The following article contains an answer for the question: What was the name of band that realesed The Downward Spiral? , can you please find it? After the 1994 release of The Downward Spiral, the live band embarked on the Self-Destruct tour in support of the album. Chris Vrenna and James Woolley performed drums and keyboards respectively, Robin Finck replaced Richard Patrick on guitar and bassist Danny Lohner was added to the line-up. The stage set-up consisted of dirty curtains which would be pulled down for visuals shown during songs such as "Hurt". The back of the stage was littered with darker and standing lights, along with very little actual ones. The tour debuted the band's grungy and messy image in which they would come out in ragged clothes slathered in corn starch. The concerts were violent and chaotic, with band members often injuring themselves. They would frequently destroy their instruments at the end of concerts, attack each other, and stage-dive into the crowd.The tour included a set at Woodstock '94 broadcast on Pay-per-view and seen in as many as 24 million homes. The band being covered in mud was a result of pre-concert backstage play, contrary to the belief that it was an attention-grabbing ploy, thus making it difficult for Reznor to navigate the stage: Reznor pushed Lohner into the mud pit as the concert began and saw mud from his hair going into his eyes while performing. Nine Inch Nails was widely proclaimed to have "stolen the show" from its popular contemporaries, mostly classic rock bands, and its fan base expanded. The band received considerable mainstream success thereafter, performing with significantly higher production values and the addition of various theatrical visual elements. Its performance of "Happiness in Slavery" from the Woodstock concert earned the group a Grammy Award for Best Metal Performance in 1995. Entertainment Weekly commented about the band's Woodstock '94 performance: "Reznor unstrings rock to its horrifying, melodramatic core--an experience as draining as it is exhilarating". Despite this acclaim, Reznor attributed his dislike of the concert to its technical difficulties.
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Answer: Nine Inch Nails

The following article contains an answer for the question: What is the full name of the person who was said to fall short with Ingres of the "sublime productions of Ingres' self-proclaimed hero, Raphael."? , can you please find it? Given the standings of the two men, the painting was received in both social and political terms. A number of writers mentioned Bertin's eventful career, in tones that were, according to art historian Andrew Carrington Shelton, either "bitingly sarcastic [or] fawningly reverential". There were many satirical reproductions and pointed editorials in the following years. Aware of Bertin's support of the July Monarchy, writers at the La Gazette de France viewed the portrait as the epitome of the "opportunism and cynicism" of the new regime. Their anonymous critic excitedly wondered "what bitter irony it expresses, what hardened skepticism, sarcasm and ... pronounced cynicism".Several critics mentioned Bertin's hands. Twentieth-century art historian Albert Boime described them as "powerful, vulturine ... grasping his thighs in a gesture ... projecting ... enormous strength controlled". Some contemporary critics were not so kind. The photographer and critic Felix Tournachon was harshly critical, and disparaged what he saw as a "fantastical bundle of flesh ... under which, instead of bones and muscles, there can only be intestines this flatulent hand, the rumbling of which I can hear!" Bertin's hands made a different impression on the critic F. de Lagenevais, who remarked: "A mediocre artist would have modified them, he would have replaced those swollen joints with the cylindrical fingers of the first handy model; but by this single alteration he would have changed the expression of the whole personality ... the energetic and mighty nature".The work's realism attracted a large amount of commentary when it was first exhibited. Some saw it as an affront to Romanticism, others said that its small details not only showed an acute likeness, but built a psychological profile of the sitter. Art historian Geraldine Pelles sees Bertin as "at once intense, suspicious, and aggressive". She notes that there is a certain amount of projection of the artist's personality and recalls Theophile Silvestre's description of Ingres;...
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Answer: Balthasar Denner

The following article contains an answer for the question: What is the first name of the person who was in China in Adam's opera? , can you please find it? Nixon in China is an opera in three acts by John Adams, with a libretto by Alice Goodman. Adams' first opera, it was inspired by U.S. President Richard Nixon's 1972 visit to China. The work premiered at the Houston Grand Opera on October 22, 1987, in a production by Peter Sellars with choreography by Mark Morris. When Sellars approached Adams with the idea for the opera in 1983, Adams was initially reluctant, but eventually decided that the work could be a study in how myths come to be, and accepted the project. Goodman's libretto was the result of considerable research into Nixon's visit, though she disregarded most sources published after the 1972 trip. To create the sounds he sought, Adams augmented the orchestra with a large saxophone section, additional percussion, and electronic synthesizer. Although sometimes described as minimalist, the score displays a variety of musical styles, embracing minimalism after the manner of Philip Glass alongside passages echoing 19th-century composers such as Wagner and Johann Strauss. With these ingredients, Adams mixes Stravinskian 20th-century neoclassicism, jazz references, and big band sounds reminiscent of Nixon's youth in the 1930s. The combination of these elements varies frequently, to reflect changes in the onstage action. Following the 1987 premiere, the opera received mixed reviews; some critics dismissed the work, predicting it would soon vanish. However, it has been presented on many occasions since, in both Europe and North America, and has been recorded twice. In 2011, the opera received its Metropolitan Opera debut, a production based on the original sets, and in the same year was given an abstract production in Toronto by the Canadian Opera Company. Recent critical opinion has tended to recognize the work as a significant and lasting contribution to American opera.
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Answer:
Richard