Problem: Devika Rani Chaudhuri, usually known as Devika Rani (30 March 1908 - 9 March 1994), was an actress in Indian films who was active during the 1930s and 1940s. Widely acknowledged as the first lady of Indian cinema, Devika Rani had a successful film career that spanned 10 years. Born into a wealthy, anglicized Indian family, Devika Rani was sent to boarding school in England at age nine and grew up in that country. In 1928, she met Himanshu Rai, an Indian film-producer, and married him the following year.

Devika Rani Chaudhuri was born into a Bengali family in Waltair near Visakhapatnam in present-day Andhra Pradesh, into an extremely affluent and educated Bengali family. Her father, Colonel Manmatha Nath Chaudhuri, was the first Indian Surgeon-General of Madras Presidency and a nephew of Rabindranath Tagore.  Her mother, Leela Devi Choudhary, came from an educated family and was a grand-niece of Tagore. Devika's father's brothers were Ashutosh Chaudhuri, Chief Justice of Calcutta High Court, Jogesh Chandra Chaudhuri, a prominent Kolkata-based barrister and Pramatha Chaudhuri, the famous Bengali writer.  Devika Rani was related through both her parents to the poet and Nobel Laureate Rabindranath Tagore. Her father, Manmathnath Choudhary, was the son of Sukumari Devi Choudhary, sister of Rabindranath Tagore. Devika's mother, Leela Devi Chaudhuri, was the daughter of Indumati Devi Chattopadhyay, whose mother Saudamini Devi Gangopadhyay was another sister of the Nobel laureate. Devika's father and maternal grandmothers were first cousins to each other, being the children of two sisters of Rabindranath Tagore.  Further, two of her father's brothers had also married their cousins: Prativa Devi Choudhury, wife of Ashutosh Choudhary, was the daughter of Hemendranath Tagore, and Indira Devi Choudhary, wife of Promatho Choudhary, was the daughter of Satyendranath Tagore. Devika thus had strong ties to Jarasanko, seat of the Tagore family in Kolkata and a major crucible of the Bengali renaissance.  Devika Rani was sent to boarding school in England at the age of nine, and grew up there. After completing her schooling in the mid-1920s, she enrolled in the Royal Academy of Dramatic Art (RADA) and the Royal Academy of Music in London to study acting and music. She also enrolled for courses in architecture, textile and decor design, and even apprenticed under Elizabeth Arden. All of these courses, each of them a few months long, were completed by 1927, and Devika Rani then took up a job in textile design.

where was Devika born?

Answer with quotes: in Waltair near Visakhapatnam


Problem: Eric Garth Hudson (born August 2, 1937) is a Canadian multi-instrumentalist. As the organist, keyboardist and saxophonist for Canadian-American rock group the Band, he was a principal architect of the group's unique sound. Hudson has been called "the most brilliant organist in the rock world" by Keyboard magazine. As of 2018, Hudson and fellow musician Robbie Robertson are the last original members of The Band who are still alive.

Under the strict supervision of Hawkins, the Hawks became an accomplished band. They split from Hawkins in 1963, recorded two singles and toured almost continually, playing in bars and clubs, usually billed as Levon and the Hawks. Hudson started work as a session musician in 1965, playing on John Hammond, Jr.'s So Many Roads along with Robertson (guitar) and Helm (drums).  In August 1965, they were introduced to Bob Dylan by manager Albert Grossman's assistant, Mary Martin. In October, Dylan and the Hawks recorded the single "Can You Please Crawl Out Your Window?", and in January 1966 they recorded material with Dylan for what would turn into the Blonde on Blonde album. Dylan recruited the band to accompany him on his controversial 1966 "electric" tour of the United States, Australia and Europe. (An album of Dylan's 1966 performance with his band, The "Royal Albert Hall" Concert, was finally released in 1998.) Subsequent to Bob Dylan's motorcycle accident in July 1966, the group settled in a pink house in West Saugerties, New York, near Woodstock. Dylan was a frequent visitor, and Hudson's recordings of their collaborations resulted in The Basement Tapes.  By 1968, the group recorded its debut album, Music from Big Pink. The album was recorded in Los Angeles (at Capitol) and New York (at A&R Studio). Capitol originally announced that the group would be called the Crackers, but when Music From Big Pink was released they were officially named the Band. The album includes Hudson's organ showcase, "Chest Fever", a song that in the Band's live shows would be vastly expanded by a solo organ introduction, entitled "The Genetic Method", an improvisational work that would be played differently at each performance. An example can be heard on the live album Rock of Ages. Hudson is also adept at the accordion, which he played on some of the group's recordings, such as "Rockin Chair", from "The Band"; the traditional "Ain't No More Cane", from "The Basement Tapes"; Dylan's "When I Paint My Masterpiece"; and Bobby Charles's "Down South in New Orleans" during the Last Waltz. His saxophone solo work can be heard on such songs as "Tears of Rage" (from Big Pink) and "Unfaithful Servant" (from The Band). Hudson is credited with playing all of the brass and woodwinds on the studio version of "Ophelia", from the 1975 album Northern Lights - Southern Cross as well. This album, the first to be recorded in the Band's Shangri-La recording studio in Malibu, California, also saw Hudson adding synthesizers to his arsenal of instruments.  Hudson provided innovative accompaniment. For example, the song "Up on Cripple Creek" features Hudson playing a clavinet through a wah-wah pedal to create a swampy sound reminiscent of a Jew's harp or the croak of a frog. This clavinet-wah wah pedal configuration was later adopted by many funk musicians.  After years of continuous touring, the Band made its final bow as a touring band with a lavish final concert on Thanksgiving Day 1976 at the Winterland Ballroom in San Francisco, an all-star tribute concert documented in The Last Waltz.

What music did they produce?

Answer with quotes:
in January 1966 they recorded material with Dylan for what would turn into the Blonde on Blonde album.