder and promoter. A hot rodder since his youth, Thompson increasingly pursued land speed records in his late 20s and early 30s. He achieved international fame in 1960 when he became the first American to break the 400 mph barrier, driving his Challenger 1 to a one-way top speed of 406.60 mph at the Bonneville Salt Flats and surpassing John Cobb's one-way world record mark of 402 mph. Thompson then turned to racing, winning many track and dragster championships.

Indy years

In 1962 Thompson entered three John Crosthwaite designed cars in the Indianapolis 500. Unusually, they used a stock V8 Buick engine and it was in the rear unlike the front engined, race tuned, Offenhauser powered cars used by most competitors. It was the first stock engine to be raced at Indy since 1946. Thompson's crew, led by Fritz Voigt, were young, smart and hard working. Working 12-14 hour days, the car was designed and built in 120 days. For the race, the engine (enlarged to 4.2 litre capacity, the maximum allowed by the regulations for "stock block" engines) had to be detuned because they were concerned it would not last the distance. Despite being more than 70 bhp down on the other cars, Dan Gurney qualified eighth and was in ninth place until a leaking oil seal seized the gearbox and ended his race on lap 94. He was placed 20th out of 33. The team won the Mechanical Achievement Award for original design, construction and accomplishment. Thompson's promotion skills pleased the sponsors with the publicity generated that year. For the 1963 Indianapolis 500 Crosthwaite designed the innovative Harvey Aluminium Special "roller skate car" with the then pioneering smaller profile (12 inch diameter) and wide racing tires (front 7 inches and rear 9 inches wide) and wheels. Thompson took five cars to Indianapolis. Two of the previous year's design with Chevrolet V8 engines and three roller skate cars. One of the new cars, the Harvey Titanium Special, featured a lightweight titanium chassis. Al Miller II raced one of the modified 1962 cars to ninth place despite only qualifying in 31st position. Duane Carter qualified one of the roller skate cars 15th but was only placed 23rd after an engine failure on the 100th lap. The small tire sizes and low car weights caused complaints amongst the old hands and owners, so for future races, cars were restricted to minimum tire sizes and minimum car weights. 1962 Formula One World Champion Graham Hill tested one of the roller skate cars at Indianapolis in 1963, but refused to race it citing its poor handling. In 1963 Thompson traveled to England where, along with Dante Duce, he demonstrated his Ford-powered top fuel Harvey Aluminum Special dragster at the Brighton Speed Trials. It was then displayed at the Racing Car Show in London in January 1964. Thompson brought three modified 12-inch tire cars to the 1964 Indianapolis 500, but new rules required him to use 15-inch tires. The Allstate sponsored team used Allstate tires and Ford engines. The chassis had to be altered to accommodate the larger Ford engines. Two of them qualified for the race. The car No.84 began the month with Masten Gregory as the driver but Eddie Johnson in car No.84 qualified 24th and finished 26th. Dave MacDonald in car No.83 qualified 14th and died in a fiery crash on the second lap. Q: What was his first race on the Indy Circuit? A: In 1962 Thompson entered three John Crosthwaite designed cars in the Indianapolis 500. Q: How did he do? A: Unusually, they used a stock V8 Buick engine and it was in the rear unlike the front engined, race tuned, Offenhauser powered cars used by most competitors. It Q: How did the change in design affect the performance? A: Thompson's crew, led by Fritz Voigt, were young, smart and hard working. Working 12-14 hour days, the car was designed and built in 120 days. Q: Did the car place in the Race? A: qualified eighth and was in ninth place until a leaking oil seal seized the gearbox and ended his race on lap 94. He was placed 20th out of 33.

C_4f7b8d89e29b402da38481fd6ce54d4e_0_q#4

What year was this race?

1n

2x

C_4f7b8d89e29b402da38481fd6ce54d4e_0

Mickey Thompson

Marion Lee "Mickey" Thompson (December 7, 1928 - March 16, 1988) was an American auto racing builder and promoter. A hot rodder since his youth, Thompson increasingly pursued land speed records in his late 20s and early 30s. He achieved international fame in 1960 when he became the first American to break the 400 mph barrier, driving his Challenger 1 to a one-way top speed of 406.60 mph at the Bonneville Salt Flats and surpassing John Cobb's one-way world record mark of 402 mph. Thompson then turned to racing, winning many track and dragster championships.

Indy years

In 1962 Thompson entered three John Crosthwaite designed cars in the Indianapolis 500. Unusually, they used a stock V8 Buick engine and it was in the rear unlike the front engined, race tuned, Offenhauser powered cars used by most competitors. It was the first stock engine to be raced at Indy since 1946. Thompson's crew, led by Fritz Voigt, were young, smart and hard working. Working 12-14 hour days, the car was designed and built in 120 days. For the race, the engine (enlarged to 4.2 litre capacity, the maximum allowed by the regulations for "stock block" engines) had to be detuned because they were concerned it would not last the distance. Despite being more than 70 bhp down on the other cars, Dan Gurney qualified eighth and was in ninth place until a leaking oil seal seized the gearbox and ended his race on lap 94. He was placed 20th out of 33. The team won the Mechanical Achievement Award for original design, construction and accomplishment. Thompson's promotion skills pleased the sponsors with the publicity generated that year. For the 1963 Indianapolis 500 Crosthwaite designed the innovative Harvey Aluminium Special "roller skate car" with the then pioneering smaller profile (12 inch diameter) and wide racing tires (front 7 inches and rear 9 inches wide) and wheels. Thompson took five cars to Indianapolis. Two of the previous year's design with Chevrolet V8 engines and three roller skate cars. One of the new cars, the Harvey Titanium Special, featured a lightweight titanium chassis. Al Miller II raced one of the modified 1962 cars to ninth place despite only qualifying in 31st position. Duane Carter qualified one of the roller skate cars 15th but was only placed 23rd after an engine failure on the 100th lap. The small tire sizes and low car weights caused complaints amongst the old hands and owners, so for future races, cars were restricted to minimum tire sizes and minimum car weights. 1962 Formula One World Champion Graham Hill tested one of the roller skate cars at Indianapolis in 1963, but refused to race it citing its poor handling. In 1963 Thompson traveled to England where, along with Dante Duce, he demonstrated his Ford-powered top fuel Harvey Aluminum Special dragster at the Brighton Speed Trials. It was then displayed at the Racing Car Show in London in January 1964. Thompson brought three modified 12-inch tire cars to the 1964 Indianapolis 500, but new rules required him to use 15-inch tires. The Allstate sponsored team used Allstate tires and Ford engines. The chassis had to be altered to accommodate the larger Ford engines. Two of them qualified for the race. The car No.84 began the month with Masten Gregory as the driver but Eddie Johnson in car No.84 qualified 24th and finished 26th. Dave MacDonald in car No.83 qualified 14th and died in a fiery crash on the second lap. Q: What was his first race on the Indy Circuit? A: In 1962 Thompson entered three John Crosthwaite designed cars in the Indianapolis 500. Q: How did he do? A: Unusually, they used a stock V8 Buick engine and it was in the rear unlike the front engined, race tuned, Offenhauser powered cars used by most competitors. It Q: How did the change in design affect the performance? A: Thompson's crew, led by Fritz Voigt, were young, smart and hard working. Working 12-14 hour days, the car was designed and built in 120 days. Q: Did the car place in the Race? A: qualified eighth and was in ninth place until a leaking oil seal seized the gearbox and ended his race on lap 94. He was placed 20th out of 33. Q: What year was this race? A: unknown

