Question: What role did the maker of the film "Cradle will Rock" play in the film "The Sawshank Redemption"?
Context: Ethan Farmer, also known as "EBASSMAN", is an American bassist, and played on the releases of Grammy Award-winning artists including Aretha Franklin ("Aretha Franklin Sings the Great Diva Classics"), Sean Combs ("Press Play") and Janet Jackson ("Live in Hawaii"), among other artists, in addition to touring with The Backstreet Boys and New Kids on the Block.  He’s also worked with Babyface, Destiny’s Child, Janet Jackson, Justin Timberlake, Lionel Richie, Nicole Scherzinger, Patti LaBelle and Rock N Roll Hall inductee Chip Shearin in the Avengers, in addition to others, on numerous studio sessions and tour dates.  In addition, he has released a solo album, "Wine & Strings" and "Wine & Strings 2.0," a followup to the original album and includes elements of jazz, rock, funk, and soul.  He was also a member of the house band of "Rock the Cradle", an MTV reality show that featured the children of pop, rock and R&B stars. The Gibson Victory was an electric guitar produced by Gibson Guitars from 1981 until 1983 (although some sources say production lasted until 1984).  During the late 1970s and early 1980s, musicians watched Eddie Van Halen play his Frankenstrat and questioned and rethought everything about their instruments.  They insisted on engineering advances allowing more speed and playability of skyscraping leads and rock crushing shred.  The master luthiers in Kalamazoo responded to these demanding guitarists by designing the Victory.  The Victory, a superstrat, was radical departure from Gibson's image as an old-fashioned guitar maker.  MV stood for Multi-Voice.  X stood for ten They were created by the Gibson research and development team in Kalamazoo, MI, with the body work by Chuck Burge, and the multi-voice electronics by Tim Shaw.  The Victory MV's were available with an optional / special order Kahler Tremolo System.  The Victory MV's had the first three-point top-adjust bridge designed by Rendal Wall and patent granted in June 1982.  The three post holes in the underside allowed either side of the bridge unit to be moved forwards or backwards allowing intonation of ultra light to extremely heavy string gauges, and twelve interchangeable individually-adjustable saddles, six standard nylon saddles and 6 optional brass saddles for fine adjustment of intonation and to affect tone.  String gauge affects sound and playability.  If you are a professional with strong fingers, using heavier strings produces greater dynamic and timbral range, more sustain, & less buzzing using slide.  Using lighter strings allows easier bending, easier hammer-ons, pull-offs & very fast solos.  Victories were built tough and stiff to easily handle the high tension of using much heavier string gauges without a truss rod adjustment.  The Victory MV's came with a series of specially designed Humbucker Pickups carefully made one at a time on the “center focused” KZ/LP115 PAF Pickup Winder, with high sensitivity and unique tonal signature with fewer turns of wire compared to newer high production winding machines that produce more scatter and a wider magnetic aperture, Each pickup across the range is different, and specifically designed for the role it was assigned.  Most musicians adjust the height of the individual pole pieces so they mirror the radius of the fretboard and then fine adjust by ear.  The location of the Victory MV's pickups were carefully calculated to provide full frequency response and minimize dead spots by avoidance of string nodal points.  The majority of harmonics coincide with where the twenty fourth fret would be located.  If you want to play your Victory above the 22nd fret, use a ring slide.  Humbucker pickups are inherently low noise because the interference is significantly reduced via phase cancellation, however the Victory MV’s have additional shielding connected to ground with the use of special electrically conductive black paint in the routed out area under the pickguard.  Truly silent when it should be.  The coil tap switch in the up position is humbucker; in the down position is single coil, indistinguishable from traditional unshielded single coils minus the noise.  Victory MV’s are totally immune from “Strat-Itis” (simultaneous multiple discordant frequency syndrome) In other single-coil pickups, strat-Itis is an annoying out-of-tune harmonic, oscillating/warbling /shriek/dissonant sound.  Gibson had well established business agreements for over 100 years with the best wood suppliers in the world and Gibson Luthiers had first pick to craft the Victory MV's.  