Problem: Sergei Vasilievich Rachmaninoff (1 April [O.S. 20 March] 1873 - 28 March 1943) was a Russian pianist, composer, and conductor of the late Romantic period, some of whose works are among the most popular in the Romantic repertoire. Born into a musical family, Rachmaninoff took up the piano at age four. He graduated from the Moscow Conservatory in 1892 having already composed several piano and orchestral pieces.

Regardless of the music, Rachmaninoff always planned his performances carefully. He based his interpretations on the theory that each piece of music has a "culminating point." Regardless of where that point was or at which dynamic within that piece, the performer had to know how to approach it with absolute calculation and precision; otherwise, the whole construction of the piece could crumble and the piece could become disjointed. This was a practice he learned from Russian bass Feodor Chaliapin, a staunch friend. Paradoxically, Rachmaninoff often sounded like he was improvising, though he actually was not. While his interpretations were mosaics of tiny details, when those mosaics came together in performance, they might, according to the tempo of the piece being played, fly past at great speed, giving the impression of instant thought. One advantage Rachmaninoff had in this building process over most of his contemporaries was in approaching the pieces he played from the perspective of a composer rather than that of an interpreter. He believed "interpretation demands something of the creative instinct. If you are a composer, you have an affinity with other composers. You can make contact with their imaginations, knowing something of their problems and their ideals. You can give their works color. That is the most important thing for me in my interpretations, color. So you make music live. Without color it is dead." Nevertheless, Rachmaninoff also possessed a far better sense of structure than many of his contemporaries, such as Hofmann, or the majority of pianists from the previous generation, judging from their respective recordings. A recording which showcases Rachmaninoff's approach is the Liszt Second Polonaise, recorded in 1925. Percy Grainger, who had been influenced by the composer and Liszt specialist Ferruccio Busoni, had himself recorded the same piece a few years earlier. Rachmaninoff's performance is far more taut and concentrated than Grainger's. The Russian's drive and monumental conception bear a considerable difference to the Australian's more delicate perceptions. Grainger's textures are elaborate. Rachmaninoff shows the filigree as essential to the work's structure, not simply decorative.

They might what?

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Problem: Tatchell was born in Melbourne, Australia. His father was a lathe operator and his mother worked in a biscuit factory. His parents divorced when he was four and his mother remarried soon afterwards. Since the family finances were strained by medical bills, he had to leave school at 16 in 1968.

In 1978, Tatchell joined the Labour Party and moved to a council flat in Bermondsey, south-east London. From October 1979, he became a leading member in a group of left-wingers planning to depose the right-wing caucus of Southwark councillors that controlled the Bermondsey Constituency Labour Party (CLP). At the CLP's AGM in February 1980, the left group won control and Tatchell was elected Secretary. When the sitting Labour MP, Bob Mellish, announced his retirement in 1981, Tatchell was selected as his successor. The selection was a surprise, as Arthur Latham, a former MP and former Chairman of the Tribune Group, was the favourite. Later, the Militant group was cited as the reason for Tatchell's selection, but he has said that it had only a handful of members at that time in the constituency; he had never been a member and Militant did not support his selection. Tatchell ascribed his selection to the support of the "older, 'born and bred' working class; the younger professional and intellectual members swung behind Latham". Due to Tatchell's support for direct action in the London Labour Briefing newsletter, Tatchell was denounced by party leader Michael Foot for allegedly supporting extra-parliamentary action against the Thatcher government; according to Tony Benn, Foot lied about Tatchell's alleged extremism in order to allow the Social Democratic Party to rejoin the Labour Party. Neil Kinnock stated that the whole affair was a matter of political judgement, asking "the question is: are we talking of extra-parliamentary or anti-parliamentary behaviour?" The fact that Tatchell was a gay man was also considered by some as a factor as to why Tatchell should not be supported. Labour subsequently allowed him to stand in the Bermondsey by-election, held in February 1983.

What is Bermondsey?

Answer with quotes: Bermondsey, south-east London.

Problem: Povenmire was born in San Diego, California on September 18, 1963, and grew up in the city of Mobile, Alabama. A child prodigy, he began drawing at age two; by the time he was ten, his work was displayed in local art shows. His first efforts in animation included a series of flip books that he produced in his school text books. As a child, Povenmire considered animator Chuck Jones his hero; in a 2009 interview, he stated that "every drawing he [Jones] did was beautiful to look at and had so much energy in it".

Povenmire later became a director on Family Guy, starting with the season two episode, "Road to Rhode Island". Creator Seth MacFarlane granted Povenmire substantial creative freedom. Povenmire recalled that MacFarlane would tell him "We've got two minutes to fill. Give me some visual gags. Do whatever you want. I trust you." Povenmire praised MacFarlane's management style for letting him "have [...] fun." Povenmire brought realism and material from his own experiences to the visual direction of Family Guy. For "One if By Clam, Two if By Sea" (August 1, 2001), several characters demonstrate Fosse-like moves in prison. To correctly depict the moves, Povenmire asked color artist Cynthia MacIntosh, who had been a professional dancer, to strike poses so he could properly illustrate the sequence. In the episode "To Love and Die in Dixie" (November 15, 2001), Povenmire drew on his childhood in the Deep South to create and sequence a background scene in which the redneck character nonchalantly kicks a corpse into the nearby river. "Brian Wallows and Peter's Swallows" (January 17, 2002), a Family Guy episode which Povenmire directed, won the Emmy Award for Best Song. Creator MacFarlane, the recipient of the award, noted that Povenmire deserved to have received the award for the contribution the visuals made to the episode's win. Povenmire jokingly responded "That's a nice sentiment and all, but did he offer to give me his? No! And it's not like he doesn't already have two of his own just sitting in his house!" Povenmire was nominated for an Annie Award for Directing in an Animated Television Production for the episode "PTV" (November 6, 2005) but lost out to a fellow Family Guy director Peter Shin, who had directed the episode "North by North Quahog". Povenmire and several others were also nominated for their work on "PTV" in the Outstanding Animated Program (for Programming Less Than One Hour) category at the Primetime Emmy Awards. Povenmire also received the same nomination for "Road to Rhode Island." During Family Guy's brief cancellation, Povenmire was offered a job as storyboard director of the series SpongeBob SquarePants. He wrote various musical numbers for the series, including "The Campfire Song Song" in "The Camping Episode" (April 3, 2004).

Did he partner with anyone when producing for Family Guy?

Answer with quotes:
Creator MacFarlane,