C_4f7b8d89e29b402da38481fd6ce54d4e_0_q#5

Did he win any awards?

1n

2x

C_4f7b8d89e29b402da38481fd6ce54d4e_0

Mickey Thompson

Marion Lee "Mickey" Thompson (December 7, 1928 - March 16, 1988) was an American auto racing builder and promoter. A hot rodder since his youth, Thompson increasingly pursued land speed records in his late 20s and early 30s. He achieved international fame in 1960 when he became the first American to break the 400 mph barrier, driving his Challenger 1 to a one-way top speed of 406.60 mph at the Bonneville Salt Flats and surpassing John Cobb's one-way world record mark of 402 mph. Thompson then turned to racing, winning many track and dragster championships.

Indy years

In 1962 Thompson entered three John Crosthwaite designed cars in the Indianapolis 500. Unusually, they used a stock V8 Buick engine and it was in the rear unlike the front engined, race tuned, Offenhauser powered cars used by most competitors. It was the first stock engine to be raced at Indy since 1946. Thompson's crew, led by Fritz Voigt, were young, smart and hard working. Working 12-14 hour days, the car was designed and built in 120 days. For the race, the engine (enlarged to 4.2 litre capacity, the maximum allowed by the regulations for "stock block" engines) had to be detuned because they were concerned it would not last the distance. Despite being more than 70 bhp down on the other cars, Dan Gurney qualified eighth and was in ninth place until a leaking oil seal seized the gearbox and ended his race on lap 94. He was placed 20th out of 33. The team won the Mechanical Achievement Award for original design, construction and accomplishment. Thompson's promotion skills pleased the sponsors with the publicity generated that year. For the 1963 Indianapolis 500 Crosthwaite designed the innovative Harvey Aluminium Special "roller skate car" with the then pioneering smaller profile (12 inch diameter) and wide racing tires (front 7 inches and rear 9 inches wide) and wheels. Thompson took five cars to Indianapolis. Two of the previous year's design with Chevrolet V8 engines and three roller skate cars. One of the new cars, the Harvey Titanium Special, featured a lightweight titanium chassis. Al Miller II raced one of the modified 1962 cars to ninth place despite only qualifying in 31st position. Duane Carter qualified one of the roller skate cars 15th but was only placed 23rd after an engine failure on the 100th lap. The small tire sizes and low car weights caused complaints amongst the old hands and owners, so for future races, cars were restricted to minimum tire sizes and minimum car weights. 1962 Formula One World Champion Graham Hill tested one of the roller skate cars at Indianapolis in 1963, but refused to race it citing its poor handling. In 1963 Thompson traveled to England where, along with Dante Duce, he demonstrated his Ford-powered top fuel Harvey Aluminum Special dragster at the Brighton Speed Trials. It was then displayed at the Racing Car Show in London in January 1964. Thompson brought three modified 12-inch tire cars to the 1964 Indianapolis 500, but new rules required him to use 15-inch tires. The Allstate sponsored team used Allstate tires and Ford engines. The chassis had to be altered to accommodate the larger Ford engines. Two of them qualified for the race. The car No.84 began the month with Masten Gregory as the driver but Eddie Johnson in car No.84 qualified 24th and finished 26th. Dave MacDonald in car No.83 qualified 14th and died in a fiery crash on the second lap. Q: What was his first race on the Indy Circuit? A: In 1962 Thompson entered three John Crosthwaite designed cars in the Indianapolis 500. Q: How did he do? A: Unusually, they used a stock V8 Buick engine and it was in the rear unlike the front engined, race tuned, Offenhauser powered cars used by most competitors. It Q: How did the change in design affect the performance? A: Thompson's crew, led by Fritz Voigt, were young, smart and hard working. Working 12-14 hour days, the car was designed and built in 120 days. Q: Did the car place in the Race? A: qualified eighth and was in ninth place until a leaking oil seal seized the gearbox and ended his race on lap 94. He was placed 20th out of 33. Q: What year was this race? A: unknown Q: Did he win any awards? A: unknown

C_4f7b8d89e29b402da38481fd6ce54d4e_0_q#6

Where did he race next?

0y

2x

C_4f7b8d89e29b402da38481fd6ce54d4e_0

Mickey Thompson

Marion Lee "Mickey" Thompson (December 7, 1928 - March 16, 1988) was an American auto racing builder and promoter. A hot rodder since his youth, Thompson increasingly pursued land speed records in his late 20s and early 30s. He achieved international fame in 1960 when he became the first American to break the 400 mph barrier, driving his Challenger 1 to a one-way top speed of 406.60 mph at the Bonneville Salt Flats and surpassing John Cobb's one-way world record mark of 402 mph. Thompson then turned to racing, winning many track and dragster championships.

