Background: Kula Shaker are an English psychedelic rock band. Led by frontman Crispian Mills, the band came to prominence during the Post-Britpop era of the late 1990s. The band enjoyed commercial success in the UK between 1996 and 1999, notching up a number of Top 10 hits on the UK Singles Chart, including "Tattva", "Hey Dude", "Govinda", "Hush", and "Sound of Drums". The band's debut album, K, reached No. 1 on the UK Albums Chart.
Context: Prior to the release of their second album, the band became the subject of controversy surrounding remarks that Mills had made in the NME and Melody Maker, regarding the swastika, calling it a "brilliant image" albeit in the context of its traditional Indian origins. The Independent on Sunday ran a front page article in April 1997 reprinting Mills' comments and alleging that the guitarist "had dabbled with Nazism". The negative publicity surrounding the incident, along with overexposure in the British media, hurt the band's sales. The Independent article also revealed that the Objects of Desire had used the motto "England will rise again", and had performed at a 1993 conference at Wembley called "Global Deception" at which speakers included renowned conspiracy theorists Eustace Mullins and William Cooper.  Mills responded to the allegations by fax and his responses were incorporated in the article. Mills admitted having played at "Global Deception", but claimed not to have fully understood the nature of the event. He indicated that he now felt that the swastika, which has origins outside Nazism and different meanings in different parts of the world, was hopelessly connected to Nazism in the West. He indicated that it was the outrage that his comments had sparked that had led him to this conclusion. He also offered an unequivocal condemnation of far-right-wing ideology.  I think there is no better example of my naivete and insensitivity than the swastika comments ... my comments derive from my long interest in Indian culture, from which the swastika has its origins ... I apologise to those who have been offended by my comment and humbly ask that they accept that I am completely against the Nazis, their crimes and any other latter-day form of totalitarianism. For the record I have never been an anti-semite especially as my dear grandmother was Jewish ... I loathe totalitarianism, far right thinking, oppression of all forms, denial of human rights and all things that would limit the free spirit of humankind. I stand for peace, love, generosity and learning.  Looking back in 2016, Mills said "We thought we were smarter than we were ... that was the innocence of our youth ploughing into the adult world."  Aside from the consistent message of Mills' lyrics, which include unity in diversity (Tattva), spiritual devotion (Govinda) and global peace (Great Hosanna), it is rarely noted that Mills' father, the late Roy Boulting, was one of the first British filmmakers to use cinema against fascism. The Boulting Brothers' 1939 film Pastor Hall, a moving account of a German preacher who refuses to kowtow to the Nazis, was so groundbreaking that the British Government delayed its release because it was not yet ready to be openly critical of the Third Reich.
Question: Are there any other interesting aspects about this article?
Answer: Mills responded to the allegations by fax and his responses were incorporated in the article. Mills admitted having played at "Global Deception",

Background: Sir Edward William Elgar, 1st Baronet  (2 June 1857 - 23 February 1934) was an English composer, many of whose works have entered the British and international classical concert repertoire. Among his best-known compositions are orchestral works including the Enigma Variations, the Pomp and Circumstance Marches, concertos for violin and cello, and two symphonies. He also composed choral works, including The Dream of Gerontius, chamber music and songs. He was appointed Master of the King's Musick in 1924.
Context: During the 1890s, Elgar gradually built up a reputation as a composer, chiefly of works for the great choral festivals of the English Midlands. The Black Knight (1892) and King Olaf (1896), both inspired by Longfellow, The Light of Life (1896) and Caractacus (1898) were all modestly successful, and he obtained a long-standing publisher in Novello and Co. Other works of this decade included the Serenade for Strings (1892) and Three Bavarian Dances (1897). Elgar was of enough consequence locally to recommend the young composer Samuel Coleridge-Taylor to the Three Choirs Festival for a concert piece, which helped establish the younger man's career. Elgar was catching the attention of prominent critics, but their reviews were polite rather than enthusiastic. Although he was in demand as a festival composer, he was only just getting by financially and felt unappreciated. In 1898, he said he was "very sick at heart over music" and hoped to find a way to succeed with a larger work. His friend August Jaeger tried to lift his spirits: "A day's attack of the blues ... will not drive away your desire, your necessity, which is to exercise those creative faculties which a kind providence has given you. Your time of universal recognition will come."  In 1899, that prediction suddenly came true. At the age of forty-two, Elgar produced the Enigma Variations, which were premiered in London under the baton of the eminent German conductor Hans Richter. In Elgar's own words, "I have sketched a set of Variations on an original theme. The Variations have amused me because I've labelled them with the nicknames of my particular friends ... that is to say I've written the variations each one to represent the mood of the 'party' (the person) ... and have written what I think they would have written - if they were asses enough to compose". He dedicated the work "To my friends pictured within". Probably the best known variation is "Nimrod", depicting Jaeger. Purely musical considerations led Elgar to omit variations depicting Arthur Sullivan and Hubert Parry, whose styles he tried but failed to incorporate in the variations. The large-scale work was received with general acclaim for its originality, charm and craftsmanship, and it established Elgar as the pre-eminent British composer of his generation.  The work is formally titled Variations on an Original Theme; the word "Enigma" appears over the first six bars of music, which led to the familiar version of the title. The enigma is that, although there are fourteen variations on the "original theme", there is another overarching theme, never identified by Elgar, which he said "runs through and over the whole set" but is never heard. Later commentators have observed that although Elgar is today regarded as a characteristically English composer, his orchestral music and this work in particular share much with the Central European tradition typified at the time by the work of Richard Strauss. The Enigma Variations were well received in Germany and Italy, and remain to the present day a worldwide concert staple.
Question: did critics like him?
Answer: