Question: When was the Chicxulub crater discovered? Answer the above question based on the context below: The Chicxulub crater (; Mayan: [t'ikulu]) is an impact crater buried underneath the Yucatan Peninsula in Mexico. Its center is located near the town of Chicxulub, after which the crater is named. It was formed by a large asteroid or comet about 11 to 81 kilometres (6.8 to 50.3 miles) in diameter, the Chicxulub impactor, striking the Earth. The date of the impact coincides precisely with the CretaceousPaleogene boundary (KPg boundary), slightly less than 66 million years ago, and a widely accepted theory is that worldwide climate disruption from the event was the cause of the CretaceousPaleogene extinction event, a mass extinction in which 75% of plant and animal species on Earth became extinct, including all non-avian dinosaurs. The crater is estimated to be 150 kilometres (93 miles) in diameter and 20 km (12 mi) in depth, well into the continental crust of the region of about 1030 km (6.218.6 mi) depth. It is the second largest confirmed impact structure on Earth and the only one whose peak ring is intact and directly accessible for scientific research.The crater was discovered by Antonio Camargo and Glen Penfield, geophysicists who had been looking for petroleum in the Yucatan during the late 1970s. Penfield was initially unable to obtain evidence that the geological feature was a crater and gave up his search. Later, through contact with Alan Hildebrand in 1990, Penfield obtained samples that suggested it was an impact feature. Evidence for the impact origin of the crater includes shocked quartz, a gravity anomaly, and tektites in surrounding areas. In 2016, a scientific drilling project drilled deep into the peak ring of the impact crater, hundreds of meters below the current sea floor, to obtain rock core samples from the impact itself. The discoveries were widely seen as confirming current theories related to both the crater impact and its effects.
Answer: late 1970s
[Q]: In what year did Carlo Maria Giulini start to share the conducting at the Chicago Symphony Orchestra? Answer the above question based on the context below: In 1967 Solti was invited to become music director of the Chicago Symphony Orchestra. It was the second time he had been offered the post. The first had been in 1963 after the death of the orchestra's conductor, Fritz Reiner, who made its reputation in the previous decade. Solti told the representatives of the orchestra that his commitments at Covent Garden made it impossible to give Chicago the eight months a year they sought. He suggested giving them three and a half months a year and inviting Carlo Maria Giulini to take charge for a similar length of time. The orchestra declined to proceed on these lines. When Solti accepted the orchestra's second invitation it was agreed that Giulini should be appointed to share the conducting. Both conductors signed three-year contracts with the orchestra, effective from 1969.One of the members of the Chicago Symphony described it to Solti as "the best provincial orchestra in the world." Many players remained from its celebrated decade under Reiner, but morale was low, and the orchestra was $5m in debt. Solti concluded that it was essential to raise the orchestra's international profile. He ensured that it was engaged for many of his Decca sessions, and he and Giulini led it in a European tour in 1971, playing in ten countries. It was the first time in its 80-year history that the orchestra had played outside of North America. The orchestra received plaudits from European critics, and was welcomed home at the end of the tour with a ticker-tape parade.The orchestra's principal flute player, Donald Peck, commented that the relationship between a conductor and an orchestra is difficult to explain: "some conductors get along with some orchestras and not others. We had a good match with Solti and he with us." Peck's colleague, the violinist Victor Aitay said, "Usually conductors are relaxed at rehearsals and tense at the concerts. Solti is the reverse. He is very tense at rehearsals, which makes us concentrate, but relaxed during the performance, which is a great asset to the...
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[A]: 1969
input: Please answer the following: What is the full name of the person that stepped in as the drummer in "Remember a Day"? Answer the above question based on the context below: In 1968, Pink Floyd returned to Abbey Road Studios to record their second album, A Saucerful of Secrets. The album included Barrett's final contribution to their discography, "Jugband Blues". Waters began to develop his own songwriting, contributing "Set the Controls for the Heart of the Sun", "Let There Be More Light" and "Corporal Clegg". Wright composed "See-Saw" and "Remember a Day". Norman Smith encouraged them to self-produce their music, and they recorded demos of new material at their houses. With Smith's instruction at Abbey Road, they learned how to use the recording studio to realise their artistic vision. However, Smith remained unconvinced by their music, and when Mason struggled to perform his drum part on "Remember a Day", Smith stepped in as his replacement. Wright recalled Smith's attitude about the sessions, "Norman gave up on the second album ... he was forever saying things like, 'You can't do twenty minutes of this ridiculous noise'". As neither Waters nor Mason could read music, to illustrate the structure of the album's title track, they invented their own system of notation. Gilmour later described their method as looking "like an architectural diagram".Released in June 1968, the album featured a psychedelic cover designed by Storm Thorgerson and Aubrey Powell of Hipgnosis. The first of several Pink Floyd album covers designed by Hipgnosis, it was the second time that EMI permitted one of their groups to contract designers for an album jacket. The release peaked at number 9, spending 11 weeks on the UK chart. Record Mirror gave the album an overall favourable review, but urged listeners to "forget it as background music to a party". John Peel described a live performance of the title track as "like a religious experience", while NME described the song as "long and boring ... [with] little to warrant its monotonous direction". On the day after the album's UK release, Pink Floyd performed at the first ever free concert in Hyde Park. In July 1968, they returned to the US for a second...
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output:
Norman Smith