Indy years

In 1962 Thompson entered three John Crosthwaite designed cars in the Indianapolis 500. Unusually, they used a stock V8 Buick engine and it was in the rear unlike the front engined, race tuned, Offenhauser powered cars used by most competitors. It was the first stock engine to be raced at Indy since 1946. Thompson's crew, led by Fritz Voigt, were young, smart and hard working. Working 12-14 hour days, the car was designed and built in 120 days. For the race, the engine (enlarged to 4.2 litre capacity, the maximum allowed by the regulations for "stock block" engines) had to be detuned because they were concerned it would not last the distance. Despite being more than 70 bhp down on the other cars, Dan Gurney qualified eighth and was in ninth place until a leaking oil seal seized the gearbox and ended his race on lap 94. He was placed 20th out of 33. The team won the Mechanical Achievement Award for original design, construction and accomplishment. Thompson's promotion skills pleased the sponsors with the publicity generated that year. For the 1963 Indianapolis 500 Crosthwaite designed the innovative Harvey Aluminium Special "roller skate car" with the then pioneering smaller profile (12 inch diameter) and wide racing tires (front 7 inches and rear 9 inches wide) and wheels. Thompson took five cars to Indianapolis. Two of the previous year's design with Chevrolet V8 engines and three roller skate cars. One of the new cars, the Harvey Titanium Special, featured a lightweight titanium chassis. Al Miller II raced one of the modified 1962 cars to ninth place despite only qualifying in 31st position. Duane Carter qualified one of the roller skate cars 15th but was only placed 23rd after an engine failure on the 100th lap. The small tire sizes and low car weights caused complaints amongst the old hands and owners, so for future races, cars were restricted to minimum tire sizes and minimum car weights. 1962 Formula One World Champion Graham Hill tested one of the roller skate cars at Indianapolis in 1963, but refused to race it citing its poor handling. In 1963 Thompson traveled to England where, along with Dante Duce, he demonstrated his Ford-powered top fuel Harvey Aluminum Special dragster at the Brighton Speed Trials. It was then displayed at the Racing Car Show in London in January 1964. Thompson brought three modified 12-inch tire cars to the 1964 Indianapolis 500, but new rules required him to use 15-inch tires. The Allstate sponsored team used Allstate tires and Ford engines. The chassis had to be altered to accommodate the larger Ford engines. Two of them qualified for the race. The car No.84 began the month with Masten Gregory as the driver but Eddie Johnson in car No.84 qualified 24th and finished 26th. Dave MacDonald in car No.83 qualified 14th and died in a fiery crash on the second lap. Q: What was his first race on the Indy Circuit? A: In 1962 Thompson entered three John Crosthwaite designed cars in the Indianapolis 500. Q: How did he do? A: Unusually, they used a stock V8 Buick engine and it was in the rear unlike the front engined, race tuned, Offenhauser powered cars used by most competitors. It Q: How did the change in design affect the performance? A: Thompson's crew, led by Fritz Voigt, were young, smart and hard working. Working 12-14 hour days, the car was designed and built in 120 days. Q: Did the car place in the Race? A: qualified eighth and was in ninth place until a leaking oil seal seized the gearbox and ended his race on lap 94. He was placed 20th out of 33. Q: What year was this race? A: unknown Q: Did he win any awards? A: unknown Q: Where did he race next? A: For the 1963 Indianapolis 500 Crosthwaite designed the innovative Harvey Aluminium Special "roller skate car" with the then pioneering smaller profile

C_4f7b8d89e29b402da38481fd6ce54d4e_0_q#7

How did the car do?

0y

2x

C_4f7b8d89e29b402da38481fd6ce54d4e_0

Mickey Thompson

Marion Lee "Mickey" Thompson (December 7, 1928 - March 16, 1988) was an American auto racing builder and promoter. A hot rodder since his youth, Thompson increasingly pursued land speed records in his late 20s and early 30s. He achieved international fame in 1960 when he became the first American to break the 400 mph barrier, driving his Challenger 1 to a one-way top speed of 406.60 mph at the Bonneville Salt Flats and surpassing John Cobb's one-way world record mark of 402 mph. Thompson then turned to racing, winning many track and dragster championships.

Indy years

In 1962 Thompson entered three John Crosthwaite designed cars in the Indianapolis 500. Unusually, they used a stock V8 Buick engine and it was in the rear unlike the front engined, race tuned, Offenhauser powered cars used by most competitors. It was the first stock engine to be raced at Indy since 1946. Thompson's crew, led by Fritz Voigt, were young, smart and hard working. Working 12-14 hour days, the car was designed and built in 120 days. For the race, the engine (enlarged to 4.2 litre capacity, the maximum allowed by the regulations for "stock block" engines) had to be detuned because they were concerned it would not last the distance. Despite being more than 70 bhp down on the other cars, Dan Gurney qualified eighth and was in ninth place until a leaking oil seal seized the gearbox and ended his race on lap 94. He was placed 20th out of 33. The team won the Mechanical Achievement Award for original design, construction and accomplishment. Thompson's promotion skills pleased the sponsors with the publicity generated that year. For the 1963 Indianapolis 500 Crosthwaite designed the innovative Harvey Aluminium Special "roller skate car" with the then pioneering smaller profile (12 inch diameter) and wide racing tires (front 7 inches and rear 9 inches wide) and wheels. Thompson took five cars to Indianapolis. Two of the previous year's design with Chevrolet V8 engines and three roller skate cars. One of the new cars, the Harvey Titanium Special, featured a lightweight titanium chassis. Al Miller II raced one of the modified 1962 cars to ninth place despite only qualifying in 31st position. Duane Carter qualified one of the roller skate cars 15th but was only placed 23rd after an engine failure on the 100th lap. The small tire sizes and low car weights caused complaints amongst the old hands and owners, so for future races, cars were restricted to minimum tire sizes and minimum car weights. 1962 Formula One World Champion Graham Hill tested one of the roller skate cars at Indianapolis in 1963, but refused to race it citing its poor handling. In 1963 Thompson traveled to England where, along with Dante Duce, he demonstrated his Ford-powered top fuel Harvey Aluminum Special dragster at the Brighton Speed Trials. It was then displayed at the Racing Car Show in London in January 1964. Thompson brought three modified 12-inch tire cars to the 1964 Indianapolis 500, but new rules required him to use 15-inch tires. The Allstate sponsored team used Allstate tires and Ford engines. The chassis had to be altered to accommodate the larger Ford engines. Two of them qualified for the race. The car No.84 began the month with Masten Gregory as the driver but Eddie Johnson in car No.84 qualified 24th and finished 26th. Dave MacDonald in car No.83 qualified 14th and died in a fiery crash on the second lap. Q: What was his first race on the Indy Circuit? A: In 1962 Thompson entered three John Crosthwaite designed cars in the Indianapolis 500. Q: How did he do? A: Unusually, they used a stock V8 Buick engine and it was in the rear unlike the front engined, race tuned, Offenhauser powered cars used by most competitors. It Q: How did the change in design affect the performance? A: Thompson's crew, led by Fritz Voigt, were young, smart and hard working. Working 12-14 hour days, the car was designed and built in 120 days. Q: Did the car place in the Race? A: qualified eighth and was in ninth place until a leaking oil seal seized the gearbox and ended his race on lap 94. He was placed 20th out of 33. Q: What year was this race? A: unknown Q: Did he win any awards? A: unknown Q: Where did he race next? A: For the 1963 Indianapolis 500 Crosthwaite designed the innovative Harvey Aluminium Special "roller skate car" with the then pioneering smaller profile Q: How did the car do? A: Al Miller II raced one of the modified 1962 cars to ninth place despite only qualifying in 31st position.

