input: Please answer the following: The following article contains an answer for the question: What is the full name of the person that made one of the most innovative videos of all time? , can you please find it? Scary Monsters and Super Creeps (1980) produced the number-one hit "Ashes to Ashes", featuring the textural work of guitar-synthesist Chuck Hammer and revisiting the character of Major Tom from "Space Oddity". The song gave international exposure to the underground New Romantic movement when Bowie visited the London club "Blitz"the main New Romantic hangoutto recruit several of the regulars (including Steve Strange of the band Visage) to act in the accompanying video, renowned as one of the most innovative of all time. While Scary Monsters used principles established by the Berlin albums, it was considered by critics to be far more direct musically and lyrically. The album's hard rock edge included conspicuous guitar contributions from Robert Fripp, Chuck Hammer, and Pete Townshend. As "Ashes to Ashes" hit number one on the UK charts, Bowie opened a three-month run on Broadway on 24 September, starring as John Merrick in The Elephant Man.Bowie paired with Queen in 1981 for a one-off single release, "Under Pressure". The duet was a hit, becoming Bowie's third UK number-one single. Bowie was given the lead role in the BBC's 1982 televised adaptation of Bertolt Brecht's play Baal. Coinciding with its transmission, a five-track EP of songs from the play, recorded earlier in Berlin, was released as David Bowie in Bertolt Brecht's Baal. In March 1982, the month before Paul Schrader's film Cat People came out, Bowie's title song, "Cat People (Putting Out Fire)", was released as a single, becoming a minor US hit and entering the UK Top 30.Bowie reached his peak of popularity and commercial success in 1983 with Let's Dance. Co-produced by Chic's Nile Rodgers, the album went platinum in both the UK and the US. Its three singles became Top 20 hits in both countries, where its title track reached number one. "Modern Love" and "China Girl" each made No. 2 in the UK, accompanied by a pair of "absorbing" promotional videos that biographer David Buckley said "activated key archetypes in the pop world. 'Let's Dance', with...
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output: David Bowie

input: Please answer the following: The following article contains an answer for the question: What were the full names of the people who were the subject of a Time Magazine article in 1966? , can you please find it? Stanford did not employ a full-time professor in religion until 1951 and did not establish a religious studies department until 1973, later than most other universities in the U.S. Earlier courses in religion were largely offered by the chaplains of Stanford Memorial Church. David Charles Gardner offered a course in Biblical history and literature beginning in 1907, and by 1910, he was teaching New Testament Greek and Bible classes. Gardner's successor, D. Elton Trueblood, whose goal was the establishment of a non-denominational graduate school in religious studies at Stanford, taught classes about the philosophy of religion. In 1941 Trueblood's efforts to expand the study of religion resulted in the creation of a minor in religion, as well as twenty-one courses offered by him and four faculty members. By 1960, the chaplains of Stanford Memorial Church no longer had to run the program, which had expanded to allow students the option of majoring in the study of religion. By the mid-1960s, the religious studies program at Stanford was enjoying "enormous success".In the 1960s, the study of religion at Stanford began to focus more on social and ethical issues like race and the Vietnam War. Leading this focus was Stanford Memorial Church Dean of the Chapel and Professor of Religion B. Davie Napier, who was "a powerful critic of U.S. policy in Vietnam". Napier, along with Stanford professors Michael Novak and Robert McAfee Brown, who had previously been faculty members of seminaries, were the subject of a Time Magazine article in 1966, describing "the renaissance of faith and learning at Stanford". Students crowded into the church to hear anti-war speeches by them, as well as by "notables" such as Linus Pauling and William Sloan Coffin. Harvey credited Napier for making the church a popular meeting place on campus for undergraduates and for turning it into "Christian theaterthe introduction of jazz and other types of experimental worship as well as provocative preaching".Stanford University was the first...
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output: Michael Novak

input: Please answer the following: The following article contains an answer for the question: What is the last name of the person who had Jane as a pupil? , can you please find it? Holst's absorption of folksong, not only in the melodic sense but in terms of its simplicity and economy of expression, helped to develop a style that many of his contemporaries, even admirers, found austere and cerebral. This is contrary to the popular identification of Holst with The Planets, which Matthews believes has masked his status as a composer of genuine originality. Against charges of coldness in the music, Imogen cites Holst's characteristic "sweeping modal tunes mov[ing] reassuringly above the steps of a descending bass", while Michael Kennedy points to the 12 Humbert Wolfe settings of 1929, and the 12 Welsh folksong settings for unaccompanied chorus of 193031, as works of true warmth.Many of the characteristics that Holst employed unconventional time signatures, rising and falling scales, ostinato, bitonality and occasional polytonality set him apart from other English composers. Vaughan Williams remarked that Holst always said in his music what he wished to say, directly and concisely; "He was not afraid of being obvious when the occasion demanded, nor did he hesitate to be remote when remoteness expressed his purpose". Kennedy has surmised that Holst's economy of style was in part a product of the composer's poor health: "the effort of writing it down compelled an artistic economy which some felt was carried too far". However, as an experienced instrumentalist and orchestra member, Holst understood music from the standpoint of his players and made sure that, however challenging, their parts were always practicable. According to his pupil Jane Joseph, Holst fostered in performance "a spirit of practical comradeship ... none could know better than he the boredom possible to a professional player, and the music that rendered boredom impossible".
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output:
Holst