Background: Kevin Patrick Shields was born on 21 May 1963 in Jamaica Hospital in Queens, New York City, United States. He is the eldest of five siblings born to Irish parents; his mother was a nurse and his father was an executive in the food industry. Shields' parents had emigrated to the United States from Ireland in the 1950s, when the couple were teenagers. Shields attended Christ the King, a Roman Catholic primary school which he described as "a really horrible school run by psychopathic nuns".
Context: Shields' guitar sound has been cited as one of the most recognisable aspects of My Bloody Valentine's music. His sound uses "texture more than technique to create vivid soundscapes". He has been listed at number 95 and 2  on Rolling Stone's and Spin's 100 Greatest Guitarists of All Time list. During the late 1980s, Shields began customising the tremolo systems for his Fender Jaguars and Jazzmaster guitars; he extended the tremolo arm and loosened it considerably, to allow him to manipulate the arm while strumming chords, which resulted in significant pitch bending. Shields used a number of alternate and open tunings that together with his tremolo manipulation, according to Rolling Stone's Michael Azerrad, achieved "a strange warping effect that makes the music wander in and out of focus".  Among Shields' notable effects is digital reverse reverb, sourced from a Yamaha SPX90 effects unit. Together with the tremolo manipulation and distortion, he created a technique known as "glide guitar". Shields effects rig, which is composed largely of distortion, graphic equalisers and tone controls, consists of at least 30 effects pedals. His rig is connected to a large number of amplifiers which are often set to maximum volume to increase sustain. During live performances with My Bloody Valentine - particularly during the closing "You Made Me Realise" - Shields creates a blend of noise and excessive feedback, known as "the holocaust", which has often lasted for half an hour and often reached 130db. "It was so loud it was like sensory deprivation," he remarked. "We just liked the fact that we could see a change in the audience at a certain point."  Shields' sound and performance have been regarded as influential, with musicians including Billy Corgan and J Mascis citing him as an influence.  "Kevin Shields achieved something on Loveless that only the great guitarists achieve: he achieved a wholeness and a unity," observed Living Colour's Vernon Reid. "He created his own sound."
Question: Is his guitar sound one if his more notable talents?
Answer: Together with the tremolo manipulation and distortion, he created a technique known as "glide guitar

Background: Rhapsody in Blue is a 1924 musical composition by American composer George Gershwin for solo piano and jazz band, which combines elements of classical music with jazz-influenced effects. Commissioned by bandleader Paul Whiteman, the composition was orchestrated by Ferde Grofe several times, including the original 1924 scoring, "theater orchestra" setting published in 1926, and the symphony orchestra scoring published in 1942, though completed earlier. The piece received its premiere in the concert, An Experiment in Modern Music, which was held on February 12, 1924, in Aeolian Hall, New York, by Whiteman and his band with Gershwin playing the piano. The editors of the Cambridge Music Handbooks opined that "The Rhapsody in Blue (1924) established Gershwin's reputation as a serious composer and has since become one of the most popular of all American concert works."
Context: Rhapsody in Blue premiered in an afternoon concert on Tuesday, February 12, 1924, held by Paul Whiteman and his band Palais Royal Orchestra, entitled An Experiment in Modern Music, which took place in Aeolian Hall in New York City. Many important and influential composers of the time such as John Philip Sousa and Sergei Rachmaninoff were present. The event has since become historic specifically because of its premiere of the Rhapsody.  The purpose of the experiment, as told by Whiteman in a pre-concert lecture in front of many classical music critics and highbrows, was "to be purely educational". It would "at least provide a stepping stone which will make it very simple for the masses to understand, and therefore, enjoy symphony and opera". The program was long, including 26 separate musical movements, divided into 2 parts and 11 sections, bearing titles such as "True form of jazz" and "Contrast: legitimate scoring vs. jazzing". Gershwin's latest composition was the second to last piece (before Elgar's Pomp and Circumstance March No. 1). Many of the numbers sounded similar and the ventilation system in the concert hall was broken. People in the audience were losing their patience, until the clarinet glissando that opened Rhapsody in Blue was heard.  The Rhapsody was performed by Whiteman's band, with an added section of string players, and George Gershwin on piano. Gershwin decided to keep his options open as to when Whiteman would bring in the orchestra and he did not write down one of the pages for solo piano, with only the words "Wait for nod" scrawled by Grofe on the band score. Gershwin improvised some of what he was playing, and he did not write out the piano part until after the performance, so it is unknown exactly how the original Rhapsody sounded.  The opening clarinet glissando came into being during rehearsal when; "... as a joke on Gershwin, [Ross] Gorman (Whiteman's virtuoso clarinettist) played the opening measure with a noticeable glissando, adding what he considered a humorous touch to the passage. Reacting favourably to Gorman's whimsy, Gershwin asked him to perform the opening measure that way at the concert and to add as much of a 'wail' as possible."
Question: Was Paul Whiteman and his band the only ones to play it?
Answer:
performed by Whiteman's band, with an added section of string players, and George Gershwin on piano.