C_4f7b8d89e29b402da38481fd6ce54d4e_0_q#8

Did the car have any issues?

0y

0y

C_4f7b8d89e29b402da38481fd6ce54d4e_0

Mickey Thompson

Marion Lee "Mickey" Thompson (December 7, 1928 - March 16, 1988) was an American auto racing builder and promoter. A hot rodder since his youth, Thompson increasingly pursued land speed records in his late 20s and early 30s. He achieved international fame in 1960 when he became the first American to break the 400 mph barrier, driving his Challenger 1 to a one-way top speed of 406.60 mph at the Bonneville Salt Flats and surpassing John Cobb's one-way world record mark of 402 mph. Thompson then turned to racing, winning many track and dragster championships.

Indy years

In 1962 Thompson entered three John Crosthwaite designed cars in the Indianapolis 500. Unusually, they used a stock V8 Buick engine and it was in the rear unlike the front engined, race tuned, Offenhauser powered cars used by most competitors. It was the first stock engine to be raced at Indy since 1946. Thompson's crew, led by Fritz Voigt, were young, smart and hard working. Working 12-14 hour days, the car was designed and built in 120 days. For the race, the engine (enlarged to 4.2 litre capacity, the maximum allowed by the regulations for "stock block" engines) had to be detuned because they were concerned it would not last the distance. Despite being more than 70 bhp down on the other cars, Dan Gurney qualified eighth and was in ninth place until a leaking oil seal seized the gearbox and ended his race on lap 94. He was placed 20th out of 33. The team won the Mechanical Achievement Award for original design, construction and accomplishment. Thompson's promotion skills pleased the sponsors with the publicity generated that year. For the 1963 Indianapolis 500 Crosthwaite designed the innovative Harvey Aluminium Special "roller skate car" with the then pioneering smaller profile (12 inch diameter) and wide racing tires (front 7 inches and rear 9 inches wide) and wheels. Thompson took five cars to Indianapolis. Two of the previous year's design with Chevrolet V8 engines and three roller skate cars. One of the new cars, the Harvey Titanium Special, featured a lightweight titanium chassis. Al Miller II raced one of the modified 1962 cars to ninth place despite only qualifying in 31st position. Duane Carter qualified one of the roller skate cars 15th but was only placed 23rd after an engine failure on the 100th lap. The small tire sizes and low car weights caused complaints amongst the old hands and owners, so for future races, cars were restricted to minimum tire sizes and minimum car weights. 1962 Formula One World Champion Graham Hill tested one of the roller skate cars at Indianapolis in 1963, but refused to race it citing its poor handling. In 1963 Thompson traveled to England where, along with Dante Duce, he demonstrated his Ford-powered top fuel Harvey Aluminum Special dragster at the Brighton Speed Trials. It was then displayed at the Racing Car Show in London in January 1964. Thompson brought three modified 12-inch tire cars to the 1964 Indianapolis 500, but new rules required him to use 15-inch tires. The Allstate sponsored team used Allstate tires and Ford engines. The chassis had to be altered to accommodate the larger Ford engines. Two of them qualified for the race. The car No.84 began the month with Masten Gregory as the driver but Eddie Johnson in car No.84 qualified 24th and finished 26th. Dave MacDonald in car No.83 qualified 14th and died in a fiery crash on the second lap. Q: What was his first race on the Indy Circuit? A: In 1962 Thompson entered three John Crosthwaite designed cars in the Indianapolis 500. Q: How did he do? A: Unusually, they used a stock V8 Buick engine and it was in the rear unlike the front engined, race tuned, Offenhauser powered cars used by most competitors. It Q: How did the change in design affect the performance? A: Thompson's crew, led by Fritz Voigt, were young, smart and hard working. Working 12-14 hour days, the car was designed and built in 120 days. Q: Did the car place in the Race? A: qualified eighth and was in ninth place until a leaking oil seal seized the gearbox and ended his race on lap 94. He was placed 20th out of 33. Q: What year was this race? A: unknown Q: Did he win any awards? A: unknown Q: Where did he race next? A: For the 1963 Indianapolis 500 Crosthwaite designed the innovative Harvey Aluminium Special "roller skate car" with the then pioneering smaller profile Q: How did the car do? A: Al Miller II raced one of the modified 1962 cars to ninth place despite only qualifying in 31st position. Q: Did the car have any issues? A: The small tire sizes and low car weights caused complaints amongst the old hands and owners, so for future races,

C_4f7b8d89e29b402da38481fd6ce54d4e_0_q#9

How did they address the complaints?

