| # | Player | Score | Time | |
|---|---|---|---|---|
| 1 |
T
|
Tull | 10 / 12 | 3:13 |
| 2 |
C
|
Crenda | 9 / 12 | 2:33 |
| 3 |
C
|
Coachb | 8 / 12 | 2:47 |
| 4 |
C
|
Cobra | 7 / 12 | 2:15 |
| 5 |
F
|
Flipper282 | 6 / 12 | 1:28 |
| # | Player | Score | Time | |
|---|---|---|---|---|
| 1 |
T
|
Tull | 10 / 12 | 3:13 |
| 2 |
C
|
Crenda | 9 / 12 | 2:33 |
| 3 |
C
|
Coachb | 8 / 12 | 2:47 |
| 4 |
C
|
Cobra | 7 / 12 | 2:15 |
| 5 |
F
|
Flipper282 | 6 / 12 | 1:28 |
| # | Player | Score | Time | |
|---|---|---|---|---|
| 1 |
T
|
Tull | 10 / 12 | 3:13 |
| 2 |
C
|
Crenda | 9 / 12 | 2:33 |
| 3 |
C
|
Coachb | 8 / 12 | 2:47 |
| 4 |
C
|
Cobra | 7 / 12 | 2:15 |
| 5 |
F
|
Flipper282 | 6 / 12 | 1:28 |
The questions move through small-label Memphis recordings, studio-owner guidance, a blues-based first single, major-label expansion, lonely pop drama, national TV controversy, Sunday-night exposure, early screen choreography, military interruption, trio backing, and management strategy.