Given the following context: Blender described Jackson as the "late 20th century's preeminent pop icon", while The New York Times gave the opinion that he was a "musical phenomenon" and that "in the world of pop music, there is Michael Jackson and there is everybody else". Jackson changed the way the industry functioned: both as an artistic persona and as a financial, profitable entity. His attorney John Branca observed that Jackson achieved the highest royalty rate in the music industry to that point: approximately $2 (US$4.82 in 2018 dollars) for each album sold. As a result, Jackson earned record-breaking profits from compact disc sales and from the sale of copies of the documentary, The Making of Michael Jackson's Thriller, produced by Jackson and John Landis. Funded by MTV, the film sold over 350,000 copies in its first few months. In a market then driven by singles, Thriller raised the significance of albums, yet its multiple hit singles changed perceived notions as to the number of successful singles that could be taken from an individual album. The era saw the arrival of novelties like the Michael Jackson doll, that appeared in stores in May 1984 at a price of $12 (US$29 in 2018 dollars). Thriller retains a position in American culture; biographer J. Randy Taraborrelli explains, "At some point, Thriller stopped selling like a leisure itemlike a magazine, a toy, tickets to a hit movieand started selling like a household staple".At the time of the album's release, a press statement from Gil Friesen, the then President of A&M Records, read that, "The whole industry has a stake in this success". Time magazine speculated that "the fallout from Thriller has given the [music] business its best years since the heady days of 1978, when it had an estimated total domestic revenue of $4.1 billion". Time summed up Thriller's impact as a "restoration of confidence" for an industry bordering on "the ruins of punk and the chic regions of synthesizer pop". The publication described Jackson's influence at that point as, "Star of records, radio,... answer the following question: What publication described Jackson as a "one-man rescue team for the music business"?
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Answer: Time

Given the following context: During the 1913 Ballets Russes season in Paris, Monteux conducted two more premieres. The first was Jeux, with music by Debussy and choreography by Nijinsky. The choreography was not liked; Monteux thought it "asinine", while Debussy felt that "Nijinsky's cruel and barbarous choreography ... trampled over my poor rhythms like so many weeds". The second new work was Stravinsky's The Rite of Spring given under the French title, Le sacre du printemps. Monteux had been appalled when Stravinsky first played the score at the piano: I decided then and there that the symphonies of Beethoven and Brahms were the only music for me, not the music of this crazy Russian. ... My one desire was to flee that room and find a quiet corner in which to rest my aching head. Then [Diaghilev] turned to me and with a smile said, "This is a masterpiece, Monteux, which will completely revolutionize music and make you famous, because you are going to conduct it." And, of course, I did. Despite his initial reaction, Monteux worked with Stravinsky, giving practical advice to help the composer to achieve the orchestral balance and effects he sought. Together they worked on the score from March to May 1913, and to get the orchestra of the Theatre des Champs-Elysees to cope with the unfamiliar and difficult music Monteux held seventeen rehearsals, an unusually large number. Monteux's real attitude to the score is unclear. In his old age he told a biographer, "I did not like Le Sacre then. I have conducted it fifty times since. I do not like it now." However, he told his wife in 1963 that the Rite was "now fifty years old, and I do not think it has aged at all. I had pleasure in conducting the fiftieth anniversary of Le Sacre this spring". answer the following question: What is the name of the ballet that will completely revolutionize music?
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Answer: The Rite of Spring

Given the following context: Brink has recently taken Pud's (Bobs Watson) parents in an auto wreck. Brink later comes for Gramps. Believing Brink to be an ordinary stranger, the crotchety old Gramps orders Mr. Brink off the property. Pud comes out of the house and asks who the stranger was. Gramps is surprised and relieved that someone else could see the stranger; he was not merely a dream or apparition. Pud tells Gramps that when he does a good deed, he will be able to make a wish. Because his apples are constantly being stolen, Gramps wishes that anyone who climbs up his apple tree will have to stay there until he permits them to climb down. Pud inadvertently tests the wish when he has trouble coming down from the tree himself, becoming free only when Gramps says he can. Pud's busybody Aunt Demetria has designs on Pud and the money left him by his parents. Gramps spends much time fending off her efforts to adopt the boy. Brink takes Granny Nellie in a peaceful death just after she finishes a bit of knitting. When Mr. Brink returns again for Gramps, the old man finally realizes who his visitor is. Determined not to leave Pud to Demetria, Gramps tricks Mr. Brink into climbing the apple tree. While stuck in the tree, he cannot take Gramps or anyone else. The only way anyone or anything can die is if Gramps touches Mr. Brink or the apple tree. Demetria plots to have Gramps committed to a psychiatric hospital when he claims that Death is trapped in his apple tree. Gramps proves his story first by proving that his doctor, Dr. Evans, can not even kill a fly they have captured. He offers further proof of his power by shooting Mr. Grimes, the orderly who has come to take him to the asylum; Grimes lives when he should have died. answer the following question: Who does the visitor attempt to take after the knitting woman?
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Answer:
Gramps