0y

2x

C_4f7b8d89e29b402da38481fd6ce54d4e_1

Mickey Thompson

Marion Lee "Mickey" Thompson (December 7, 1928 - March 16, 1988) was an American auto racing builder and promoter. A hot rodder since his youth, Thompson increasingly pursued land speed records in his late 20s and early 30s. He achieved international fame in 1960 when he became the first American to break the 400 mph barrier, driving his Challenger 1 to a one-way top speed of 406.60 mph at the Bonneville Salt Flats and surpassing John Cobb's one-way world record mark of 402 mph. Thompson then turned to racing, winning many track and dragster championships.

Early history

Thompson was born in Alhambra, California. In his early twenties, he worked as a pressman for the Los Angeles Times while pursuing a lifelong love of hot rodding. He later became involved in the new sport of drag racing. Tireless and innovative, he found success as a championship driver and instinctive automotive technician. Over the course of his career, Thompson set more speed and endurance records than any other man in automotive history. He is credited with designing and building the first slingshot dragster, in 1954, moving the seat behind the rear axle to improve traction when existing racing tires proved unable to handle the output of increasingly powerful custom engines. This car, the Panorama City Special, debuted at the first NHRA U.S. Nationals at the Great Bend Municipal Airport in Great Bend, Kansas in 1955. The car ultimately ran a best speed of 151.26 mph (243.43 km/h). A change so momentous would not happen again until Don Garlits introduced the rear-engined digger in 1971. Thompson also was noted for being the first manager of Lions Drag Strip in Wilmington, California, in 1955. Thompson collaborated with Fritz Voight on a 1958 twin-engined dragster. This car achieved a best speed of 294.117 mph (473.335 km/h). It provided lessons later applied to Challenger I. Determined to set a new land speed record, Thompson achieved fame when he drove his four-engined Challenger 1 at better than 400 mph (640 km/h) in 1960 at the Bonneville Salt Flats, becoming the first American to break that barrier.

C_4f7b8d89e29b402da38481fd6ce54d4e_1_q#0

when was he born?

0y

2x

C_4f7b8d89e29b402da38481fd6ce54d4e_1

Mickey Thompson

Marion Lee "Mickey" Thompson (December 7, 1928 - March 16, 1988) was an American auto racing builder and promoter. A hot rodder since his youth, Thompson increasingly pursued land speed records in his late 20s and early 30s. He achieved international fame in 1960 when he became the first American to break the 400 mph barrier, driving his Challenger 1 to a one-way top speed of 406.60 mph at the Bonneville Salt Flats and surpassing John Cobb's one-way world record mark of 402 mph. Thompson then turned to racing, winning many track and dragster championships.

Early history

Thompson was born in Alhambra, California. In his early twenties, he worked as a pressman for the Los Angeles Times while pursuing a lifelong love of hot rodding. He later became involved in the new sport of drag racing. Tireless and innovative, he found success as a championship driver and instinctive automotive technician. Over the course of his career, Thompson set more speed and endurance records than any other man in automotive history. He is credited with designing and building the first slingshot dragster, in 1954, moving the seat behind the rear axle to improve traction when existing racing tires proved unable to handle the output of increasingly powerful custom engines. This car, the Panorama City Special, debuted at the first NHRA U.S. Nationals at the Great Bend Municipal Airport in Great Bend, Kansas in 1955. The car ultimately ran a best speed of 151.26 mph (243.43 km/h). A change so momentous would not happen again until Don Garlits introduced the rear-engined digger in 1971. Thompson also was noted for being the first manager of Lions Drag Strip in Wilmington, California, in 1955. Thompson collaborated with Fritz Voight on a 1958 twin-engined dragster. This car achieved a best speed of 294.117 mph (473.335 km/h). It provided lessons later applied to Challenger I. Determined to set a new land speed record, Thompson achieved fame when he drove his four-engined Challenger 1 at better than 400 mph (640 km/h) in 1960 at the Bonneville Salt Flats, becoming the first American to break that barrier. Q: when was he born? A: unknown

C_4f7b8d89e29b402da38481fd6ce54d4e_1_q#1

what was his early history like?

0y

2x

C_4f7b8d89e29b402da38481fd6ce54d4e_1

Mickey Thompson

Marion Lee "Mickey" Thompson (December 7, 1928 - March 16, 1988) was an American auto racing builder and promoter. A hot rodder since his youth, Thompson increasingly pursued land speed records in his late 20s and early 30s. He achieved international fame in 1960 when he became the first American to break the 400 mph barrier, driving his Challenger 1 to a one-way top speed of 406.60 mph at the Bonneville Salt Flats and surpassing John Cobb's one-way world record mark of 402 mph. Thompson then turned to racing, winning many track and dragster championships.

Early history

Thompson was born in Alhambra, California. In his early twenties, he worked as a pressman for the Los Angeles Times while pursuing a lifelong love of hot rodding. He later became involved in the new sport of drag racing. Tireless and innovative, he found success as a championship driver and instinctive automotive technician. Over the course of his career, Thompson set more speed and endurance records than any other man in automotive history. He is credited with designing and building the first slingshot dragster, in 1954, moving the seat behind the rear axle to improve traction when existing racing tires proved unable to handle the output of increasingly powerful custom engines. This car, the Panorama City Special, debuted at the first NHRA U.S. Nationals at the Great Bend Municipal Airport in Great Bend, Kansas in 1955. The car ultimately ran a best speed of 151.26 mph (243.43 km/h). A change so momentous would not happen again until Don Garlits introduced the rear-engined digger in 1971. Thompson also was noted for being the first manager of Lions Drag Strip in Wilmington, California, in 1955. Thompson collaborated with Fritz Voight on a 1958 twin-engined dragster. This car achieved a best speed of 294.117 mph (473.335 km/h). It provided lessons later applied to Challenger I. Determined to set a new land speed record, Thompson achieved fame when he drove his four-engined Challenger 1 at better than 400 mph (640 km/h) in 1960 at the Bonneville Salt Flats, becoming the first American to break that barrier. Q: when was he born? A: unknown Q: what was his early history like? A: Tireless and innovative, he found success as a championship driver and instinctive automotive technician.

