1{2 "document_id": "lb_hotpotqa_5e3362de0244d2b96c83958c4d3229151999292c369b0197",3 "family": "public_hotpotqa",4 "split": "test",5 "text": "Passage 1:\nNobody for Everybody\nNobody for Everybody is the Japanese debut EP by South Korean girl group Wonder Girls. Its title song is \"Nobody\" ～あなたしか見えない～ (ノーバディ, Nōbadi), first released on their third Korean mini-album, The Wonder Years: Trilogy in 2008. This is the fourth language that \"Nobody\" has been released in; the song was first released in Korean and was followed by English and Chinese versions.\nThe EP consists of the Japanese version of \"Nobody\" as well as 2012 re-recordings of \"Nobody\" (in both Korean and English), \"Saying I Love You\", and \"You're Out\". These 2012 recordings include vocals of member Hyerim who entered the group in 2010, replacing the group's original member Sunmi.\n\nBackground\nAfter announcing the Wonder Girls as spokesmodels for the brand \"Marshpuff\" in Japan, JYPE requested that their Japanese record label, DefStar Records, listen to the Wonder Girls' released albums and singles before deciding on what song would be their debut in the country. The label had strong mutual interest in \"Nobody\", so it was chosen as the title song for their first Japanese album.In May 2012, the Wonder Girls officially announced their debut into the Japanese market with a Japanese version of \"Nobody\", \"Nobody ～あなたしか見えない～\". JYP JYPE stated: \"Wonder Girls have received numerous inquiries from Japan and [are] observing their advertisement and music business flourishing even without their official introduction.\"\nThe EP was released on July 25, 2012 in three different physical variants.\n\nTrack listing\nCharts\nPassage 2:\nAlina Margolis-Edelman\nAlina Margolis-Edelman (18 April 1922 – 23 March 2008) was a Polish physician, Holocaust survivor, and resistance fighter during the Warsaw Ghetto Uprising, who was forced to flee Poland during a revival of anti-Semitism in Poland in 1968. Joining Doctors Without Borders, she later helped found Doctors of the World, participating in medical missions in Africa and the Middle East, Latin America, and Eastern Europe. Simultaneously, she worked as a physician, practicing at Necker-Enfants Malades Hospital and the Maternal-Infant Protection Service in Seine-Saint-Denis. In 1990, she returned to Poland, and began an association, \"Nobody's Children\", to fight against child abuse in Poland. She was the recipient of numerous awards and honors.\n\nEarly life\nAlina Margolis was born on 18 April 1922 in Łódź, Poland, to the Jewish \nphysician Anna (née Markson) and her husband, Aleksander Margolis, who was also a physician. Anna was the director of the radiology department and chief of the tubercular service division of Anna Maria Hospital. Aleksander, also known by the pseudonym Paweł Gart, was an internist and head of the Municipal General Hospital of Radogoszcz, and a member of the Łódź City Council, until he was executed by the Gestapo in 1939. After his death, the family was relocated to the Warsaw Ghetto, to await transport to Treblinka. Anna managed to enroll Alina in the Jewish School of Nursing founded by Lama Blum-Bielica, and she worked in one of the hospitals in the ghetto. When transport became imminent, Anna left the ghetto with the children, all of them posing as \"Aryan\". Anna placed her son in a Christian orphanage, and she went into hiding.Margolis hid with a Polish family who were anti-Semitic and who believed that she was the daughter of a Polish officer who was a prisoner of war. She worked as a courier for the Resistance and continued nursing in ghetto, becoming an integral part of the rescue efforts following the Warsaw Ghetto Uprising. The insurgency lasted three weeks, and consisted mostly of Jewish youth, led by a five-person command. One of the commanders, Marek Edelman, was the sole survivor of the leadership. When German troops burned the ghetto, Edelman attempted escape by way of the sewer system. Underground members, disguising themselves as Polish Red Cross workers, carried him out of the ghetto on a stretcher. One of the stretcher-bearers was Margolis. To ensure that no one would investigate too closely, the underground posted a sign on Edelman's body declaring him to have typhus, easily passing armed checkpoints.Before the war ended, Margolis and Edelman returned to Łódź, and were joined, when the war ended, by her mother and brother, John. In mid-1945, Margolis and Edelman married, moved to the house which her family had occupied before the war, and she began her medical studies.\n\nCareer\nCompleting her education, Margolis-Edelman became a pediatrician, working in the Łódź Pediatric Clinic. She specialized in diseases of the kidney and juvenile diabetes, establishing a clinic in Rąbka. She conducted research into these diseases and published her findings. In 1951, Margolis-Edelman had her son Alexander and five years later, gave birth to the couples' daughter, Anna. In the midst of preparing for her habilitation, the 1968 Polish political crisis unleashed a new wave of antisemitism and Margolis-Edelman was not allowed to defend her thesis. She and her children fled to France, but her husband remained in Łódź, providing humanitarian services to anyone in need. Unable to convince the French university to accept her Polish degree, she began her studies all over again and worked in a laboratory analyzing the blood of rats to earn a living.After five years of study, Margolis-Edelman re-earned her ability to practice medicine and became head of the chemistry department where she worked and practicing pediatrics at the Necker-Enfants Malades Hospital. She also worked in the Maternal-Infant Protection Service in Seine-Saint-Denis, as well as serving the communes of Aubervilliers and La Courneuve. In 1978, she began working with Doctors Without Borders, on hospital ships with Vietnamese boat people, work that was later officially recognized by the Vietnamese government. When Bernard Kouchner left the organization, he and Margolis-Edelman co-founded Doctors of the World. She participated in medical missions to such places as Afghanistan, Chad, El Salvador, Guatemala, Lebanon, and Nicaragua.During the 1981-1983 period of martial law in Poland, Margolis-Edelman supported the pro-democracy opposition. She organized internships abroad for Polish doctors, helped those who could not obtain treatment in Poland, and sent drugs and supplies to Polish hospitals, which were unable to obtain them at the time. She helped found the Franco-Polish association \"SOS Aide aux Malades Polonais\", to assist Poles in obtaining treatment in France. Around the same time, she served as president of the Literary Notebook Association (French: Les Cahiers Littéraires) and established the quarterly magazine Zeszyty Literackie in Paris. In 1990, she returned to Poland and established an organization called Nobody's Children to care for victims of child abuse and lobby for their protection. During the Bosnian War, she co-founded a rape victim support center and a center in Saint Petersburg to care for street children.In 1994, Margolis-Edelman wrote a memoir about her pre-war and World War II experiences, Ala z Elementarza (later translated to English in 1998, as Ala from the Primer). The title was a reference of an earlier work by Marian Falski. As children, Margolis and her brother inspired Falski to write a widely-read early reading primer about two children, Ala and Olek. The title of Margolis-Edelman's memoir, referred to the earlier work's characters. In 1997, Margolis-Edelman published another memoir, entitled Je ne le répéterai pas, je ne veux pas le répéter (I will not repeat it, I do not want to repeat it). She was awarded the Cross of Valor for her humanitarian work and a knighthood by the Order of the Smile.\n\nDeath and legacy\nMargolis-Edelman died on 23 March 2008 in Paris, and was buried in the Cimetière parisien de Bagneux. A symbolic gravesite was placed as a memorial to her at the Jewish Cemetery in Warsaw. In 2010, a documentary, The Girl From A Reading Primer, directed by Edyta Wróblewska and produced by Studio Filmowe Kalejdoskop, detailing Margolis-Edelman's life was released. In 2011, an award named in her honor was established to recognize those who work to protect children.