[Q]: This article: In 1967 Solti was invited to become music director of the Chicago Symphony Orchestra. It was the second time he had been offered the post. The first had been in 1963 after the death of the orchestra's conductor, Fritz Reiner, who made its reputation in the previous decade. Solti told the representatives of the orchestra that his commitments at Covent Garden made it impossible to give Chicago the eight months a year they sought. He suggested giving them three and a half months a year and inviting Carlo Maria Giulini to take charge for a similar length of time. The orchestra declined to proceed on these lines. When Solti accepted the orchestra's second invitation it was agreed that Giulini should be appointed to share the conducting. Both conductors signed three-year contracts with the orchestra, effective from 1969.One of the members of the Chicago Symphony described it to Solti as "the best provincial orchestra in the world." Many players remained from its celebrated decade under Reiner, but morale was low, and the orchestra was $5m in debt. Solti concluded that it was essential to raise the orchestra's international profile. He ensured that it was engaged for many of his Decca sessions, and he and Giulini led it in a European tour in 1971, playing in ten countries. It was the first time in its 80-year history that the orchestra had played outside of North America. The orchestra received plaudits from European critics, and was welcomed home at the end of the tour with a ticker-tape parade.The orchestra's principal flute player, Donald Peck, commented that the relationship between a conductor and an orchestra is difficult to explain: "some conductors get along with some orchestras and not others. We had a good match with Solti and he with us." Peck's colleague, the violinist Victor Aitay said, "Usually conductors are relaxed at rehearsals and tense at the concerts. Solti is the reverse. He is very tense at rehearsals, which makes us concentrate, but relaxed during the performance, which is a great asset to the... contains an answer for the question: In what year did Carlo Maria Giulini start to share the conducting at the Chicago Symphony Orchestra?, what is it ?
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[A]: 1969


input: Please answer the following: This article: Imagery has always been an important part of the Orb's persona. This is most prominent during live performances, where they often project surreal images against onstage screens. Common images include morphing faces, futuristic cityscapes, and aliens. They have long associated their act with absurd symbology with images such as floating pigs. This has carried over to their music videos, most of which are spacy, brightly coloured montages of surreal images including astronauts, clouds, and neon dolphins. Because of their use of psychedelic images at shows, the Orb's shows are frequently compared to those of Pink Floyd, who also used in-show imagery and films. Paterson cites Godfrey Reggio's and Philip Glass's film Koyaanisqatsi as a primary influence to their concert imagery.The Orb's album art features much of the same imagery as their live act. Graphic design group The Designers Republic created the cover art for the earlier work, including Adventures Beyond the Ultraworld, U.F.Orb, and the singles from those two albums. For their next album, the Orb poked fun at their Pink Floyd comparisons with the cover of Live 93 featuring a floating stuffed sheep over the Battersea Power Station, which had appeared on the cover of Pink Floyd's Animals. The artwork found in Badorb.com releases was similar to the Orb's odd artwork of the mid-1990s, as it was stylistically similar and contained little writing. Paterson has also dabbled in the creation of cover art himself, designing the cover of Okie Dokie It's The Orb on Kompakt. contains an answer for the question: What is the name of the group for whose concert imagery Koyaanisqatsi is a primary influence?, what is it ?
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output: the Orb


Problem: This article: In the years following the Ancestral Puebloan's departure from Chaco Canyon, several migrations to the region occurred. During the 15th century, Navajo people emigrated to the area from northwestern Canada, and in the 18th century Spanish explorers and settlers came from the south. The Spanish investigated parts of the San Juan Basin, but there is no record of them ever finding Chaco Canyon. When cartographer Bernardo de Miera y Pacheco drew a map in 1774 of Spanish land holdings in the region, he labeled Chaco Canyon with the word Chaca, but it is unlikely he ever visited the area. In 1823 the governor of New Mexico, José Antonio Vizcarra, discovered ancient ruins in the canyon during a military campaign against the Navajo. Vizcarra's account is the first historical record of the Chacoan great houses that were "of such antiquity that their inhabitants were not known to Europeans". In 1844, Josiah Gregg made the first published reference to Chaco Canyon in his popular book, Commerce of the Prairies. The United States started exploring the region following the Mexican–American War of 1846–48 and the acquisition of the New Mexico Territory. During a military campaign against the Navajo in 1849, Lieutenant James Simpson of the United States Army Corps of Engineers became interested in the canyon's ruins. A group led by the governor of Jemez Pueblo, Francisco Hosta, explored the canyon; its members included Simpson and the brothers Richard and Edward Kern, who were respectively an artist and a cartographer. Simpson was impressed by Chetro Ketl's masonry, which he described as "a combination of science and art which can only be referred to a higher stage of civilization and refinement than is discoverable in the works of Mexicans or Pueblos of the present day." Simpson and company documented their findings, noting the location and style of the great houses, taking measurements, and sketching the canyon's major ruins. They described the kivas as "circular apartments sunk in the ground". Simpson briefly explored... contains an answer for the question: What is the name of the building that an explorer found a well preserved room where "the stone walls still have their plaster upon them in a tolerable state of preservation."?, what is it ?

A:
Chetro Ketl