Problem: Given the question: I have a test where I am given the following article, what is an answer for the question: What is the first name of the person who had been listening to music all his life and had had never heard anything remotely like what Beiderbecke played?? ? Like Green, who made particular mention of Beiderbecke's "amount of teaching," the jazz historian Ted Gioia also has emphasized Beiderbecke's lack of formal instruction, suggesting that it caused him to adopt "an unusual, dry embouchure" and "unconventional fingerings," which he retained for the rest of his life. Gioia points to "a characteristic streak of obstinacy" in Beiderbecke that provokes "this chronic disregard of the tried-and-true." He argues that this stubbornness was behind Beiderbecke's decision not to switch from cornet to trumpet when many other musicians, including Armstrong, did so. In addition, Gioia highlights Beiderbecke's precise timing, relaxed delivery, and pure tone, which contrasted with "the dirty, rough-edged sound" of King Oliver and his protege Armstrong, whose playing was often more energetic and whose style held more sway early in the 1920s than Beiderbecke's. Beiderbecke's playing - both as a cornetist and a pianist - had a profound effect on a number of his contemporaries. Eddie Condon, for instance, described Beiderbecke's cornet playing as "like a girl saying yes" and also wrote of being amazed by Beiderbecke's piano playing: "All my life I had been listening to music [] But I had never heard anything remotely like what Beiderbecke played. For the first time I realized music isn't all the same, it had become an entirely new set of sounds" "I tried to explain Bix to the gang," Hoagy Carmichael wrote, but "[i]t was no good, like the telling of a vivid, personal dream [] the emotion couldn't be transmitted."Mezz Mezzrow described Beiderbecke's tone as being "pickled in alcohol [] I have never heard a tone like he got before or since. He played mostly open horn, every note full, big, rich and round, standing out like a pearl, loud but never irritating or jangling, with a powerful drive that few white musicians had in those days."Some critics have highlighted "Jazz Me Blues", recorded with the Wolverines on February 18, 1924, as being particularly important to understanding...
++++++++++++++++++++++++++++++++
The answer is:
Eddie

Problem: Given the question: I have a test where I am given the following article, what is an answer for the question: What is the last name of the person who was said to be not in the slightest bit interested in atmospherics and the tones and the overdubs? ? In 2006, U2 started work on the follow-up to How to Dismantle an Atomic Bomb (2004), collaborating with producer Rick Rubin. After U2 guitarist the Edge worked individually with Rubin in Los Angeles, the group spent two weeks in September 2006 completing songs with the producer at Abbey Road Studios in London. Later that year, the band released two songs from these sessions on the compilation album U218 Singles: a cover of the Skids' "The Saints Are Coming" with Green Day, and "Window in the Skies". In January 2007, lead singer Bono said U2 intended to take their next album in a different musical direction from their previous few releases. He said, "We're gonna continue to be a band, but maybe the rock will have to go; maybe the rock has to get a lot harder. But whatever it is, it's not gonna stay where it is."Rubin encouraged a "back to basics" approach and wanted the group to bring finished songs to the studio. This approach conflicted with U2's freeform recording style, by which they improvised material in the studio. The Edge said, "we sort of hadn't really finished the songs. It's typical for us, because it's in the process of recording that we really do our writing." Bassist Adam Clayton said, "once we have a song, we're interested in the atmospherics and the tones and the overdubs and the different stuff you can do with it... things that Rick was not in the slightest bit interested in. He was interested in getting it from embryonic stage to a song that could be mixed and put on a record." They ultimately decided to shelve the material recorded with Rubin, but expressed interest in revisiting it in the future.
++++++++++++++++++++++++++++++++
The answer is:
Rubin

Problem: Given the question: I have a test where I am given the following article, what is an answer for the question: What sound was influenced by European electronica, Japanese synthpop, Hip-Hop and Italo disco? ? Detroit techno is an offshoot of Chicago house music which developed in the early and mid-1980s. One of the earliest hits was "Big Fun" by Inner City. Detroit techno developed as the DJ The Electrifying Mojo did his radio program, which fused eclectic sounds into the signature Detroit techno sound. This sound, also influenced by European electronica (Kraftwerk, Art of Noise), Japanese synthpop (Yellow Magic Orchestra), early B-boy (breakdancing) Hip-Hop (Man Parrish, Soul Sonic Force) and Italo disco (Doctor's Cat, Ris, Klein M.B.O.), was further pioneered by Juan Atkins, Derrick May, and Kevin Saunderson, known as the Belleville Three. Derrick May a.k.a. "MAYDAY" and Thomas Barnett released "Nude Photo" in 1987 on May's label "Transmat Records", which helped start the Detroit techno music scene. This record was played on Chicago's Hot Mix 5 Radio DJ mix show and in Chicago clubs. A year later, Transmat released "Strings of Life". Transmat Records also released such as 1988's "Wiggin". As well, Derrick May had releases on Kool Kat Records and many remixes for underground and mainstream recording artists. Kevin Saunderson's company KMS Records contributed many releases that were as much house music as they were techno. These tracks were well received in Chicago and played on Chicago radio and in clubs.Blake Baxter's 1986 recording, "When we Used to Play / Work your Body", 1987's "Bounce Your Body to the Box" and "Force Field", "The Sound / How to Play our Music" and "the Groove that Won't Stop" and a remix of "Grooving Without a Doubt". In 1988, as house music became more popular among general audiences, Kevin Saunderson's group Inner City with Paris Gray released the 1988 hits "Big Fun" and "Good Life", which eventually were picked up by Virgin Records. Each EP / 12 inch single sported remixes by Mike "Hitman" Wilson and Steve "Silk" Hurley of Chicago and Derrick "Mayday" May and Juan Atkins of Detroit. In 1989, KMS had another hit release of "Rock to the Beat" which was a theme in Chicago dance clubs.The...
++++++++++++++++++++++++++++++++
The answer is:
Detroit techno