Background: Migration Period art denotes the artwork of the Germanic peoples during the Migration period (ca. 300-900). It includes the Migration art of the Germanic tribes on the continent, as well the start of the Insular art or Hiberno-Saxon art of the Anglo-Saxon and Celtic fusion in the British Isles. It covers many different styles of art including the polychrome style and the animal style.
Context: The study of Northern European, or "Germanic", zoomorphic decoration was pioneered by Bernhard Salin in a work published in 1904. He classified animal art of the period roughly from 400 to 900 into three phases: Styles I, II and III. The origins of these different phases are still the subject of considerable debate; the development of trends in late-Roman popular art in the provinces is one element, and the older traditions of nomadic Asiatic steppe peoples another. The first two styles are found very widely across Europe in the art of the "barbarian" peoples of the Migration Period.  Style I. First appears in northwest Europe, it became a noticeable new style with the introduction of the chip carving technique applied to bronze and silver in the 5th century. It is characterized by animals whose bodies are divided into sections, and typically appear at the fringes of designs whose main emphasis is on abstract patterns.  Style II. After about 560-570 Style I was in decline and Salin's Style II began to replace it. Style II's animals are whole beasts, but their bodies are elongated into "ribbons" which intertwined into symmetrical shapes with no pretence of naturalism, and rarely any legs, so that they tend to be described as serpents, although the heads often have characteristics of other types of animal. The animal becomes subsumed into ornamental patterns, typically using interlace. Thus two bears are facing each other in perfect symmetry ("confronted"), forming the shape of a heart. Examples of Style II can be found on the gold purse lid.  After about 700 localised styles develop, and it is no longer very useful to talk of a general Germanic style. Salin Style III is found mainly in Scandinavia, and may also be called Viking art.
Question: What was Style III art like?
Answer: Salin Style III is found mainly in Scandinavia, and may also be called Viking art.

Background: Future Islands is an American synthpop band based in Baltimore, Maryland, and signed to 4AD, currently comprising Gerrit Welmers (keyboards and programming), William Cashion (bass, acoustic and electric guitars), and Samuel T. Herring (lyrics and vocals). The band was formed in January 2006 by Welmers, Cashion and Herring--the remaining members of the performance art college band Art Lord & the Self-Portraits--and drummer Erick Murillo. Murillo left in November 2007, after which the band relocated to Baltimore, MD, and released the debut album Wave Like Home through British label
Context: Sam Herring and Gerrit Welmers grew up in Morehead City, North Carolina two streets away from each other, and attended the same middle school in Newport, North Carolina. They became friends around 1998, when they were in 8th grade. Herring had started making hip-hop music when he was 13 or 14, while Gerrit was a skater with interests in metal and punk music who bought his first guitar at age 14. Having different musical backgrounds, they did not consider making music together during high-school. William Cashion started playing guitar when he was around 13, having had a couple of bands as a teenager in Raleigh, where he commuted to High School from Wendell, North Carolina. In 2012 he enrolled in the painting and drawing program at ECU and had drawing classes with Sam Herring.  The idea to form a band came while Cashion was helping Herring study for an art history exam. They invited local record shop personality Adam Beeby to play rhythmic keyboards and fellow art student Kymia Nawabi for percussion and backing vocals. After a tumultuous debut on Valentine's Day February 14, 2003 at Soccer Moms' House, Herring also invited Welmers to join the band. Only Cashion and Welmers already played a musical instrument--the guitar--but Cashion took the bass and Welmers the keyboards, for a Kraftwerk-inspired sound.  Sam Herring played Locke Ernst-Frost an arrogant narcissistic artist from Germany, Ohio, dressed in a 70's-inspired white suit with slicked-back hair, and a heavy German accent. The character's name originally was meant to be Oarlock Ernest Frost but it got shortened as a reference to John Locke the religious poet, Max Ernst, the artist and Robert Frost, the American poet.  The band quickly gained a local reputation and started touring the underground venues in the Southwest, playing shows with North Carolina acts like Valient Thorr and Baltimore artists such as Height, Videohippos, OCDJ, Nuclear Power Pants, Santa Dads, Ecstatic Sunshine, Blood Baby, Ponytail and electronic musician Dan Deacon whom they met during a show on May 26, 2004.  Nawabi who was already a senior when Cashion, Herring and Welmers were freshmen, left the band to prepare for her graduation project in June-July 2003. When Adam Beeby had to leave Greenville in September 2005, the remaining members dissolved the band.
Question: What about the others?
Answer: Gerrit was a skater with interests in metal and punk music who bought his first guitar at age 14.

Background: Lilyan Tashman (October 23, 1896 - March 21, 1934) was an American vaudeville, Broadway, and film actress. Tashman was best known for her supporting roles as tongue-in-cheek villainesses and the vindictive "other woman." She made 66 films over the course of her Hollywood career and although she never obtained superstar status, her cinematic performances are described as "sharp, clever and have aged little over the decades." Tall, blonde, and slender with fox-like features and a throaty voice, Tashman freelanced as a fashion and artist's model in New York City.
Context: In 1932, Tashman entered the hospital in New York City for an appendectomy that is now considered a concealment for abdominal cancer. She left the hospital thin and weak. Although she made five films in her last years, performing with her usual artistry and professionalism, she weakened significantly in the months following her hospitalization and her role in Riptide was trimmed because of her ever-worsening health.  In February 1934, she flew to New York City to film Frankie and Johnny for All Star Productions (released by Republic Pictures) but her condition necessitated a week of rest in Connecticut with Lowe. She resumed work in March, completing her film role on March 8 and then appearing at the Israel Orphan's Home benefit on March 10. When she entered the hospital for surgery on March 16, it was too late for the doctors to help her.  Tashman died of cancer at Doctor's Hospital in New York City on March 21, 1934 at the age of 37. Her funeral was held on March 22 in New York City synagogue Temple Emanu-El with Sophie Tucker, Mary Pickford, Fanny Brice, Cecil Beaton, Jack Benny, and other distinguished celebrities in attendance. Eddie Cantor delivered the eulogy. The burial in Brooklyn's Washington Cemetery attracted 10,000 fans, mourners, and curious onlookers; it became a near riot when people were injured and a gravestone was toppled. Tashman left no will, but the distribution of her $31,000 in cash and $121,000 in furs and jewels provoked contentious discussion among her husband and sisters, Hattie and Jennie. Her last film, Frankie and Johnny, was released posthumously in May 1936 with her role as Nellie Bly cut to a cameo.
Question: What year did she die?
Answer:
1934