Problem: Background: O'Keeffe was born on November 15, 1887, in a farmhouse located at 2405 Hwy T in the town of Sun Prairie, Wisconsin. Her parents, Francis Calyxtus O'Keeffe and Ida (Totto) O'Keeffe, were dairy farmers. Her father was of Irish descent. Her maternal grandfather George Victor Totto, for whom O'Keeffe was named, was a Hungarian count who came to the United States in 1848.
Context: O'Keeffe was a legend beginning in the 1920s, known as much for her independent spirit and female role model, as for her dramatic and innovative works of art. Nancy and Jules Heller said, "The most remarkable thing about O'Keefe was the audacity and uniqueness of her early work." At that time, even in Europe, there were few arts exploring abstraction. Even though her works may show elements of different modernist movements, such as Surrealism and Precisionism, her work is uniquely her own style. She received unprecedented acceptance as a woman artist from the fine art world due to her powerful graphic images and within a decade of moving to New York City, she was the highest paid American woman artist. She was known for a distinctive style in all aspects of her life. O'Keeffe was also known for her relationship with Stieglitz, in which she provided some insight in her autobiography.  A substantial part of her estate's assets were transferred to the Georgia O'Keeffe Foundation, a nonprofit. The Georgia O'Keeffe Museum opened in Santa Fe in 1997. The assets included a large body of her work, photographs, archival materials, and her Abiquiu house, library, and property. The Georgia O'Keeffe Home and Studio in Abiquiu was designated a National Historic Landmark in 1998 and is now owned by the Georgia O'Keeffe Museum.  In 1996, the U.S. Postal Service issued a 32 cent stamp honoring O'Keeffe. In 2013, on the 100th anniversary of the Armory Show, the USPS issued a stamp featuring O'Keeffe's Black Mesa Landscape, New Mexico/Out Back of Marie's II, 1930 as part of their Modern Art in America series.  A fossilized species of archosaur was named Effigia okeeffeae ("O'Keeffe's Ghost") in January 2006, "in honor of Georgia O'Keeffe for her numerous paintings of the badlands at Ghost Ranch and her interest in the Coelophysis Quarry when it was discovered".  O'Keeffe holds the record ($44.4 million in 2014) for the highest price paid for a painting by a woman.
Question: Did she influence other artists?
Answer: independent spirit and female role model, as for her dramatic and innovative works of art. Nancy and Jules

IN: "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 produced the song?

OUT: producer Jimmy Miller,

Background: Guy Carleton, 1st Baron Dorchester, KB (3 September 1724 - 10 November 1808), known between 1776 and 1786 as Sir Guy Carleton, was an Anglo-Irish soldier and administrator. He twice served as Governor of the Province of Quebec, from 1768 to 1778, concurrently serving as Governor General of British North America in that time, and again from 1785 to 1795. The title Baron Dorchester was created on 21 August 1786. He commanded British troops in the American War of Independence, first leading the defence of Quebec during the 1775 rebel invasion and the 1776 counteroffensive that drove the rebels from the province.
Context: Upon his return to England Carleton recommended the creation of a position of Governor General of all the provinces in British North America. Instead he was appointed "Governor-in-chief", with simultaneous appointments as governor of Quebec, New Brunswick, Nova Scotia, and St. John's Island (present-day Prince Edward Island). He arrived in Quebec on 23 October 1786. His position as Governor-in-chief was mostly ignored. He found quickly that his authority in any of the provinces other than Quebec was effective only while he was present in person.  He was raised to the Peerage in August 1786 as Lord Dorchester, Baron of Dorchester in the County of Oxford.  The Constitutional Act of 1791 split the large territory of Quebec into Upper and Lower Canada, corresponding roughly to areas settled by ethnic British and ethnic French, respectively. Sir Alured Clarke was named as the lieutenant governor of Lower Canada and John Graves Simcoe the lieutenant governor of Upper Canada. In August 1791 Carleton left for Britain and on 7 February 1792 took his seat in the House of Lords. He left for Canada again on 18 August 1793 to resume his duties there. His replacement, Robert Prescott, arrived in May 1796. On 9 July 1796 Carleton sailed from Canada to Britain, never to return.  In retirement Carleton lived mostly at Greywell Hill, adjoining Nately Scures, in Hampshire. After about 1805 he moved to Stubbings House at Burchett's Green, near Maidenhead, in Berkshire. On 10 November 1808, he died suddenly at Stubbings. He was buried in the parish church of St Swithun's, Nately Scures.
Question: Did he stay in Canada for long?
Answer:
On 9 July 1796 Carleton sailed from Canada to Britain, never to return.