\nPassage 3:\nSarah Polley\nSarah Ellen Polley (born January 8, 1979) is a Canadian filmmaker, political activist and retired actress. She first garnered attention as a child actress for her role as Ramona Quimby in the television series Ramona, based on Beverly Cleary's books. This subsequently led to her role as Sara Stanley in the Canadian television series Road to Avonlea (1990–1996). She has starred in many feature films, including The Adventures of Baron Munchausen (1988), Exotica (1994), The Sweet Hereafter (1997), Guinevere (1999), Go (1999), The Weight of Water (2000), No Such Thing (2001), My Life Without Me (2003), Dawn of the Dead (2004), Splice (2009), and Mr. Nobody (2009).\nPolley made her feature film directorial debut with Away from Her (2006), for which she won the Canadian Screen Award for Best Director and was nominated for the Academy Award for Best Adapted Screenplay. Polley's second film, Take This Waltz (2011), premiered at the 2011 Toronto International Film Festival, followed by her first documentary film, Stories We Tell (2012). She also wrote the miniseries Alias Grace, based on the 1996 novel of the same name by Margaret Atwood. In 2022, Polley wrote and directed the film Women Talking, based on the 2018 novel of the same name by Miriam Toews, for which she won the Academy Award for Best Adapted Screenplay.\n\nEarly life\nPolley was born and raised in Toronto, Ontario, Canada, the youngest of five children born to Diane Elizabeth Polley (née MacMillan). Her siblings are Susy and John Buchan from Diane's first marriage to George Deans-Buchan, and Mark and Joanna Polley from her second marriage to Michael Polley (1933–2018), a British-born actor who became an insurance agent after starting a family with Diane. Her uncle was the Buffalo Sabres play by play caller Ted Darling.\nHer mother was an actress (best known for playing Gloria Beechham in 44 episodes of the Canadian TV series Street Legal) and a casting director. She died of cancer the week of Polley's 11th birthday.Polley suffered from severe scoliosis as a child and underwent a spinal operation at 15 that required her to spend the next year in bed recovering.Polley was raised by Diane and Michael. During her childhood, Polley's siblings teased her because she bore no physical resemblance to Michael. Polley discovered as an adult that her biological father was actually Harry Gulkin, with whom her mother had an affair (as chronicled in Polley's film Stories We Tell). Gulkin, the son of Russian Jewish immigrants, was a Quebec-born film producer who produced the 1975 Canadian film Lies My Father Told Me, and had met Diane after attending a play in which she acted in Montreal in 1978. When Polley turned 18, she decided to follow up on suggestions from her mother's friends that her biological father might be Geoff Bowes—one of three castmates from her mother's play in Montreal. Meeting with Gulkin as just someone who could provide information about Diane in Montreal, he informed Polley of his affair with Diane. Gulkin's paternity was later confirmed by a DNA test.Polley attended Subway Academy II, then Earl Haig Secondary School, but dropped out at age 15. By the age of 15 she was living on her own and credits the Ontario Coalition Against Poverty for housing her and developing her work with activism.\n\nCareer\nEarly career\nHer first appearance on screen was at the age of four, as Molly in the film One Magic Christmas. She was in the pilot episode for Friday the 13th – The Series and appeared in a small role in William Fruet's sci-fi horror film Blue Monkey, both in 1987. At age of eight, she was cast as Ramona Quimby in the television series Ramona, based on Beverly Cleary's books.\nThat same year, she played one of the lead characters in Terry Gilliam's The Adventures of Baron Munchausen. Polley burst into the public eye in 1990 as Sara Stanley on the popular CBC television series Road to Avonlea. The series made her famous and financially independent, and she was hailed as \"Canada's Sweetheart\" by the popular press. The show was picked up by the Disney Channel for distribution in the United States. At the age of 12 (around 1991), Polley attended an awards ceremony while wearing a peace sign to protest the first Gulf War. Disney executives asked her to remove it, and she refused. This soured her relationship with Disney, but she continued on Road to Avonlea until 1994. The show ran until 1996; Polley did return as Sara Stanley for an episode in 1995 and for the series finale.\nIn 1994 Polley made her theatre debut at the Stratford Festival playing Alice in Alice Through the Looking Glass, an adaptation of Lewis Carroll's book of the same name. Polley ended her run early, claiming complications from scoliosis. In 2022 she revealed she had in fact been suffering from intense stage fright, something that continued to plague her into adulthood.\n\nTransition into more adult roles\nPolley appeared as Lily on the CBC television series Straight Up, which ran from 1996 to 1998, winning the Gemini Award for Best Performance in a Children's or Youth Program or Series for her role. Polley's subsequent role as Nicole Burnell in the 1997 film The Sweet Hereafter brought her considerable attention in the United States; she was a favourite at the Sundance Film Festival. Her character in the film was an aspiring singer, and on the film's soundtrack, she performed covers of The Tragically Hip's \"Courage\" and Jane Siberry's \"One More Colour\" and sang the film's title track, which she co-wrote with Mychael Danna.In 1998, Polley appeared in the critically acclaimed film Last Night. The following year, she starred as part of the ensemble cast in the film Go. She was cast in the role of Penny Lane in the big-budget 2000 film Almost Famous, but dropped out of the project to return to Canada for the low-budget The Law of Enclosures. Her role in the 2003 film My Life Without Me garnered the Genie Award for Best Performance by an Actress in a Leading Role in 2004. In the same year, she starred in a lead role in the remake of Dawn of the Dead, which was a departure from her other indie roles.\nIn 2005, she starred in The Secret Life of Words, opposite Tim Robbins and Julie Christie. She was nominated as Best European Actress by the European Film Academy for her role as Hanna.In 2006, Polley took a role on the acclaimed series Slings and Arrows during its third and final season. Polley's father, Michael Polley, was a regular on the show during its entire three-season run. She served as a member of the 2007 Cannes Film Festival jury.\nIn 2008, Polley appeared as Nabby Adams in the HBO miniseries based on the life of John Adams. Polley played Elise in Jaco Van Dormael's Mr. Nobody, which was released in 2010. Critical response has praised the film's artistry and Polley's acting. Later that year, she also appeared in a cameo role in Bruce MacDonald's film Trigger.Though Polley never officially announced her retirement from acting, she has not taken an acting role since 2010, transitioning into a writing and directing career.\n\nDirecting career\nIn 1999, Polley made her first short film, The Best Day of My Life, for the On the Fly 4 Film Festival. She also made a second short film that year, Don't Think Twice. Polley attended the Canadian Film Centre's directing program in 2001, and won the Genie Award for Best Live Action Short Drama in 2003 for her short film I Shout Love. She made her feature-length film directing debut with Away from Her, which Polley adapted from the Alice Munro short story The Bear Came Over the Mountain. The movie, starring Julie Christie (with whom she had played in No Such Thing, 2001, and The Secret Life of Words, 2005), debuted at the Toronto International Film Festival on September 11, 2006, as part of the TIFF's Gala showcase.\nAway from Her was acquired by Lionsgate for release in the US for the sum of $750,000. It drew rave reviews from Variety, The Hollywood Reporter, and the three Toronto dailies, both for the performances of Christie and her co-star, Canadian actor Gordon Pinsent, and for Polley's direction. It also earned Polley a 2007 Academy Award nomination for Best Adapted Screenplay, and won the Genie Award for Best Achievement in Direction. At the 2008 Genies, she was also awarded the Claude Jutra Award, which recognizes outstanding achievement by a first-time feature film director.Polley wrote and directed her second feature, Take This Waltz starring Michelle Williams, Luke Kirby, Seth Rogen, and Sarah Silverman, which premiered at the Toronto International Film Festival in 2011.