Some context: 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.
In April 1997, the Flecktones became a quartet again, as they added saxophone player Jeff Coffin to the mix. Coffin would remain in the band from 1997 until 2008. In June 1997, the Flecktones opened for The Dave Matthews Band. In July the Flecktones toured Europe and sat in on the second set of a Phish show in Lyon, France. This marked the second and final time that the Flecktones played with Phish. In June 1998, the Flecktones released their sixth album, and fifth studio album, Left of Cool. Left of Cool represents a switch from previous Flecktones albums, as the band, according to critic Terri Horak "jettisoned their self-imposed rule to only record what could be duplicated on live instruments." In July 2000, the Flecktones released their eighth album, Outbound. Outbound is another studio album, and again the Flecktones' philosophy with this album was to do something different from everything they had done before. What makes Outbound unique is the way in which the Flecktones recorded the album. The quartet recorded each track on the album, then invited guest musicians to overdub vocals or instrumentation. Outbound guests include: Jon Anderson from Yes, Shawn Colvin and John Medeski, of Medeski, Martin and Wood, to name a few. The album earned the Flecktones the Grammy for Best Contemporary Jazz Album that year. Live at the Quick, which was also released as a DVD, is the band's ninth album, and second live album. For fans of live Flecktones, this album, like Live Art, successfully captured the sound and feel of the Flecktones in concert. Little Worlds, the band's tenth album was released on August 12, 2003. Like previous Flecktones' albums, Little Worlds features a slew of musical guests, from Sam Bush on mandolin, Derek Trucks on guitar and even former New York Yankee and guitarist Bernie Williams works his way into a track. Little Worlds was released as a 3-CD album, but for the less committed listener, the band also released Ten From Little Worlds, which includes ten songs off of the original 3-CD Little Worlds. In February 2006, the band released their eleventh album, The Hidden Land. As with every Flecktones album, they needed to change something from their last album. For The Hidden Land, the Flecktones didn't want any guest musicians. "'The truth is, the last few records are not what we are,' Fleck said. 'Obviously, we loved playing with those musicians, but if you keep on doing it, you become a gathering point rather than a group with its own identity.'" For the Flecktones to keep moving forward, they felt their music had to get back to the roots of the quartet. After spending much of the year apart, the Flecktones came together in 2008 to release a holiday album, Jingle All the Way.
Are there any other interesting aspects about this article?
A: Like previous Flecktones' albums, Little Worlds features a slew of musical guests, from Sam Bush on mandolin, Derek Trucks on guitar
Some context: Eugene Louis Vidal was born in the cadet hospital of the U.S. Military Academy at West Point, New York, the only child of Eugene Luther Vidal (1895-1969) and Nina S. Gore (1903-1978). Vidal was born at the West Point cadet hospital because his first lieutenant father was the first aeronautics instructor of the military academy. The middle name, Louis, was a mistake on the part of his father, "who could not remember, for certain, whether his own name was Eugene Louis or Eugene Luther". In the memoir Palimpsest (1995), Vidal said, "My birth certificate says 'Eugene Louis Vidal': this was changed to Eugene Luther Vidal Jr.; then Gore was added at my christening [in 1939]; then, at fourteen, I got rid of the first two names."
In 1956, Metro-Goldwyn-Mayer hired Gore Vidal as a screenplay writer with a four-year employment contract. In 1958, the director William Wyler required a script doctor to rewrite the screenplay for Ben-Hur (1959), originally written by Karl Tunberg. As one of several script doctors assigned to the project, Vidal rewrote portions of the script to resolve ambiguities of character motivation, specifically to clarify the enmity between the Jewish protagonist, Judah Ben-Hur and the Roman antagonist, Messala, who had been close boyhood friends. In exchange for rewriting the Ben-Hur screenplay, on location in Italy, Vidal negotiated the early termination (at the two-year mark) of his four-year contract with MGM. Thirty-six years later, in the documentary film The Celluloid Closet (1995), Vidal explained that Messala's failed attempt at resuming their homosexual, boyhood relationship motivated the ostensibly political enmity between Ben-Hur (Charlton Heston) and Messala (Stephen Boyd), that Boyd was aware of the homosexual subtext to the scene and that the director, the producer and the screenplay writer agreed to keep Heston ignorant of the subtext, lest he refuse to play the scene. In turn, on learning of that script-doctor explanation, Charlton Heston said that Gore Vidal had contributed little to the script of Ben Hur. Despite Vidal's script-doctor resolution of the character's motivations, the Screen Writers Guild assigned formal screenwriter-credit to Karl Tunberg, in accordance with the WGA screenwriting credit system, which favored the "original author" of a screenplay, rather than the writer of the filmed screenplay. Two plays, The Best Man: A Play about Politics (1960, made into a film in 1964) and Visit to a Small Planet (1955) were theatre and movie successes; Vidal occasionally returned to the movie business, and wrote historically accurate teleplays and screenplays about subjects important to him. Two such movies are the cowboy movie Billy the Kid (1989), about William H. Bonney a gunman in the Lincoln County War (1878), occurred in the New Mexico territory and later an outlaw in the Western frontier of the U.S. and the Roman Empire movie Caligula (1979), from which Vidal had his screenwriter credit removed, because the producer, Bob Guccione, the director, Tinto Brass and the leading actor, Malcolm McDowell, rewrote the script and added extra sex and violence to increase the commercial success of a movie based upon the life of the Roman Emperor Caligula (AD 12-41), which is the fourth biography in The Twelve Caesars (AD 121), by Suetonius.
why did he have his credit removed?
A:
the producer, Bob Guccione, the director, Tinto Brass and the leading actor, Malcolm McDowell, rewrote the script