IN: Crane was born in Waterbury, Connecticut, and spent his childhood and teenaged years in Stamford. He began playing drums, and by junior high was organizing local drum and bugle parades with his neighborhood friends. He later joined his high school's marching and jazz bands and the orchestra. He played for the Connecticut and Norwalk Symphony Orchestras as part of their youth orchestra program.

At the 1994 trial, Crane's son Robert testified that in the weeks before his father's death, Crane had repeatedly expressed a desire to sever his friendship with Carpenter. He said Carpenter had become "a hanger-on" and "a nuisance to the point of being obnoxious". "My dad expressed that he just didn't need Carpenter kind of hanging around him anymore," he said. He testified that Crane had called Carpenter the night before the murder and ended their friendship.  Carpenter's attorneys attacked the prosecution's case as circumstantial and inconclusive. They presented evidence, including witnesses from the restaurant where the two men had dined the evening prior to the murder, that Carpenter and Crane were still the best of friends. They noted that the murder weapon had never been identified or found; the prosecution's camera tripod theory was sheer speculation, they said, based solely on Carpenter's occupation. They disputed the claim that the newly discovered evidence photo showed brain tissue, and presented many examples of "sloppy work" by police, such as the mishandling and misplacing of evidence--including the crucial tissue sample itself. They pointed out that Crane had been videotaped and photographed in compromising sexual positions with numerous women, implying that any one of them, fearing blackmail, might have been the killer. Other potential suspects proposed by defense attorneys included angry husbands and boyfriends of the seduced women, and an actor who had sworn vengeance after a violent argument with Crane in Texas several months earlier.  Carpenter was acquitted. He continued to maintain his innocence until his death four years later, in 1998. After the trial, Robert Crane speculated publicly that Crane's widow, Patricia Olson, might have had a role in instigating the crime. "Nobody got a dime out of [the murder]," he said, "except for one person," alluding to Crane's will, which excluded him, his siblings, and his mother, and left the entire estate to Olson. Robert Crane repeated his suspicions in a 2015 book. Maricopa County District Attorney Rick Romley, who prosecuted the case, responded, "We never characterized Patty as a suspect." He added, "I am convinced John Carpenter murdered Bob Crane." Officially, Crane's murder remains unsolved.
QUESTION: What was his role in the Trial?
IN: O'Neill was born in a hotel, the Barrett House, at Broadway and 43rd Street, on what was then Longacre Square (now Times Square). A commemorative plaque was first dedicated there in 1957. The site is now occupied by 1500 Broadway, which houses offices, retail, and ABC Studios. He was the son of Irish immigrant actor James O'Neill and Mary Ellen Quinlan, who was also of Irish descent.

After suffering from multiple health problems (including depression and alcoholism) over many years, O'Neill ultimately faced a severe Parkinsons-like tremor in his hands which made it impossible for him to write during the last 10 years of his life; he had tried using dictation but found himself unable to compose in that way. While at Tao House, O'Neill had intended to write a cycle of 11 plays chronicling an American family since the 1800s. Only two of these, A Touch of the Poet and More Stately Mansions, were ever completed. As his health worsened, O'Neill lost inspiration for the project and wrote three largely autobiographical plays, The Iceman Cometh, Long Day's Journey into Night, and A Moon for the Misbegotten. He managed to complete Moon for the Misbegotten in 1943, just before leaving Tao House and losing his ability to write. Drafts of many other uncompleted plays were destroyed by Carlotta at Eugene's request.  O'Neill died in Room 401 of the Sheraton Hotel (now Boston University's Shelton Hall) on Bay State Road in Boston, on November 27, 1953, at the age of 65. As he was dying, he whispered his last words: "I knew it. I knew it. Born in a hotel room and died in a hotel room." Dr. Harry Kozol, the lead prosecuting expert of the Patty Hearst trial, treated O'Neill during these last years of illness. He also was present for O'Neill's death and announced the fact to the public.  O'Neill is interred in the Forest Hills Cemetery in Boston's Jamaica Plain neighborhood.  In 1956 Carlotta arranged for his autobiographical play Long Day's Journey into Night to be published, although his written instructions had stipulated that it not be made public until 25 years after his death. It was produced on stage to tremendous critical acclaim and won the Pulitzer Prize in 1957. This last play is widely considered to be his finest. Other posthumously-published works include A Touch of the Poet (1958) and More Stately Mansions (1967).  The United States Postal Service honored O'Neill with a Prominent Americans series (1965-1978) $1 postage stamp.
QUESTION: did he continue to work when he was ill?
IN: Tangerine Dream is a German electronic music band founded in 1967 by Edgar Froese. The group has seen many personnel changes over the years, with Froese being the only continuous member until his death in January 2015. The best known line-up of the group was its mid-70s trio of Froese, Christopher Franke, and Peter Baumann. In the late 1970s, Johannes Schmoelling replaced Baumann.

Edgar Froese arrived in West Berlin in the mid-1960s to study art. His first band, the psychedelic rock-styled The Ones, disbanded after releasing only one single. After The Ones, Froese experimented with musical ideas, playing smaller gigs with a variety of musicians. Most of these performances were in the famous Zodiak Free Arts Lab, although one grouping also had the distinction of being invited to play for the surrealist painter Salvador Dali. The music was partnered with literature, painting, early forms of multimedia, and more. It seemed as though only the most outlandish ideas attracted any attention, leading Froese to comment, "In the absurd often lies what is artistically possible." As members of the group came and went, the direction of the music continued to be inspired by the Surrealists, and the group came to be called by the surreal-sounding name of Tangerine Dream, inspired by the line "tangerine trees and marmalade skies" from The Beatles' track "Lucy in the Sky with Diamonds."  Froese was fascinated by technology and skilled in using it to create music. He built custom-made instruments and, wherever he went, collected sounds with tape recorders for use in constructing musical works later. His early work with tape loops and other repeating sounds was the obvious precursor to the emerging technology of the sequencer, which Tangerine Dream quickly adopted upon its arrival.  The first Tangerine Dream album, Electronic Meditation, was a tape-collage Krautrock piece, using the technology of the time rather than the synthesized music they later became famous for. The line-up for the album was Froese, Klaus Schulze, and Conrad Schnitzler. Electronic Meditation was published by Ohr in 1970, and began the period known as the Pink Years (the Ohr logo was a pink ear). But starting with their second album, Alpha Centauri, the group has been a trio or occasionally duo of electronic instruments, commonly augmented by guitar from Froese (or, much later, other musicians as well), and occasionally also other instruments. Of these, drums from Christopher Franke and organ from Steve Schroyder (on Alpha Centauri) or Peter Baumann (on subsequent releases) feature prominently in the band's music during the early 70s. They also started their heavy usage of the Mellotron during this period.
QUESTION:
Did they win awards for their music?