IN: Charles Edward "Charlie" Haden (August 6, 1937 - July 11, 2014) was an American jazz double bass player, bandleader, composer and educator known for his deep, warm sound, and whose career spanned more than fifty years. In the late 1950s, Haden was an original member of the ground-breaking Ornette Coleman Quartet. Haden revolutionized the harmonic concept of bass playing in jazz. About him, German musicologist Joachim-Ernst Berendt commented, "His ability to create serendipitous harmonies by improvising melodic responses to Coleman's free-form solos (rather than sticking to predetermined harmonies) was both radical and mesmerizing.

In addition to his lyrical playing, Haden was known for his warm tone and subtle vibrato on the double bass. His approach to the bass stemmed from his belief that the bassist should move from an accompanying role to a more direct role in group improvisation. This is particularly clear in his work with the Ornette Coleman Quartet where he frequently improvised melodic responses to Coleman's free-form solos instead of playing previously written lines. He frequently closed his eyes while performing, and assumed a posture in which he bent himself around the bass until his head was almost at the bottom of the bridge of the bass. In an interview with Haden, pianist Ethan Iverson noted that Haden's "combination of folk song, avant-garde sensibility, and Bach-like classical harmony is a stream in this music just as distinctive as Thelonious Monk or Elvin Jones." Haden owned one three-quarter-sized bass, and one seven-eighth-sized bass. The larger bass is one of a small number of basses made by Jean-Baptiste Vuillaume, a French luthier, in the mid-nineteenth century. He greatly valued this bass, playing it only at recording sessions and jobs in close proximity to his home so as not to risk damaging it in transit. He attributed the bass's special and valuable nature to the varnish used by Vuillaume, which is similar to Italian varnish. Haden suffered from tinnitus, a ringing in both ears that he believed he acquired from constant exposure to playing in proximity to drums, and possibly from an extremely loud concert in which he played during the late 1960s. He also suffered from hyperacousis, or sensitivity to loud noises. As a result, when he played with a drummer, he had to play behind a Plexiglass divider. "American Quartet" pianist, Keith Jarrett, said of Charlie's way of playing, "He wanted to relate to the material in a very personal style all the time. He wasn't somebody to get into a groove and just enjoy it simply because it was a groove".

Was his musical style used by other artists?

OUT:

Answer the question at the end by quoting:

Skunk Anansie are a British rock band whose members include Skin (lead vocals, guitar), Cass (guitar, bass, backing vocals), Ace (guitar, backing vocals) and Mark Richardson (drums and percussion). Skunk Anansie formed on 12 February 1994, disbanded in 2001 and reformed in 2009. The name "Skunk Anansie" is taken from Akann folk tales of Anansi the spider-man of Ghana, with "Skunk" added to "make the name nastier". They have released six studio albums: Paranoid & Sunburnt (1995), Stoosh (1996), Post Orgasmic Chill (1999), Wonderlustre (2010), Black Traffic (2012) and Anarchytecture (2016); one compilation album, Smashes and Trashes (2009); and several hit singles, including "Charity", "Hedonism", "Selling Jesus" and "Weak".
The group played its first gig at London's Splash club in March 1994. In 1995 they were voted Best New British Band by the readers of Kerrang! magazine. At the award ceremony that year drummer Mark Richardson met the band who were looking for a permanent replacement for Robbie France, so an audition was set up and the band was reformed. Soon after that, two of their songs, "Feed" and "Selling Jesus", appeared on the soundtrack of the film Strange Days in 1995. "Selling Jesus" became Skunk Anansie's controversial second song to receive radio play, following their first radio release "Little Baby Swastikkka". After hearing this song, radio personality Howard Stern claimed that the band would become a huge hit. Success continued for the band and they were also voted Kerrang!'s Best British Live Act in 1996. In 1997 they were nominated for Best Live Act and Best Group at the MTV Europe Music Awards. The group played its first gig at London's Splash club in March 1994, subsequently taking six weeks to record its debut album, Paranoid & Sunburnt, with producer Sylvia Massy at a "haunted house" outside the city. The band's first single, "Selling Jesus," was featured on the soundtrack of the film Strange Days; Stoosh followed in 1996. Both albums were released under One Little Indian Records. After switching to the Virgin label in 1998, their third album, Post Orgasmic Chill, was released in 1999. Throughout the 1990s, the group toured globally with such bands as U2, Aerosmith, Feeder, Lenny Kravitz, Bad Religion, Rollins Band, Therapy?, Rammstein, Killing Joke, Soulfly, Sevendust, Oomph!, Muse, Staind, Powerman 5000, Veruca Salt, Marion and A Perfect Circle.

Did they receive any support from others in the industry?

?, Rammstein, Killing Joke, Soulfly, Sevendust, Oomph!, Muse, Staind, Powerman 5000, Veruca Salt, Marion and A Perfect Circle.

input: The real Mark David Chapman is currently incarcerated at Wende Correctional Facility, on a guilty plea. Aside from two interviews with Larry King and Barbara Walters, both in 1992, he has not spoken with the media. However, Chapman did reveal the mechanics of his unraveling during those three days in New York City to journalist Jack Jones. The interviews were published in 1992 as Let Me Take You Down: Inside the Mind of Mark David Chapman, a book of Chapman's recollections of his act of violence. Chapter 27 is based on this text. The title "Chapter 27" suggests a continuation of J. D. Salinger's novel The Catcher in the Rye, which has twenty-six chapters, and which Chapman was carrying when he shot John Lennon. Chapman was obsessed with the book, to the point of attempting to model his life after its protagonist, Holden Caulfield. According to the British music magazine Mojo, the title was also inspired by Chapter 27 of Robert Rosen's book Nowhere Man: The Final Days of John Lennon (2000). Rosen's book explores the numerological meaning of the number 27, "the triple 9", a number of profound importance to John Lennon. Lennon was deeply interested in numerology, particularly Cheiro's Book of Numbers, along with nine and all its multiples. It was Chapman's goal, according to Rosen, to write Chapter 27 "in Lennon's blood". Like Chapman, Schaefer is a fan of both The Beatles and J.D. Salinger's novel The Catcher in the Rye, and said he began the script to try to understand "how someone could be inspired to kill anyone as a result of being exposed to this kind of beautiful art. It really bothered me, because Lennon and Salinger have always made me feel so much better, and so much less alone."

Answer this question "how was he caught for this accusation?"
output:
Chapman did reveal the mechanics of his unraveling