C_4f7b8d89e29b402da38481fd6ce54d4e_1_q#2

what did he do with him?

0y

2x

C_4f7b8d89e29b402da38481fd6ce54d4e_1

Mickey Thompson

Marion Lee "Mickey" Thompson (December 7, 1928 - March 16, 1988) was an American auto racing builder and promoter. A hot rodder since his youth, Thompson increasingly pursued land speed records in his late 20s and early 30s. He achieved international fame in 1960 when he became the first American to break the 400 mph barrier, driving his Challenger 1 to a one-way top speed of 406.60 mph at the Bonneville Salt Flats and surpassing John Cobb's one-way world record mark of 402 mph. Thompson then turned to racing, winning many track and dragster championships.

Early history

Thompson was born in Alhambra, California. In his early twenties, he worked as a pressman for the Los Angeles Times while pursuing a lifelong love of hot rodding. He later became involved in the new sport of drag racing. Tireless and innovative, he found success as a championship driver and instinctive automotive technician. Over the course of his career, Thompson set more speed and endurance records than any other man in automotive history. He is credited with designing and building the first slingshot dragster, in 1954, moving the seat behind the rear axle to improve traction when existing racing tires proved unable to handle the output of increasingly powerful custom engines. This car, the Panorama City Special, debuted at the first NHRA U.S. Nationals at the Great Bend Municipal Airport in Great Bend, Kansas in 1955. The car ultimately ran a best speed of 151.26 mph (243.43 km/h). A change so momentous would not happen again until Don Garlits introduced the rear-engined digger in 1971. Thompson also was noted for being the first manager of Lions Drag Strip in Wilmington, California, in 1955. Thompson collaborated with Fritz Voight on a 1958 twin-engined dragster. This car achieved a best speed of 294.117 mph (473.335 km/h). It provided lessons later applied to Challenger I. Determined to set a new land speed record, Thompson achieved fame when he drove his four-engined Challenger 1 at better than 400 mph (640 km/h) in 1960 at the Bonneville Salt Flats, becoming the first American to break that barrier. Q: when was he born? A: unknown Q: what was his early history like? A: Tireless and innovative, he found success as a championship driver and instinctive automotive technician. Q: what did he do with him? A: He is credited with designing and building the first slingshot dragster,

C_4f7b8d89e29b402da38481fd6ce54d4e_1_q#3

what was special about the dragster?

0y

2x

C_4f7b8d89e29b402da38481fd6ce54d4e_1

Mickey Thompson

Marion Lee "Mickey" Thompson (December 7, 1928 - March 16, 1988) was an American auto racing builder and promoter. A hot rodder since his youth, Thompson increasingly pursued land speed records in his late 20s and early 30s. He achieved international fame in 1960 when he became the first American to break the 400 mph barrier, driving his Challenger 1 to a one-way top speed of 406.60 mph at the Bonneville Salt Flats and surpassing John Cobb's one-way world record mark of 402 mph. Thompson then turned to racing, winning many track and dragster championships.

Early history

Thompson was born in Alhambra, California. In his early twenties, he worked as a pressman for the Los Angeles Times while pursuing a lifelong love of hot rodding. He later became involved in the new sport of drag racing. Tireless and innovative, he found success as a championship driver and instinctive automotive technician. Over the course of his career, Thompson set more speed and endurance records than any other man in automotive history. He is credited with designing and building the first slingshot dragster, in 1954, moving the seat behind the rear axle to improve traction when existing racing tires proved unable to handle the output of increasingly powerful custom engines. This car, the Panorama City Special, debuted at the first NHRA U.S. Nationals at the Great Bend Municipal Airport in Great Bend, Kansas in 1955. The car ultimately ran a best speed of 151.26 mph (243.43 km/h). A change so momentous would not happen again until Don Garlits introduced the rear-engined digger in 1971. Thompson also was noted for being the first manager of Lions Drag Strip in Wilmington, California, in 1955. Thompson collaborated with Fritz Voight on a 1958 twin-engined dragster. This car achieved a best speed of 294.117 mph (473.335 km/h). It provided lessons later applied to Challenger I. Determined to set a new land speed record, Thompson achieved fame when he drove his four-engined Challenger 1 at better than 400 mph (640 km/h) in 1960 at the Bonneville Salt Flats, becoming the first American to break that barrier. Q: when was he born? A: unknown Q: what was his early history like? A: Tireless and innovative, he found success as a championship driver and instinctive automotive technician. Q: what did he do with him? A: He is credited with designing and building the first slingshot dragster, Q: what was special about the dragster? A: moving the seat behind the rear axle to improve traction when existing racing tires proved unable to handle the output of increasingly powerful custom engines.

C_4f7b8d89e29b402da38481fd6ce54d4e_1_q#4

was it successful?

1n

0y

C_4f7b8d89e29b402da38481fd6ce54d4e_1

Mickey Thompson

Marion Lee "Mickey" Thompson (December 7, 1928 - March 16, 1988) was an American auto racing builder and promoter. A hot rodder since his youth, Thompson increasingly pursued land speed records in his late 20s and early 30s. He achieved international fame in 1960 when he became the first American to break the 400 mph barrier, driving his Challenger 1 to a one-way top speed of 406.60 mph at the Bonneville Salt Flats and surpassing John Cobb's one-way world record mark of 402 mph. Thompson then turned to racing, winning many track and dragster championships.

