Question: How old was Walter Gibbons when he provided the dance re-edit of the first commercial 12-inch single? Passage 1:The USS Essex had been constructed in 1856. She was a 1000-ton river gunboat, converted from her original role as a timberclad ferry named New Era. She was armed with one 32-pounder cannon, three Dahlgren smooth bores, one Dahlgren smoothbore and a 12-pounder howitzer. The USS St Louis was a City class ironclad built in 1861 at Carondelet, Missouri. She was armed with three 8-inch smoothbores, four 42-pounder rifles, six 32-pounder rifles and one 12-pounder rifle at the time of her service at Lucas Bend. Both ships were sent to Cairo, Illinois, early in the Civil War as part of troop transports moving the army into Tennessee. Illinois, a Union state which contributed 250,000 men to the Union Army, a figure surpassed by only New York, Pennsylvania, and Ohio, was a key theater. Cairo, at the confluence between the Mississippi and Ohio rivers, was a key supply point and headquarters for Flag Officer Andrew Hull Foote and General Ulysses S. Grant. It was defended by Fort Defiance. The complex river network provided routes for the Union gunboats into the heart of the Confederate forces; however the water levels – particularly in the Tennessee River – were often not sufficient for gunboats to pass.
 Passage 2:From the mid-1970s, DJs in early discothèques were performing similar tricks with disco songs (using loops and tape edits) to get dancers on the floor and keep them there. One noteworthy figure was Tom Moulton who invented the dance remix as we now know it. Though not a DJ (a popular misconception), Moulton had begun his career by making a homemade mix tape for a Fire Island dance club in the late 1960s. His tapes eventually became popular and he came to the attention of the music industry in New York City. At first Moulton was simply called upon to improve the aesthetics of dance-oriented recordings before release ("I didn't do the remix, I did the mix"—Tom Moulton). Eventually, he moved from being a "fix it" man on pop records to specializing in remixes for the dance floor. Along the way, he invented the breakdown section and the 12-inch single vinyl format. Walter Gibbons provided the dance version of the first commercial 12-inch single ("Ten Percent", by Double Exposure). Contrary to popular belief, Gibbons did not mix the record. In fact his version was a re-edit of the original mix. Moulton, Gibbons and their contemporaries (Jim Burgess, Tee Scott, and later Larry Levan and Shep Pettibone) at Salsoul Records proved to be the most influential group of remixers for the disco era. The Salsoul catalog is seen (especially in the UK and Europe) as being the "canon" for the disco mixer's art form. Pettibone is among a very small number of remixers whose work successfully transitioned from the disco to the House era. (He is certainly the most high-profile remixer to do so.) His contemporaries included Arthur Baker and François Kevorkian.
 Passage 3:He was drafted by the Oakland Raiders in 1999 and was later signed by the Cincinnati Bengals in December 1999. Armour started for the Bengals in 2001 and 2002 and was released by them in August 2003. In June 2004 Armour was signed as a free agent by the British Columbia Lions and played for them in 2004 and 2005. After the 2005 season Armour was signed by the Hamilton Tiger-Cats and played for them in the 2006 and 2007 seasons. In February 2008 he was signed by the Calgary Stampeders. He helped Calgary win the 2008 Grey Cup. He was later released on June 22, 2009 for overaggressive plays during training camp. On August 3, 2009, the BC Lions re-signed Armour. On February 25, 2010, Armour announced his retirement after six seasons in the CFL, having spent three with the BC Lions.

Output: 2