I have a test where I am given the following article, what is an answer for the question: What are the first names of the three people who moved to the CBS studios in Nashville, Tennessee? ?  Blonde on Blonde is the seventh studio album by American singer-songwriter Bob Dylan, released June 20, 1966 on Columbia Records. Recording sessions began in New York in October 1965 with numerous backing musicians, including members of Dylan's live backing band, the Hawks. Though sessions continued until January 1966, they yielded only one track that made it onto the final album—"One of Us Must Know (Sooner or Later)". At producer Bob Johnston's suggestion, Dylan, keyboardist Al Kooper, and guitarist Robbie Robertson moved to the CBS studios in Nashville, Tennessee. These sessions, augmented by some of Nashville's top session musicians, were more fruitful, and in February and March all the remaining songs for the album were recorded. Blonde on Blonde completed the trilogy of rock albums that Dylan recorded in 1965 and 1966, starting with Bringing It All Back Home and Highway 61 Revisited. Critics often rank Blonde on Blonde as one of the greatest albums of all time. Combining the expertise of Nashville session musicians with a modernist literary sensibility, the album's songs have been described as operating on a grand scale musically, while featuring lyrics one critic called "a unique mixture of the visionary and the colloquial". It was one of the first double albums in rock music. The album peaked at number nine on the Billboard 200 chart in the US, where it eventually was certified double platinum, and it reached number three in the UK. Blonde on Blonde spawned two singles that were top-twenty hits in the US: "Rainy Day Women #12 & 35" and "I Want You". Two additional songs—"Just Like a Woman" and "Visions of Johanna"—have been named as among Dylan's greatest compositions and were featured in Rolling Stone's 500 Greatest Songs of All Time list.
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Answer: Bob


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 lighting designer that explained how the lighting for the Live: With Teeth tour was done in a 2005 interview? ?  Visual elements employed during Nine Inch Nails concerts have often included numerous lighting, stage and projection effects employed to accompany and augment presentation.  Prior to the Fragility tour in 2000, Reznor reflected that "I’ve adopted a philosophy of the way to present Nine Inch Nails live that incorporates a theatrical element. I want it to be drama. I want my rock stars to be larger than life, you know? The Kurt Cobains of the world, I’m sick of that shit. I don’t want a gas station attendant being my hero. I grew up with Gene Simmons. I grew up with Ziggy Stardust."Many songs are typically accompanied with specially designed visual aids, including synchronized lighting effects and projected stock-footage montages.  Early performances of the song "Hurt", for example, were accompanied by a projected montage of clouds, charred bodies, mushroom clouds, maggots, and war refugees, a performance of which is featured in the song's music video.  Recent performances of the song, however, have featured less lighting effects. Since 1999, the visual presentation of Nine Inch Nails live shows have been directed by Rob Sheridan, while Bill Viola designed a large triptych display for the Fragility tour.  The images displayed on the triptych focused on storm and water imagery.  And All That Could Have Been features an audio commentary track by Viola describing the display and his inspirations for it.For the Live: With Teeth tour, Roy Bennett and Martin Phillips were responsible for the lighting design and stage design respectively.  Bennett explained in a 2005 interview that much of the lighting was done using a series of LED lights arranged in "stalactites or stalagmites [formations] to tie in to the album artwork".  DLP projectors were also used to project images onto a gauze screen in front of the stage. Using the gauze projection-screen, Phillips, Reznor, and Sheridan devised a "gag" where they projected "a sheet of glass shattering onto a downstage kabuki scrim that would drop as the glass shatters fell....
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Answer: Bennett


I have a test where I am given the following article, what is an answer for the question: What is the full name of the person whose completed music that year included the choral cantata On Shore and Sea, a suite of incidental music for Shakespeare's The Merchant of Venice, and numerous hymns, including "Onward, Christian Soldiers"? ?  Impresario and author John Hollingshead, the lessee of London's Gaiety Theatre since 1868, had produced a number of successful musical burlesques and operettas there. Indeed, Hollingshead "boasted that he kept alight 'the sacred lamp of burlesque.'" Gilbert and Sullivan were each well acquainted with the Gaiety and its house artistes.  Gilbert's Robert the Devil (a burlesque of the opera Robert le Diable) had been on the programme on the theatre's opening night on 21 December 1868, with Nellie Farren in the title role, and played successfully for over 100 nights. Constance Loseby and Annie Tremaine (both of whom had roles in Thespis) were also in the cast of Robert, and Arthur Sullivan was in the audience on that opening night as one of Hollingshead's guests. It was a great success, "received with a storm of approbation". Less successfully, Gilbert had also written a play for the theatre in 1869 called An Old Score. Hollingshead would later say that the piece was "too true to nature". By late September or early October 1871, Gaiety programmes announced that "The Christmas Operatic Extravaganza will be written by W. S. Gilbert, with original music by Arthur Sullivan." There would be prominent roles for the popular comedian J. L. Toole, as well as Farren, the theatre's star "principal boy" in all of its burlesques. How and when the pair came to collaborate on Thespis is uncertain. Gilbert was a logical choice for the assignment. With seven operas and plays premièring that year and over a dozen other burlesques, farces and extravaganzas under his belt, he was well known to London theatregoers as a comic dramatist. Sullivan, however, was at this point mainly known for his serious music. His completed music that year included the choral cantata On Shore and Sea, a suite of incidental music for Shakespeare's The Merchant of Venice, and numerous hymns, including "Onward, Christian Soldiers". He did have two comic operas to his credit, Cox and Box (1866) and The Contrabandista (1867), but the latter was four years in...
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Answer: