Problem: "Sympathy for the Devil" is a samba rock song by the Rolling Stones, written by Mick Jagger and Keith Richards. Sung by Jagger, the song refers to the Devil, written in the first-person narrative, recounting atrocities committed throughout the history of humanity as if they were somehow "inspired" (or at least witnessed) by him. Although it has been deemed by some as "a homage", in reality, no admiration (or even sympathy, for that matter) is declared for the Devil in the song -other than his "own" request. It is performed in a rock arrangement with a samba rhythm, first appearing as the opening track on their 1968 album Beggars Banquet.

The recording of "Sympathy for the Devil" began at London's Olympic Sound Studios on 4 June 1968 and continued into the next day; overdubs were done on 8, 9 and 10 June. Personnel included on the recording include Nicky Hopkins on piano, Rocky Dijon on congas and Bill Wyman on maracas. Marianne Faithfull, Anita Pallenberg, Brian Jones, Charlie Watts, producer Jimmy Miller, Wyman and Richards performed backup vocals, singing the "woo woos". Richards plays bass on the original recording, and also electric guitar. Brian Jones plays a mostly mixed out acoustic guitar, although in isolated tracks of the studio cut, it is audible playing along with the piano.  In the 2003 book According to the Rolling Stones, Watts commented:  "Sympathy" was one of those sort of songs where we tried everything. The first time I ever heard the song was when Mick was playing it at the front door of a house I lived at in Sussex ... He played it entirely on his own ... and it was fantastic. We had a go at loads of different ways of playing it; in the end I just played a jazz Latin feel in the style of Kenny Clarke would have played on "A Night in Tunisia" - not the actual rhythm he played, but the same styling.  On the overall power of the song, Jagger continued in Rolling Stone:  It has a very hypnotic groove, a samba, which has a tremendous hypnotic power, rather like good dance music. It doesn't speed up or slow down. It keeps this constant groove. Plus, the actual samba rhythm is a great one to sing on, but it is also got some other suggestions in it, an undercurrent of being primitive--because it is a primitive African, South American, Afro-whatever-you-call-that rhythm (candomble). So to white people, it has a very sinister thing about it. But forgetting the cultural colors, it is a very good vehicle for producing a powerful piece. It becomes less pretentious because it is a very unpretentious groove. If it had been done as a ballad, it wouldn't have been as good.

Who was involved in the recording?

Answer with quotes: Nicky Hopkins on piano,

Question:
Peter Gregg Arnett, ONZM (born 13 November 1934) is a New Zealand-born journalist holding both New Zealand and US citizenship. Arnett worked for National Geographic magazine, and later for various television networks, most notably CNN. He is known for his coverage of the Vietnam War and the Gulf War. He was awarded the 1966 Pulitzer Prize in International Reporting for his work in Vietnam from 1962 to 1975, mostly reporting for the Associated Press.
Arnett worked for CNN for 18 years ending in 1999. During the Gulf War, he became a household name worldwide when he became the only reporter with live coverage directly from Baghdad. His dramatic reports often had air raid sirens blaring and the sound of US bombs exploding in the background. Together with two other CNN journalists, Bernard Shaw and John Holliman, Arnett brought continuous coverage from Baghdad for the 16 initial intense hours of the war (17 January 1991). Although 40 foreign journalists were present at the Al-Rashid Hotel in Baghdad at the time, only CNN possessed the means -- a private phone line connected to neighboring Amman, Jordan -- to communicate to the outside world. CNN broadcast Arnett's extended call live for several hours, with a picture of Arnett as video. Soon the other journalists left Iraq, including the two CNN colleagues, which left Arnett as the sole remaining reporter.  His accounts of civilian damage caused by the bombing were not well received by the coalition war administration, who by their constant use of terms like "smart bombs" and "surgical precision" in their public statements, had tried to project an image that civilian casualties would be at a minimum. White House sources would later state that Arnett was being used as a tool for Iraqi disinformation, and CNN received a letter from 34 members of the United States Congress accusing Arnett of "unpatriotic journalism".  Two weeks into the war, Arnett was able to obtain an exclusive, uncensored interview with Saddam Hussein. The Gulf War became the first war to be seen truly live on TV, due to Arnett's reporting from the "other side", for a period of five weeks.  About halfway through the war the CIA approached Mr. Arnett. They believed that the Iraqi military was operating a high-level communication network from the basement of the Al Rashid Hotel, which is where Mr. Arnett and a few others from CNN were staying. The CIA wanted him out so the Air Force could bomb the hotel, but Mr. Arnett refused. He said he had been given a tour of the hotel and denied there was such a facility.
Answer this question using a quote from the text above:

what else happened during this time?

Answer:
The Gulf War became the first war to be seen truly live on TV, due to Arnett's reporting from the "other side", for a period of five weeks.