Early history

Thompson was born in Alhambra, California. In his early twenties, he worked as a pressman for the Los Angeles Times while pursuing a lifelong love of hot rodding. He later became involved in the new sport of drag racing. Tireless and innovative, he found success as a championship driver and instinctive automotive technician. Over the course of his career, Thompson set more speed and endurance records than any other man in automotive history. He is credited with designing and building the first slingshot dragster, in 1954, moving the seat behind the rear axle to improve traction when existing racing tires proved unable to handle the output of increasingly powerful custom engines. This car, the Panorama City Special, debuted at the first NHRA U.S. Nationals at the Great Bend Municipal Airport in Great Bend, Kansas in 1955. The car ultimately ran a best speed of 151.26 mph (243.43 km/h). A change so momentous would not happen again until Don Garlits introduced the rear-engined digger in 1971. Thompson also was noted for being the first manager of Lions Drag Strip in Wilmington, California, in 1955. Thompson collaborated with Fritz Voight on a 1958 twin-engined dragster. This car achieved a best speed of 294.117 mph (473.335 km/h). It provided lessons later applied to Challenger I. Determined to set a new land speed record, Thompson achieved fame when he drove his four-engined Challenger 1 at better than 400 mph (640 km/h) in 1960 at the Bonneville Salt Flats, becoming the first American to break that barrier. Q: when was he born? A: unknown Q: what was his early history like? A: Tireless and innovative, he found success as a championship driver and instinctive automotive technician. Q: what did he do with him? A: He is credited with designing and building the first slingshot dragster, Q: what was special about the dragster? A: moving the seat behind the rear axle to improve traction when existing racing tires proved unable to handle the output of increasingly powerful custom engines. Q: was it successful? A: The car ultimately ran a best speed of 151.26 mph (243.43 km/h).

C_4f7b8d89e29b402da38481fd6ce54d4e_1_q#5

did he do anything else special?

0y

2x

C_4f7b8d89e29b402da38481fd6ce54d4e_1

Mickey Thompson

Marion Lee "Mickey" Thompson (December 7, 1928 - March 16, 1988) was an American auto racing builder and promoter. A hot rodder since his youth, Thompson increasingly pursued land speed records in his late 20s and early 30s. He achieved international fame in 1960 when he became the first American to break the 400 mph barrier, driving his Challenger 1 to a one-way top speed of 406.60 mph at the Bonneville Salt Flats and surpassing John Cobb's one-way world record mark of 402 mph. Thompson then turned to racing, winning many track and dragster championships.

Early history

Thompson was born in Alhambra, California. In his early twenties, he worked as a pressman for the Los Angeles Times while pursuing a lifelong love of hot rodding. He later became involved in the new sport of drag racing. Tireless and innovative, he found success as a championship driver and instinctive automotive technician. Over the course of his career, Thompson set more speed and endurance records than any other man in automotive history. He is credited with designing and building the first slingshot dragster, in 1954, moving the seat behind the rear axle to improve traction when existing racing tires proved unable to handle the output of increasingly powerful custom engines. This car, the Panorama City Special, debuted at the first NHRA U.S. Nationals at the Great Bend Municipal Airport in Great Bend, Kansas in 1955. The car ultimately ran a best speed of 151.26 mph (243.43 km/h). A change so momentous would not happen again until Don Garlits introduced the rear-engined digger in 1971. Thompson also was noted for being the first manager of Lions Drag Strip in Wilmington, California, in 1955. Thompson collaborated with Fritz Voight on a 1958 twin-engined dragster. This car achieved a best speed of 294.117 mph (473.335 km/h). It provided lessons later applied to Challenger I. Determined to set a new land speed record, Thompson achieved fame when he drove his four-engined Challenger 1 at better than 400 mph (640 km/h) in 1960 at the Bonneville Salt Flats, becoming the first American to break that barrier. Q: when was he born? A: unknown Q: what was his early history like? A: Tireless and innovative, he found success as a championship driver and instinctive automotive technician. Q: what did he do with him? A: He is credited with designing and building the first slingshot dragster, Q: what was special about the dragster? A: moving the seat behind the rear axle to improve traction when existing racing tires proved unable to handle the output of increasingly powerful custom engines. Q: was it successful? A: The car ultimately ran a best speed of 151.26 mph (243.43 km/h). Q: did he do anything else special? A: Thompson collaborated with Fritz Voight on a 1958 twin-engined dragster.

C_4f7b8d89e29b402da38481fd6ce54d4e_1_q#6

did he work with anyone else?

1n

2x

C_4f7b8d89e29b402da38481fd6ce54d4e_1

Mickey Thompson

Marion Lee "Mickey" Thompson (December 7, 1928 - March 16, 1988) was an American auto racing builder and promoter. A hot rodder since his youth, Thompson increasingly pursued land speed records in his late 20s and early 30s. He achieved international fame in 1960 when he became the first American to break the 400 mph barrier, driving his Challenger 1 to a one-way top speed of 406.60 mph at the Bonneville Salt Flats and surpassing John Cobb's one-way world record mark of 402 mph. Thompson then turned to racing, winning many track and dragster championships.

Early history

Thompson was born in Alhambra, California. In his early twenties, he worked as a pressman for the Los Angeles Times while pursuing a lifelong love of hot rodding. He later became involved in the new sport of drag racing. Tireless and innovative, he found success as a championship driver and instinctive automotive technician. Over the course of his career, Thompson set more speed and endurance records than any other man in automotive history. He is credited with designing and building the first slingshot dragster, in 1954, moving the seat behind the rear axle to improve traction when existing racing tires proved unable to handle the output of increasingly powerful custom engines. This car, the Panorama City Special, debuted at the first NHRA U.S. Nationals at the Great Bend Municipal Airport in Great Bend, Kansas in 1955. The car ultimately ran a best speed of 151.26 mph (243.43 km/h). A change so momentous would not happen again until Don Garlits introduced the rear-engined digger in 1971. Thompson also was noted for being the first manager of Lions Drag Strip in Wilmington, California, in 1955. Thompson collaborated with Fritz Voight on a 1958 twin-engined dragster. This car achieved a best speed of 294.117 mph (473.335 km/h). It provided lessons later applied to Challenger I. Determined to set a new land speed record, Thompson achieved fame when he drove his four-engined Challenger 1 at better than 400 mph (640 km/h) in 1960 at the Bonneville Salt Flats, becoming the first American to break that barrier. Q: when was he born? A: unknown Q: what was his early history like? A: Tireless and innovative, he found success as a championship driver and instinctive automotive technician. Q: what did he do with him? A: He is credited with designing and building the first slingshot dragster, Q: what was special about the dragster? A: moving the seat behind the rear axle to improve traction when existing racing tires proved unable to handle the output of increasingly powerful custom engines. Q: was it successful? A: The car ultimately ran a best speed of 151.26 mph (243.43 km/h). Q: did he do anything else special? A: Thompson collaborated with Fritz Voight on a 1958 twin-engined dragster. Q: did he work with anyone else? A: unknown

C_4f7b8d89e29b402da38481fd6ce54d4e_1_q#7

Are there any other interesting aspects about this article?

