Question: Celtic Frost () were a Swiss heavy metal band from Zurich. They are known for their strong influence on the development of extreme metal. Formed in 1982 as Hellhammer, the band became Celtic Frost in 1984 and was active until 1993. It re-formed in 2001 and disbanded following frontman Tom Gabriel Fischer's departure in 2008.

One of their more influential recordings was 1985's To Mega Therion which did not feature Ain on bass, but stand-in Dominic Steiner. The cover artwork is a painting by H.R. Giger entitled Satan I. The album was a major influence on the then-developing death metal and black metal genres. Ain did return after the album was recorded however. In 1987 followed Into the Pandemonium. The album is more varied than many of Celtic Frost's past LPs, with unlikely covers (Wall of Voodoo's "Mexican Radio"), emotionally charged love songs, the album's recurring industrial-influenced rhythmic songs of demons and destruction, traditional Frost styled songs about dreams and fear, and a dark, classical piece with female vocals. The album is vastly different from the band's previous work and cemented its late 80s avant-garde metal term; it is also a departure from the extreme style found on the band's previous albums, Morbid Tales and To Mega Therion that Celtic Frost had become known for. However, it does have the recurring symphonic elements found on previous albums. The album has a more classic heavy metal style within the songs with elements of industrial, classical and gothic rock, and even has an industrial/electronic body music (EBM)-inspired rhythm in "One in Their Pride". It does have a few black metal elements remaining in Warrior's vocals, though, and some thrash-influenced guitar riffs. These albums were some of the pivotal LPs for underground metal and introduced a new and more varied sound. Celtic Frost, along with Venom and Bathory were pioneers in the still underground black metal scene, although Celtic Frost were much more experimental with the addition of classical instruments, operatic female vocals and sampling. Celtic Frost was often labeled by critics as avant-garde metal.

Using a quote from the above article, answer the following question: Where there any mega hits?
HHHHHH
Answer: Satan I.

Question: Ellington was born on April 29, 1899, to James Edward Ellington and Daisy (Kennedy) Ellington in Washington, D.C. Both his parents were pianists. Daisy primarily played parlor songs and James preferred operatic arias.

From 1936, Ellington began to make recordings with smaller groups (sextets, octets, and nonets) drawn from his then-15-man orchestra and he composed pieces intended to feature a specific instrumentalist, as with "Jeep's Blues" for Johnny Hodges, "Yearning for Love" for Lawrence Brown, "Trumpet in Spades" for Rex Stewart, "Echoes of Harlem" for Cootie Williams and "Clarinet Lament" for Barney Bigard. In 1937, Ellington returned to the Cotton Club which had relocated to the mid-town Theater District. In the summer of that year, his father died, and due to many expenses, Ellington's finances were tight, although his situation improved the following year. After leaving agent Irving Mills, he signed on with the William Morris Agency. Mills though continued to record Ellington. After only a year, his Master and Variety labels, the small groups had recorded for the latter, collapsed in late 1937, Mills placed Ellington back on Brunswick and those small group units on Vocalion through to 1940. Well known sides continued to be recorded, "Caravan" in 1937, and "I Let a Song Go Out of My Heart" the following year. Billy Strayhorn, originally hired as a lyricist, began his association with Ellington in 1939. Nicknamed "Swee' Pea" for his mild manner, Strayhorn soon became a vital member of the Ellington organization. Ellington showed great fondness for Strayhorn and never failed to speak glowingly of the man and their collaborative working relationship, "my right arm, my left arm, all the eyes in the back of my head, my brain waves in his head, and his in mine". Strayhorn, with his training in classical music, not only contributed his original lyrics and music, but also arranged and polished many of Ellington's works, becoming a second Ellington or "Duke's doppelganger". It was not uncommon for Strayhorn to fill in for Duke, whether in conducting or rehearsing the band, playing the piano, on stage, and in the recording studio. The 1930s ended with a very successful European tour just as World War II loomed in Europe.

Using a quote from the above article, answer the following question: who else did he work with?
HHHHHH
Answer:

Question: Keane was born into a working class family in Ballinderry Park, Mayfield, Cork. His father, Maurice, took work wherever he could find, which led to jobs at a local knitwear company and at Murphy's Irish Stout brewery, among others. His family were keen on sport, football especially, and many of his relatives had played for junior clubs in Cork, including Rockmount. Keane took up boxing at the age of nine and trained for a number of years, winning all of his four bouts in the novice league.

Despite the then-record transfer fee, there was no guarantee that Keane would go straight into the first team. Paul Ince and Bryan Robson had established a formidable partnership in the centre of midfield, having just inspired Manchester United to their first league title since 1967. Robson, however, was 36 years old and in the final stages of his playing career, and a series of injuries kept him out of action for most of the 1992-93 season and into the 1993-94 season. As a result Keane had an extended run in the team, scoring twice on his home debut in a 3-0 win against Sheffield United, and grabbing the winner in the Manchester derby three months later when United overturned a 2-0 deficit at Maine Road to beat Manchester City 3-2. Keane had soon established himself as a first choice selection, and by the end of the season he had won his first trophy as a professional as United retained their Premier League title. Two weeks later, Keane broke his Wembley losing streak by helping United to a 4-0 victory over Chelsea in the FA Cup Final, sealing the club's first ever "double". The following season was less successful, as United were beaten to the league title by Blackburn Rovers and beaten 1-0 in the FA Cup final by Everton. He received his first red card as a Manchester United player in a 2-0 FA Cup semi-final replay win against Crystal Palace, after stamping on Gareth Southgate, and was suspended for three matches and fined PS5,000. This incident was the first of 11 red cards Keane would accumulate in his United career, and one of the first signs of his indiscipline on the field. The summer of 1995 saw a period of change at United, with Ince leaving for Internazionale, Mark Hughes moving to Chelsea and Andrei Kanchelskis being sold to Everton. Younger players such as David Beckham, Nicky Butt and Paul Scholes were brought into the team, which left Keane as the most experienced player in midfield. Despite a slow start to the 1995-96 campaign, United pegged back title challengers Newcastle United, who had built a commanding 12-point championship lead by Christmas, to secure another Premier League title. Keane's second double in three years was confirmed with a 1-0 win over Liverpool to win the FA Cup for a record ninth time. The next season saw Keane in and out of the side due to a series of knee injuries and frequent suspensions. He picked up a costly yellow card in the first leg of the Champions League semi-final against Borussia Dortmund, which ruled him out of the return leg at Old Trafford. United lost both legs 1-0, but this was compensated for by winning another league title a few days later.

Using a quote from the above article, answer the following question: did he have any failures in this period?
HHHHHH
Answer:
was suspended for three matches and fined PS5,000.