Problem: Marion Eleanor Zimmer Bradley (June 3, 1930 - September 25, 1999) was an American author of fantasy, historical fantasy, science fiction, and science fantasy novels, and is best known for the Arthurian fiction novel The Mists of Avalon, and the Darkover series. While some critics have noted a feminist perspective in her writing, her popularity has been posthumously marred by multiple accusations against her of child sexual abuse and rape by two of her children, Mark and Moira Greyland, among many others. Zimmer Bradley's first child, David R. Bradley, and her brother, Paul Edwin Zimmer, also became published science fiction and fantasy authors.

Born on a farm in Albany, New York, during the Great Depression, she began writing in 1947. She was married to Robert Alden Bradley from October 26, 1949 until their divorce on May 19, 1964. They had a son, David Robert Bradley (1950-2008). During the 1950s she was introduced to the cultural and campaigning lesbian group the Daughters of Bilitis. After her divorce, Bradley married numismatist Walter H. Breen on June 3, 1964. They had a daughter, Moira Greyland, who is a professional harpist and singer, and a son, Mark Greyland. In 1965, Bradley graduated with a Bachelor of Arts degree from Hardin-Simmons University in Abilene, Texas. Afterward, she moved to Berkeley, California, to pursue graduate studies at the University of California, Berkeley between 1965 and 1967. In 1966, she helped found and named the Society for Creative Anachronism and was involved in developing several local groups, some in New York after her move to Staten Island. Bradley and Breen separated in 1979 but remained married, and continued a business relationship and lived on the same street for over a decade. They officially divorced on May 9, 1990, the year Breen was arrested on child molestation charges after a 13-year-old boy reported that Breen had been molesting him for four years. She had edited Breen's book Greek Love, which was dedicated to her, and in 1965 had contributed an article, "Feminine Equivalents of Greek Love in Modern Literature", to Breen's journal The International Journal of Greek Love. She had known about Breen's sexual interests and previously accepted his sexual abuse of a 14-year-old boy.

Where was she born?

Answer with quotes: Albany, New York,

Problem: Ratt is an American heavy metal band that had significant commercial success in the 1980s, with their albums having been certified as gold, platinum, and multi-platinum by the RIAA. The group is perhaps best known for hit singles such as "Round and Round" and "Lay It Down", tracks that ranked on Billboard's top 40 at No. 12 and No. 40, respectively, as well as other songs such as "Wanted Man", "You're in Love" and "Dance".

Ratt's next release was Dancing Undercover in September 1986. The album was a relative disappointment with most music critics at the time of its release. From a commercial standpoint however, the album kept Ratt's string of consecutive Platinum albums alive. This is the first album as well to see Crosby's lead guitar duties minimized in favor of DeMartini. In an effort to be taken more seriously, Ratt broke from the tradition of featuring a girl on the cover. They instead opted for gritty black-and-white photos of each of the five band members. Likewise, the album does not contain a single power ballad amongst its ten tracks and even features experimental forays into thrashier and heavier sounds. The song that reflected this most strikingly was "Body Talk", which was featured on the soundtrack for the 1986 Eddie Murphy film The Golden Child. The more straight-ahead style of the album (especially with this song) led many fans to believe that Ratt was headed in a direction more akin to the thrash style promulgated by such bands as Anthrax, Megadeth, and Slayer. However, that proved not to be the case as the slightly experimental undertones of the album were quickly replaced with a bluesier sound throughout their next three releases. Other popular tracks generated by the album included "Dance" and "Slip of the Lip". Through 1987, Ratt embarked on a U.S. tour with newcomers Poison, and played in Europe as a part of the Monsters Of Rock Tour (widely bootlegged). Their tour with Poison was the 6th highest grossing tour of 1987. Ratt also played Madison Square Garden.

What was the dancing cover

Answer with quotes: Ratt's next release was Dancing Undercover in September 1986. The album was a relative disappointment with most music critics at the time of its release.

Problem: Modern Sounds in Country and Western Music is a studio album by American R&B singer-songwriter and musician Ray Charles. It was recorded by Charles in February 1962 at Capitol Studios in New York City and at United Recording Studios in Hollywood, then released in April of that year by ABC-Paramount Records. The album departed stylistically from the singer's previous rhythm and blues music. It featured country, folk, and Western music standards reworked by Charles in popular song forms of the time, including R&B, pop, and jazz.

Following his blues fusion with gospel and jazz influences on his earlier Atlantic material, which had brought him much fame and controversy, Charles sought to experiment with country music. As noted by himself in the liner notes for What'd I Say (1959), Charles was influenced by the genre in his youth, stating that he "used to play piano in a hillbilly band" and that he believed that he "could do a good job with the right hillbilly song today." At Atlantic, he attempted to incorporate this style and influence with his cover of country singer Hank Snow's "I'm Movin' On". Charles later said about the song, "When I heard Hank Snow sing 'Moving On', I loved it. And the lyrics. Keep in mind, I'm a singer, so I like lyrics. Those lyrics are great, so that's what made me want to do it." The "I'm Movin' On" sessions were his last for Atlantic. Charles's recording of his acclaimed studio effort The Genius of Ray Charles (1959) brought him closer to expressing his jazz and pop crossover ambitions. Described by one music critic as "the most important of his albums for Atlantic", the record was the first to introduce Charles's musical approach of blending his brassy R&B sound with the more middle of the road, pop-oriented style, while performing in the presence of a big band ensemble. Recording of the album, as well his ABC-Paramount debut, The Genius Hits the Road (1960), a collection of place-name songs devoted to parts of the United States, expanded on Charles's thematic and conceptually-organized approach to albums rather than commercially successful singles production. Inspired by this approach and his recording of "I'm Movin' On", Charles originally made plans for a single-less concept album. When Charles had announced that he wanted to work on an album of country music in 1961, during a period of racial segregation and tension in the United States, he received generally negative commentary and feedback from his peers, including fellow R&B musicians and ABC-Paramount executives. The country album concept, however, meant more to Charles as a test of his record label's faith in him and respect for his artistic freedom than as a test of social tolerance among listeners amid racial distinctions of country and R&B. Fueled by his esteem for creative control, Charles pitched the idea of a country album to ABC representatives. Following the successful lobby of the concept and a contract renewal in early 1962, which was linked to the launching of his own Tangerine label, Charles prepared his band for the recording sessions that produced Modern Sounds in Country and Western Music.

Did he release a country sound?

Answer with quotes:
he attempted to incorporate this style and influence with his cover of country singer