Background: Let's Get It On is the thirteenth studio album by American singer and songwriter Marvin Gaye. It was released on August 28, 1973, by Tamla Records. Recording sessions for the album took place during June 1970 to July 1973 at Hitsville U.S.A. and Golden World Studio in Detroit, and at Hitsville West in Los Angeles.
Context: Gaye proceeded to record some more politically conscious material at the Golden World Records studio, known as Motown's Studio B, as well as the preliminary vocals and instrumentation for some of the material to be featured on Let's Get It On. Following the earlier sessions in Detroit at Golden World, Gaye recorded at Hitsville West in Los Angeles from February to July 1973. Accompanied by an experienced group of session musicians called The Funk Brothers, who had contributed to Gaye's What's Going On, and received their first official credit, Gaye recorded the unreleased songs "The World is Rated X" and "Where Are We Going" and the single "You're the Man" (1972) at Golden World. "Where Are We Going" was later covered by trumpeter Donald Byrd. Gaye had planned the release of an album titled You're the Man, but it was later shelved for unknown reasons. The songs that were to be included on it, along with other unreleased recordings from Hitsville West and Golden World, were later featured on the 2001 re-release of Let's Get It On.  The album's first recording, "Let's Get It On", was composed by Gaye with friend and former Motown label mate Ed Townsend. It was originally written by Gaye as a religious ode to life, but Motown singer-songwriter Kenneth Stover re-wrote it as a more political first draft. Upon hearing Gaye's preliminary mix of Stover's draft, Townsend protested and claimed that the song would be better suited with sexual and romantic overtones, particularly "about making sweet love." Gaye and Townsend rewrote the song's lyrics together with the original arrangements and musical accompaniment of the demo intact. The lyrics were inspired by Janis Hunter, whom Gaye had become infatuated with after meeting each other through Ed Townsend during the initial sessions. Townsend has cited Hunter's presence during the album's recording as an inspiration for Gaye. Gaye's intimate relationship with Hunter subsequently became the basis for his 1976 album I Want You. While recording the title track, he was inspired to revive unfinished recordings from his 1970 sessions at the Hitsville U.S.A. Studio.  Townsend assisted Gaye with producing the rest of the album, whose recording took place at several sessions throughout 1970 to 1973. They worked on four songs together, including the ballad "If I Should Die Tonight", while Gaye composed most of the other songs, including those from past sessions. "Just to Keep You Satisfied" was originally recorded by several Motown groups, including The Originals and The Monitors, as a song dedicated to long-standing love. With re-recording the song, he had re-written the arrangement and lyrics to address the demise of his volatile marriage to Anna Gordy Gaye, who happened to be the original song's co-writer. The background vocals for the album were sung by Gaye, with the exception of "Just to Keep You Satisfied", which were done by The Originals. Most of the instrumentation for the album was done by members of The Funk Brothers, including bassist James Jamerson, guitarists Robert White and Eddie Willis, and percussionist Eddie "Bongo" Brown. Gaye also contributed on piano during the sessions.
Question: Was Let's get it on a single or an album?
Answer: The album's first recording, "Let's Get It On",

Background: Steranko was born in Reading, Pennsylvania. According to Steranko's authorized biography, his grandparents emigrated from Ukraine to settle in the anthracite coal-mining region of eastern Pennsylvania. Steranko's father, one of nine siblings, began working in the mines at age 10, and as an adult became a tinsmith. Steranko later said his father and uncles "would bootleg coal - they would go up into a mountain and open up a shaft.
Context: During the day, Steranko made his living as an artist for a printing company in his hometown of Reading, designing and drawing pamphlets and flyers for local dance clubs and the like. He moved on after five years to join an advertising agency, where he designed ads and drew products ranging from "baby carriages to beer cans". Interested in writing and drawing for comic books, he visited DC Comics as a fan and was treated to a tour of the office by editor Julius Schwartz, who gave Steranko a copy of a script featuring the science-fiction adventurer Adam Strange. Steranko recalled in 2003, "It was the first full script I'd ever seen, complete with panel descriptions and dialogue. I learned a lot from it and eventually went on to create a few comics of my own."  He initially entered the comics industry in 1957, not long out of high school, working for a short time inking pencil art by Vince Colletta and Matt Baker in Colletta's New York City studio before returning to Reading. In 1966, he landed assignments at Harvey Comics under editor Joe Simon, who as one writer described was "trying to create a line of super heroes within a publishing company that had specialized in anthropomorphic animals." Here Steranko created and wrote the characters Spyman, Magicmaster and the Gladiator for the company's short-lived superhero line, Harvey Thriller. His first published comics art came in Spyman #1 (Sept. 1966), for which he wrote the 20-page story "The Birth of a Hero" and penciled the first page, which included a diagram of a robotic hand that was reprinted as an inset on artist George Tuska's cover.  Steranko also approached Marvel Comics in 1966. He met with editor Stan Lee, who had Steranko ink a two-page Jack Kirby sample of typical art for the superspy feature "Nick Fury Agent of S.H.I.E.L.D.". Steranko self-published it in 1970 in the limited-edition "Steranko Portfolio One"; it appeared again 30 years later in slightly altered form in the 2000 trade-paperback collection Nick Fury, Agent of S.H.I.E.L.D. This led to Lee's assigning him the Nick Fury feature in Strange Tales, a "split book" that shared each issue with another feature. Future Marvel editor-in-chief Roy Thomas, then a staff writer, recalled,  [H]e came up to the office ... and I was sent out by Sol [Brodsky] to look at his work and basically brush him off. Stan was busy and didn't want to be bothered that day. But when I saw Jim's work, ... on an impulse I took it in to Sol and said, 'I think Stan should see this'. Sol agreed, and took it in to Stan. Stan brought Steranko into his office, and Jim left with the 'S.H.I.E.L.D.' assignment. ... I think Jim's legacy to Marvel was demonstrating that there were ways in which the Kirby style could be mutated, and many artists went off increasingly in their own directions after that.
Question: did he stay there long?
Answer: