The following article contains an answer for the question: What two bands did Steve Brotherdale play drums for? , can you please find it? On 20 July 1976, childhood friends Bernard Sumner and Peter Hook separately attended a Sex Pistols show at the Manchester Lesser Free Trade Hall. Both were inspired by the Pistols' performance. Sumner said that he felt the Pistols "destroyed the myth of being a pop star, of a musician being some kind of god that you had to worship". The following day Hook borrowed 35 from his mother to buy a bass guitar. They formed a band with Terry Mason, who had also attended the gig; Sumner bought a guitar, and Mason a drum kit. After their schoolfriend Martin Gresty declined an invitation to join as vocalist after getting a job at a factory, the band placed an advertisement for a vocalist in the Manchester Virgin Records shop. Ian Curtis, who knew them from earlier gigs, responded and was hired without audition. Sumner said that he "knew he was all right to get on with and that's what we based the whole group on. If we liked someone, they were in."Buzzcocks manager Richard Boon and frontman Pete Shelley have both been credited with suggesting the band name "Stiff Kittens", but the band settled on "Warsaw" shortly before their first gig, a reference to David Bowie's song "Warszawa". Warsaw debuted on 29 May 1977 at the Electric Circus, supporting the Buzzcocks, Penetration and John Cooper Clarke. Tony Tabac played drums that night after joining the band two days earlier. Reviews in the NME by Paul Morley and in Sounds by Ian Wood brought them immediate national exposure. Mason became the band's manager and Tabac was replaced on drums in June 1977 by Steve Brotherdale, who also played in the punk band Panik. Brotherdale tried to get Curtis to leave the band and join Panik, and even had Curtis audition. In July 1977, Warsaw recorded five demo tracks at Pennine Sound Studios, Oldham. Uneasy with Brotherdale's aggressive personality, the band fired him soon after the sessions: driving home from the studio, they pulled over and asked Brotherdale to check on a flat tyre; when he got out of the car, they drove off.In August...
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Answer: Warsaw
Q: The following article contains an answer for the question: What is the first name of the person whose ambition for Nine Inch Nails was to release one 12-inch single on a small European label? , can you please find it? In 1987, Trent Reznor played keyboard in a Cleveland, Ohio band called the Exotic Birds, then managed by John Malm Jr. Reznor and Malm became friends, and when Reznor left the Exotic Birds to work on music of his own, Malm informally became his manager. At the time, Reznor was employed as an assistant engineer and janitor at Right Track Studios, in Cleveland; he asked studio owner Bart Koster for permission to record some demos of his own material for free during unused studio time. Koster agreed and allowed Reznor to use it whenever it was empty, commenting that it cost him "just a little wear on [his] tape heads". While completing the early recordings, Reznor was unable to find a band that could articulate the material as he desired. Instead, inspired by Prince, Reznor played all the instruments, except drums, himself. This role remains Reznor's on most of the band's studio recordings, though he has occasionally involved other musicians and assistants. Nine Inch Nails' debut was at the Phantasy Theater in Lakewood, Ohio on October 21, 1988 as part of the Pretty Hate Machine Tour Series. In 1988, after playing its first shows supporting Skinny Puppy, Reznor's ambition for Nine Inch Nails was to release one 12-inch single on a small European label. Several labels responded favorably to the demo material and Reznor signed with TVT Records. Nine selections from the Right Track demos recorded live in November 1988, collectively known as Purest Feeling, were later released in revised form on the band's first full-length studio release, Pretty Hate Machine (1989). The overall sound on Purest Feeling is lighter than that of Pretty Hate Machine; several songs contain more live drumming and guitar work throughout, as well as a heavier use of samples from films.Reznor coined the name "Nine Inch Nails" because it "abbreviated easily", rather than for "any literal meaning". Other rumored explanations have circulated, alleging that Reznor chose to reference Jesus' crucifixion with nine-inch spikes, or Freddy Krueger's...
A: Trent
The following article contains an answer for the question: What was the last name of the critic who was unconvinced that the piece that was performed in Cleveland in 1977 was "...important music."? , can you please find it? In May 1962 A Child of Our Time received its Israel premiere in Tel Aviv. Tippett says that this performance was delayed because for a while there were local objections to the word "Jesus" in the text. When it came about, among the audience was Herschel Grynszpan's father who, Tippett wrote, was "manifestly touched by the work his son's precipitate action 25 years earlier had inspired." The performance, by the Kol Yisrael Orchestra with the Tel Aviv Chamber Choir, was acclaimed by the audience of 3000, but received mixed reviews from the press. The Times report noted contrasting opinions from two leading Israeli newspapers. The correspondent for Haaretz had expressed disappointment: "Every tone is unoriginal, and the work repeats old effects in a most conventional manner". Conversely, according to the Times report, HaBoker's critic had "found that the composition had moved everyone to the depths of his soul ... no Jewish composer had ever written anything so sublime on the theme of the Holocaust."Despite its successes in Europe A Child of Our Time did not reach the United States until 1965, when it was performed during the Aspen Music Festival, with the composer present. In his memoirs Tippett mentions another performance on that American tour, at a women's college in Baltimore, in which the male chorus and soloists were black Catholic ordinands from a local seminary. The first significant American presentations of the work came a decade later: at Cleveland in 1977 where Prince Charles, who was visiting, delayed his departure so that he could attend, and at Carnegie Hall, New York, where Colin Davis conducted the Boston Symphony Orchestra and the Tanglewood Festival Chorus. Reviewing this performance for The New York Times, Donal Henahan was unconvinced that the work's "sincerity and unimpeachable intentions add[ed] up to important music". The spirituals were sung with passion and fervour, but the rest was "reminiscent of a familiar pious sermon" in which the words were only intermittently intelligible....
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Answer:
Henahan