Problem: Background: Stan Kenton was born on December 15, 1911 in Wichita, Kansas; he also had two sisters (Beulah and Erma Mae) born three and eight years after him. His parents, Floyd and Stella Kenton, had moved the family back to Colorado, then, finally in 1924 to the Greater Los Angeles Area, settling in suburban Bell, California. Kenton attended Bell High School; his high school yearbook picture has the prophetic notation "Old Man Jazz". Kenton started learning piano as a teen from a local pianist and organist.
Context: When composer/arranger Pete Rugolo joined the Stan Kenton Orchestra as staff arranger in late 1945 he brought with him his love of jazz, Stravinsky and Bartok. Given free rein by Kenton, he experimented constantly, creating a sound that was at the same time innovative and popular. Although Kenton himself was already creating somewhat experimental scores prior to Rugolo's tenure, it was Rugolo who brought to the band the extra-jazz influences and the ultra-experimental approach that were to dominate the band through much of its existence.  During his first six months on the staff Rugolo tried to copy Kenton's sound. But on encouragement from the leader, he explored his own voice. By incorporating compositional techniques borrowed from the modern classical music he had studied, with the dramatic excitement of the Kenton sound, Rugolo helped catapult the Kenton band into one of its most fertile and creative periods.  After a string of mostly arrangements, Rugolo turned out three originals that Kenton featured on the band's first album in 1946: (Artistry in Rhythm): "Artistry in Percussion", "Safranski" and "Artistry in Bolero". Added to this mix came "Machito", "Rhythm Incorporated", "Monotony" and "Interlude" in early 1947 (though some were not recorded until later in the year). These compositions, along with June Christy's voice, came to define the Artistry in Rhythm band.  It was during this period that Cuban rhythms started infiltrating the Kenton sound. Rugolo's 1946 composition "Machito", named after the great Cuban band leader that had impressed Kenton, was a regular on concerts in 1947 and 1948. During the subsequent Progressive Jazz era the Cuban sound would become more profound, an influence that was to remain with Kenton until his death.  The Artistry in Rhythm outfit was a powerful band, with outstanding soloists, but with one foot firmly in the tradition. By early 1947, the Stan Kenton Orchestra had reached its highest point of financial and popular success. They played in the best theaters and ballrooms in America, they had hit records ... and the schedule was killing Kenton. Dances at the many ballrooms were typically four hours a night. Theater dates generally involved playing mini concerts between each showing of the movie, sometimes five or six a day, stretching from morning to late night. Most days not on location were spent in buses or cars, racing from town to town. Days off from performing were rare. And for Kenton they just allowed for more record signing, radio station interviews, and pushing the Capitol brand. He was beat. Following an April performance in Tuscaloosa, he broke up the band.
Question: Can you tell me the name of one of the three original songs?
Answer: Artistry in Bolero

Problem: Background: Grandaddy is an American indie rock band from Modesto, California. The group was formed in 1992, and featured Jason Lytle, Aaron Burtch, Jim Fairchild, Kevin Garcia and Tim Dryden. After several self-released records and cassettes, the band signed to Will Records in the US and later the V2 subsidiary Big Cat Records in the UK, going on to sign an exclusive deal with V2. The bulk of the band's recorded output was the work of Lytle, who worked primarily in home studios.
Context: Grandaddy was formed in 1992 by singer, guitarist and keyboardist Jason Lytle, bassist Kevin Garcia and drummer Aaron Burtch. The group was initially influenced by US punk bands such as Suicidal Tendencies and Bad Brains. Lytle was a former professional skateboarder, who had turned to music after a knee injury forced him to stop skating, working at a sewage treatment works to fund the purchase of equipment, and several of the band's early live performances were at skateboarding competitions.  The band members constructed a studio at the Lytle family home, and the band's first release was the self-produced cassette Complex Party Come Along Theories in April 1994. Singles "Could This Be Love" and "Taster" followed later that year. In 1995, guitarist Jim Fairchild (another ex-pro-skater who had guested with the band before) and keyboardist Tim Dryden joined the band. A second cassette, Don't Sock the Tryer was withdrawn, with the band instead releasing debut mini-album A Pretty Mess by This One Band in April 1996 on the Seattle-based Will label.  In 1997 they released their debut full-length album Under the Western Freeway, and, with the help of Howe Gelb, signed a UK deal with Big Cat Records (by then a subsidiary of V2), who reissued the album the following year. The album included the single "A.M. 180", which was featured during a sequence in the 2002 British film 28 Days Later. It was also used for the theme song for the BBC Four television series Charlie Brooker's Screenwipe, and in an advertisement for Colin Murray's BBC Radio 1 show. "A.M. 180" was also used in television commercials for the Dodge Journey automobile. One of the album's singles, "Summer Here Kids", was rated as "Single of the Week" by popular British music magazine NME, and was also used as the theme music for another Charlie Brooker-fronted show, BBC Radio 4's So Wrong It's Right. The album led to an increase in the band's popularity in Europe, and a main stage performance at the Reading Festival in 1998. The album was only a success in the US when later reissued by V2. With the band busy touring in 1999, their next release was the compilation The Broken Down Comforter Collection.
Question: How did they get together?
Answer:
The group was initially influenced by US punk bands such as Suicidal Tendencies and Bad Brains.