IN: Joshua Daniel White (February 11, 1914 - September 5, 1969) was an American singer, guitarist, songwriter, actor and civil rights activist. He also recorded under the names Pinewood Tom and Tippy Barton in the 1930s. White grew up in the South during the 1920s and 1930s. He became a prominent race records artist, with a prolific output of recordings in genres including Piedmont blues, country blues, gospel music, and social protest songs.

White was in many senses a trailblazer: popular country bluesman in the early 1930s, responsible for introducing a mass white audience to folk-blues in the 1940s, and the first black singer-guitarist to star in Hollywood films and on Broadway. On one hand he was famous for his civil rights songs, which made him a favorite of the Roosevelts, and on the other he was known for his sexy stage persona (a first for a black male artist).  He was the first black singer to give a White House command performance (1941), to perform in previously segregated hotels (1942), to get a million-selling record ("One Meatball", 1944), and the first to make a solo concert tour of America (1945). He was also the first folk and blues artist to perform in a nightclub, the first to tour internationally, and (along with Lead Belly and Woody Guthrie) the first to be honored with a US postage stamp.  White and Libby Holman became the first mixed-race male and female artists to perform together, record together and tour together in previously segregated venues across the United States. They continued performing off and on for the next six years, while making an album and a film together.  White was seen as an influence on hundreds of artists of diverse musical styles, including: Pete Seeger, Lee Hays, Oscar Brand, Ed McCurdy, Lonnie Donegan, Alexis Korner, Cy Coleman, Elvis Presley, Merle Travis, Joel Grey, Bob Gibson, Dave Van Ronk, Phish, Clancy Brothers and Tommy Makem, Shel Silverstein, John Fahey, Bob Dylan, Peter, Paul and Mary, Judy Collins, Roger McGuinn, David Crosby, Mike Bloomfield, Danny Kalb, Ry Cooder, John Fogerty, Don McLean, Robert Plant and Eva Cassidy; in addition to those African-American artists, such as Blind Boy Fuller, Robert Johnson, Brownie McGhee, Lena Horne, Nat King Cole, Pearl Primus, Josephine Premice, Eartha Kitt, Harry Belafonte, Odetta, Ray Charles, Josh White, Jr., Jackie Washington, the Chambers Brothers, and Richie Havens, who in the footsteps of White were also able to break considerable barriers that had hampered African-American artists in the past.

What else did he say

OUT: get a million-selling record

Answer the question at the end by quoting:

Celtic Frost () were a Swiss heavy metal band from Zurich. They are known for their strong influence on the development of extreme metal. Formed in 1982 as Hellhammer, the band became Celtic Frost in 1984 and was active until 1993. It re-formed in 2001 and disbanded following frontman Tom Gabriel Fischer's departure in 2008.
One of their more influential recordings was 1985's To Mega Therion which did not feature Ain on bass, but stand-in Dominic Steiner. The cover artwork is a painting by H.R. Giger entitled Satan I. The album was a major influence on the then-developing death metal and black metal genres. Ain did return after the album was recorded however. In 1987 followed Into the Pandemonium. The album is more varied than many of Celtic Frost's past LPs, with unlikely covers (Wall of Voodoo's "Mexican Radio"), emotionally charged love songs, the album's recurring industrial-influenced rhythmic songs of demons and destruction, traditional Frost styled songs about dreams and fear, and a dark, classical piece with female vocals.  The album is vastly different from the band's previous work and cemented its late 80s avant-garde metal term; it is also a departure from the extreme style found on the band's previous albums, Morbid Tales and To Mega Therion that Celtic Frost had become known for. However, it does have the recurring symphonic elements found on previous albums. The album has a more classic heavy metal style within the songs with elements of industrial, classical and gothic rock, and even has an industrial/electronic body music (EBM)-inspired rhythm in "One in Their Pride". It does have a few black metal elements remaining in Warrior's vocals, though, and some thrash-influenced guitar riffs.  These albums were some of the pivotal LPs for underground metal and introduced a new and more varied sound. Celtic Frost, along with Venom and Bathory were pioneers in the still underground black metal scene, although Celtic Frost were much more experimental with the addition of classical instruments, operatic female vocals and sampling. Celtic Frost was often labeled by critics as avant-garde metal.

Did they go on tour?



input: 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.

Answer this question "Where was this song recorded?"
output:
London's Olympic Sound Studios