\nHer documentary film Stories We Tell premiered at the 69th Venice International Film Festival in competition in the Venice Days category, and its North American premiere followed at the 2012 Toronto International Film Festival. The critically acclaimed documentary examined family secrets in Polley's own childhood. She was awarded the CAN$100,000 prize for best Canadian film of the year by the Toronto Film Critics Association. In 2017, Polley executive produced the film A Better Man (2017),In late 2012, Polley announced that she would be adapting Margaret Atwood's novel Alias Grace. Polley first wrote to Atwood asking to adapt the novel when she was 17. They held off for 20 years until she was ready to make the show. In August 2014, during a profile of her work as a director, Polley announced that Alias Grace was being adapted into a six-part miniseries. In June 2016, the series was confirmed with Polley writing and producing. The series premiered in 2017 on CBC Television in Canada; it streams on Netflix globally, outside of Canada. It received positive reviews from critics.In June 2014, it was announced that she would be writing and directing an adaptation of John Green's Looking for Alaska. In March 2015, Polley was hired to write the script for a new adaptation of Little Women, as well as potentially direct; however, Polley's involvement in the project never went beyond initial discussions, despite reports. In her 2022 essay collection Run Towards the Danger, Polley revealed she had been working on a second draft of the Little Women screenplay when she had a traumatic head injury resulting in post-concussion syndrome that left her with symptoms for four years so she was temporarily unable to work. It was subsequently announced in June that, due to scheduling conflicts, Polley would no longer be directing Looking for Alaska.\nIn an interview, Polley stated that she takes pride in her work and enjoys both acting and directing, but is not keen on combining the two:I like the feeling of keeping them separate. I find that really gratifying. I can't imagine combining those. For me, I love the feeling of using different parts of my brain separately. In a 2015 retrospective of the movie Go, Mike D'Angelo of The A.V. Club commented that Polley's decision to go into directing had \"deprived the world of many potentially great performances\", calling her a \"superb actor\". In December 2020, it was announced Polley would direct Women Talking based upon the novel of the same name by Miriam Toews for Orion Pictures. It premiered at the 49th Telluride Film Festival on September 2, 2022, and went into wide release on December 23, 2022. It was released to widespread acclaim, with 90% of critics giving it a positive review on Rotten Tomatoes. Shirley Li of The Atlantic called it \"vibrant cinema,\" while Anna Bogutskaya of Time Out said that it \"imagines female emancipation as an honest, raging, caring experience.\" Polley won the Academy Award for Best Adapted Screenplay at the 95th Academy Awards, and the film was also nominated for the Academy Award for Best Picture.\nIn 2023, Polley was revealed to be in talks to direct Disney's live action adaptation of Bambi.\n\nWriting career\nPolley has written numerous essays over the years about her experiences as a child star. In 2022, she released her first book of essays, the autobiographical, Run Towards the Danger which contains six essays that examine aspects of Polley's career on stage, screen, and on film, detailing her roles in a Stratford Festival production of Alice Through the Looking Glass, as well as her breakout roles in The Adventures of Baron Munchausen and the TV series Road to Avonlea. The book also revealed for the first time that Polley had been a victim of Jian Ghomeshi who sexually and physically assaulted her when she was 16 and he was 28.\n\nPolitical and social activism\nFollowing the row with Disney as a twelve-year-old for wearing a peace sign to protest against the Gulf War, Polley dedicated more of her efforts to politics, becoming a prominent member of the Ontario New Democratic Party (ONDP), where Ontario legislator Peter Kormos was her political mentor. In 1996, she gave a nomination speech for Kormos at the ONDP leadership convention which she later referred to as the \"proudest moment in [her] life\".In 1995, she lost two back teeth after being struck by a riot police officer during a protest against the provincial Progressive Conservative government of Mike Harris in Queen's Park. She was subsequently involved with the Ontario Coalition Against Poverty. She subsequently scaled back her political activism.\nShe was part of a group in 2001 which opposed the proposed Free Trade Area of the Americas. The 3rd Summit of the Americas was held in Quebec City in April 2001. In 2003, she was part of former Toronto mayor David Miller's transition advisory team.\nIn 2009, Polley directed a two-minute short film in support of the Heart and Stroke Foundation of Canada. In advance of the film's airing in Canada during the 82nd Academy Awards, and following news reports that characterized the film as a marketing exercise for the margarine company Becel, Polley withdrew her association with the film. \"In December 2009, I made a film to be aired during the Academy Awards that I believed was to promote the Heart and Stroke Foundation. When I agreed to make this film [\"The Heart\"], I was thrilled, as I was proud to be associated with the work of this incredible organization. However, I have since learned that my film is also being used to promote a product. Regretfully, I am forced to remove my name from the film and disassociate myself from it. I have never actively promoted any corporate brand, and cannot do so now.\" In response, Becel said it was a \"founding sponsor\" of the Heart Truth campaign and had commissioned the film \"to put heart health on the radar of Canadian women\".In January 2012, Polley endorsed Toronto MP Peggy Nash in the 2012 New Democratic Party leadership race to succeed Jack Layton.On October 15, 2017, Polley wrote an op-ed piece in The New York Times detailing her experience with Harvey Weinstein and with Hollywood's treatment of women generally, and making a connection between Hollywood's gendered power relations and Polley's not having acted in years.\n\nPersonal life\nPaternity revelations\nIn 2007, Polley discovered that her father, Michael Polley, who had raised her, was not her biological father. The story of her mother's affair and her biological father Harry Gulkin, producer of the film Lies My Father Told Me (1975), was chronicled in Polley's film Stories We Tell (2012).\n\nMarriages and children\nOn September 10, 2003, Polley married Canadian film editor David Wharnsby, her boyfriend of seven years. They divorced five years later, in 2008.On August 23, 2011, Polley married David Sandomierski, who at the time was working on his SJD degree (equivalent to a PhD in law) at the University of Toronto, which he would complete six years later, in 2017. They have three children together.\n\nSexual assault by Jian Ghomeshi\nIn 2022, Polley said that she had been sexually assaulted by then Moxy Früvous singer Jian Ghomeshi while on a date when she was 16 and he was 28. She was dissuaded by family and friends from coming forward with her experiences, but ultimately chose to do so in her autobiographical essay collection Run Towards the Danger.\n\nReligious views\nPolley is an atheist.\n\nFilmography\nShort film\n\nFeature film\nActing roles\n\nTelevision\nExecutive producer\n\nSecret Path (2016) (TV movie)\nA Better Man (2017) (Documentary)Acting roles\n\nAwards and nominations\nOn October 16, 2010, it was announced that she would receive a star on Canada's Walk of Fame. In June 2013, she received the National Arts Centre Award recognizing achievement over the past performance year at the Governor General's Performing Arts Awards, where she was the subject of a short vignette by Ann Marie Fleming entitled Stories Sarah Tells. Polley was appointed an Officer of the Order of Canada on December 30, 2013.\nPassage 4:\nGraham Nash\nGraham William Nash (born 2 February 1942) is an English-American musician, singer and songwriter. He is known for his light tenor voice and for his contributions as a member of the Hollies and Crosby, Stills & Nash.\nNash is a photography collector and a published photographer. He was inducted into the Rock and Roll Hall of Fame as a member of Crosby, Stills & Nash in 1997 and as a member of the Hollies in 2010. He was appointed an Officer of the Order of the British Empire (OBE) in the 2010 Birthday Honours List for services to music and to charity.Nash holds four honorary doctorates, including one from New York Institute of Technology, one in Music from the University of Salford in 2011 and one in Fine Arts from Lesley University in Cambridge, Massachusetts.