Question: MC5 was an American rock band from Lincoln Park, Michigan, formed in 1964. The original band line-up consisted of vocalist Rob Tyner, guitarists Wayne Kramer and Fred "Sonic" Smith, bassist Michael Davis, and drummer Dennis Thompson. "Crystallizing the counterculture movement at its most volatile and threatening", according to AllMusic critic Stephen Thomas Erlewine, the MC5's leftist political ties and anti-establishment lyrics and music positioned them as emerging innovators of the punk movement in the United States.

Playing almost nightly any place they could in and around Detroit, MC5 quickly earned a reputation for their high-energy live performances and had a sizeable local following, regularly drawing sellout audiences of 1000 or more. Contemporary rock writer Robert Bixby stated that the sound of MC5 was like "a catastrophic force of nature the band was barely able to control", while Don McLeese notes that fans compared the aftermath of an MC5 performance to the delirious exhaustion experienced after "a street rumble or an orgy". (McLeese, 57) Having released a cover of Them's "I Can Only Give You Everything" backed with original composition "One of the Guys" on the tiny AMG label over a year earlier, in early 1968 their second single was released by Trans-Love Energies on A-Square records (though without the knowledge of that label's owner Jeep Holland). Housed in a striking picture sleeve, it comprised two original songs: "Borderline" and "Looking at You". The first pressing sold out in a few weeks, and by year's end it had gone through more pressings totaling several thousand copies. A third single that coupled "I Can Only Give You Everything" with the original "I Just Don't Know" appeared at about the same time on the AMG label, as well. That summer MC5 toured the U.S. east coast, which generated an enormous response, with the group often overshadowing the more famous acts they opened up for: McLeese writes that when opening for Big Brother and the Holding Company audiences regularly demanded multiple encores of MC5, and at a memorable series of concerts, Cream -- one of the leading hard rock groups of the era -- "left the stage vanquished". (McLeese, 65) This same east coast tour led to the rapturous aforementioned Rolling Stone cover story that praised MC5 with nearly evangelistic zeal, and also to an association with the radical group Up Against the Wall Motherfuckers. MC5 became the leading band in a burgeoning hard rock scene, serving as mentors to fellow South-Eastern Michigan bands The Stooges and The Up, and major record labels expressed an interest in the group. As related in the notes for reissued editions of the Stooges' debut album, Danny Fields of Elektra Records came to Detroit to see MC5. At Kramer's recommendation, he went to see The Stooges. Fields was so impressed that he ended up offering contracts to both bands in September 1968. They were the first hard rock groups signed to the fledgling Elektra.

Using a quote from the above article, answer the following question: what were the two bands?
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Answer: They were the first hard rock groups signed to the fledgling Elektra.

Question: Arthur Asher Miller (October 17, 1915 - February 10, 2005) was an American playwright, essayist, and figure in twentieth-century American theater. Among his most popular plays are All My Sons (1947), Death of a Salesman (1949), The Crucible (1953) and A View from the Bridge (1955, revised 1956). He also wrote several screenplays and was most noted for his work on The Misfits (1961). The drama Death of a Salesman has been numbered on the short list of finest American plays in the 20th century alongside Eugene O'Neill's Long Day's Journey into Night and Tennessee Williams's A Streetcar Named Desire.

In 1940, Miller married Mary Grace Slattery. The couple had two children, Jane and Robert (born May 31, 1947). Miller was exempted from military service during World War II because of a high school football injury to his left kneecap. That same year his first play was produced; The Man Who Had All the Luck won the Theatre Guild's National Award. The play closed after four performances with disastrous reviews. In 1947, Miller's play All My Sons, the writing of which had commenced in 1941, was a success on Broadway (earning him his first Tony Award, for Best Author) and his reputation as a playwright was established. Years later, in a 1994 interview with Ron Rifkin, Miller said that most contemporary critics regarded All My Sons as "a very depressing play in a time of great optimism" and that positive reviews from Brooks Atkinson of The New York Times had saved it from failure. In 1948, Miller built a small studio in Roxbury, Connecticut. There, in less than a day, he wrote Act I of Death of a Salesman. Within six weeks, he completed the rest of the play, one of the classics of world theater. Death of a Salesman premiered on Broadway on February 10, 1949, at the Morosco Theatre, directed by Elia Kazan, and starring Lee J. Cobb as Willy Loman, Mildred Dunnock as Linda, Arthur Kennedy as Biff, and Cameron Mitchell as Happy. The play was commercially successful and critically acclaimed, winning a Tony Award for Best Author, the New York Drama Circle Critics' Award, and the Pulitzer Prize for Drama. It was the first play to win all three of these major awards. The play was performed 742 times. In 1949, Miller exchanged letters with Eugene O'Neill regarding Miller's production of All My Sons. O'Neill had sent Miller a congratulatory telegram; in response, he wrote a letter that consisted of a few paragraphs detailing his gratitude for the telegram, apologizing for not responding earlier, and inviting Eugene to the opening of Death of a Salesman. O'Neill replied, accepting the apology, but declining the invitation, explaining that his Parkinson's disease made it difficult to travel. He ended the letter with an invitation to Boston, a trip that never occurred.

Using a quote from the above article, answer the following question: What work did he do at the studio?
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Answer:
1949, Miller exchanged letters with Eugene O'Neill regarding Miller's production of All My Sons. O'Neill had sent Miller a congratulatory telegram;