The availability of premium old growth wood with tight grain was better in the 1980s than it is today because of new laws and limited natural resources.  The Victory MV's body and tri-laminated quartersawn neck were crafted from solid eastern hard rock maple, with a Janka Hardness ranking of 1450 pound-force, a crushing strength of 7,830 pound-force per square inch , and a tensile elasticity modulus of 1,830,000 pound-force per square inch.  Eastern Hard Rock Maple is extremely hard, dense, and stiff, producing earthquaking sustain.  The stacked laminate opposing wood grain neck design strengthens the overall neck, gives more tuning stabilization, and allowed the luthiers to eliminate the scarf joint at the headstock.  Contrasting mirror image graining angles provide the best resistance against impact cracking over single piece or scarf joint necks. .  Wood improves with age, the polymerization of sap over decades, once the wood is removed from the living tree crystalizes.  Aged wood also loses its ability to absorb moisture, causing the wood to become more stiff and stable as it ages… the perfect recipe for a straight, high quality guitar neck, level fret board, and great sound.  Victory MV’s have binding along the edges of the fretboard that cover the unfinished fret tangs and fret slot end gaps, slightly covering the nibs on the fret ends that can protrude.   Binding is tedious painstaking work and requires skill to install properly, but provides a slick smooth feel, is especially nice for sliding your hand along the fretboard, and gives a dressy look.  Not to be confused with undercut, fret over binding.  Using glue that is stronger than the wood itself, the Victory MV's mortise-and-tenon Set-in neck and silky smooth rock-hard quartersawn Madagascan ebony fret board required better tools, more time, accuracy, attention to detail, and skill to craft, but produces a warmer fuller tone and transfers resonant energy freely and immediately due to the tight permanent coupling, and facilitates ripples of vibrational energy that round out and thicken the sound.  (Unlike other guitars with weak removable "screw-on" necks with a metal plate, adjustment shims, and a creaky neck pocket / body gap.  So called "bolt-on" necks have no proper neck torque specs, over-tightening the screws crushes the wood, cracks the finish, and strips the holes or screw head, requiring a toothpick or dowel to be glued in the stripped hole).  The Victory's elegant headstock shape has a fourteen degree non-scarfed break angle, and tuning machine alignment that allows for a "perfectly straight" symmetrical pull on the strings that provides optimum string down pressure on the nut for the string to seat in the nut slot but not pinch, bind, or rattle in the slot, transferring all the vibration into the nut instead of into the tuning machines.  (Unlike other guitars that need junky string tree clips, retainers, or guides that cause friction and pings/cracking noise.)  The Victories chamfered cutaway offers musicians with large hands better access to play in the top frets.  The Gibson Victory MV's are not recommended for the weak, these sledge axes weigh a solid nine pounds but are perfectly balanced both on the strap or on the knee, Luthiers know guitars with more mass and density have more brilliance and sustain.  According to Gibson, Victory MV’s were only produced in Candy Apple Red, Antique Cherry Sunburst, & Twilight Blue.  However sometimes a retailer who did a lot of business with Gibson would be able to ask for a small number of guitars with a special finish.  Mention has been made of Roy Orbison's special order black Victory MVX.  The Victory MV's came standard with a rugged black Gibson branded "8170" dual lock and key padded hard case with internal storage box.  Decode the serial number on the back of the headstock to determine if your Victory was hand made by finding the location and the date of it's manufacture. This Is Spinal Tap (stylized as This Is Spın̈al Tap) is a 1984 American rock music mockumentary comedy film directed, co-written, scored by, and starring Rob Reiner, and co-starring Christopher Guest, Michael McKean and Harry Shearer.  The film portrays the fictional British heavy metal band Spinal Tap.  The film satirizes the wild personal behavior and musical pretensions of hard rock and heavy metal bands, as well as the hagiographic tendencies of rock documentaries of the time.  The three main members of Spinal Tap—David St. Hubbins, Derek Smalls and Nigel Tufnel—are played by actors McKean, Shearer, and Guest, respectively.  