Some context: "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 the producer for the song?
A: Jimmy Miller,

Some context: Roberts was born in Rhinebeck, New York, to Kelly Cunningham and actor Eric Roberts. Her parents separated when she was a baby. Through her father's marriage, she is the stepdaughter of Eliza Roberts and step-granddaughter of David Rayfiel and Lila Garrett. Through her mother's marriage, she is the stepdaughter of musician Kelly Nickels.
In 2008, she had her voiceover debut when she voiced the English version of the character Wilma in the CGI-animated family film The Flight Before Christmas. In 2009, Roberts starred alongside Jake T. Austin in Hotel for Dogs, based on the novel by Lois Duncan. The film premiered in January 2009, and took fifth place in its opening weekend with over $17 million. The film has to-date grossed over $114 million, and received generally mixed reviews from critics. Roberts starred as the lead in the film Wild Child, about a rebellious teen from Malibu, California sent to a boarding school in England. Roberts described her character as "pretty much your typical spoiled-brat Malibu socialite who gets shipped off to a British boarding school." Roberts also appeared in the independent film Lymelife with Alec Baldwin, which was premiered at the 2008 Toronto International Film Festival.  In 2010, Roberts co-starred as Grace in the film Valentine's Day in which her aunt, Julia Roberts also appeared, although they were never together on-screen. She also appeared that year in Twelve and It's Kind of a Funny Story. The following year, she co-starred in the film adaptation of Memoirs of a Teenage Amnesiac. She also starred alongside Freddie Highmore in the romantic comedy The Art of Getting By. In 2011, she played the role of Jill Roberts in the Wes Craven film Scream 4.  In 2013, Roberts co-starred with John Cusack and Evan Peters in Adult World. Roberts played a recent college graduate who works at an adult bookstore to make ends meet. She has said that most of her lines were ad-libbed so her reactions in the film were completely genuine. Her performance was praised by both Andrew O'Hehir of Salon and Stephanie Zacharek of The Village Voice, who praised Roberts' performance as "both breezy and carefully tuned". Roberts appears in a supporting role in Dustin Lance Black's Virginia, which received a limited theatrical release in May 2012 after a two and a half year delay. She next appeared in the 2012 film Celeste and Jesse Forever, parodying pop stars such as Kesha with her performance as Riley Banks, an incurious blonde singer. Roberts said in an interview that her role as Banks tempted her to write an album of songs using her character as an alter ego.
Was the movie successful?
A:
Her performance was praised by both Andrew O'Hehir of Salon and Stephanie Zacharek of The Village Voice,