\n\nEarly life\nGraham William Nash was born on 2 February 1942 in Blackpool, to where his mother had been evacuated from her hometown of Salford when World War II began. The family subsequently returned to Salford, where Nash grew up.\n\nCareer\nSongwriting\nIn the early 1960s, Nash co-founded the Hollies, one of the UK's most successful pop groups, with school friend Allan Clarke, and was credited as the group's leader on their first album. He was featured vocally on \"Just One Look\" (1964) and sang his first lead vocal on the original Hollies song \"To You My Love\" on the band's second album In The Hollies Style of the same year. He often sang featured bridge vocals on later Hollies recordings (\"So Lonely\", \"I've Been Wrong\", \"Pay You Back With Interest\") and provided lead vocals on several later singles, notably \"On a Carousel\" and \"Carrie Anne\" (both 1967).Nash encouraged the Hollies to write their own songs, initially with Clarke, then with Clarke and guitarist Tony Hicks. From 1964 to mid-1966 they wrote under the alias L. Ransford. Their own names were credited on songs from \"Stop Stop Stop\" from October 1966 onward. In 1965, Nash, with Allan Clarke and guitarist Tony Hicks, formed Gralto Music Ltd, a publishing company which handled their own songs and later signed the young Reg Dwight (a.k.a. Elton John) who played piano and organ on Hollies 1969 and 1970 recordings.\nNash was pivotal in the forging of a sound and lyrics, often writing the verses on Clarke, Hicks & Nash songs. However, Nash also composed songs by himself under the 'team banner' (like Lennon & McCartney), including \"Fifi the Flea\" (1966), \"Clown\" (1966), \"Stop Right There\", and \"Everything Is Sunshine\" (1967). The Butterfly album included several of his songs that had less group participation and exhibited more of a singer-songwriter approach. He was disappointed when this new style did not register with their audience, especially \"King Midas in Reverse\" (Nash and producer Ron Richards clashed over this song because Richards believed it was 'too complex' to work as a hit single).\nNash initially met both David Crosby and Stephen Stills in 1966 during a Hollies US tour. On a subsequent visit to the US in 1968, he was more formally introduced to Crosby by mutual friend Cass Elliott in Laurel Canyon, Los Angeles. Nash left the Hollies to form a new group with Crosby and Stills. A trio at first, Crosby, Stills & Nash later became a quartet in 1969 with Neil Young: Crosby, Stills, Nash & Young (CSNY).\nWith both configurations, Nash went on to even greater worldwide success, penning many of CSN's most-commercial hit singles such as \"Our House\" (about the house in Laurel Canyon shared with his then-lover Joni Mitchell); \"Teach Your Children\" and \"Marrakesh Express\" (both of which had been rejected by the Hollies); \"Just a Song Before I Go\"; and \"Wasted on the Way\". Nash, nicknamed \"Willy\" by his bandmates, has been described as the glue that keeps their often fragile alliances together.\nNash became politically active after moving to California, as reflected in his anti-Vietnam War songs \"Military Madness\" and \"Chicago / We Can Change the World\" (about the trial of the Chicago Eight).\nIn 1972, during CSNY's first hiatus, Nash teamed with Crosby, forming a successful duo. They worked in this configuration on and off for many years, producing four studio albums and a few live and compilation albums. His song \"Immigration Man\", Crosby & Nash's biggest hit as a duo, arose from a tiff he had with a US Customs official while trying to enter the country.\nIn 1979, Nash co-founded Musicians United for Safe Energy which is against the expansion of nuclear power. MUSE put on the educational fundraising No Nukes events. In 2007 the group recorded a music video of a new version of the Buffalo Springfield song \"For What It's Worth\".Nash briefly rejoined the Hollies in 1983 (to mark their 20th anniversary) to record two albums, What Goes Around... and Reunion. In 1993, Nash again reunited with the Hollies to record a new version of \"Peggy Sue Got Married\" that featured lead vocal by Buddy Holly (taken from an alternative version of the song given to Nash by Holly's widow Maria Eleana Holly)—this Buddy Holly & the Hollies recording opened the Not Fade Away tribute album to Holly by various artists.\n\nIn 2005, Nash collaborated with Norwegian musicians A-ha on the songs \"Over the Treetops\" (penned by Paul Waaktaar-Savoy) and \"Cosy Prisons\" (penned by Magne Furuholmen) for the Analogue recording. In 2006, Nash worked with David Gilmour and David Crosby on the title track of David Gilmour's third solo album, On an Island. In March 2006, the album was released and quickly reached No. 1 on the UK charts. Nash and Crosby subsequently toured the UK with Gilmour, singing backup on \"On an Island\", \"The Blue\", \"Shine On You Crazy Diamond\", and \"Find the Cost of Freedom\".\n\nIn addition to his political songs Nash has written many songs on other themes he cares about such as of nature and ecology—beginning with the Hollies' \"Signs That Will Never Change\" (first recorded by the Everly Brothers in 1966)—later CSNY's \"Clear Blue Skies\", plus anti-nuclear-waste-dumping (\"Barrel of Pain\"), anti-war (\"Soldiers of Peace\") and social issues (\"Prison Song\").\nNash appeared on the season 7 finale of American Idol singing \"Teach Your Children\" with Brooke White.\nIn 2010, Nash was inducted a second time to the Rock and Roll Hall of Fame, this time as a member of the Hollies. He received an OBE \"for services to music and charitable activities\", becoming an Officer of the Order of the British Empire in the Diplomatic and Overseas Division of the Queen's Birthday Honours List on 12 June 2010. Nash received the title of George Eastman Honorary Scholar at the George Eastman House on 22 January 2011, in Rochester, New York.Nash contributed a cover of \"Raining in My Heart\" to the 2011 tribute album Rave on Buddy Holly.\nOn 22 January 2016, Nash announced the forthcoming release on 15 April 2016 of his new studio album entitled This Path Tonight (his first collection of new songs in fourteen years) and shared the title track from it through MOJO magazine's website. On 4 February 2016, Rolling Stone magazine unveiled a new song from the new album, the reflective \"Encore,\" the tender tune that wraps up Nash's new album. Upon the upcoming release of his new studio album in April 2016, Nash planned a solo tour from 25 March 2016 at the Byron Bay Bluesfest in Australia, continuing United States on 22 April 2016 at Saban Theatre, Beverly Hills, California, to visit Europe starting from the UK on 21 May 2016 at the Albert Hall, Manchester and ending 14 June 2016 at the Alte Oper Hall, Frankfurt, Germany.\nHe was still touring in the fall of 2017, performing in New Jersey and New York in September.On 29 June 2018, Rhino Records released the two-disk box set Over The Years, a 30-track collection of Nash's demos made from 1968 to 1980, featuring highlights from the CSN debut album Crosby, Stills & Nash (\"Marrakesh Express\"), CSNY follow-up Déjà Vu (\"Our House\", \"Teach Your Children\"), song selections from subsequent CSN albums, four tracks from Nash's 1971 solo album Songs For Beginners, with \"Better Days\" and \"I Used To Be King\" presented as unreleased mixes. The most recent recording on the compilation is \"Myself at Last\" from Nash's 2016 solo album This Path Tonight. The second disc in this set features 15 demo recordings, 12 of which have never been released.\n\nPhotography career\nInterested in photography as a child, Nash began to collect photographs in the early 1970s. Having acquired more than a thousand prints by 1976, Nash hired Graham Howe as his photography curator. In 1978 through 1984 a touring exhibition of selections from the Graham Nash Collection toured to more than a dozen museums worldwide. Nash decided to sell his 2,000 print collection through Sotheby's auction house in 1990 where it set an auction record for the highest grossing sale of a single private collection of photography. Nash said that some of the auction profit would be given to the Los Angeles County Museum of Art for the acquisition of contemporary photographs.In 2010 21st Editions published a monograph titled \"Love, Graham Nash\" which includes facsimiles of his lyrics paired with signed photographs by Graham Nash and printed by Nash Editions.