The three actors play their musical instruments and speak with mock English accents throughout the movie.  Reiner appears as Marty Di Bergi, the maker of the documentary.  Other actors in the movie are Tony Hendra as group manager Ian Faith, and June Chadwick as St. Hubbins' interfering girlfriend Jeanine.  Actors Paul Shaffer, Fred Willard, Fran Drescher, Bruno Kirby, Howard Hesseman, Ed Begley, Jr., Patrick Macnee, Anjelica Huston, Vicki Blue, Dana Carvey, Billy Crystal and Linnea Quigley all play supporting roles or make cameo appearances in the movie. The World Invasion Tour was a 1980 concert tour by hard rock band Van Halen to support their third album "Women and Children First".  It was dubbed the "Party 'til You Die Tour" by the band.  The tour is notable for being the first time the band played keyboards live during their shows, as Michael Anthony would play the keyboard parts of "And the Cradle Will Rock...." Chidambaram.  (Malayalam: ചിദംബരം ) is a 1985 Malayalam film written, directed and produced by G. Aravindan.  It is the film adaptation of a short story by C. V. Sreeraman.  The film explores various aspects of relations between men and women through the lives of three people living in a cattle farm.  Themes of guilt and redemption are also dealt with.  Bharath Gopi, Smita Patil, Sreenivasan and Mohan Das play the lead roles.  It won the National Film Award for Best Feature Film and five Kerala State Film Awards including Best Film and Best Direction. Oh!  The Grandeur is Andrew Bird's second album with the Bowl of Fire.  The first track, "Candy Shop", was recorded as a demo track for the then-upcoming Tim Robbins film, "Cradle Will Rock" (though the song did not appear in the film).  Another track of note on this album is "Tea & Thorazine," which was inspired by Bird's autistic brother's experience with mental institutions.  The song mentions a "Dr. B" and Bird identifies him in the album liner notes as Bruno Bettelheim, an early autism researcher. Cradle Will Rock is a 1999 American historical drama film written, produced and directed by Tim Robbins.  The story fictionalizes the true events that surrounded the development of the 1937 musical "The Cradle Will Rock" by Marc Blitzstein; it adapts history to create an account of the original production, bringing in other stories of the time to produce a social commentary on the role of art and power in the 1930s, particularly amidst the struggles of the labor movement at the time and the corresponding appeal of socialism and communism among many intellectuals, artists and working-class people in the same period. Marcus Samuel Blitzstein (March 2, 1905January 22, 1964), was an American composer, lyricist, and librettist.  He won national attention in 1937 when his pro-union musical "The Cradle Will Rock", directed by Orson Welles, was shut down by the Works Progress Administration.  He is known for "The Cradle Will Rock" and for his Off-Broadway translation/adaptation of "The Threepenny Opera" by Bertolt Brecht and Kurt Weill.  His works also include the opera "Regina", an adaptation of Lillian Hellman's play "The Little Foxes"; the Broadway musical "Juno", based on Seán O'Casey's play "Juno and the Paycock"; and "No for an Answer".  He completed translation/adaptations of Brecht's and Weill's musical play "Rise and Fall of the City of Mahagonny" and of Brecht's play "Mother Courage and Her Children" with music by Paul Dessau.  Blitzstein also composed music for films, such as "Surf and Seaweed" (1931) and "The Spanish Earth" (1937), and he contributed two songs to the original 1960 production of Hellman's play "Toys in the Attic". The Cradle Will Rock is a 1937 play in music by Marc Blitzstein.  Originally a part of the Federal Theatre Project, it was directed by Orson Welles, and produced by John Houseman.  The musical is a Brechtian allegory of corruption and corporate greed and includes a panoply of societal figures.  Set in "Steeltown, USA", it follows the efforts of Larry Foreman to unionize the town's workers and combat wicked, greedy businessman Mr. Mister, who controls the town's factory, press, church and social organization.  The piece is almost entirely sung-through, giving it many operatic qualities, although Blitzstein included popular song styles of the time. Timothy Francis Robbins (born October 16, 1958) is an American actor, screenwriter, director, producer, activist and musician.  He is well known for his portrayal of Andy Dufresne in the prison drama film "The Shawshank Redemption" (1994).
Answer: Andy Dufresne