Question: The Rise and Fall of Ziggy Stardust and the Spiders from Mars (often shortened to Ziggy Stardust) is the fifth studio album by English musician David Bowie, released on 16 June 1972 in the United Kingdom. It was produced by Bowie and Ken Scott and features contributions from the Spiders from Mars, Bowie's backing band - Mick Ronson, Trevor Bolder and Mick Woodmansey. The album was recorded in Trident Studios, London, like his previous album, Hunky Dory. Most of the album was recorded in November 1971 with further sessions in January and early February 1972.

Bowie started working on his fourth album, Hunky Dory on 8 June 1971 at Trident Studios, London. RCA Records in New York heard the tapes and signed him to a three-album deal on 9 September. Hunky Dory was released on 17 December to positive reviews and moderate commercial success. Hunky Dory and Ziggy Stardust were almost recorded back-to-back, but much of the material for Ziggy Stardust was recorded before Hunky Dory was released. His backing band realised that most of the songs on Hunky Dory were not suitable live material, so they needed a follow-up that could be toured behind.  Ziggy Stardust's sessions also took place at Trident, using a 16-track 3M M56 tape recorder. The sessions started on 8 November 1971, with the bulk of the album recorded that month, and concluded on 4 February 1972. Bowie had recorded early versions of the songs "Moonage Daydream" and "Hang On to Yourself" in February 1971, for the Arnold Corns side project, and had taped demos of "Ziggy Stardust" and "Lady Stardust" around that time. The November 1971 sessions produced the final versions of those four songs, along with "Rock 'n' Roll Star" (later shortened to "Star"), "Soul Love", and "Five Years", as well as some unreleased tracks. In 2012, co-producer Ken Scott said that "95 percent of the vocals on the four albums I did with him as producer, they were first takes."  Also recorded during the November sessions were five more songs: two covers, Chuck Berry's "Around and Around" (re-titled "Round and Round") and Jacques Brel's "Amsterdam" (re-titled "Port of Amsterdam"); and three original tracks: "Velvet Goldmine", "Bombers", and a re-recording of "Holy Holy". All these songs were initially slated for the album. Bowie also intended "All the Young Dudes", "Rebel Rebel" and "Rock 'n' Roll with Me" to be on a Ziggy Stardust musical, which was later aborted.  After recording some of the new songs for radio presenter Bob Harris's Sounds of the 70s as the newly dubbed Spiders from Mars in January 1972, the band returned to Trident that month to begin work on "Suffragette City" and "Rock 'n' Roll Suicide". RCA executive Dennis Katz had complained that the album did not contain a single, so Bowie wrote "Starman", the last song to be written, which was completed on 4 February 1972. He handed the final tape to Katz, who convinced Bowie to release the song as a single and include it in the album, replacing "Round and Round". "Starman" was released as a single on 28 April 1972, and became a hit after a successful performance on the BBC television programme Top of the Pops. The Ron Davies cover "It Ain't Easy", recorded on 9 July 1971 during the Hunky Dory sessions, closed the first side of the album.

Using a quote from the above article, answer the following question: How did Bowie respond to this?
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Answer: Bowie wrote "Starman", the last song to be written, which was completed on 4 February 1972.


Question: Charles Parker Jr. (August 29, 1920 - March 12, 1955), also known as Yardbird and Bird, was an American jazz saxophonist and composer. Parker was a highly influential jazz soloist and a leading figure in the development of bebop, a form of jazz characterized by fast tempos, virtuosic technique and advanced harmonies. Parker was a blazingly fast virtuoso, and he introduced revolutionary harmonic ideas including rapid passing chords, new variants of altered chords, and chord substitutions. His tone ranged from clean and penetrating to sweet and somber.

Parker's life was riddled with depression and heroin addiction. This addiction caused him to miss performances and be considered unemployable. He frequently resorted to busking, receiving loans from fellow musicians and admirers, and pawning his saxophones for drug money. Heroin use was rampant in the jazz scene, and users could acquire it with little difficulty.  Although he produced many brilliant recordings during this period, Parker's behavior became increasingly erratic. Heroin was difficult to obtain once he moved to California, where the drug was less abundant, so he used alcohol as a substitute. A recording for the Dial label from July 29, 1946, provides evidence of his condition. Before this session, Parker drank a quart of whiskey. According to the liner notes of Charlie Parker on Dial Volume 1, Parker missed most of the first two bars of his first chorus on the track, "Max Making Wax". When he finally did come in, he swayed wildly and once spun all the way around, away from his microphone. On the next tune, "Lover Man", producer Ross Russell physically supported Parker. On "Bebop" (the final track Parker recorded that evening) he begins a solo with a solid first eight bars; on his second eight bars, however, he begins to struggle, and a desperate Howard McGhee, the trumpeter on this session, shouts, "Blow!" at him. Charles Mingus considered this version of "Lover Man" to be among Parker's greatest recordings, despite its flaws. Nevertheless, Parker hated the recording and never forgave Ross Russell for releasing it. He re-recorded the tune in 1951 for Verve.  Parker's life took a turn for the worst when his 2 year old daughter tragically passed away from pneumonia. He attempted suicide twice in 1954, which landed him in a mental hospital.  When Parker received his discharge from the hospital, he was clean and healthy. Before leaving California, he recorded "Relaxin' at Camarillo" in reference to his hospital stay. He returned to New York, resumed his addiction to heroin and recorded dozens of sides for the Savoy and Dial labels, which remain some of the high points of his recorded output. Many of these were with his so-called "classic quintet" including Davis and Roach.

Using a quote from the above article, answer the following question: How long was he using drugs
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Answer:
He returned to New York, resumed his addiction to heroin and recorded dozens of sides for the Savoy and Dial labels,