\n\nEarly digital fine art printing\nExperimenting\nIn the late 1980s Nash began to experiment with digital images of his photography on Macintosh computers with the assistance of R. Mac Holbert who at that time was the tour manager for Crosby, Stills and Nash as well as handling computer/technical matters for the band. Nash ran into the problem common with all personal computers running graphics software during that period: he could create very sophisticated detailed images on the computer, but there was no output device (computer printer) capable of reproducing what he saw on the computer screen. Nash and Holbert initially experimented with early commercial printers that were then becoming available and printed many images on the large format Fujix inkjet printers at UCLA's JetGraphix digital output centre. When Fuji decided to stop supporting the printers, John Bilotta, who was running JetGraphix, recommended that Nash and Holbert look into the Iris printer, a new large format continuous-tone inkjet printer built for prepress proofing by IRIS Graphics, Inc. Through IRIS Graphics national sales rep Steve Boulter, Nash also met programmer David Coons, a colour engineer for Disney, who was already using the IRIS printer there to print images from Disney's new digital animation system.\nCoons worked off hours at Disney to produce large images of 16 of Nash's photographic portraits on arches watercolour paper using Disney's in-house model 3024 IRIS printer for a 24 April 1990 show at Simon Lowinsky gallery. Since most of the original negatives and prints had been lost in shipment to a book publisher, Coons had to scan contact sheets and enhance the images so they could be printed in large format. He used software he had written to output the photographic images to the IRIS printer, a machine designed to work with proprietary prepress computer systems.In July 1990, Nash purchased an IRIS Graphics 3047 inkjet printer for $126,000 and set it up in a small carriage house in Manhattan Beach, California near Los Angeles. David Coons and Steve Boulter used it to print an even larger November 1990 show of Nash's work for Parco Stores in Tokyo. The show entitled Sunlight on Silver was a series of 35 celebrity portraits by Nash which were 3 feet by 4 feet in an edition of 50 prints per image, a total of 1,750 images. Subsequently, Nash exhibited his photographs at the Museum of Photographic Arts in San Diego and elsewhere.\n\nNash Editions\nIn 1991, Nash agreed to fund Mac Holbert to start a fine art digital-based printing company using the IRIS Graphics 3047 printer sitting in Nash's Manhattan Beach, California carriage house. Holbert retired as road manager for Crosby, Stills and Nash so that he could run the company. It opened its doors on 1 July 1991 with the name of Nash Editions Ltd. Early employees included David Coons, John Bilotta and a serigraphic print maker named Jack Duganne. They worked to further adapt the IRIS printer to fine art printing, experimenting with ink sets to try to overcome the fast-fading nature of IRIS prints, and even going as far as sawing off part of the print heads so they could be moved back to clear thicker printing paper stocks (voiding the $126,000 machine's warranty). Nash and Holbert decided to call their fine art prints \"digigraphs\" although Jack Duganne coined the name \"Giclée\" for these type of prints. The company is still in operation and currently uses Epson-based large format printers.\nIn 2005, Nash donated the original IRIS Graphics 3047 printer and Nash Editions ephemera to the National Museum of American History, a Smithsonian Institution.\n\nPersonal life\nNash was married to his first wife, Rose Eccles, from 1964 until 1966. As part of an inside joke, her surname inspired the 1968 song \"Jennifer Eccles\", and a jocular verse about Jennifer Eccles was also included in the 1968 song \"Lily the Pink\". Nash was married to his second wife, actress Susan Sennett, from 1978 until he left her for artist Amy Grantham in 2016. Sennett, the mother of his three now-adult children, divorced Nash in 2016 and died of cancer in September 2020. After moving to New York City, Nash married Grantham in April 2019.Nash released an autobiography in September 2013 called Wild Tales: A Rock & Roll Life, published by Crown Publishing. Photographs that he took during his career are on display as an art collection at the San Francisco Art Exchange. In interviews pertaining to both the memoir and art exhibit, he mentioned the impact of Canadian-American musician Joni Mitchell, with whom he had a relationship between 1968 and 1970 in California. He also had a brief relationship with American musician Rita Coolidge, as had his bandmate Stephen Stills.Nash endorsed American politician Bernie Sanders in the 2016 Democratic Party presidential primaries. In October 2020, he revealed that he had recently started practising Transcendental Meditation after American filmmaker David Lynch paid for him and his wife to study it as a gift. He said of the practice, \"Quite frankly, I'm 78 years old and I wish I'd been doing it for 50 years.\"\n\nDiscography\nSee also discographies for Crosby Stills Nash & Young, The Hollies and Crosby & Nash.\n\nWith The Hollies\nAlbums\nSingles\nEPs\nSolo\nStudio albums\nLive\nCompilations\nSingles\nOther appearances\nStudio\nLive\nPassage 5:\nNobody's Child: Romanian Angel Appeal\nNobody's Child: Romanian Angel Appeal is a charity album released in July 1990 to benefit Romanian orphans, under the auspices of the Romanian Angel Appeal Foundation. It was compiled by English rock musician George Harrison in response to concerns raised by his wife Olivia Harrison, who had visited Romania and witnessed the suffering in the country's abandoned state orphanages following the fall of Communism. The release was preceded by a single, \"Nobody's Child\", recorded by Harrison's band the Traveling Wilburys. Other artists who donated songs to the album include Stevie Wonder, Paul Simon, Eric Clapton, Duane Eddy, Van Morrison, Guns N' Roses, Ringo Starr, Ric Ocasek and Elton John. Many of the recordings were previously unreleased.The Romanian Angel Appeal marked a rare foray into the media spotlight by Olivia Harrison, who created the foundation with support from the other wives of the former Beatles – Barbara Bach, Yoko Ono and Linda McCartney. She and her husband promoted the project in the UK with appearances on the television talk show Wogan and in the one-hour Radio 1 documentary Nobody's Child. The album was released by Harrison's record company, Warner Bros. Records, on 23 July 1990. It was preceded by a launch at London's Hyde Park Hotel on 22 July, attended by the Harrisons, and Bach and Starr. The video for the \"Nobody's Child\" single included animated scenes and footage of the Romanian orphanages.\n\nSong selection\nGeorge Harrison's involvement in the project reprised his role in assisting refugees of the 1971 Bangladesh Liberation War, when he staged an all-star benefit concert and oversaw the release of an associated album and documentary film. Aside from the title track, his presence on Nobody's Child was reflected in the recordings submitted by Simon, Clapton and Eddy.Harrison said in compiling Nobody's Child he was conscious of not making it his album by dominating the content. He said that his request for a live track from Bruce Springsteen went unanswered, and his approach to Michael Jackson became confused in the acrimony taking place between Jackson and Paul McCartney over the ownership of the Beatles' Northern Songs catalogue. Selections by Stevie Winwood and Queen arrived too late for inclusion on the album.\n\nTrack listing\nVinyl and cassette releases\nSide one\n\n\"Nobody's Child\"\n\"Wonderful Remark\"\n\"Medicine Man\"\n\"This Week\"\n\"Homeward Bound\"\n\"How Can You Mend a Broken Heart?\"\n\"Lovechild\"\n\"Big Day Little Boat\"Side two\n\n\"Feeding Off the Love of the Land\"\n\"That Kind of Woman\"\n\"Goodnight Little One\"\n\"The Trembler\"\n\"Ain't That Peculiar\"\n\"Civil War\"\n\nNotes\nOn the included performance of \"With a Little Help from My Friends\", the All-Starr Band consisted of Ringo Starr, Joe Walsh, Nils Lofgren, Billy Preston, Dr. John, Levon Helm, Rick Danko, Garth Hudson, Jim Keltner, Clarence Clemons and Zak Starkey. The song is only on the CD version of the album.\nAside from his contributions with the Traveling Wilburys and Paul Simon, George Harrison plays guitar on the tracks by Eric Clapton and Duane Eddy.