Question: The Future Sound of London (often abbreviated to FSOL) is a British electronic music group composed of Garry Cobain (sometimes stylised as Gaz Cobain) and Brian Dougans. The duo are often credited with pushing the boundaries of electronic music experimentation and of pioneering a new era of dance music. Although often associated with ambient music, Cobain and Dougans usually resist being typecast into any one particular genre. Their work covers many areas of electronic music, such as ambient techno, house music, trip hop, ambient dub, acid techno.

After a four-year hiatus, rumours of mental illness began to spread which turned out to be nothing more than exaggeration of Cobain's mercury poisoning from fillings in his teeth. Cobain gained much from the experience, realizing that music was a tool for psychic exploration and entertainment but also one for healing . The pair returned in 2002 with "The Isness", a record heavily influenced by 1960s and 1970s psychedelia and released under their alias Amorphous Androgynous. It was preceded by Papua New Guinea Translations, a mini album which contained a mixture of remixes of FSOL's track as well as new material from The Isness sessions. The album received mixed press due to the drastic change in sound which was inspired by Cobain's and Dougan's (separate) travels to India and immersion in spiritualism, nevertheless the majority was positive with Muzik magazine offering the album a 6/5 mark and dubbing it "...a white beam of light from heaven..." and other British publications such as The Times, The Guardian and MOJO praising the album and the band's ability to do something so completely different from what they had done before. Three years on, they followed the album with a continuation of the Amorphous Androgynous project, Alice in Ultraland. Rumoured to be accompanied by a film of the same title, the album took The Isness' psychedelic experimentation and toned it down, giving the album a singular theme and sound, and replacing the more bizarre moments with funk and ambient interludes. The album was ignored by the press, but was received more favourably among fans than its predecessor. Unlike The Isness, which featured almost 100 musicians over the course of it and the various alternative versions and remix albums, Alice in Ultraland featured a fairly solid band lineup throughout, which extended to live shows which the band had undertaken away from the ISDN cables from 2005 onwards. ...song form has just become too limited. And when I say 'psychedelic', it's not a reference to 60s music but to the basic outlook of a child, which we all have. I think this is the only salvation now. Dance music taught us how to use the studio in a new way, but we have to now take that knowledge and move on with it. This stuff, electronic music, is not dead. It's a process that is ongoing. We have to take hold of the past and go forward with it...

Using a quote from the above article, answer the following question: Is there anything else interesting?
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Answer: Unlike The Isness, which featured almost 100 musicians over the course of it and the various alternative versions and remix albums, Alice in Ultraland featured a fairly solid band lineup

Question: Buzzi was born at Westerly Hospital, Westerly, Rhode Island, the daughter of Rena Pauline and Angelo Peter Buzzi, a nationally recognized stone sculptor. She was raised in Wequetequock, Connecticut, in a rock house overlooking the ocean at Wequetequock Cove, where her father owned Buzzi Memorials, a business still operated by her older brother, Harold. Her father was born in Arzo, Switzerland, in the Italian-speaking canton of Ticino. He carved the marble eagles at Penn Station in New York, the granite Leif Erikson memorial in Providence, Rhode Island, the animals seen in relief on the American Museum of Natural History in New York City, and made thousands of tombstones.

In the late 1960s, Ruth Buzzi appeared in every episode of The Steve Allen Show, a comedy-variety series starring Steve Allen. Her character parts in the Allen sketches led her to be cast for NBC's new show Rowan and Martin's Laugh-In. She was the only featured player to appear in every episode of Laugh-In including the pilot for the show and the Laugh-In television special. A versatile comedian and accomplished singer, Buzzi played everything from dowdy old women to tipsy drunks, from Southern belles to flashy hookers. Among her recurring characters on Laugh-In were Busy-Buzzi, a Hedda Hopper-type Hollywood gossip columnist; Doris Swizzler, a cocktail-lounge habituee who always got riotously smashed with husband Leonard (Dick Martin); and one of the Burbank Airlines Stewardesses, teaming with Debbie Reynolds as two totally inconsiderate flight attendants. Her most famous character was dowdy spinster Gladys Ormphby, clad in drab brown with her bun hairdo covered by a visible hairnet knotted in the middle of her forehead. Buzzi first used this look when she played Agnes Gooch in a school production of Auntie Mame. In most sketches, she used her lethal purse, with which she would flail away vigorously at anyone who incurred her wrath. On Laugh-In, Gladys most often appeared as the unwilling object of the advances of Arte Johnson's "dirty old man" character Tyrone F. Horneigh. In a typical exchange, Tyrone accosts Gladys and asks, "Do you believe in the hereafter?" "Of course I do!" Gladys retorts defensively. Delighted, Tyrone shoots back: "Then you know what I'm here after!" NBC collectively called these two characters The Nitwits when they went to animation in the mid-1970s as part of the series Baggy Pants and the Nitwits. Buzzi and Johnson both voiced their respective roles in the cartoon. Buzzi, as Gladys, was featured in most of the Dean Martin Roasts from the MGM Hotel in Las Vegas. Memorable shows included her intense comedic dialogue, ranting about notable roastees including Muhammad Ali, Frank Sinatra, and Lucille Ball, to name a few. In each case, Gladys Ormphby pugnaciously attacked the honoree with her flailing purse to the screams and howls of the Las Vegas audience. Martin would also suffer Gladys's purse assaults for his remarks about her unappealing looks and poor romantic prospects. In one such exchange, Gladys accusingly questioned Martin about who had been chasing her around a hotel room in the wee hours; Martin's response ("The exterminator!") earned him a beating as he broke up laughing along with the audience. Gladys then declared to the audience that, when Martin and other men looked at her, only one thing came to their minds. Martin, still laughing, could barely get out the answer: "Rabies!" This earned him an even fiercer beating from Gladys.

Using a quote from the above article, answer the following question: When did that show air?
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Answer:
In the late 1960s,