Problem: Odissi (Odia: odd'ishii Odisi), also referred to as Orissi in older literature, is a major ancient Indian classical dance that originated in the Hindu temples of Odisha - an eastern coastal state of India. Odissi, in its history, was performed predominantly by women, and expressed religious stories and spiritual ideas, particularly of Vaishnavism (Vishnu as Jagannath). Odissi performances have also expressed ideas of other traditions such as those related to Hindu gods Shiva and Surya, as well as Hindu goddesses (Shaktism). The theoretical foundations of Odissi trace to the ancient Sanskrit text Natya Shastra, its existence in antiquity evidenced by the dance poses in the sculptures of Odissi Hindu temples, and archeological sites related to Hinduism, Buddhism and Jainism.

After 12th-century, Odia temples, monasteries and nearby institutions such as the Nalanda in eastern Indian subcontinent came under waves of attacks and ransacking by Muslim armies, a turmoil that impacted all arts and eroded the freedoms previously enjoyed by performance artists. The official records of Sultan Firuz Shah Tughlaq's invasion in Odisha (1360-1361 CE), for example, describe the destruction of the Jagannath temple as well as numerous other temples, defacing of dancing statues, and ruining of dance halls. This led to a broad decline in Odissi and other religious arts, but there were some benevolent rulers in this period who supported arts particularly through performances at courts. During the Sultanate and Mughal era of India, the temple dancers were moved to entertain the Sultan's family and courts. They became associated with concubinage to the nobility. The Odissi dance likely expanded in the 17th century, states Alexandra Carter, under King Ramachandradeva's patronage. This expansion integrated martial arts (akhanda) and athletics into Odissi dance, by engaging boys and youth called Gotipuas, as a means to physically train the young for the military and to resist foreign invasions. According to Ragini Devi, historical evidence suggests that the Gotipuas tradition was known and nurtured in the 14th century, by Raja of Khurda. During the British Raj, the officials of the colonial government ridiculed the temple traditions, while Christian missionaries launched a sustained attack on the moral outrage of sensuousness of Odissi and other Hindu temple dance arts. In 1872, a British civil servant named William Hunter watched a performance at the Jagannath temple in Puri, then wrote, "Indecent ceremonies disgraced the ritual, and dancing girls with rolling eyes put the modest worshipper to the blush...", and then attacked them as idol-worshipping prostitutes who expressed their devotion with "airy gyrations". Christian missionaries launched the "anti-dance movement" in 1892, to ban all such dance forms. The dancers were dehumanized and stigmatized as prostitutes during the British period. In 1910, the British colonial government in India banned temple dancing, and the dance artists were reduced to abject poverty from the lack of any financial support for performance arts, combined with stereotyping stigma.

Was there any one person who was outspoken about the negative side of the dance?

Answer with quotes: a British civil servant named William Hunter

Problem: Triumph is a Canadian hard rock band formed in 1975 that was popular in the late 1970s and the 1980s, building on its reputation and success as a live band. Between the band's 16 albums and DVDs, Triumph has received 18 gold and 9 platinum awards in Canada and the United States. Triumph was nominated for multiple Juno Awards, including Group of the Year Award in 1979, 1985, 1986, and 1987. Triumph is most known for its guitar-driven rock songs, such as "Lay It on the Line", "Magic Power", "Fight the Good Fight", and "World of Fantasy".

Guitarist Emmett's songwriting style showed a progressive rock influence, as well as displaying his classical music influence; each Triumph album included a classical guitar solo piece. Moore also doubled as lead singer on many of the band's heavier songs and in their later years, some softer ballads; bassist and pianist Levine produced their early albums. Triumph's style proved unpopular with rock critics, much like many progressive rock and heavy metal bands. Rolling Stone reviewers labeled them a "faceless band." Moore and Levine scouted Emmett one summer night in 1975 at a west-end Toronto club on The Queensway, called The Hollywood Tavern, where Emmett was playing in a band called ACT III. The three musicians subsequently got together for a jam session in the basement of Moore's house in Mississauga, after which Moore and Levine showed Emmett promo materials and contracts they had already secured for gigs starting in September of that year. They offered Emmett a guaranteed minimum weekly paycheck of $175, and Emmett agreed to join as an equal founding partner. Triumph's first paid concert was at Simcoe High School on September 19, 1975, for $750. By August 26, 1978 they were headliners at the Canada Jam Festival at Mosport Park playing before a crowd of 110,000 people. Triumph signed their first record deal with Attic Records in Canada. They later signed with RCA Records in the US covering all areas except Canada. After the RCA deal ended in acrimony, MCA Records picked up the band and re-released all their music to date in 1984. After the shift to MCA, the band began to work with outside producers, and their studio albums became increasingly difficult to replicate onstage. Triumph later added Rick Santers, a Toronto guitar and keyboard player, to support their last three tours. Triumph's first album (originally self-titled but later renamed In the Beginning) was rare outside Canada, but their widely released second LP, Rock & Roll Machine, received some scattered airplay in the US, with Gil Moore's cover of Joe Walsh's "Rocky Mountain Way." In mid 1978 Triumph subbed in for Sammy Hagar on an FM radio-station promotion date in San Antonio, Texas, followed by a run of 5 shows in Texas for JAM Productions (a promoter named Joe Anthony), then toured across Canada with fellow Canadian rockers Moxy and Trooper. San Antonio remained a popular location for the trio throughout its career.

What was there first album?

Answer with quotes:
Triumph's first album (originally self-titled but later renamed In the Beginning)