\nPassage 6:\nShoppin' from A to Z\n\"Shoppin' from A to Z\" is a song by US singer-songwriter Toni Basil, released in 1983 as the fourth and final single from her debut album Word of Mouth. It was released in the US only. After the poor performance of \"Nobody\" in the UK, \"Shoppin' from A to Z\" also failed to match the success of chart topper \"Mickey\", peaking at No. 77. A music video was made for the song. The song features a shopping list consisting of various grocery items, each beginning with a different letter of the alphabet. On the album version, it is shouted out by a chorus. The single version features comical voices saying the name of each item.\n\nTrack listing\n7\" single\"Shoppin' from A to Z\" — 3:41\n\"Time After Time\" — 4:18Promo 12\" \"Special Remix\" single\"Shoppin' from A to Z\" (Special Remix) — 6:04\n\"Shoppin' from A to Z\" — 3:41\n\nMusic video\nThe music video starts with Basil and her two friends at a house looking through a shopping list and a newspaper. Then, the scene quickly changes to a supermarket where Basil and everyone in the market (including the employees) start dancing while they shop. Finally, after all that shopping, Basil and her friends arrive home exhausted. The clip ends with two dollar signs coming out of the shopping bags and plastered on a CGI heart on a green background.\nPassage 7:\nNobody's Child (song)\nNobody's Child may refer to:\n\nFilm and television\nNobody's Child (1919 film), a British silent film directed by George Edwardes Hall\nNobody's Child (1970 film), a Philippine film featuring Vilma Santos\nNobody's Child (1986 film), an American television film directed by Lee Grant\nNobody's Child (2004 film), a Singaporean film directed by Lin Wenhui\n\nLiterature\nNobody's Child, a 1996 romantic novel by Pat Warren\nNobody's Child, a 1997 romantic novel by Ann Major\nNobody's Child, a 2003 children's novel by Marsha Skrypuch\nNobody's Child, a 2007 autobiography by Michael Seed\nNobody's Child, a 2014 crime novel by Libby Fischer Hellmann\n\nMusic\nNobody's Child: Romanian Angel Appeal, a 1990 charity album\n\"Nobody's Child\" (Hank Snow song), 1949; covered by Tony Sheridan and the Beatles (1964), the Traveling Wilburys (1990), and others\n\"Nobody's Child\" (Penny McLean song), 1976\n\"Nobody's Child\", a song by Electric Light Orchestra from Eldorado, 1974\n\"Nobody's Child\", a song by Mark Knopfler from Down the Road Wherever, 2018\n\nSee also\nNo One's Child, a 2014 Serbian film\nNobody's Children (disambiguation)\nPassage 8:\nTraveling Wilburys\nThe Traveling Wilburys were a British-American supergroup consisting of Bob Dylan, George Harrison, Jeff Lynne, Roy Orbison and Tom Petty. Originating from an idea discussed by Harrison and Lynne during the sessions for Harrison's 1987 album Cloud Nine, the band formed in April 1988 after the five members united to record a bonus track for Harrison's next European single. When this collaboration, \"Handle with Care\", was deemed too good for such a limited release, the group agreed to record a full album, titled Traveling Wilburys Vol. 1. Following Orbison's death in December 1988, the Wilburys continued as a quartet and released a second album, titled Traveling Wilburys Vol. 3, in 1990.\nThe project's work received much anticipation given the diverse nature of the singer-songwriters. The band members adopted tongue-in-cheek pseudonyms as half-brothers from the fictional Wilbury family of travelling musicians. Vol. 1 was a critical and commercial success, helping to revitalise Dylan's and Petty's careers. In 1990, the album won the Grammy for Best Rock Performance by a Duo or Group.\nAlthough Harrison envisioned a series of Wilburys albums and a film about the band, produced through his company HandMade, the group became dormant after 1991 and never officially reunited, though the individual members continued to collaborate on each other's solo projects at various times. After being unavailable for several years, the two Wilburys albums were reissued by the Harrison estate in the 2007 box set The Traveling Wilburys Collection. The box set included a DVD containing their music videos and a documentary on the band's formation.\n\nHistory\nBackground\nGeorge Harrison first mentioned the Traveling Wilburys publicly during a radio interview with Bob Coburn on the show Rockline in February 1988. When asked how he planned to follow up the success of his Cloud Nine album, Harrison replied: \"What I'd really like to do next is ... to do an album with me and some of my mates ... It's this new group I got [in mind]: it's called the Traveling Wilburys, I'd like to do an album with them and then later we can all do our own albums again.\" According to Jeff Lynne, who co-produced Cloud Nine, Harrison introduced the idea of the two of them starting a band together around two months into the sessions for his album, which began in early January 1987. When discussing who the other members might be, Harrison chose Bob Dylan and Lynne opted for Roy Orbison. The term \"Wilbury\" also originated during the Cloud Nine sessions. Referring to recording errors created by faulty equipment, Harrison jokingly remarked to Lynne, \"We'll bury 'em in the mix.\" Thereafter, they used the term for any small error in performance. Harrison first suggested \"the Trembling Wilburys\" as the group's name; at Lynne's suggestion, they amended it to \"Traveling Wilburys\".\nDuring his Rockline interview, Harrison voiced his support for Dylan, at a time when the Dylan was experiencing an artistic and commercial low point in his career. Harrison and Lynne became friends with Tom Petty in October 1987, when Petty and his band, the Heartbreakers, toured Europe as Dylan's backing group. The friendship continued in Los Angeles later that year. There, Harrison struck up a musical rapport with Petty based on their shared love of 1950s rock 'n' roll, and Lynne began collaborating with Petty on what became Petty's debut solo album, Full Moon Fever, and writing songs with Orbison, Lynne's longtime musical hero, for Orbison's comeback album, Mystery Girl. According to Petty, Harrison's dream for the Wilburys was to handpick the participants and create \"the perfect little band\", but the criteria for inclusion were governed most by \"who you could hang out with\". The five musicians also bonded over a shared appreciation of the English comedy troupe Monty Python. Harrison, who had worked with the members of Monty Python on various productions by his company HandMade Films since the late 1970s, particularly appreciated Orbison's gift for impersonation and his ability to recite entire sketches by the troupe.\n\n1988–1991\n\"Handle with Care\" and band formation\nThe band came together in April 1988, when Harrison was in Los Angeles to oversee the filming of his HandMade production Checking Out. At that time, Warner Bros. Records asked Harrison for a new song to serve as the B-side for the European release of his third single from Cloud Nine, \"This Is Love\". During a meal with Lynne and Orbison, Harrison asked Lynne to help him record the track and invited Orbison to attend the session, which he then arranged to take place at Dylan's garage studio in Malibu since no professional studios were available at such short notice. Petty's involvement came about when Harrison went to retrieve his guitar from Petty's house and invited him to attend also.Working on a song that Harrison had recently started writing, the ensemble completed the track, which they titled \"Handle with Care\" after a label on a box in Dylan's garage. When Harrison presented the recording to Mo Ostin and Lenny Waronker of Warner Bros., the executives insisted that the song was too good to be used as a B-side. In Petty's recollection, Harrison and Lynne then decided to realise their idea of forming a Wilburys band, and first invited him to join before phoning Dylan, who also agreed to join. That night, Harrison, Lynne and Petty drove to Anaheim to see Orbison perform at the Celebrity Theatre and recruited him for the group shortly before he went on stage. In Petty's description, Orbison performed an \"unbelievable show\", during which \"we'd punch each other and go, 'He's in our band, too.' ... We were all so excited.