Found the following article online, use it to answer the question: What is the full name of the person who recruited several regulars of Blitz to be in a video? Scary Monsters and Super Creeps (1980) produced the number-one hit "Ashes to Ashes", featuring the textural work of guitar-synthesist Chuck Hammer and revisiting the character of Major Tom from "Space Oddity". The song gave international exposure to the underground New Romantic movement when Bowie visited the London club "Blitz"the main New Romantic hangoutto recruit several of the regulars (including Steve Strange of the band Visage) to act in the accompanying video, renowned as one of the most innovative of all time. While Scary Monsters used principles established by the Berlin albums, it was considered by critics to be far more direct musically and lyrically. The album's hard rock edge included conspicuous guitar contributions from Robert Fripp, Chuck Hammer, and Pete Townshend. As "Ashes to Ashes" hit number one on the UK charts, Bowie opened a three-month run on Broadway on 24 September, starring as John Merrick in The Elephant Man.Bowie paired with Queen in 1981 for a one-off single release, "Under Pressure". The duet was a hit, becoming Bowie's third UK number-one single. Bowie was given the lead role in the BBC's 1982 televised adaptation of Bertolt Brecht's play Baal. Coinciding with its transmission, a five-track EP of songs from the play, recorded earlier in Berlin, was released as David Bowie in Bertolt Brecht's Baal. In March 1982, the month before Paul Schrader's film Cat People came out, Bowie's title song, "Cat People (Putting Out Fire)", was released as a single, becoming a minor US hit and entering the UK Top 30.Bowie reached his peak of popularity and commercial success in 1983 with Let's Dance. Co-produced by Chic's Nile Rodgers, the album went platinum in both the UK and the US. Its three singles became Top 20 hits in both countries, where its title track reached number one. "Modern Love" and "China Girl" each made No. 2 in the UK, accompanied by a pair of "absorbing" promotional videos that biographer David Buckley said "activated key archetypes in the pop world. 'Let's Dance', with...
Ans: David Bowie

Found the following article online, use it to answer the question: What is the name of the person that has a son named Cupid? The Rokeby Venus (; also known as The Toilet of Venus, Venus at her Mirror, Venus and Cupid, or La Venus del espejo) is a painting by Diego Velazquez, the leading artist of the Spanish Golden Age. Completed between 1647 and 1651, and probably painted during the artist's visit to Italy, the work depicts the goddess Venus in a sensual pose, lying on a bed and looking into a mirror held by the Roman god of physical love, her son Cupid. The painting is in the National Gallery, London. Numerous works, from the ancient to the baroque, have been cited as sources of inspiration for Velazquez. The nude Venuses of the Italian painters, such as Giorgione's Sleeping Venus (c. 1510) and Titian's Venus of Urbino (1538), were the main precedents. In this work, Velazquez combined two established poses for Venus: recumbent on a couch or a bed, and gazing at a mirror. She is often described as looking at herself on the mirror, although this is physically impossible since viewers can see her face reflected in their direction. This phenomenon is known as the Venus effect. In a number of ways the painting represents a pictorial departure, through its central use of a mirror, and because it shows the body of Venus turned away from the observer of the painting.The Rokeby Venus is the only surviving female nude by Velazquez. Nudes were extremely rare in seventeenth-century Spanish art, which was policed actively by members of the Spanish Inquisition. Despite this, nudes by foreign artists were keenly collected by the court circle, and this painting was hung in the houses of Spanish courtiers until 1813, when it was brought to England to hang in Rokeby Park, Yorkshire. In 1906, the painting was purchased by National Art Collections Fund for the National Gallery, London. Although it was attacked and badly damaged in 1914 by the suffragette Mary Richardson, it soon was fully restored and returned to display.
Ans: Venus

Found the following article online, use it to answer the question: What is the name of the person who protested against flashy drumming? As the last chord of the "Sgt. Pepper" reprise plays, an acoustic guitar strumming offbeat quavers begins, introducing what Moore describes as "one of the most harrowing songs ever written". "A Day in the Life" consists of four verses by Lennon, a bridge, two aleatoric orchestral crescendos and an interpolated middle part written and sung by McCartney. The first crescendo serves as a segue between the third verse and the middle part, leading to a bridge known as the "dream sequence". The idea to use an orchestra was McCartney's; he drew inspiration from Cage and Stockhausen. The 24-bar crescendos feature forty musicians selected from the London and Royal Philharmonic Orchestras and tasked with filling the space with what Womack describes as "the sound of pure apocalypse". Martin said that Lennon requested "a tremendous build-up, from nothing up to something absolutely like the end of the world". Lennon recalled drawing inspiration for the lyrics from a newspaper: "I was writing the song with the Daily Mail propped up in front of me at the piano ... there was a paragraph about 4000 [pot]holes in Blackburn, Lancashire". For "A Day in the Life", he wanted his voice to sound like Elvis Presley on "Heartbreak Hotel". Martin and Emerick obliged by adding 90 milliseconds of tape echo. Womack describes Starr's performance as "one of his most inventive drum parts on record", a part that McCartney encouraged him to attempt despite his protests against "flashy drumming". The thunderous piano chord that concludes the track and the album was produced by recording Lennon, Starr, McCartney and Evans simultaneously sounding an E major chord on three separate pianos; Martin then augmented the sound with a harmonium. The final piano chord was recorded 12 days later. Riley characterises the song as a "postlude to the Pepper fantasy ... that sets all the other songs in perspective", while shattering the illusion of "Pepperland" by introducing the "parallel universe of everyday life". MacDonald describes the track as "a song not...
Ans: Starr