Background: Karlheinz Stockhausen (German: [kaRl'haInts 'StokhaUzn]; 22 August 1928 - 5 December 2007) was a German composer, widely acknowledged by critics as one of the most important (Barrett 1988, 45; Harvey 1975b, 705; Hopkins 1972, 33; Klein 1968, 117) but also controversial (Power 1990, 30) composers of the 20th and early 21st centuries. A critic calls him "one of the great visionaries of 20th-century music" (Hewett 2007). He is known for his groundbreaking work in electronic music, for introducing controlled chance (aleatory techniques or aleatoric musical techniques) into serial composition, and for musical spatialization.
Context: Stockhausen, along with John Cage, is one of the few avant-garde composers to have succeeded in penetrating the popular consciousness (Anon. 2007b; Broyles 2004; Hewett 2007). The Beatles included his face on the cover of Sgt. Pepper's Lonely Hearts Club Band (Guy and Llewelyn-Jones 2004, 111). This reflects his influence on the band's own avant-garde experiments as well as the general fame and notoriety he had achieved by that time (1967). In particular, "A Day in the Life" (1967) and "Revolution 9" (1968) were influenced by Stockhausen's electronic music (Aldgate, Chapman, and Marwick 2000, 146; MacDonald 1995, 233-34). Stockhausen's name, and the perceived strangeness and supposed unlistenability of his music, was even a punchline in cartoons, as documented on a page on the official Stockhausen web site (Stockhausen Cartoons). Perhaps the most caustic remark about Stockhausen was attributed to Sir Thomas Beecham. Asked "Have you heard any Stockhausen?", he is alleged to have replied, "No, but I believe I have trodden in some" (Lebrecht 1985, 334, annotated on 366: "Apocryphal; source unknown").  Stockhausen's fame is also reflected in works of literature. For example, he is mentioned in Philip K. Dick's 1974 novel Flow My Tears, the Policeman Said (Dick 1993, 101) and in Thomas Pynchon's 1966 novel The Crying of Lot 49. The Pynchon novel features "The Scope", a bar with "a strict electronic music policy". Protagonist Oedipa Maas asks "a hip graybeard" about a "sudden chorus of whoops and yibbles" coming out of "a kind of jukebox." He replies, "That's by Stockhausen... the early crowd tends to dig your Radio Cologne sound. Later on we really swing" (Pynchon 1999, 34).  The French writer Michel Butor acknowledges that Stockhausen's music "taught me a lot", mentioning in particular the electronic works Gesang der Junglinge and Hymnen (Santschi 1982, 204).  Later in his life, Stockhausen was portrayed by at least one journalist, John O'Mahony of the Guardian newspaper, as an eccentric, for example being alleged to live an effectively polygamous lifestyle with two women, to whom O'Mahony referred as his "wives", while at the same time stating he was not married to either of them (O'Mahony 2001). In the same article, O'Mahony claims Stockhausen said he was born on a planet orbiting the star Sirius. In the German newspaper Die Zeit, Stockhausen stated that he was educated at Sirius (see Controversy below).
Question: How did he influence the bands avante garde expirements
Answer: In particular, "A Day in the Life" (1967) and "Revolution 9" (1968) were influenced by Stockhausen's electronic music

Problem: Background: Thomas was born in the rural community of Cayce, Mississippi, the son of a sharecropper. He moved with his family to Memphis, Tennessee, around 1920. His mother was a "church woman". Thomas made his debut as a performer at the age of six, playing a frog in a school theatrical production.
Context: In 1960 he made his first recordings with his 17-year-old daughter Carla, for the Satellite label in Memphis, which changed its name to Stax the following year. The song, "Cause I Love You", featuring a rhythm borrowed from Jesse Hill's "Ooh Poo Pa Doo", was a regional hit; the musicians included Thomas' son Marvell on keyboards, Steinberg, and the 16-year-old Booker T. Jones. The record's success led to Stax gaining production and distribution deal with the much larger Atlantic Records.  Rufus Thomas continued to record for the label after Carla's record "Gee Whiz" reached the national R&B chart in 1961. He had his own hit with "The Dog", a song he had originally improvised in performance based on a Willie Mitchell bass line, complete with imitations of a barking dog. The 1963 follow-up, "Walking the Dog", engineered by Tom Dowd of Atlantic, became one of his most successful records, reaching #10 on the Billboard pop chart. He became the first, and still the only, father to debut in the Top 10 after his daughter had first appeared there. The song was recorded in early 1964 by the Rolling Stones on their debut album, and was a minor UK chart hit for Merseybeat group the Dennisons later that year.  As well as recording and appearing on radio and in clubs, Thomas continued to work as a boiler operator in the textile plant, where he claimed the noises sometimes suggested musical rhythms and lyrics to him, before he finally gave up the job in 1963, to focus on his role as a singer and entertainer. He recorded a series of novelty dance tracks, including "Can Your Monkey Do the Dog'" and '"Somebody Stole My Dog" for Stax, where he was often backed by Booker T. & the MGs or the Bar-Kays. He also became a mentor to younger Stax stars, giving advice on stage moves to performers like Otis Redding, who partnered daughter Carla on record.  After "Jump Back" in 1964, the hits dried up for several years, as Stax gave more attention to younger artists and musicians. However, in 1970 he had another big hit with "Do the Funky Chicken", which reached #5 on the R&B chart, #28 on the pop chart, and #18 in Britain where it was his only chart hit. Thomas improvised the song while performing with Willie Mitchell's band at a club in Covington, Tennessee, including a spoken word section that he regularly used as a shtick as a radio DJ: "Oh I feel so unnecessary - this is the kind of stuff that makes you feel like you wanna do something nasty, like waste some chicken gravy on your white shirt right down front." The recording was produced by Al Bell and Tom Nixon, and used the Bar-Kays, featuring guitarist Michael Toles. Thomas continued to work with Bell and Nixon as producers, and later in 1970 had his only number 1 R&B hit, and his highest pop charting record, with another dance song, "Do the Push and Pull". A further dance-oriented release in 1971, "The Breakdown", climbed to number 2 R&B and number 31 Pop. In 1972, he featured in the Wattstax concert, and he had several further, less successful, hits before Stax collapsed in 1976.
Question: How high it went on the charts ?
Answer:
#5 on the R&B chart, #28 on the pop chart, and #18 in Britain