Question: Who was the oldest of these three people? Passage 1:The ambient house movement began in the late 1980s largely due to the demand for post-rave "come-down" music. It was founded mainly by The Orb members Alex Paterson and Jimmy Cauty. They drew from various influences, particularly Yellow Magic Orchestra (active since the late 1970s), an electronic music group frequently cited as a pioneer of ambient house music, in addition to influences from Steve Reich, Brian Eno, reggae music, and 1970s psychedelic rock, including Pink Floyd. Inspired by the house music played by DJs such as Larry "Mr. Fingers" Heard, Paterson and Cauty began DJ-ing and composing experimental music. The Orb established the genre in 1989 as DJs during night-club events called The Land of Oz, based at the night-club Heaven. After a recording session with John Peel later that year, The Orb released the twenty-minute "A Huge Ever Growing Pulsating Brain That Rules from the Centre of the Ultraworld", which featured "bright, translucent sounds" and "tinkl[ing]" keyboards, as well as heavily sampling Minnie Riperton's "Lovin' You". Out of Paterson and Cauty's sessions at Trancentral studio, came Cauty and Bill Drummond's KLF album Chill Out (which featured no credit to Paterson). As one of the first ambient house albums, The Grove Dictionary of Music describes it as "a 1980s pop culture version of musique concrète". After splitting from The Orb, Cauty finished work on his own album Space, and Paterson's Orb went on to create the single "Little Fluffy Clouds" – both important works of ambient house. In 1991, The Orb released the album The Orb's Adventures Beyond the Ultraworld, featuring both of their previous singles. Combining Moog synthesizers with religious chorales and audio clips of the Apollo 11 rocket launch, The Orb popularized the "spacy" sound of ambient house.
 Passage 2:Following his donation of Ochre Court in 1947, he purchased a home known as Champ Soleil, designed by Polhemus & Coffin and located at 601 Bellevue Avenue in Newport. He served on the boards of Bailey's Beach and the Newport Country Club, both of which were co-founded by his uncle, and which he was one of the largest shareholders. In New York, he was a member of the Knickerbocker Club, the Harvard Club, Turf Club, the St. Nicholas Society, the Piping Rock Club, and the Tuxedo Club. He also owned a plantation near Charleston, South Carolina, and was the builder of Glenmere mansion, his estate on the Hudson River built in 1911 and designed by Carrère and Hastings, where he entertained Babe Ruth and the Duke and Duchess of Windsor. Glenmere was a 62-room manor house in the style of an Italian villa set on 1,322 acres.
 Passage 3:Kamei went to the Soviet Union in 1928 to study filmmaking, but had to return home because of an illness. He eventually began working at Photo Chemical Laboratories (PCL), one of the precursors to Toho, where he made a name for himself making documentaries - or "culture films" (bunka eiga) as they were called at the time - that were strongly influenced by Soviet montage theory. Many were propaganda films about Japan's war in China, such as Shanghai and Peking, but his Fighting Soldiers (Tatakau heitai) was criticized by authorities as a potentially anti-war film, one police official in fact protesting that "These aren't fighting soldiers, they're tired soldiers!" The release of the film was blocked, but Fighting Soldiers was later celebrated as one of the masterpieces of Japanese documentary. After making a film about the poet Kobayashi Issa, Kamei was the only Japanese film director arrested for violation of the Peace Preservation Law and became the first filmmaker to lose his license to direct under the 1939 Film Law. After World War II, he resumed filmmaking with The Japanese Tragedy (Nihon no higeki), a film produced at Nichiei by Akira Iwasaki, which charged Japanese leaders with responsibility for pursuing a disastrous war. The film, however, was eventually banned by Occupation authorities in particular for its critical depiction of Emperor Hirohito. Kamei thus had films banned by both the Japanese government and the American Occupation forces. Kamei also made fiction films such as War and Peace (Sensō to heiwa), co-directed with Satsuo Yamamoto, but he primarily continued to produce independent documentaries protesting such issues as American bases in Japan, the nuclear bomb, discrimination against burakumin in Japan, and environmental destruction.

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