Question:
Rudolph Van Gelder (November 2, 1924 - August 25, 2016) was an American recording engineer who specialized in jazz. Regarded as the most important recording engineer of jazz by some observers, Van Gelder recorded several thousand jazz sessions, including many recognized as classics, in a career which spanned more than half a century. Van Gelder recorded many of the great names in the genre, including John Coltrane, Miles Davis, Thelonious Monk, Sonny Rollins, Art Blakey, Joe Henderson, Freddie Hubbard, Wayne Shorter, and Horace Silver, among many others. He worked with many record companies but was most closely associated with Blue Note Records.
Van Gelder was born in Jersey City, New Jersey. His parents, Louis Van Gelder and the former Sarah Cohen, ran a women's clothing store in Passaic. His interest in microphones and electronics can be traced to a youthful enthusiasm for amateur radio. A longtime jazz fan (his uncle, for whom Rudy was named, had been the drummer for Ted Lewis's band in the mid-1930s), Van Gelder took lessons on the trumpet. Van Gelder trained as an optometrist at the Pennsylvania College of Optometry, in Philadelphia, because he did not think he could earn a living as a recording engineer. From 1943, after graduating, Van Gelder had an optometry practice in Teaneck, New Jersey, and recorded local musicians in the evenings who wanted 78-rpm recordings of their work. He became a full-time recording engineer in 1959. From 1946, Van Gelder recorded in his parents' house in Hackensack, New Jersey, in which a control room was built adjacent to the living room, which served as the musicians' performing area. The dry acoustics of this working space were partly responsible for Van Gelder's inimitable recording aesthetic. "When I first started, I was interested in improving the quality of the playback equipment I had," Van Gelder commented in 2005; "I never was really happy with what I heard. I always assumed the records made by the big companies sounded better than what I could reproduce. So that's how I got interested in the process. I acquired everything I could to play back audio: speakers, turntables, amplifiers". One of Van Gelder's friends, the baritone saxophonist Gil Melle, introduced him to Alfred Lion, a producer for Blue Note Records, in 1953. Within a few years Van Gelder was in demand by many other independent labels based around New York City, such as Prestige Records. Bob Weinstock, owner of Prestige, recalled in 1999, "Rudy was very much an asset. His rates were fair and he didn't waste time. When you arrived at his studio he was prepared. His equipment was always ahead of its time and he was a genius when it came to recording". According to a JazzTimes article in August 2016, "jazz lore has formed the brands into a yin and yang of sorts: The Blue Note albums involved more original music, with rehearsal and the stringent, consistent oversight of Lion; Weinstock was more nonchalant, organizing what were essentially blowing sessions for some of the best musicians in jazz history". Van Gelder said in 2012, "Alfred was rigid about how he wanted Blue Note records to sound. But Bob Weinstock of Prestige was more easygoing, so I'd experiment on his dates and use what I learned on the Blue Note sessions". He also worked for Savoy Records in this period, among others. "To accommodate everyone, I assigned different days of the week to different labels". In the 1950s Van Gelder also performed engineering and mastering for the classical label Vox Records. Thelonious Monk composed and recorded a tribute to Van Gelder entitled "Hackensack".
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When did Van Gelder begin recording?

Answer:
He became a full-time recording engineer in 1959.

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Divinyls (often incorrectly referred to as The Divinyls) was an Australian rock band that was formed in Sydney in 1980. The band primarily consisted of vocalist Chrissy Amphlett and guitarist Mark McEntee. Amphlett garnered widespread attention for performing on stage in a school uniform and fishnet stockings, and often used an illuminated neon tube as a prop for displaying aggression towards both band members and the audience. Originally a five-piece, the band underwent numerous line-up changes, with Amphlett and McEntee remaining as core members, before its dissolution in 1996.
In 1991 Divinyls released diVINYLS on Virgin Records and the single "I Touch Myself" which became their only Australian No.1 single. The song reached No. 4 in the US and No. 10 in the UK. The majority of Divinyls' hits were co-written by Amphlett and McEntee, but in this case they wrote with Tom Kelly and Billy Steinberg. diVINYLS reached No. 5 on the Australian album charts and No. 15 on Billboard Top 200. The drummer for the diVINYLS sessions was Charley Drayton, who became romantically involved with Amphlett: they married in July 1999, and from 2000, lived together in New York. A disagreement with Virgin Records stifled future development outside Australia where they released popular albums and achieved two more top twenty singles with "I Ain't Gonna Eat Out My Heart Anymore" No. 19 in 1992 and "I'm Jealous" No. 14 in 1995. During the 1980s and 1990s Amphlett collaborated as a songwriter with other artists including Chrissie Hynde and Cyndi Lauper, and both Amphlett and McEntee worked on solo projects. A live album, Divinyls Live, was released in 1991 but Divinyls did not provide another studio album for five years. In the early 1990s they recorded a series of cover songs for various movie soundtracks, including the Young Rascals' "I Ain't Gonna Eat Out My Heart Anymore" for Buffy the Vampire Slayer (1992), the Wild Ones' "Wild Thing" for Reckless Kelly (1993), and Roxy Music's "Love Is the Drug" for Super Mario Brothers (1993). The song "I Touch Myself" caused such a controversy it had trouble getting airplay in many US-area markets; so much to the point that while performing their song live in Texas at Austin Aqua Fest 1991 the plug was pulled on the band mid-set by organisers. This song is also mentioned in The Guide to Getting it On by Paul Joannides. It wasn't until 1996 that Underworld, their fifth studio album, was released in Australia by BMG. Despite the success of diVINYLS Virgin had not kept them under contract and BMG did not release Underworld in the US. As with What A Life! they worked with three producers, beginning with Peter Collins recording "I'm Jealous" in Nashville, followed by Keith Forsey for "Sex Will Keep Us Together" and "Heart of Steel". Although "Heart of Steel" was chosen as a single, Divinyls discontinued working with Forsey because according to Amphlett "he was a bit too 'pop' for us" and remaining tracks were produced by their drummer Drayton. By the end of 1996, Amphlett and McEntee had a falling out and separated without formally disbanding Divinyls.

What type of music are they?
In the early 1990s they recorded a series of cover songs for various movie soundtracks, including the Young Rascals' "I Ain't Gonna Eat Out My Heart Anymore"