input: Supported by Guggenheim and university grants, Partch took up residence at the University of Wisconsin from 1944 until 1947. This was a productive period, in which he lectured, trained an ensemble, staged performances, released his first recordings, and completed his book, now called Genesis of a Music. Genesis was completed in 1947 and published in 1949 by the University of Wisconsin Press. He left the university, as it never accepted him as a member of the permanent staff, and there was little space for his growing stock of instruments.  In 1949, pianist Gunnar Johansen allowed Partch to convert a smithy on his ranch to a studio. Partch worked there with support from the Guggenheim Foundation, and did recordings, primarily of his Eleven Intrusions (1949-1950). He was assisted for six months by composer Ben Johnston, who performed on Partch's recordings. In spring 1951, Partch moved to Oakland for health reasons, and prepared for a production of King Oedipus at Mills College, with the support of designer Arch Lauterer. Performances of King Oedipus in March were extensively reviewed, but a planned recording was blocked by the Yeats estate, which refused to grant permission to use Yeats's translation.  In February 1953, Partch founded the studio Gate 5 in an abandoned shipyard in Sausalito, California, where he composed, built instruments and staged performances. Subscriptions to raise money for recordings were organized by the Harry Partch Trust Fund, an organization put together by friends and supporters. The recordings were sold via mail order, as were later releases on the Gate 5 Records label. The money raised from these recordings became his main source of income. Partch's three Plectra and Percussion Dances, Ring Around the Moon (1949-1950), Castor and Pollux, and Even Wild Horses, premiered on Berkeley's KPFA radio in November 1953.  After completing The Bewitched in January 1955, Partch tried to find the means to put on a production of it. Ben Johnston introduced Danlee Mitchell to Partch at the University of Illinois; Mitchell later became Partch's heir. In March 1957, with the help of Johnston and the Fromm Foundation, The Bewitched was performed at the University of Illinois, and later at Washington University in St. Louis, though Partch was displeased with choreographer Alwin Nikolais's interpretation. Later in 1957, Partch provided the music for Madeline Tourtelot's film Windsong, the first of six film collaborations between the two. From 1959 to 1962, Partch received further appointments from the University of Illinois, and staged productions of Revelation in the Courthouse Park in 1961 and Water! Water! in 1962. Though these two works were based, as King Oedipus had been, on Greek mythology, they modernized the settings and incorporated elements of popular music. Partch had support from several departments and organizations at the university, but continuing hostility from the music department convinced him to leave and return to California.

Answer this question "when was his book released?"
output: Genesis was completed in 1947 and published in 1949 by the University of Wisconsin Press.

input: If we accept that "mental illness" is a euphemism for behaviors that are disapproved of, then the state has no right to force psychiatric "treatment" on these individuals. Similarly, the state should not be able to interfere in mental health practices between consenting adults (for example, by legally controlling the supply of psychotropic drugs or psychiatric medication). The medicalization of government produces a "therapeutic state", designating someone as, for example, "insane" or as a "drug addict".  In Ceremonial Chemistry (1973), he argued that the same persecution that targeted witches, Jews, gypsies, and homosexuals now targets "drug addicts" and "insane" people. Szasz argued that all these categories of people were taken as scapegoats of the community in ritual ceremonies. To underscore this continuation of religion through medicine, he even takes as example obesity: instead of concentrating on junk food (ill-nutrition), physicians denounced hypernutrition. According to Szasz, despite their scientific appearance, the diets imposed were a moral substitute to the former fasts, and the social injunction not to be overweight is to be considered as a moral order, not as a scientific advice as it claims to be. As with those thought bad (insane people), and those who took the wrong drugs (drug addicts), medicine created a category for those who had the wrong weight (obesity).  Szasz argued that psychiatrics were created in the 17th century to study and control those who erred from the medical norms of social behavior; a new specialization, drogophobia, was created in the 20th century to study and control those who erred from the medical norms of drug consumption; and then, in the 1960s, another specialization, bariatrics, was created to deal with those who erred from the medical norms concerning the weight the body should have. Thus, he underscores that in 1970, the American Society of Bariatric Physicians (from the Greek baros baros, for "weight") had 30 members, and already 450 two years later.

Answer this question "Is there anything else interesting about separation of psychiatry and the state?"
output: 1960s, another specialization, bariatrics, was created to deal with those who erred from the medical norms

input: The most striking feature of Bobet the man rather than rider was his ambition to behave like a Hollywood matinee idol, a sort of David Niven character in a dinner suit tuxedo. It brought him much ribbing from other French riders. Geminiani says Bobet's diffident and elegant manner made him less popular even in his own Brittany than the more rustic, forthright manners of other Breton people such as Jean Robic. The British professional Brian Robinson called Bobet "a private man and a little moody" and said he would sulk if things went wrong. The French journalist Rene de Latour said of Bobet in Sporting Cyclist that "he didn't look good on a bike" and that he had "the legs of a football [soccer] player".  Bobet spoke out against French involvement in a war against communists in Indo-China. He said he wasn't a Marxist but a pacifist. Geminiani said Bobet lacked humility. "He really thought that, after him, there'd be no more cycling in France", he said. Bobet occasionally talked of himself in the third person.  Bobet was driven by personal hygiene and refused to accept his first yellow jersey because it had not been made with the pure wool he believed the only healthy material for a sweating and dusty rider. Synthetic thread or blends were added in 1947 following the arrival of Sofil as a sponsor. Sofil made artificial yarn. The race organiser, Jacques Goddet wrote:  It produced a real drama. Our contract with Sofil was crumbling away. If the news had got out, the commercial effect would have been disastrous for the manufacturer. I remember debating it with him a good part of the night. Louison was always exquisitely courteous but his principles were as hard as the granite blocks of his native Brittany coast.  Goddet had to get Sofil to produce another jersey overnight, its logo still visible but artificial fabric absent. Bobet's concern with hygiene and clothing was accentuated by frequent problems with saddle sores.

Answer this question "What was the most interesting thing about the article?"
output:
Louison was always exquisitely courteous but his principles were as hard as the granite blocks of his native Brittany coast.