Question: Michael "Jakko" Jakszyk (born Michael Lee Curran, 8 June 1958) is an English musician, record producer, and actor. He has released several solo albums as a singer, songwriter, and multi-instrumentalist and has been the lead singer for King Crimson since 2013. His work has been variously credited to "Jakko", "Jakko Jakszyk", and "Jakko M. Jakszyk". Before joining King Crimson, he led bands for over thirty years, including 64 Spoons, Dizrhythmia, 21st Century Schizoid Band, Jakszyk Fripp Collins, and Rapid Eye Movement.

By 1975, Jakszyk was leading an eccentric jazz-rock band called Soon After. His self-confessed "dictatorial tendencies" reduced a bigger line-up to a trio of "two screaming lead guitars and a trumpet" (the latter played by ex-National Youth Jazz Orchestra member Ted Emmett). The band reached the finals of the 1975 Melody Maker National Rock/Folk competition, finishing third to a heavy metal band featuring future Clash co-leader Mick Jones and to a big band featuring future saxophone session musician Gary Barnacle. When Soon After split up, Jakszyk toured with "a strange little band" which supported Camel, Stackridge, and Judas Priest, then briefly joined a Tring-based band called Synthesis which played progressive rock in the Canterbury-scene vein.  Jakszyk's first significant band was 64 Spoons, which he joined as guitarist and lead singer in 1976, co-writing much of the band's material. Between 1976 and 1980, 64 Spoons wrote and performed a blend of pop, progressive rock, jazz, and comedy (typified by their single "Ladies Don't Have Willies"). Boosted by an exuberant and funny live show, 64 Spoons proved popular with audiences but failed to gain an effective record deal or media breakthrough and split up in 1980. Their only album, Landing on a Rat Column, was eventually released in 1992, many years after it was recorded. Jakszyk would described them as "the wrong band at the wrong time".  64 Spoons's work did, however, lead to friendships with several of the musicians who had inspired the band, notably keyboard player Dave Stewart. Following the split of 64 Spoons, Jakszyk joined Stewart, Rick Biddulph, and Pip Pyle in the band Rapid Eye Movement. Jakszyk contributed several songs to the band's repertoire ("One More Time", "I'll Stand On My Own", "Ingmar Bergman on the Window Sill", "Straining Our Eyes", and "Dear Clare", the last of these a 64 Spoons song) and co-wrote material with Stewart ("This Is Not What I Want" and "'Allo Darlin' I Work on the Fair"). Between August 1980 and June 1981, Rapid Eye Movement toured Spain, France, and the UK and recorded material but split up due to Stewart's desire to concentrate on studio work (Jakszyk sang on the original version of Stewart's cover of "What Becomes of the Brokenhearted?", later a hit with a new vocal track by the Zombies' lead singer Colin Blunstone).  During this period, Jakszyk also contributed to sessions for the former Van der Graaf Generator saxophonist David Jackson's album The Long Hello Vol. 3 (eventually released in 1982).

Using a quote from the above article, answer the following question: What about Rapid Eye Movement?
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Answer: Rapid Eye Movement toured Spain, France, and the UK

Problem: Stephen Crane (November 1, 1871 - June 5, 1900) was an American poet, novelist, and short story writer. Prolific throughout his short life, he wrote notable works in the Realist tradition as well as early examples of American Naturalism and Impressionism. He is recognized by modern critics as one of the most innovative writers of his generation. The ninth surviving child of Methodist parents, Crane began writing at the age of four and had published several articles by the age of 16.

Stephen Crane's fiction is typically categorized as representative of Naturalism, American realism, Impressionism or a mixture of the three. Critic Sergio Perosa, for example, wrote in his essay, "Stephen Crane fra naturalismo e impressionismo," that the work presents a "symbiosis" of Naturalistic ideals and Impressionistic methods. When asked whether or not he would write an autobiography in 1896, Crane responded that he "dare not say that I am honest. I merely say that I am as nearly honest as a weak mental machinery will allow." Similarities between the stylistic techniques in Crane's writing and Impressionist painting--including the use of color and chiaroscuro--are often cited to support the theory that Crane was not only an Impressionist but also influenced by the movement. H. G. Wells remarked upon "the great influence of the studio" on Crane's work, quoting a passage from The Red Badge of Courage as an example: "At nightfall the column broke into regimental pieces, and the fragments went into the fields to camp. Tents sprang up like strange plants. Camp fires, like red, peculiar blossoms, dotted the night.... From this little distance the many fires, with the black forms of men passing to and fro before the crimson rays, made weird and satanic effects." Although no direct evidence exists that Crane formulated a precise theory of his craft, he vehemently rejected sentimentality, asserting that "a story should be logical in its action and faithful to character. Truth to life itself was the only test, the greatest artists were the simplest, and simple because they were true."  Poet and biographer John Berryman suggested that there were three basic variations, or "norms", of Crane's narrative style. The first, being "flexible, swift, abrupt and nervous", is best exemplified in The Red Badge of Courage, while the second ("supple majesty") is believed to relate to "The Open Boat", and the third ("much more closed, circumstantial and 'normal' in feeling and syntax") to later works such as The Monster. Crane's work, however, cannot be determined by style solely on chronology. Not only does his fiction not take place in any particular region with similar characters, but it varies from serious in tone to reportorial writing and light fiction. Crane's writing, both fiction and nonfiction, is consistently driven by immediacy and is at once concentrated, vivid and intense. The novels and short stories contain poetic characteristics such as shorthand prose, suggestibility, shifts in perspective and ellipses between and within sentences. Similarly, omission plays a large part in Crane's work; the names of his protagonists are not commonly used and sometimes they are not named at all.  Crane was often criticized by early reviewers for his frequent incorporation of everyday speech into dialogue, mimicking the regional accents of his characters with colloquial stylization. This is apparent in his first novel, in which Crane ignored the romantic, sentimental approach of slum fiction; he instead concentrated on the cruelty and sordid aspects of poverty, expressed by the brashness of the Bowery's crude dialect and profanity, which he used lavishly. The distinct dialect of his Bowery characters is apparent at the beginning of the text; the title character admonishes her brother saying: "Yeh knows it puts mudder out when yes comes home half dead, an' it's like we'll all get a poundin'."

What did critics think of his style?

Answer with quotes:
Crane was often criticized by early reviewers for his frequent incorporation of everyday speech into dialogue, mimicking the regional accents of his characters with