input: In 1967, Alfred Lion retired from running Blue Note, and the company's owners, Liberty Records (from 1965), began to use other engineers more regularly. Prestige, too, had started to use other studios a few years earlier. Van Gelder remained active in music recording, working as the engineer for most of Creed Taylor's CTI Records releases, a series of proto-smooth jazz albums that were financially successful, but not always well received by critics. Though his output slowed, Van Gelder remained active as a recording engineer into the new century. In the late 1990s he worked as a recording engineer for some of the songs featured on the soundtrack to the TV Show Cowboy Bebop. From 1999, he remastered the analog Blue Note recordings he made several decades earlier into 24-bit digital recordings in its RVG Edition series and also a similar series of remasters of some of the Prestige albums he recorded for its current owners, Concord Records. He was positive about the switch from analog to digital technology. He told Audio magazine in 1995: The biggest distorter is the LP itself. I've made thousands of LP masters. I used to make 17 a day, with two lathes going simultaneously, and I'm glad to see the LP go. As far as I'm concerned, good riddance. It was a constant battle to try to make that music sound the way it should. It was never any good. And if people don't like what they hear in digital, they should blame the engineer who did it. Blame the mastering house. Blame the mixing engineer. That's why some digital recordings sound terrible, and I'm not denying that they do, but don't blame the medium. Van Gelder resided in Englewood Cliffs into this century. He died at his Engelwood Cliffs home on August 25, 2016.

Answer this question "What other groups and artists did he work with in the 1990s?"
output: Van Gelder remained active in music recording, working as the engineer for most of Creed Taylor's CTI Records releases,

input: Even before the state of Israel was created, there were women fighting for women's rights in the land that became the state of Israel, for example women in the New Yishuv. Yishuv is the term referring to the body of Jewish residents in Palestine before the establishment of the state of Israel, and New Yishuv refers to those who began building homes outside the Old City walls of Jerusalem in the 1860s. In 1919 the first nationwide women's party in the New Yishuv (the Union of Hebrew Women for Equal Rights in Eretz Israel) was created, and Rosa Welt-Straus, who had immigrated there that year, was appointed its leader, as which she continued until her death. In 1926 the haredim, who preferred not to face the possibility of a plebiscite, left the yishuv's Assembly of Representatives, and that year an official declaration was made (ratified by the mandate government in 1927) confirming "equal rights to women in all aspects of life in the yishuv - civil, political, and economic." Israel was the third country in the world to be led by a female prime minister, Golda Meir, and in 2010, women's parliamentary representation in Israel was 18 percent, which is above the Arab world's average of 6 percent and equals that of the U.S. Congress. Still, it trails far behind the Scandinavian countries' 40 percent average The Israeli parliament, The Knesset, has established "The Committee on the Status of Women," to address women's rights. The stated objectives of this committee are to prevent discrimination, combat violence against women, and promote equality in politics, lifecycle events and education. In 1998, the Knesset passed a law for "Prevention of Sexual Harassment". In 2013, the Minister of Religious Affairs and Chief Rabbis issued statements telling ritual bath attendants only to inspect women who want inspection, putting an end to forced inspections of women at mikvehs.

Answer this question "How long did she lead?"
output: she continued until her death.

input: Eakins has been credited with having "introduced the camera to the American art studio". During his study abroad, he was exposed to the use of photography by the French realists, though the use of photography was still frowned upon as a shortcut by traditionalists. In the late 1870s, Eakins was introduced to the photographic motion studies of Eadweard Muybridge, particularly the equine studies, and became interested in using the camera to study sequential movement. In the mid-1880s, Eakins worked briefly alongside Muybridge in the latter's photographic studio at the University of Pennsylvania in Philadelphia. Eakins soon performed his own independent motion studies, also usually involving the nude figure, and even developed his own technique for capturing movement on film. Whereas Muybridge's system relied on a series of cameras triggered to produce a sequence of individual photographs, Eakins preferred to use a single camera to produce a series of exposures superimposed on one negative. Eakins was more interested in precision measurements on a single image to aid in translating a motion into a painting, while Muybridge preferred separate images that could also be displayed by his primitive movie projector. After Eakins obtained a camera in 1880, several paintings, such as Mending the Net (1881) and Arcadia (1883), are known to have been derived at least in part from his photographs. Some figures appear to be detailed transcriptions and tracings from the photographs by some device like a magic lantern, which Eakins then took pains to cover up with oil paint. Eakins' methods appear to be meticulously applied, and rather than shortcuts, were likely used in a quest for accuracy and realism. An excellent example of Eakins' use of this new technology is his painting A May Morning in the Park, which relied heavily on photographic motion studies to depict the true gait of the four horses pulling the coach of patron Fairman Rogers. But in typical fashion, Eakins also employed wax figures and oil sketches to get the final effect he desired. The so-called "Naked Series", which began in 1883, were nude photos of students and professional models which were taken to show real human anatomy from several specific angles, and were often hung and displayed for study at the school. Later, less regimented poses were taken indoors and out, of men, women, and children, including his wife. The most provocative, and the only ones combining males and females, were nude photos of Eakins and a female model (see below). Although witnesses and chaperones were usually on site, and the poses were mostly traditional in nature, the sheer quantity of the photos and Eakins' overt display of them may have undermined his standing at the Academy. In all, about eight hundred photographs are now attributed to Eakins and his circle, most of which are figure studies, both clothed and nude, and portraits. No other American artist of his time matched Eakins' interest in photography, nor produced a comparable body of photographic works.

Answer this question "Did he use them for anything other than anatomy and motion studies?"
output:
were often hung and displayed for study at the school.