Question: Given the following context: Early in March 1676, a Danish fleet of 20 ships under Admiral Niels Juel left Copenhagen. On 29 April it landed troops on Gotland, which soon surrendered. The Swedish fleet was ordered out on 4 May, but experienced adverse winds and was delayed until 19 May. Juel had by then already left Visby, the principal port of Gotland with a garrison force. He headed for Bornholm to join with a small DanishDutch squadron in cruising between Scania and the island of Rugen to prevent any Swedish seaborne reinforcement from reaching Pomerania. On 2526 May the two fleets met each another in the battle of Bornholm. Despite the considerable Swedish advantage in ships, men and guns, they were unable to inflict any losses on the allied force, and lost a fireship and two minor vessels. The battle revealed the lack of coherence and organization within the Swedish ranks, which soured relations between Creutz and his officers.After the failed action, the Swedish fleet anchored off Trelleborg where King Charles was waiting with new orders to recapture Gotland. The fleet was to avoid combat with the allies at least until they reached the northern tip of Oland, where they could fight in friendly waters. When the Swedish fleet left Trelleborg on 30 May they were soon intercepted by the allied fleet, which then began a pursuit. By this time the allies had been reinforced by another small squadron and totaled 42 vessels, with 25 large and medium ships of the line. The reinforcements brought with them a new commander, the Dutch Admiral General Cornelis Tromp, one of the most renowned naval tacticians of his time. The two fleets sailed north and on 1 June passed the northern tip of Oland in a strong gale. The Swedish ships fared poorly in the rough winds, losing masts and spars. The Swedish officers formed a battle line that held together only with great difficulty. They tried to get ahead of Tromp's ships to gain the weather gage by getting between the allies and the shore, and thereby gaining an advantageous tactical position. The... answer the following question: Which allied fleet were the Swedish intercepted by?
Answer: Danish fleet

Question: Given the following context: Released in September 1980, Never for Ever saw Bush's second foray into production, co-producing with Jon Kelly. Her first experience as a producer was on her Live on Stage EP, released after her tour the previous year. The first two albums had resulted in a definitive sound evident in every track, with orchestral arrangements supporting the live band sound. The range of styles on Never for Ever is much more diverse, veering from the straightforward rocker "Violin" to the wistful waltz of hit single "Army Dreamers". Never for Ever was her first album to feature synthesisers and drum machines, in particular the Fairlight CMI, to which she was introduced when providing backing vocals on Peter Gabriel's eponymous third album in early 1980. It was her first record to reach the top position in the UK album charts, also making her the first female British artist to achieve that status, and the first female artist ever to enter the album chart at the top. The top-selling single from the album was "Babooshka", which reached number five in the UK singles chart. In November 1980, she released the standalone Christmas single "December Will Be Magic Again", which reached number 29 in the UK charts. September 1982 saw the release of The Dreaming, the first album Bush produced by herself. With her new-found freedom, she experimented with production techniques, creating an album that features a diverse blend of musical styles and is known for its near-exhaustive use of the Fairlight CMI. The Dreaming received a mixed reception in the UK, and critics were baffled by the dense soundscapes Bush had created to become "less accessible". In a 1993 interview with Q (magazine), Bush stated: "That was my 'She's gone mad' album." However, the album became her first to enter the US Billboard 200 chart, albeit only reaching number 157. The album entered the UK album chart at number-three, but is to date her lowest-selling album, garnering only a silver disc."Sat in Your Lap" was the first single from the album to be released. It... answer the following question: What is the name of the person that released the album, Live on Stage EP, which was released after her tour the previous year?
Answer: Bush

Question: Given the following context: Now settled into Warner Bros. Records, the Chili Peppers began looking for a suitable producer. One in particular, Rick Rubin, stood out, as he was more broadminded than people the band had worked with in the past, even though Rubin had turned down the chance to produce their 1987 album The Uplift Mofo Party Plan due to the drug problems of Kiedis and guitarist Hillel Slovak (who would die of a heroin overdose a year later). Unlike the Peppers' previous producers, Rubin was someone the band felt confident in to ask for guidance and input during times of difficulty. He would often help arrange drum beats, guitar melodies and lyrics.The band sought to record the album in an unconventional setting, believing it would enhance their creative output. Rubin suggested the mansion magician Harry Houdini once lived in, to which they agreed. A crew was hired to set up a recording studio and other equipment required for production in the house in Los Angeles. The Peppers decided they would remain inside the mansion for the duration of recording, though according to Kiedis, Smith was convinced the location was haunted, and refused to stay. He would, instead, come each day by motorcycle. Smith himself disputes this account, and instead claims the real reason he did not stay at The Mansion was because he wanted to be with his wife. Frusciante, however, disagreed with Smith, and said "There are definitely ghosts in the house," and Frusciante felt they were "very friendly. We [the band] have nothing but warm vibes and happiness everywhere we go in this house."Frusciante, Kiedis, and Flea each had their own rooms in the house. When not recording with the band, Frusciante would spend his time painting, listening to music, reading and recording songs he'd written. Due to the seclusion, Kiedis ended up recording all his vocals in his room, as it was large enough to accommodate the recording equipment. For more than 30 days, the Chili Peppers worked inside the house; Kiedis felt it was an accommodating and resourceful environment... answer the following question: What's the full name of the man who suggested the Chili Peppers record in Houdini's former mansion?
Answer:
Rick Rubin