Problem: Background: Daft Punk is a French electronic music duo from Paris formed in 1993 by Guy-Manuel de Homem-Christo and Thomas Bangalter. The duo achieved significant popularity in the late 1990s as part of the French house movement and had continuous success in the years following, combining elements of house music with funk, techno, disco, rock and synthpop influences. They are also known for their visual stylization and disguises associated with their music; the duo have worn ornate helmets and gloves to assume robot personas in most of their public appearances since 2001 and rarely grant interviews or appear on television. The duo were managed from 1996 to 2008 by Pedro Winter (also known as Busy P), the head of Ed Banger Records.
Context: In September 1993, Daft Punk attended a rave at EuroDisney, where they met Stuart Macmillan of Slam, co-founder of the label Soma Quality Recordings. The demo tape given to Macmillan at the rave formed the basis for Daft Punk's debut single, "The New Wave", a limited release in 1994. The single also contained the final mix of "The New Wave" called "Alive", which was to be featured on Daft Punk's first album.  Daft Punk returned to the studio in May 1995 to record "Da Funk". It became the duo's first commercially successful single the same year. After the success of "Da Funk", Daft Punk looked to find a manager. The duo eventually settled on Pedro Winter, who regularly promoted them and other artists at his Hype night clubs. The band signed with Virgin Records in September 1996 and made a deal through which the duo licensed its tracks to the major label through its production company, Daft Trax. Bangalter stated that while the duo received numerous offers from record labels, they wanted to wait and ensure that Daft Punk did not lose creative control. He ultimately considered the deal with Virgin to be more akin to a partnership.  In the mid-to-late nineties, Daft Punk performed live without costumes in many places including the United States. In 1996, the duo were featured at an Even Furthur event in Wisconsin, their first public performance in the U.S. In addition to live original performances, they performed a number of times in various clubs using vinyl records from their collection. They were known for incorporating various styles of music into their DJ sets at that time.  "Da Funk" and "Alive" were later included on Daft Punk's 1997 debut album Homework. In February of that year, the UK dance magazine Muzik published a Daft Punk cover feature and described Homework as "one of the most hyped debut albums in a long long time." According to The Village Voice, the album revived house music and departed from the Eurodance formula. As noted by critic Alex Rayner, Homework brought together established club styles and the "burgeoning eclecticism" of big beat. In 1997 Daft Punk also launched their Daftendirektour to promote Homework in several cities throughout the world. For this tour the duo opted to utilize their home studio equipment for the live stage. As Bangalter stated, "Everything was synched up--the drum machines, the bass lines. The sequencer was just sending out the tempos and controlling the beats and bars. On top of this structure we built all these layers of samples and various parts that we could bring in whenever we wanted to." 25 May 1997 saw them perform at the Tribal Gathering festival at Luton Hoo, England, headlining with Orbital and Kraftwerk.  The most successful single from Homework was "Around the World", which is known for the repeating chant of the song's title. "Da Funk" was also included on The Saint film soundtrack. Daft Punk produced a series of music videos for Homework directed by Spike Jonze, Michel Gondry, Roman Coppola and Seb Janiak. The collection of videos was released in 1999 and titled D.A.F.T.: A Story About Dogs, Androids, Firemen and Tomatoes.
Question: What was one of the best singles from their album?
Answer: The most successful single from Homework was "Around the World

Background: "(I Can't Get No) Satisfaction" is a song by the English rock band the Rolling Stones, released in 1965. It was written by Mick Jagger and Keith Richards and produced by Andrew Loog Oldham. Richards' three-note guitar riff--intended to be replaced by horns--opens and drives the song. The lyrics refer to sexual frustration and commercialism.
Context: The song opens with the guitar riff, which is joined by the bass halfway through. It is repeated three times with the drums and acoustic guitar before the vocal enters with the line: "I can't get no satisfaction". The key is E major, but with the 3rd and 7th degree occasionally lowered, creating - in the first part of the verses ("I can't get no ...") - a distinctive mellow sound. The accompanying chords (i.e. E major, D major and A major) are borrowed from the E mixolydian scale, which is often used in blues and rock.  The title line is an example of a negative concord. Jagger sings the verses in a tone hovering between cynical commentary and frustrated protest, and then leaps half singing and half yelling into the chorus, where the guitar riff reappears. The lyrics outline the singer's irritation with the increasing commercialism of the modern world, where the radio broadcasts "useless information" and a man on television tells him "how white my shirts can be - but he can't be a man 'cause he doesn't smoke the same cigarettes as me." Jagger also describes the stress of being a celebrity, and the tensions of touring. The reference in the verse to not getting any "girl reaction" was fairly controversial in its day, interpreted by some listeners (and radio programmers) as meaning a girl willing to have sex. Jagger commented that they "didn't understand the dirtiest line", as afterwards the girl asks him to return the following week as she is "on a losing streak," an apparent reference to menstruation. The song closes with a fairly subdued repetition of the song's title, followed suddenly by a full shout of the line, with the final words repeated into the fade-out.  In its day the song was perceived as disturbing because of both its sexual connotations and the negative view of commercialism and other aspects of modern culture; critic Paul Gambaccini stated: "The lyrics to this were truly threatening to an older audience. This song was perceived as an attack on the status quo". When the Rolling Stones performed the song on Shindig! in 1965, the line "trying to make some girl" was censored, although a performance on The Ed Sullivan Show on 13 February 1966 was uncensored. Forty years later, when the band performed three songs during the February 2006 Super Bowl XL halftime show, "Satisfaction" was the only one of the three songs not censored as it was broadcast.
Question: Who wrote the lyrics?
Answer: