Problem: The Kinks were an English rock band formed in Muswell Hill, North London, in 1964 by brothers Ray and Dave Davies. They are regarded as one of the most important and influential rock bands of the 1960s. The band emerged during the height of British rhythm and blues and Merseybeat, and were briefly part of the British Invasion of the United States until their touring ban in 1965. Their third single, the Ray Davies-penned "You Really Got Me", became an international hit, topping the charts in the United Kingdom and reaching the Top 10 in the United States.

The Kinks started out playing the then popular R&B and blues styles; then, under the influence of The Kingsmen's "Louie Louie" recording, developed louder rock and hard rock sounds -- due to their pioneering contribution to the field, they have often been labelled as "the original punks". Dave Davies was "really bored with this guitar sound - or lack of an interesting sound" so he purchased "a little green amplifier ... an Elpico" from a radio spares shop in Muswell Hill, and "twiddled around with it", including "taking the wires going to the speaker and putting a jack plug on there and plugging it straight into my AC30" (a larger amplifier), but didn't get the sound he wanted until he got frustrated and "got a single-sided Gillette razorblade and cut round the cone [from the centre to the edge] ... so it was all shredded but still on there, still intact. I played and I thought it was amazing." The jagged sound of the amplifier was replicated in the studio; the Elpico was plugged into the Vox AC30, and the resulting effect became a mainstay in The Kinks' early recordings--most notably on "You Really Got Me" and "All Day and All of the Night".  From 1966 onwards, The Kinks came to be known for their adherence to traditions of English music and culture, during a period when many other British bands dismissed their heritage in favour of American blues, R&B and pop styles. Ray Davies recalled that at a distinct moment in 1965 he decided to break away from the American scene, and write more introspective and intelligent songs. "I decided I was going to use words more, and say things. I wrote 'Well Respected Man'. That was the first real word-oriented song I wrote. ... [I also] abandoned any attempt to Americanise my accent." The Kinks' allegiance to English styles was strengthened by the ban placed on them by the American Federation of Musicians. The ban cut them off from the American record buying public, the world's largest musical market, forcing them to focus on Britain and mainland Europe. The Kinks expanded on their English sound throughout the remainder of the 1960s, incorporating elements of music hall, folk, and baroque music through use of harpsichord, acoustic guitar, mellotron, and horns, and creating some of the most influential and important music of the period.  Beginning with Everybody's In Show-biz (1972), Ray Davies began exploring theatrical concepts on the group's albums; these themes became manifest on the 1973 album Preservation Act 1 and continued through Schoolboys In Disgrace (1976). The Kinks found little success with these conceptual works, and reverted to a traditional rock format throughout the remainder of the 1970s. Sleepwalker (1977), which heralded their return to commercial success, featured a mainstream, relatively slick production style that would become their norm. The band returned to hard rock for Low Budget (1979), and continued to record within the genre throughout the remainder of their career.

What did the green amplifier do?

Answer with quotes: cut round the cone [from the centre to the edge] ... so it was all shredded but still on there, still intact. I played and I thought it was amazing.


Problem: Steven William Moffat  (; born 18 November 1961) is a Scottish television writer and producer, best known for his work as showrunner, writer and executive producer of British television series Doctor Who and Sherlock. Moffat's first television work was the teen drama series Press Gang. His first sitcom, Joking Apart, was inspired by the breakdown of his first marriage; conversely, his later sitcom Coupling was based upon the development of his relationship with television producer Sue Vertue.

Between marriages, Moffat claims that he "shagged [his] way round television studios like a mechanical digger." According to an interview with The New York Times, Moffat met television producer Sue Vertue at the Edinburgh Television Festival in 1996. Vertue had been working for Tiger Aspect, a production company run by Peter Bennett-Jones. Bennett-Jones and his friend and former colleague Andre Ptaszynski, who had worked with Moffat on Joking Apart, told Moffat and Vertue that each fancied the other. A relationship blossomed and they left their respective production companies to join Hartswood Films, run by Beryl Vertue, Sue's mother. The couple have two children together: Joshua and Louis Oliver.  Before Moffat left Pola Jones for Hartswood, Ptaszynski produced Chalk, the series that the writer had pitched to him at the beginning of the decade. Set in a comprehensive school and starring David Bamber as manic deputy head Eric Slatt and Nicola Walker as Suzy Travis, the show was based on Moffat's three years as an English teacher. The studio audience responded so positively to the first series when it was taped that the BBC commissioned a second series before the first had aired. However, it was met less enthusiastically by critics upon transmission in February 1997, who had taken exception to the BBC's publicity department comparing the show to the highly respected Fawlty Towers. In an interview in the early 2000s, Moffat refuses to even name the series, joking that he might get attacked in the street.  After production wrapped on Chalk in 1997, Moffat announced to the cast that he was marrying Vertue. When she eventually asked him for a sitcom, he decided to base it around the evolution of their own relationship. Coupling was first broadcast on BBC2 in 2000, with his wife producing for Hartswood Films. The series proved to be highly successful, running until 2004 and producing four series and twenty-eight episodes, all written by Moffat. He also wrote the original, unbroadcast pilot episode for the U.S. version, also titled Coupling, although this was less successful and was cancelled after four episodes on the NBC network. Moffat has blamed its failure on an unprecedented level of network interference.

When did coupling get underway?

Answer with quotes:
Coupling was first broadcast on BBC2 in 2000,