Some context: Daft Punk is a French electronic music duo from Paris formed in 1993 by Guy-Manuel de Homem-Christo and Thomas Bangalter. The duo achieved significant popularity in the late 1990s as part of the French house movement and had continuous success in the years following, combining elements of house music with funk, techno, disco, rock and synthpop influences. They are also known for their visual stylization and disguises associated with their music; the duo have worn ornate helmets and gloves to assume robot personas in most of their public appearances since 2001 and rarely grant interviews or appear on television. The duo were managed from 1996 to 2008 by Pedro Winter (also known as Busy P), the head of Ed Banger Records.
In September 1993, Daft Punk attended a rave at EuroDisney, where they met Stuart Macmillan of Slam, co-founder of the label Soma Quality Recordings. The demo tape given to Macmillan at the rave formed the basis for Daft Punk's debut single, "The New Wave", a limited release in 1994. The single also contained the final mix of "The New Wave" called "Alive", which was to be featured on Daft Punk's first album. Daft Punk returned to the studio in May 1995 to record "Da Funk". It became the duo's first commercially successful single the same year. After the success of "Da Funk", Daft Punk looked to find a manager. The duo eventually settled on Pedro Winter, who regularly promoted them and other artists at his Hype night clubs. The band signed with Virgin Records in September 1996 and made a deal through which the duo licensed its tracks to the major label through its production company, Daft Trax. Bangalter stated that while the duo received numerous offers from record labels, they wanted to wait and ensure that Daft Punk did not lose creative control. He ultimately considered the deal with Virgin to be more akin to a partnership. In the mid-to-late nineties, Daft Punk performed live without costumes in many places including the United States. In 1996, the duo were featured at an Even Furthur event in Wisconsin, their first public performance in the U.S. In addition to live original performances, they performed a number of times in various clubs using vinyl records from their collection. They were known for incorporating various styles of music into their DJ sets at that time. "Da Funk" and "Alive" were later included on Daft Punk's 1997 debut album Homework. In February of that year, the UK dance magazine Muzik published a Daft Punk cover feature and described Homework as "one of the most hyped debut albums in a long long time." According to The Village Voice, the album revived house music and departed from the Eurodance formula. As noted by critic Alex Rayner, Homework brought together established club styles and the "burgeoning eclecticism" of big beat. In 1997 Daft Punk also launched their Daftendirektour to promote Homework in several cities throughout the world. For this tour the duo opted to utilize their home studio equipment for the live stage. As Bangalter stated, "Everything was synched up--the drum machines, the bass lines. The sequencer was just sending out the tempos and controlling the beats and bars. On top of this structure we built all these layers of samples and various parts that we could bring in whenever we wanted to." 25 May 1997 saw them perform at the Tribal Gathering festival at Luton Hoo, England, headlining with Orbital and Kraftwerk. The most successful single from Homework was "Around the World", which is known for the repeating chant of the song's title. "Da Funk" was also included on The Saint film soundtrack. Daft Punk produced a series of music videos for Homework directed by Spike Jonze, Michel Gondry, Roman Coppola and Seb Janiak. The collection of videos was released in 1999 and titled D.A.F.T.: A Story About Dogs, Androids, Firemen and Tomatoes.
What was one of the best singles from their album?
A: The most successful single from Homework was "Around the World
Some context: Oscar McKinley Charleston (October 14, 1896 - October 5, 1954) was an American center fielder and manager in Negro league baseball. In 1915, after serving three years in the U.S. Army, the Indianapolis, Indiana, native continued his baseball career as a professional with the Indianapolis ABCs; his career ended in 1954 as a player-manager for the Indianapolis Clowns. In addition to a forty-three-year career with more than a dozen teams, including the Homestead Grays and the Pittsburgh Crawfords, Negro league baseball's leading teams in the 1930s, he played nine winter seasons in Cuba and in numerous exhibition games against white major leaguers. Charleston was known for his strengths as a hitter and center fielder.
After his honorable discharge from the U.S. Army in 1915, Charleston returned to the United States and immediately began his baseball career with the Indianapolis ABCs. He was paid $50 per month. On April 11, 1915, Charleston pitched his first game for the ABCs, a three-hit, 7-0 shutout in an exhibition game against the Reserves, a semiprofessional team of white players. Charleston, called "Charlie" by his teammates, soon moved to the center field position, where he became known for playing shallow (close behind second base) and his one-handed catches. Charleston was especially adept at catching high flies, using his running speed to retrieve balls above his head. His strong batting and fielding skills also earned Charleston the nickname of the "Hoosier Comet." In addition to his skills as a ballplayer, Charleston was known for his combative nature and willingness to fight when provoked. One memorable incident incident occurred during a game that the Indianapolis ABCs played against a team of white major and minor leaguers in Indianapolis on October 24, 1915. When ABCs player Elwood "Bingo" DeMoss got into a dispute with umpire James Scanlon over a bad call against the team, Charleston ran in from center field and punched the umpire, knocking him to the ground. According to local newspapers, the ballpark erupted into "a near race riot." Charleston and DeMoss escaped the field and were arrested and jailed. The two players were released after posting bail and immediately left town to play winter baseball in Cuba. Charleston was also temporarily dismissed from the ABCs and sent to play for the Lincoln Giants in New York until the controversy died down. He returned to the team in June 1916. During another incident that occurred in Cuba in the mid-1920s, Charleston fought with Cuban soldiers during a Cuban League game against Havana. He was arrested and fined for his role in the fighting, but was released from custody and returned to the field to play the following day. James "Cool Papa" Bell related a story to baseball historian John Holway of another confrontation involving Charleston. Bell told Holway that around 1935 Charleston tore off the hood a white-robed Ku Klux Klansman during a trip to Florida. In spite of the controversy surrounding some of his behavior, Charleston contributed to the success of the Indianapolis ABCs. In 1916 he was a member of the team when it beat the Chicago American Giants to claim what the game's promoters called "The Championship of Colored Baseball." (The first Negro League World Series was not played until October 1924.) Charleston left the ABCs at end of the 1918 season to attend the Colored Officer Training Program during World War I, but he served less than two months before the armistice was signed to end the war and he was discharged. When Charleston returned to Indiana in 1919, the owner of the ABCs did not field a team, so he joined the Chicago American Giants.
How long did he stay in Cuba?
A:
Bell told Holway that around 1935 Charleston tore off the hood a white-robed Ku Klux Klansman during a trip to Florida.