Problem: Georg Ferdinand Ludwig Philipp Cantor ( KAN-tor; German: ['geoRk 'feRdinant 'lu:tvIc 'fIlIp 'kantoR]; March 3 [O.S. February 19] 1845 - January 6, 1918) was a German mathematician. He invented set theory, which has become a fundamental theory in mathematics. Cantor established the importance of one-to-one correspondence between the members of two sets, defined infinite and well-ordered sets, and proved that the real numbers are more numerous than the natural numbers.

Cantor's 1874 Crelle paper was the first to invoke the notion of a 1-to-1 correspondence, though he did not use that phrase. He then began looking for a 1-to-1 correspondence between the points of the unit square and the points of a unit line segment. In an 1877 letter to Richard Dedekind, Cantor proved a far stronger result: for any positive integer n, there exists a 1-to-1 correspondence between the points on the unit line segment and all of the points in an n-dimensional space. About this discovery Cantor wrote to Dedekind: "Je le vois, mais je ne le crois pas!" ("I see it, but I don't believe it!") The result that he found so astonishing has implications for geometry and the notion of dimension. In 1878, Cantor submitted another paper to Crelle's Journal, in which he defined precisely the concept of a 1-to-1 correspondence and introduced the notion of "power" (a term he took from Jakob Steiner) or "equivalence" of sets: two sets are equivalent (have the same power) if there exists a 1-to-1 correspondence between them. Cantor defined countable sets (or denumerable sets) as sets which can be put into a 1-to-1 correspondence with the natural numbers, and proved that the rational numbers are denumerable. He also proved that n-dimensional Euclidean space Rn has the same power as the real numbers R, as does a countably infinite product of copies of R. While he made free use of countability as a concept, he did not write the word "countable" until 1883. Cantor also discussed his thinking about dimension, stressing that his mapping between the unit interval and the unit square was not a continuous one. This paper displeased Kronecker, and Cantor wanted to withdraw it; however, Dedekind persuaded him not to do so and Weierstrass supported its publication. Nevertheless, Cantor never again submitted anything to Crelle.

Why did it displease Kronecker?

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Problem: Young was born in Compton, California, the first child of Theodore and Verna Young. His middle name, Romelle, is derived from his father's amateur R&B singing group, The Romells. His parents married in 1964, separated in 1968, and divorced in 1972. His mother later remarried and had three children: sons Jerome and Tyree (both deceased) and daughter Shameka.

Dr. Dre has said that his primary instrument in the studio is the Akai MPC3000, a drum machine and sampler, and that he often uses as many as four or five to produce a single recording. He cites 1970s funk musicians such as George Clinton, Isaac Hayes and Curtis Mayfield as his primary musical influences. Unlike most rap producers, he tries to avoid samples as much as possible, preferring to have studio musicians re-play pieces of music he wants to use, because it allows him more flexibility to change the pieces in rhythm and tempo. In 2001 he told Time magazine, "I may hear something I like on an old record that may inspire me, but I'd rather use musicians to re-create the sound or elaborate on it. I can control it better." Other equipment he uses include the E-mu SP-1200 drum machine and other keyboards from such manufacturers as Korg, Rhodes, Wurlitzer, Moog, and Roland. Dr. Dre also stresses the importance of equalizing drums properly, telling Scratch magazine in 2004 that he "used the same drum sounds on a couple of different songs on one album before but you'd never be able to tell the difference because of the EQ." Dr. Dre also uses the digital audio workstation Pro Tools and uses the software to combine hardware drum machines and vintage analog keyboards and synthesizers. After founding Aftermath Entertainment in 1996, Dr. Dre took on producer Mel-Man as a co-producer, and his music took on a more synthesizer-based sound, using fewer vocal samples (as he had used on "Lil' Ghetto Boy" and "Let Me Ride" on The Chronic, for example). Mel-Man has not shared co-production credits with Dr. Dre since approximately 2002, but fellow Aftermath producer Focus has credited Mel-Man as a key architect of the signature Aftermath sound. In 1999, Dr. Dre started working with Mike Elizondo, a bassist, guitarist, and keyboardist who has also produced, written and played on records for female singers such as Poe, Fiona Apple and Alanis Morissette, In the past few years Elizondo has since worked for many of Dr. Dre's productions. Dr. Dre also told Scratch magazine in a 2004 interview that he has been studying piano and music theory formally, and that a major goal is to accumulate enough musical theory to score movies. In the same interview he stated that he has collaborated with famed 1960s songwriter Burt Bacharach by sending him hip hop beats to play over, and hopes to have an in-person collaboration with him in the future.

What else does he use?

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Other equipment he uses include the E-mu SP-1200 drum machine and other keyboards from such manufacturers as Korg, Rhodes,