0y

0y

C_4f7b8d89e29b402da38481fd6ce54d4e_1

Mickey Thompson

Marion Lee "Mickey" Thompson (December 7, 1928 - March 16, 1988) was an American auto racing builder and promoter. A hot rodder since his youth, Thompson increasingly pursued land speed records in his late 20s and early 30s. He achieved international fame in 1960 when he became the first American to break the 400 mph barrier, driving his Challenger 1 to a one-way top speed of 406.60 mph at the Bonneville Salt Flats and surpassing John Cobb's one-way world record mark of 402 mph. Thompson then turned to racing, winning many track and dragster championships.

Early history

Thompson was born in Alhambra, California. In his early twenties, he worked as a pressman for the Los Angeles Times while pursuing a lifelong love of hot rodding. He later became involved in the new sport of drag racing. Tireless and innovative, he found success as a championship driver and instinctive automotive technician. Over the course of his career, Thompson set more speed and endurance records than any other man in automotive history. He is credited with designing and building the first slingshot dragster, in 1954, moving the seat behind the rear axle to improve traction when existing racing tires proved unable to handle the output of increasingly powerful custom engines. This car, the Panorama City Special, debuted at the first NHRA U.S. Nationals at the Great Bend Municipal Airport in Great Bend, Kansas in 1955. The car ultimately ran a best speed of 151.26 mph (243.43 km/h). A change so momentous would not happen again until Don Garlits introduced the rear-engined digger in 1971. Thompson also was noted for being the first manager of Lions Drag Strip in Wilmington, California, in 1955. Thompson collaborated with Fritz Voight on a 1958 twin-engined dragster. This car achieved a best speed of 294.117 mph (473.335 km/h). It provided lessons later applied to Challenger I. Determined to set a new land speed record, Thompson achieved fame when he drove his four-engined Challenger 1 at better than 400 mph (640 km/h) in 1960 at the Bonneville Salt Flats, becoming the first American to break that barrier. Q: when was he born? A: unknown Q: what was his early history like? A: Tireless and innovative, he found success as a championship driver and instinctive automotive technician. Q: what did he do with him? A: He is credited with designing and building the first slingshot dragster, Q: what was special about the dragster? A: moving the seat behind the rear axle to improve traction when existing racing tires proved unable to handle the output of increasingly powerful custom engines. Q: was it successful? A: The car ultimately ran a best speed of 151.26 mph (243.43 km/h). Q: did he do anything else special? A: Thompson collaborated with Fritz Voight on a 1958 twin-engined dragster. Q: did he work with anyone else? A: unknown Q: Are there any other interesting aspects about this article? A: Determined to set a new land speed record, Thompson achieved fame when he drove his four-engined Challenger 1 at better than 400 mph (640 km/h)

C_4f7b8d89e29b402da38481fd6ce54d4e_1_q#8

did he receieve fame for anything else?

1n

0y

C_4f7b8d89e29b402da38481fd6ce54d4e_1

Mickey Thompson

Marion Lee "Mickey" Thompson (December 7, 1928 - March 16, 1988) was an American auto racing builder and promoter. A hot rodder since his youth, Thompson increasingly pursued land speed records in his late 20s and early 30s. He achieved international fame in 1960 when he became the first American to break the 400 mph barrier, driving his Challenger 1 to a one-way top speed of 406.60 mph at the Bonneville Salt Flats and surpassing John Cobb's one-way world record mark of 402 mph. Thompson then turned to racing, winning many track and dragster championships.

Early history

Thompson was born in Alhambra, California. In his early twenties, he worked as a pressman for the Los Angeles Times while pursuing a lifelong love of hot rodding. He later became involved in the new sport of drag racing. Tireless and innovative, he found success as a championship driver and instinctive automotive technician. Over the course of his career, Thompson set more speed and endurance records than any other man in automotive history. He is credited with designing and building the first slingshot dragster, in 1954, moving the seat behind the rear axle to improve traction when existing racing tires proved unable to handle the output of increasingly powerful custom engines. This car, the Panorama City Special, debuted at the first NHRA U.S. Nationals at the Great Bend Municipal Airport in Great Bend, Kansas in 1955. The car ultimately ran a best speed of 151.26 mph (243.43 km/h). A change so momentous would not happen again until Don Garlits introduced the rear-engined digger in 1971. Thompson also was noted for being the first manager of Lions Drag Strip in Wilmington, California, in 1955. Thompson collaborated with Fritz Voight on a 1958 twin-engined dragster. This car achieved a best speed of 294.117 mph (473.335 km/h). It provided lessons later applied to Challenger I. Determined to set a new land speed record, Thompson achieved fame when he drove his four-engined Challenger 1 at better than 400 mph (640 km/h) in 1960 at the Bonneville Salt Flats, becoming the first American to break that barrier. Q: when was he born? A: unknown Q: what was his early history like? A: Tireless and innovative, he found success as a championship driver and instinctive automotive technician. Q: what did he do with him? A: He is credited with designing and building the first slingshot dragster, Q: what was special about the dragster? A: moving the seat behind the rear axle to improve traction when existing racing tires proved unable to handle the output of increasingly powerful custom engines. Q: was it successful? A: The car ultimately ran a best speed of 151.26 mph (243.43 km/h). Q: did he do anything else special? A: Thompson collaborated with Fritz Voight on a 1958 twin-engined dragster. Q: did he work with anyone else? A: unknown Q: Are there any other interesting aspects about this article? A: Determined to set a new land speed record, Thompson achieved fame when he drove his four-engined Challenger 1 at better than 400 mph (640 km/h) Q: did he receieve fame for anything else? A: Thompson also was noted for being the first manager of Lions Drag Strip in Wilmington, California, in 1955.

C_4f7b8d89e29b402da38481fd6ce54d4e_1_q#9

did he manage anywhere else?

1n

2x