Problem: Electric Ladyland is the third and final studio album by English-American rock band the Jimi Hendrix Experience, released in October 1968 by Track Records/Polydor, and Reprise Records in North America. The double album was the only record from the band produced by Jimi Hendrix. By mid-November, it had charted at number one in the United States, where it spent two weeks at the top spot. Electric Ladyland was the Experience's most commercially successful release and their only number one album.

Recording sessions for the Jimi Hendrix Experience's third and final studio album, Electric Ladyland, began at the newly opened Record Plant Studios, with Chas Chandler as producer and engineers Eddie Kramer and Gary Kellgren. As recording progressed, Chandler became increasingly frustrated with Hendrix's perfectionism and his demands for repeated takes. Hendrix allowed numerous friends and guests to join them in the studio, which contributed to a chaotic and crowded environment in the control room and led Chandler to sever his professional relationship with Hendrix. Redding later recalled: "There were tons of people in the studio; you couldn't move. It was a party, not a session." Redding, who had formed his own band in mid-1968, Fat Mattress, found it increasingly difficult to fulfill his commitments with the Experience, so Hendrix played many of the bass parts on Electric Ladyland. The album's cover stated that it was "produced and directed by Jimi Hendrix". The double LP was the only Experience album to be mixed entirely in stereo.  During the Electric Ladyland recording sessions, Hendrix began experimenting with other combinations of musicians, including Jefferson Airplane's Jack Casady and Traffic's Steve Winwood, who played bass and organ respectively on the fifteen-minute slow-blues jam, "Voodoo Chile". During the album's production, Hendrix appeared at an impromptu jam with B.B. King, Al Kooper, and Elvin Bishop. Electric Ladyland was released in October 1968, and by mid-November it had reached number one in the US, spending two weeks at the top spot. The double LP was the Experience's most commercially successful release and their only number one album. It peaked at number six in the UK, spending 12 weeks on the chart.  Hendrix's studio perfectionism was legendary - he and Mitch Mitchell recorded well over 50 takes of "Gypsy Eyes" over three sessions. Hendrix was generally insecure about his voice and often recorded his vocals hidden behind studio screens. Hendrix sang all the backing vocals himself on the title track and on "Long Hot Summer Night". He was said to be very happy with the vocal results on "Have You Ever Been (To Electric Ladyland)".

How long did it take

Answer with quotes: 


Problem: Refused (also known as The Refused) is a Swedish punk rock band originating from Umea and formed in 1991. Refused is composed of vocalist Dennis Lyxzen, guitarist Kristofer Steen, drummer David Sandstrom, and bassist Magnus Flagge. Guitarist Jon Brannstrom was a member from 1994, through reunions, until he was fired in late-2014. Their lyrics are often of a non-conformist and politically far-left nature.

On February 22, 2013, Refused were awarded "The special prize for Swedish music exports" by the Minister of Trade. Lyxzen and Sandstrom chose to criticize the current Government at the ceremony, instead thanking the efforts of popular education, in particular Workers' Educational Association (ABF) and youth centers (in Sweden associated with social democracy) while Jon Brannstrom chose to not accept the prize on his behalf later stating he wished they "[...] had said no to the prize and instead held a press conference about why we had turned it down".  On October 31, 2014, Jon Brannstrom stated on the official Refused Facebook page that he had been fired from the band (the band would later state that he left the band in 2013), implying that Refused were still active and planned on performing again in the future. On November 25, 2014, the band announced that they would perform their first shows in three years at the Reading and Leeds Festivals, Groezrock and Amnesia Rockfest in the summer of 2015. They also headlined Punk Rock Bowling in Las Vegas in May 2015. Around the same time, rumours surfaced of a new album being recorded for release in 2015 after ...And You Will Know Us By The Trail Of Dead's Autrey Fulbright II posted a photo on Instagram claiming that Lyxzen had been in the studio recording vocals for the album.  On April 27, 2015, it was announced that Refused would release their fourth studio album, Freedom, in June 2015 via Epitaph Records. The album was produced by Nick Launay and includes further collaborations such as two songs produced with Max Martin-collaborator Shellback (Taylor Swift). The news was announced along with the release of the album's opening track, "Elektra," as its lead single.  On November 20, 2017, members of Refused revealed on social media that the band has been in the studio working on their next album.

When did they get back together?

Answer with quotes: On November 25, 2014, the band announced that they would perform their first shows in three years


Problem: Michael Bennett (April 8, 1943 - July 2, 1987) was an American musical theatre director, writer, choreographer, and dancer. He won seven Tony Awards for his choreography and direction of Broadway shows and was nominated for an additional eleven. Bennett choreographed Promises, Promises, Follies and Company. In 1976, he won the Tony Award for Best Direction of a Musical and the Tony Award for Best Choreography for the musical A Chorus Line.

Unlike his more famous contemporary Bob Fosse, Bennett was not known for a particular choreographic style. Instead, Bennett's choreography was motivated by the form of the musical involved, or the distinct characters interpreted.  In Act 2 of Company, Bennett defied the usual choreographic expectations by deliberately taking the polish off the standard Broadway production number. The company stumbled through the steps of a hat and cane routine ("Side By Side") and thus revealed to the audience the physical limitations of the characters' singing and dancing. Bennett made the audience aware that this group had been flung together to perform, and that they were in over their heads. He intended the number to be not about the routine, but rather the characters behind it.  The song "One" from A Chorus Line functions in a different way. The various phases of construction/rehearsal of the number are shown, and because the show is about professional dancers, the last performance of the song-and-dance routine has all the gloss and polish expected of Broadway production values. Bennett's choreography also reveals the cost of the number to the people behind it.  Bennett was influenced by the work of Jerome Robbins. "What Michael Bennett perceived early in Robbins' work was totality, all the sums of a given piece adding to a unified whole". In Dreamgirls, Bennett's musical staging was described as a "mesmerizing sense of movement":  The most thrilling breakthrough of the extraordinary show is that whereas in A Chorus Line Michael Bennett choreographed the cast, in Dreamgirls he has choreographed the set.... Bennett's use of [the plexiglass towers that dominated the set] was revolutionary. The towers moved to create constantly changing perspectives and space, like an automated ballet.... They energized the action, driving it forcefully along. It's why there were no set-piece dance routines in the show: Dance and movement were organic to the entire action. But Bennett had made the mechanical set his dancers."

did he have any influences?

Answer with quotes:
Bennett was influenced by the work of Jerome Robbins. "