Question:
Social Distortion is an American punk rock band formed in 1978 in Fullerton, California. The band currently consists of Mike Ness (lead vocals, lead guitar), Jonny Wickersham (rhythm guitar, backing vocals), Brent Harding (bass, backing vocals), David Hidalgo Jr. (drums), and David Kalish (keyboards). Social Distortion went on a temporary hiatus in the mid-1980s, due to Ness' drug addiction and troubles with the law which resulted in extended stints in various rehabilitation centers that lasted for two years. Since its inception, the band lineup has been a virtual revolving-door of talent with many members coming and going - Ness has been the only constant member.
Social Distortion was formed in late 1978 by frontman Mike Ness, inspired by the Sex Pistols and many other British punk bands as well as rock acts such as the Rolling Stones. The original lineup consisted of Ness on lead guitar, Rikk Agnew on bass, Frank Agnew on guitar, and Casey Royer on drums. On the origins of the band's name, Royer recalled "Mike was like 15, trying to play guitar but he couldn't. Social Distortion was named for my distortion pedal, which I gave to Mike to play 'cause back then he was no good." Ness met Dennis Danell, who was a year older, in high school and insisted he join the band on bass guitar even though Danell had never played an instrument before. When Danell was brought in, Frank, Rikk, and Casey left to join the Adolescents. Mike and Dennis remained the only constant members for the next two decades with bass and drum members changing every few years. The Adolescents song "Kids of the Black Hole" and Social Distortion song "The Playpen" chronicled this period of the band's history. Its first single, Mainliner/Playpen featuring Ness on guitar and vocals, Dennis on bass, and Carrot on drums was released in 1981 on Posh Boy, the label responsible for releasing the first singles and albums of many of the local O.C. punk bands. Rodney Bingenheimer of KROQ-FM was responsible for much of the radio play in Orange County, California, that punk received in the early 80s, and took a liking to Social Distortion, releasing the single "1945" on his 1981 compilation album, Rodney on the ROQ, Blood on the ROQ in 1983, and The Best Of Rodney on the ROQ in 1989. In 1982, the band--now consisting of Ness, Danell (who now played rhythm guitar), Brent Liles on bass, and Derek O'Brien on drums--embarked on their first international tour (US and Canada) with fellow punk band Youth Brigade, a trip chronicled in the punk rockumentary Another State of Mind, which was not released until 1984.
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What else was their inspiration

Answer:
well as rock acts such as the Rolling Stones.

Question:
Hildegard of Bingen (German: Hildegard von Bingen; Latin: Hildegardis Bingensis; 1098 - 17 September 1179), also known as Saint Hildegard and Sibyl of the Rhine, was a German Benedictine abbess, writer, composer, philosopher, Christian mystic, visionary, and polymath. She is considered to be the founder of scientific natural history in Germany. Hildegard was elected magistra by her fellow nuns in 1136; she founded the monasteries of Rupertsberg in 1150 and Eibingen in 1165. One of her works as a composer, the Ordo Virtutum, is an early example of liturgical drama and arguably the oldest surviving morality play.
Attention in recent decades to women of the medieval Church has led to a great deal of popular interest in Hildegard's music. In addition to the Ordo Virtutum, sixty-nine musical compositions, each with its own original poetic text, survive, and at least four other texts are known, though their musical notation has been lost. This is one of the largest repertoires among medieval composers. One of her better known works, Ordo Virtutum (Play of the Virtues), is a morality play. It is uncertain when some of Hildegard's compositions were composed, though the Ordo Virtutum is thought to have been composed as early as 1151. The morality play consists of monophonic melodies for the Anima (human soul) and 16 Virtues. There is also one speaking part for the Devil. Scholars assert that the role of the Devil would have been played by Volmar, while Hildegard's nuns would have played the parts of Anima and the Virtues. In addition to the Ordo Virtutum, Hildegard composed many liturgical songs that were collected into a cycle called the Symphonia armoniae celestium revelationum. The songs from the Symphonia are set to Hildegard's own text and range from antiphons, hymns, and sequences, to responsories. Her music is described as monophonic, that is, consisting of exactly one melodic line. Its style is characterized by soaring melodies that can push the boundaries of the more staid ranges of traditional Gregorian chant. Though Hildegard's music is often thought to stand outside the normal practices of monophonic monastic chant, current researchers are also exploring ways in which it may be viewed in comparison with her contemporaries, such as Hermannus Contractus. Another feature of Hildegard's music that both reflects twelfth-century evolutions of chant and pushes those evolutions further is that it is highly melismatic, often with recurrent melodic units. Scholars such as Margot Fassler, Marianne Richert Pfau, and Beverly Lomer also note the intimate relationship between music and text in Hildegard's compositions, whose rhetorical features are often more distinct than is common in twelfth-century chant. As with all medieval chant notation, Hildegard's music lacks any indication of tempo or rhythm; the surviving manuscripts employ late German style notation, which uses very ornamental neumes. The reverence for the Virgin Mary reflected in music shows how deeply influenced and inspired Hildegard of Bingen and her community were by the Virgin Mary and the saints. The definition of viriditas or "greenness" is an earthly expression of the heavenly in an integrity that overcomes dualisms. This greenness or power of life appears frequently in Hildegard's works. Despite Hildegard's self-professed view that her compositions have as object the praise of God, one scholar has asserted that Hildegard made a close association between music and the female body in her musical compositions. According to him, the poetry and music of Hildegard's Symphonia would therefore be concerned with the anatomy of female desire thus described as Sapphonic, or pertaining to Sappho, connecting her to a history of female rhetoricians.
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What else did she do

Answer:
Scholars such as Margot Fassler, Marianne Richert Pfau, and Beverly Lomer also note the intimate relationship between music and text in Hildegard's compositions,