\"\n\nDebut album\nThe band members decided to create a full album together, Traveling Wilburys Vol. 1. Video footage of the creative process was later edited by Harrison into a promotional film for Warner Bros. staff, titled Whatever Wilbury Wilbury. The album was recorded primarily over a ten-day period in May 1988, to allow for Dylan's limited availability as he prepared for the start of what became known as his Never Ending Tour and for Orbison's tour schedule. These sessions were held in the house of Eurythmics member Dave Stewart, in Los Angeles.The five band members sat in a circle playing acoustic guitars in Stewart's kitchen; once each song's basic track had been written and recorded there (with accompaniment from a drum machine), the group recorded their vocals in another room, usually after dinner each night. Petty recalled that, as a friend but also an avowed fan of Dylan's, Harrison felt the need to clear the air on the first day by saying to him: \"We know that you're Bob Dylan and everything, but we're going to just treat you and talk to you like we would anybody else.\" Dylan replied: \"Well, great. Believe it or not, I'm in awe of you guys, and it's the same for me.\" While most of the songs had a primary composer, all of the band members were creative equals. Petty later described Harrison as the Wilburys' \"leader and manager\", and credited him with being a bandleader and producer that had a natural instinct for bringing out the best in people and keeping a recording session productive. As the group's producers, Harrison and Lynne directed the sessions, with Harrison often auditioning each member to decide who should sing a particular lead vocal part. The two producers then flew back to England; Lynne recalls that, throughout the flight, he and Harrison enthused about how to turn the sparse, acoustic-based tracks into completed recordings. Overdubs and further recording took place at Harrison's studio, FPSHOT, with \"Sideburys\" Jim Keltner (drums), Jim Horn (saxophones) and Ray Cooper (percussion). Harrison described the band's sound as \"skiffle for the 1990s\".The album was released on 18 October 1988. Distributed by Warner Bros., it appeared on the new Wilbury record label rather than on Harrison's Dark Horse label, in the interests of maintaining the group identity. Over the months following the end of recording in the summer, contractual issues had been successfully negotiated between Warner and the record companies representing Dylan, Petty, Lynne and Orbison. As was the case in 1971 when EMI prepared Harrison's multi-artist live album from the Concert for Bangladesh for release, Dylan's label, Columbia, presented the main stumbling block. In the album credits, the \"Wilburys\" joke was extended further, with the band members listed under various pseudonyms and pretending to be half-brothers – sons of a fictional Charles Truscott Wilbury, Sr. During promotion for the album, Orbison played along with the mock history, saying: \"Some people say Daddy was a cad and a bounder, but I remember him as a Baptist minister.\"Vol. 1 was a critical and commercial success, and revitalised the careers of Dylan, Orbison and Petty. As Harrison had intended, the album defied contemporary musical trends such as hip hop, acid house and synthesised pop; author Alan Clayson likens its release to \"a Viking longship docking in a hovercraft terminal\". The album produced two successful singles and went on to achieve triple-platinum certification for sales in the United States. It was nominated for several awards and won the 1990 Grammy Award for Best Rock Performance by a Duo or Group. Liner notes on the album cover were written by Monty Python's Michael Palin under a pseudonym. Palin's essay was based on an idea by Derek Taylor, who wrote an extensive fictional history of the Wilburys family that otherwise went unused. Harrison planned a feature film about the band, to be produced by HandMade and directed by David Leland, but contractual problems ended the project.\n\nOrbison's death, \"Nobody's Child\" and Vol. 3\nRoy Orbison died of a heart attack on 6 December 1988. In tribute to him, the music video for the band's second single, \"End of the Line\", shows a black and white framed photo of Orbison and his guitar is shown, rocking in a chair, whenever his vocals are heard. Lynne recalled that Orbison's death in the wake of Vol. 1's success was \"the most sickening thing to me\". He added: \"I was devastated for ages ... Me and Roy had had plans to do much more together, and his voice was in really good shape. It was just so sad for that to happen.\" Although there was speculation in the press that Del Shannon or Roger McGuinn might join the Wilburys, the remaining members never considered replacing Orbison. Lynne later said: \"We'd become this unit, we were all good pals … We always knew we were going to do another one, and now it's just the four of us.\"Harrison was the most active in promoting the Wilburys, carrying out interviews well into 1989. He said he was \"wait[ing] for all the other Wilburys to finish being solo artists\" so that they could renew the collaboration. By contrast, according to author Clinton Heylin, Dylan appeared to give the band little attention as he focused on re-establishing himself as a live performer before recording his 1989 album Oh Mercy.In March 1990, Harrison, Lynne, Petty and Dylan reunited to work on a second Wilburys album, which they intentionally misnumbered Traveling Wilburys Vol. 3. It was preceded by a non-album single, a cover of \"Nobody's Child\", which the band recorded for Olivia Harrison's Romanian Angel Appeal charity project. The duration of the main album sessions was again dictated by Dylan's touring schedule and limited availability. Having asked Dylan to record a lead vocal for all the songs before his departure, Harrison was then loath to replace many of the parts, resulting in a greater prominence for Dylan as a lead singer. Although he ceded his own role as a lead vocalist to Dylan and to Petty, Harrison took over more of the production and contributed more prominently as a lead guitarist than before. Petty described the album as \"a little more rough and ready, a bit more raucous\" than Vol. 1, while Dylan said the new songs were more developed as compositions relative to the \"scraped up from jam tapes\" approach to the band's debut.Vol. 3 was released on 29 October 1990. It was dedicated to Orbison, as \"Lefty Wilbury\", the pseudonym that Orbison had used in 1988 in honour of his hero Lefty Frizzell. The album met with less success than the previous one. According to Mo Ostin, the choice of album title came about through \"George being George\"; apparently Harrison was making a wry reference to the appearance of a bootleg that served as a sort of Volume 2. The album's liner notes were written by Eric Idle, another Python member, who again adopted a pseudonym. For the band's final single, \"Wilbury Twist\", they filmed a video in which Idle, John Candy and other comedic actors attempt to master the song's eponymous dance style. The clip was filmed in Los Angeles and completed on 28 February 1991.\n\nAfter the Wilburys\nAccording to Jim Keltner, the decision on the group's future after Vol. 3 lay with Harrison. Keltner said that from his conversations with Lynne, Petty and Dylan, they were all keen to reunite, whereas Harrison wavered in his enthusiasm. While Harrison was against the idea of touring, Petty recalled: \"I kept getting down on my knees in front of George, saying, 'Please, it's so much money!'\"After his 1991 tour of Japan – his first series of concerts since 1974 – Harrison spoke of a possible Traveling Wilburys tour:\n\nThat would be something I'd like to experience. I've always played around in my own mind what a Wilburys tour could be. Would each person do a solo set and then do Wilburys at the end, or would we all go right on from beginning to end and make everything Wilburys? It's an intriguing thought. We could have a great band up there and the four of us could play acoustic if we wanted to. We could all sing \"Blowin' in the Wind\" and Bob could sing \"Something\". Or we could just sing our individual songs and make them Wilbury tunes, as if we'd recorded them that way. Whatever it was, we could do it.\nThe Wilburys tour never came about. Petty said about the Wilburys touring:\n\nI think it would work, if we wanted to do it. I don't think we ever considered it, really. There were a lot of nights when the conversation would roll around to that. But I don't think anybody ever took it seriously. I think it would ruin it in a way. Then you're obligated to be responsible and it's not in the character of that group. It would make it very formal and that would be the wrong spirit.