Question: The Incredible String Band (sometimes abbreviated as ISB) were a psychedelic folk band formed by Clive Palmer, Robin Williamson and Mike Heron in Scotland in 1966. The band built a considerable following, especially in the British counterculture, notably with their albums The 5000 Spirits or the Layers of the Onion, The Hangman's Beautiful Daughter, and Wee Tam and the Big Huge. They became pioneers in psychedelic folk and, through integrating a wide variety of traditional music forms and instruments, in the development of world music. Following Palmer's early departure, Williamson and Heron performed as a duo, later augmented by other musicians.

1968 was the band's annus mirabilis with the release of their two most-celebrated albums, The Hangman's Beautiful Daughter and the double LP Wee Tam and the Big Huge (issued as two separate albums in the US). Hangman's reached the top 5 in the UK album charts soon after its release in March 1968 and was nominated for a Grammy in the US. Robert Plant of Led Zeppelin said his group found their way by playing Hangman's and following the instructions. A departure from the band's previous albums, the set relied heavily on a more layered production, with imaginative use of the then new multitrack recording techniques. The album featured a series of vividly dreamlike Williamson songs, such as "The Minotaur's Song", a surreal music-hall parody told from the point of view of the mythical beast, and its centrepiece was Heron's "A Very Cellular Song", a 13-minute reflection on life, love and amoebas, its complex structure incorporating a Bahamian spiritual ("I Bid You Goodnight"). Williamson and Heron in this album had added their girlfriends, Licorice McKechnie and Rose Simpson, to the band to contribute additional vocals and various instruments, including organ, guitar and percussion. Despite their initially rudimentary skills, Simpson swiftly became a proficient bass guitarist, and some of McKechnie's songs were recorded by the band.  By early 1968 the group were capable of filling major venues in the UK. They left behind their folk club origins and embarked on a nationwide tour incorporating a critically acclaimed appearance at the London Royal Festival Hall. Later in the year they performed at the Royal Albert Hall, at open-air festivals, and at prestigious rock venues, such as the Fillmore auditoriums in San Francisco and New York. After their appearance at the Fillmore East in New York they were introduced to the practice of Scientology by David Simons (aka "Rex Rakish" and "Bruno Wolfe", once of Jim Kweskin's Jug Band). Joe Boyd, in his book White Bicycles: Making Music in the 1960s and elsewhere, described how he was inadvertently responsible for their "conversion" when he introduced the band to Simons, who, having become a Scientologist, persuaded them to enrol in his absence. The band's support for Scientology over the next few years was controversial among some fans and seemed to coincide with what many saw as the beginning of a decline in the quality of their work. In an interview with Oz magazine in 1969 the band spoke enthusiastically of their involvement with it, although the question of its effect on their later albums has provoked much discussion ever since.  Their November 1968 album Wee Tam and the Big Huge, recorded before the US trip, was musically less experimental and lush than Hangman's but conceptually even more avant-garde, a full-on engagement with the themes of mythology, religion, awareness and identity. Williamson's otherworldly songs and vision dominate the album, though Heron's more grounded tracks are also among his very best, and the contrast between the two perspectives gives the record its uniquely dynamic interplay between a sensual experience of life and a quest for metaphysical meaning. The record was released as a double album and also simultaneously as two separate LPs, a strategy which lessened its impact on the charts.

Using a quote from the above article, answer the following question: How successful was Wee Tam?
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Answer: Their November 1968 album Wee Tam and the Big Huge, recorded before the US trip, was musically less experimental and lush than Hangman's


Question: Andy Samuel Griffith (June 1, 1926  - July 3, 2012) was an American actor, comedian, television producer, Southern gospel singer, and writer, whose career spanned seven decades of music and television. Known for his southern drawl, his characters with a folksy-friendly personality, and his gruff, gregarious voice, Griffith was a Tony Award nominee for two roles, and gained prominence in the starring role in director Elia Kazan's film A Face in the Crowd (1957) before he became better known for his television roles, playing the lead roles of Andy Taylor in the sitcom The Andy Griffith Show (1960-1968) and Ben Matlock in the legal drama Matlock (1986-1995).

Griffith was born on June 1, 1926 in Mount Airy, North Carolina, the only child of Carl Lee Griffith and his wife, Geneva (Nunn). As a baby, Griffith lived with relatives until his parents could afford to buy a home. With neither a crib nor a bed, he slept in dresser drawers for several months. In 1929, when Griffith was three, his father began working as a helper or carpenter and purchased a home in Mount Airy's "blue-collar" south side.  Griffith grew up listening to music. By the time he entered school, he was well aware that he was from what many considered the "wrong side of the tracks". He was a shy student, but once he found a way to make his peers laugh, he began to come out of his shell and come into his own.  As a student at Mount Airy High School, Griffith cultivated an interest in the arts, and he participated in the school's drama program. A growing love of music, particularly swing, would change his life. Griffith was raised Baptist and looked up to Ed Mickey, a minister at Grace Moravian Church, who led the brass band and taught him to sing and play the trombone. Mickey nurtured Griffith's talent throughout high school until graduation in 1944. Griffith was delighted when he was offered a role in The Lost Colony by Paul Green, a play about Roanoke Island still performed today. He performed as a cast member of the play for several years, playing a variety of roles, until he finally landed the role of Sir Walter Raleigh, the namesake of North Carolina's capital.  He attended the University of North Carolina (UNC) in Chapel Hill, North Carolina, and graduated with a Bachelor of Music degree in 1949. He began college studying to be a Moravian preacher, but he changed his major to music and became a part of the school's Carolina Playmakers. At UNC, he was president of the UNC chapter of Phi Mu Alpha Sinfonia, America's oldest fraternity for men in music. He also played roles in several student operettas, including The Chimes of Normandy (1946), and Gilbert and Sullivan's The Gondoliers (1945), The Mikado (1948) and H.M.S. Pinafore (1949).  After graduation, he taught music and drama for a few years at Goldsboro High School in Goldsboro, North Carolina, where he taught, among others, Carl Kasell. He also began to write.

Using a quote from the above article, answer the following question: Who was his mother ?
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Answer:
Geneva (Nunn).