IN: Manowar is an American heavy metal band from Auburn, New York. Formed in 1980, the group is known for lyrics based on fantasy (particularly sword and sorcery) and mythology (particularly Norse mythology and Greco-Roman mythology). The band is also known for a loud and bombastic sound. In an interview for MTV in February 2007, bassist Joey DeMaio lamented that "these days, there's a real lack of big, epic metal that is drenched with crushing guitars and choirs and orchestras...

By 1983, the band left Liberty Records and struck a deal with Megaforce Records in the US and Music for Nations in Europe--signing the contract in their own blood. The signing was a cover story in the 1983 July-August issue No. 47 of Kerrang!. When Manowar returned home, they immediately went into a recording studio to produce what, in the intentions of the group, would have been a simple EP, but came out instead, due to the quantity and quality of the tracks made in that period, as the band's second album, Into Glory Ride. An EP was actually published in 1983 with the title Defender containing, as its main track, the eponymous song, which included more work by Orson Welles. The atmosphere of the album evoked classical heroic fantasy and mythology, and served as a predecessor to Viking metal. It contained several innovative features, both in style and sound, and led to a huge increase in the number of fans of the group, particularly in the United Kingdom, where the band planned a long tour that was ultimately canceled. The song "Defender" was later re-recorded and included in the Fighting the World album of 1987. To apologize for the failure of their UK tour, Manowar decided to dedicate their next album to the United Kingdom. The album, Hail to England, was recorded and mixed in just six days and was released in early 1984. Its promotional tour, "Spectacle of Might", had a large number of dates in England. The tour saw Manowar initially as support band for Mercyful Fate, but soon the group led by DeMaio was put in the headline slot. Manowar soon returned to work in the recording studio. After leaving Music for Nations, the quartet released Sign of the Hammer ten months after their previous album. The new record presented stark changes in rhythm, with very technical tracks characterized by a slow pace, like the epic "Mountains", and quick ones, as the eponymous "Sign of the Hammer". Its success enabled band to embark on a two-year world tour, after which they took 1986 off. Following further disagreements with their new label, the group changed record label to Atlantic Records in 1987. Via Atlantic, they released Fighting the World, which enjoyed more extensive distribution and increased the band's prominence in the international heavy metal scene. Album art was designed by Ken Kelly.
QUESTION: did they record anything else?
IN: Thomas Cowperthwait Eakins (July 25, 1844 - June 25, 1916) was an American realist painter, photographer, sculptor, and fine arts educator. He is widely acknowledged to be one of the most important artists in American art history. For the length of his professional career, from the early 1870s until his health began to fail some 40 years later, Eakins worked exactingly from life, choosing as his subject the people of his hometown of Philadelphia. He painted several hundred portraits, usually of friends, family members, or prominent people in the arts, sciences, medicine, and clergy.

Eakins' first works upon his return from Europe included a large group of rowing scenes, eleven oils and watercolors in all, of which the first and most famous is Max Schmitt in a Single Scull (1871; also known as The Champion Single Sculling). Both his subject and his technique drew attention. His selection of a contemporary sport was "a shock to the artistic conventionalities of the city". Eakins placed himself in the painting, in a scull behind Schmitt, his name inscribed on the boat. Typically, the work entailed critical observation of the painting's subject, as well as preparatory drawings of the figure and perspective plans of the scull in the water. Its preparation and composition indicates the importance of Eakins' academic training in Paris. It was a completely original conception, true to Eakins' firsthand experience, and an almost startlingly successful image for the artist, who had struggled with his first outdoor composition less than a year before. His first known sale was the watercolor The Sculler (1874). Most critics judged the rowing pictures successful and auspicious, but after the initial flourish, Eakins never revisited the subject of rowing and went on to other sports themes. At the same time that he made these initial ventures into outdoor themes, Eakins produced a series of domestic Victorian interiors, often with his father, his sisters or friends as the subjects. Home Scene (1871), Elizabeth at the Piano (1875), The Chess Players (1876), and Elizabeth Crowell and her Dog (1874), each dark in tonality, focus on the unsentimental characterization of individuals adopting natural attitudes in their homes. It was in this vein that in 1872 he painted his first large scale portrait, Kathrin, in which the subject, Kathrin Crowell, is seen in dim light, playing with a kitten. In 1874 Eakins and Crowell became engaged; they were still engaged five years later, when Crowell died of meningitis in 1879.
QUESTION: Was there a reason he went into this field?
IN: Bernard Herrmann (born Max Herman; June 29, 1911 - December 24, 1975) was an American composer best known for his work in composing for motion pictures. As a conductor, he championed the music of lesser-known composers. An Academy Award-winner (for The Devil and Daniel Webster, 1941; later renamed All That Money Can Buy), Herrmann is particularly known for his collaborations with director Alfred Hitchcock, most famously Psycho, North by Northwest, The Man Who Knew Too Much, and Vertigo. He also composed scores for many other movies, including Citizen Kane, The Day the Earth Stood Still, The Ghost and Mrs. Muir, Cape Fear, and Taxi Driver.

While at CBS, Herrmann met Orson Welles, and wrote or arranged scores for radio shows in which Welles appeared or wrote, such as the Columbia Workshop, Welles's Mercury Theatre on the Air and Campbell Playhouse series (1938-1940), which were radio adaptations of literature and film. He conducted the live performances, including Welles's famous adaptation of H. G. Wells's The War of the Worlds broadcast on October 30, 1938, which consisted entirely of pre-existing music. Herrmann used large sections of his score for the inaugural broadcast of The Campbell Playhouse, an adaptation of Rebecca, for the feature film Jane Eyre (1943), the third film in which Welles starred. When Welles gained his RKO Pictures contract, Herrmann worked for him. He wrote his first film score for Citizen Kane (1941) and received an Academy Award nomination for Best Score of a Dramatic Picture. He composed the score for Welles's second film, The Magnificent Ambersons (1942); like the film itself, the music was heavily edited by the studio, RKO Pictures. When more than half of his score was removed from the soundtrack, Herrmann bitterly severed his ties with the film and promised legal action if his name were not removed from the credits. Herrmann also created the music for Welles's CBS radio series the Orson Welles Show (1941-1942), which included the debut of his wife Lucille Fletcher's suspense classic, The Hitch-Hiker; Ceiling Unlimited (1942), a program conceived to glorify the aviation industry and dramatize its role in World War II; and The Mercury Summer Theatre on the Air (1946). "Benny Herrmann was an intimate member of the family," Welles told filmmaker Peter Bogdanovich. Herrmann was among those who rebutted the charges Pauline Kael made in her 1971 essay "Raising Kane", in which she revived controversy over the authorship of the screenplay for Citizen Kane and denigrated Welles's contributions.
QUESTION:
When did they start working together?