\n\nLegacy and influence\nIn the Rolling Stone Press book The New Rolling Stone Encyclopedia of Rock & Roll, the Traveling Wilburys are described as \"the ultimate supergroup\", with a line-up that represented four eras of rock music history and included \"three indisputable gods\" in Dylan, Harrison and Orbison. The editors also recognise the band as \"the antithesis of a supergroup\", due to the musicians' adoption of fraternal alter egos and the humour inherent in the project. AllMusic managing editor Stephen Thomas Erlewine has similarly written: \"It's impossible to picture a supergroup with a stronger pedigree than that (all that's missing is a Rolling Stone), but in another sense it's hard to call the Wilburys a true supergroup, since they arrived nearly two decades after the all-star craze of the '70s peaked, and they never had the self-important air of nearly all the other supergroups. That, of course, was the key to their charm …\" Speaking to music journalist Paul Zollo in 2004, Petty agreed that humour and self-effacement had been key factors in the Wilburys' success, adding: \"We wanted to make something good in a world that seemed to get uglier and uglier and meaner and meaner … And I'm really proud that I was part of it. Because I do think that it brought a little sunshine into the world.\"Harrison said the project was an opportunity to \"put a finger up to the rules\" by challenging the norms associated with the music industry. Discussing the Wilburys in Peter Bogdanovich's 2007 documentary Runnin' Down a Dream, Petty said that one of the strengths behind the concept was that it was free of any intervention from record company, management or marketing concerns, and instead developed naturally from a spirit of co-operation and mutual admiration among five established artists. Author Simon Leng recognises the venture as primarily a channel through which Harrison and Dylan could escape the restrictions of their serious media images, but also, in its guise as a \"phantom band\", a development by Harrison of the Rutles' satirical approach to the Beatles' legacy, in this case by \"de-mythologizing\" rock history.Inspired by the Traveling Wilburys' success and particularly its benefit to Petty and Orbison as artists, Lenny Waronker encouraged American guitarist Ry Cooder to form the band Little Village and record for Warner Bros. The group – comprising Cooder, Keltner, John Hiatt and Nick Lowe – released a self-titled album in 1992. Greg Kot of the Chicago Tribune described the Notting Hillbillies' Missing ... Presumed Having a Good Time as a Traveling Wilburys-type side project for Mark Knopfler of Dire Straits. Writing in New York magazine in late 1990, Elizabeth Wurtzel cited the Notting Hillbillies' album and the self-titled debut by Hindu Love Gods – a band consisting of Warren Zevon and members of R.E.M. – as examples of a trend whereby, following the Wilburys' Vol. 1, \"more and more albums seem to be the rock-and-roll equivalents of bowling night.\"Writing in The Encyclopedia of Popular Music, Colin Larkin cites the Wilburys' contemporary skiffle as evidence of Lonnie Donegan's continued influence on popular music long after the early 1960s. In his book Lonnie Donegan and the Birth of British Rock & Roll, Patrick Humphries describes the Wilburys as \"a makeshift quintet whose roots were firmly and joyously planted in low-key, low-tech skiffle music\". He credits the band with inspiring a brief revival of Donegan's \"DIY skiffle\", which included Knopfler's Notting Hillbillies. Each member of the Traveling Wilburys has been inducted into the Rock and Roll Hall of Fame, although the band itself has not been inducted. Orbison and Dylan were inducted as solo artists, Harrison was inducted as a member of the Beatles and, posthumously, as a solo artist, Petty as the leader of Tom Petty and the Heartbreakers, and Lynne as a member of the Electric Light Orchestra.\n\nCatalogue reissue and Genesis Publications book\nIn the late 1990s and early 2000s, the two Traveling Wilburys albums had limited availability and were out of print in most areas. Harrison, as primary holder of the rights, did not reissue them before his death. In June 2007, the two albums were reissued as The Traveling Wilburys Collection, a box set including both albums on CD (with bonus tracks) and a DVD featuring a 25-minute documentary entitled The True History of the Traveling Wilburys and a collection of music videos. The box set was released in three editions; the standard edition, with both CDs and DVD in a double Digipak package and a 16-page booklet; a \"deluxe\" boxed edition with the CDs and DVD and an extensive 40-page booklet, artist postcards, and photographs; or a \"deluxe\" boxed edition on vinyl. This version omits the DVD, but adds a 12-inch vinyl disc with rare versions of the songs.\nThe release debuted at number 1 in the UK and topped the albums chart in Australia, Ireland and other countries. On the US Billboard 200 it reached number 9. The collection sold 500,000 copies worldwide during the first three weeks and remained in the UK top 5 for seven weeks after its release.\nIn November 2009, Genesis Publications, a company with which Harrison had been associated since the late 1970s, announced the release of a limited edition fine-bound book titled The Traveling Wilburys. Compiled by Olivia Harrison, the book includes rare photographs, recording notes, handwritten lyrics, sketches, and first-hand commentary on the band's history, together with a foreword by Lynne. Petty, Lynne, Olivia Harrison, Barbara Orbison, Keltner and Idle were among those who attended the US launch at a Beverly Hills bookshop in March 2010. In an interview to publicise the book, Lynne expressed his sadness at the deaths of Harrison and Orbison, and reflected: \"The Wilburys was such a wonderful band, such a marvellous thing to be part of. They were the best people I could ever wish to work with. Every day was like, 'Wow!' ... it was fun from day one.\"\n\nLine-ups\nMusicians\nVolume 1\"Nelson Wilbury\" – George Harrison\n\"Otis Wilbury\" – Jeff Lynne\n\"Lefty Wilbury\" – Roy Orbison\n\"Charlie T. Wilbury, Jr.\" – Tom Petty\n\"Lucky Wilbury\" – Bob DylanVolume 3\"Spike Wilbury\" – George Harrison\n\"Clayton Wilbury\" – Jeff Lynne\n\"Muddy Wilbury\" – Tom Petty\n\"Boo Wilbury\" – Bob DylanJim Keltner, the session drummer and percussionist, was not officially listed as a Wilbury on either album, but was given the nickname \"Buster Sidebury\". Overdubs on the 2007 bonus tracks \"Maxine\" and \"Like a Ship\" were credited to \"Ayrton Wilbury\", a pseudonym for Dhani Harrison. The name Ayrton was used in honour of F1 driver Ayrton Senna. Jim Horn and Ray Cooper played saxophones and percussion, respectively, on both albums. The lead guitar part on the Vol. 3 track \"She's My Baby\" was played by rock guitarist Gary Moore, who received the credit \"Ken Wilbury\".\n\nFurther Wilbury appellation\nHarrison appeared as Nelson Wilbury on Warner Bros. Records' Christmas 1988 promotional album Winter Warnerland (which also included Paul Reubens as \"Pee Wee Wilbury\"). In 1992, in his capacity as producer, Harrison credited himself as \"Spike and Nelson Wilbury\" on his live album Live in Japan. During that Japanese tour, in December 1991, Harrison credited himself as Nakihama Wilbury. The Tom Petty and the Heartbreakers 1992 single \"Christmas All Over Again\" contained a greeting that read \"Merry Christmas from Nelson and Pee Wee Wilbury\". Additionally, at Tom Petty Celebration in 2019, Roy Orbison Jr. was dubbed \"Lefty Wilbury Jr.\" and Alex Orbison as \"Ginger Wilbury\". The Harrison-made film promoting the Traveling Wilburys, Whatever Wilbury Wilbury, lists the following credits: \"Cecil Bidet Wilbury\" (directed by), \"Lenny W. Wilbury\" (sound), \"Chopper Wilbury\" (editor), \"Edison Wilbury\" (lighting), \"Evelyn Wilbury\" (wardrobe), \"Clyde B. Wilbury\" (special effects), \"Big Mac Wilbury\" (catering), \"Zsa Zsa Wilbury\" (make-up) and \"Tell M. Wilbury\" (production manager). A squirrel is named \"Eddie Wilbury\" in that film as well.\n\nDiscography\nStudio albums\nBox sets\nSingles\nOther charted songs\nOther collaborations between members\nNotes",6 "char_len": 67592,7 "document_hash": "815cc08a36dcbc8705f5a0bb8468f64db02f18f79355c34200ea3f879306a74f",8 "questions": [9 {10 "question_id": "q00",11 "qtype": "hotpotqa",12 "question": "Name a member of a British-American supergroup who recored a version of Nobody's child in 1990"13 }14 ]15}