Some context: Mark Lavon "Levon" Helm (May 26, 1940 - April 19, 2012) was an American musician and actor who achieved fame as the drummer and one of the vocalists for The Band. Helm was known for his deeply soulful, country-accented voice, multi-instrumental ability, and creative drumming style, highlighted on many of the Band's recordings, such as "The Weight", "Up on Cripple Creek", and "The Night They Drove Old Dixie Down". Helm also had a successful career as a film actor, appearing as Loretta Lynn's father in Coal Miner's Daughter, as Chuck Yeager's friend and colleague Captain Jack Ridley in The Right Stuff, and as a Tennessee firearms expert in Shooter. In 1998, Helm was diagnosed with throat cancer, which caused him to lose his singing voice.
Born in Elaine, Arkansas, Helm grew up in Turkey Scratch, a hamlet of Marvell, Arkansas. His parents, Nell and Diamond Helm, were cotton farmers and great lovers of music. They encouraged their children to play and sing at a young age. Young Lavon (as he was christened) began playing the guitar at the age of eight and also played drums during his formative years. He saw Bill Monroe and His Blue Grass Boys at the age of six and decided then to become a musician.  Arkansas in the 1940s and 50s stood at the confluence of a variety of musical styles--blues, country and R&B--that, when merged, later became known as rock and roll. Helm was influenced by all these styles, which he heard on the Grand Ole Opry on radio station WSM and R&B on radio station WLAC in Nashville, Tennessee. He also saw traveling shows such as F.S. Walcott's Rabbit's Foot Minstrels that featured top African-American artists of the time.  Another early influence on Helm was the work of the harmonica player, guitarist and singer Sonny Boy Williamson II, who played blues and early rhythm and blues on the King Biscuit Time radio show on KFFA in Helena and performed regularly in Marvell with blues guitarist Robert Lockwood, Jr. In his 1993 autobiography, This Wheel's on Fire: Levon Helm and the Story of the Band, Helm describes watching Williamson's drummer, James "Peck" Curtis, intently during a live performance in the early 1950s and later imitating this R&B drumming style. Helm established his first band, the Jungle Bush Beaters, while in high school.  Helm also witnessed some of the earliest performances by southern country music, blues and rockabilly artists such as Elvis Presley, Conway Twitty, Bo Diddley and fellow Arkansan Ronnie Hawkins. At age 17, Helm began playing in clubs and bars around Helena.
What did Helm do after high school?
A: Helm was influenced by all these styles, which he heard on the Grand Ole Opry on radio station WSM
Some context: Kaki King (born Katherine Elizabeth King, August 24, 1979) is an American guitarist and composer. King is known for her percussive and jazz-tinged melodies, energetic live shows, use of multiple tunings on acoustic and lap steel guitar, and her diverse range in different genres. In February 2006, Rolling Stone released a list of "The New Guitar Gods", on which King was the sole woman and youngest artist (beating Derek Trucks in age by two months as the youngest on the list). In addition to a 10-year career that includes six LP and two EP albums, King has also scored music for television and film.
King recruited Malcolm Burn to help with her next album, Dreaming of Revenge, and in December 2007 wrote about it in her blog: "I finished the new album. Don't get your panties in a tangle, it won't be released until next year, but it's done. And it's amazing." Filled with more melodic pop tunes than previous albums, Dreaming of Revenge was released on March 11, 2008 to highly positive reviews. On March 4, 2008, iTunes released a full version of Dreaming of Revenge featuring the bonus track "I Need A Girl Who Knows A Map". After filming a video for "Pull Me Out Alive", she began her tour.  In the first half of King's tour, she headlined at The Roxy and toured with The Mountain Goats, which led to the exclusive release of Kaki King and The Mountain Goats EP Black Pear Tree EP. While touring Australia in 2008, King filmed part of the music video "Can Anyone Who Has Heard This Music Really Be A Bad Person?" in Sydney. Directed by Michael Ebner, the rest of the video was completed in New York in 2009. After completing the last leg of her world tour, King decided to tour once again with a strictly acoustic show. Dubbed 'The "No Bullshit" Tour', King did smaller shows throughout the US and UK that were specifically focused on acoustic works from her first albums along with stripped-down versions of her newer songs.  After completing her "No Bullshit Tour," King scored work on the independent film How I Got Lost, and started to record her next EP, titled Mexican Teenagers EP. Recruiting her band that she used from Dreaming of Revenge, King cut five new tracks for her new album.
What changes did King implement in Jazz?
A: After completing the last leg of her world tour, King decided to tour once again with a strictly acoustic show.
Some context: Jean-Philippe Rameau (French: [Zafilip Ramo]; (1683-09-25)25 September 1683 - (1764-09-12)12 September 1764) was one of the most important French composers and music theorists of the 18th century. He replaced Jean-Baptiste Lully as the dominant composer of French opera and is also considered the leading French composer for the harpsichord of his time, alongside Francois Couperin. Little is known about Rameau's early years, and it was not until the 1720s that he won fame as a major theorist of music with his Treatise on Harmony (1722) and also in the following years as a composer of masterpieces for the harpsichord, which circulated throughout Europe.
Unlike Lully, who collaborated with Philippe Quinault on almost all his operas, Rameau rarely worked with the same librettist twice. He was highly demanding and bad-tempered, unable to maintain longstanding partnerships with his librettists, with the exception of Louis de Cahusac, who collaborated with him on several operas, including Les fetes de l'Hymen et de l'Amour (1747), Zais (1748), Nais (1749), Zoroastre (1749; revised 1756), La naissance d'Osiris (1754), and Anacreon (the first of Rameau's operas by that name, 1754). He is also credited with writing the libretto of Rameau's final work, Les Boreades (c. 1763).  Many Rameau specialists have regretted that the collaboration with Houdar de la Motte never took place, and that the Samson project with Voltaire came to nothing because the librettists Rameau did work with were second-rate. He made his acquaintance of most of them at La Poupliniere's salon, at the Societe du Caveau, or at the house of the Comte de Livry, all meeting places for leading cultural figures of the day.  Not one of his librettists managed to produce a libretto on the same artistic level as Rameau's music: the plots were often overly complex or unconvincing. But this was standard for the genre, and is probably part of its charm. The versification, too, was mediocre, and Rameau often had to have the libretto modified and rewrite the music after the premiere because of the ensuing criticism. This is why we have two versions of Castor et Pollux (1737 and 1754) and three of Dardanus (1739, 1744, and 1760).
Why didn't he work with the same librettists twice?
A:
He was highly demanding and bad-tempered, unable to maintain longstanding partnerships with his librettists,