Problem: Background: Sourav Chandidas Ganguly ( pronunciation ; born 8 July 1972), affectionately known as Dada (meaning "elder brother" in Bengali), is a former Indian cricketer and captain of the Indian national team, Currently, he is appointed as the President of the Cricket Association of Bengal and President of the Editorial Board with Wisden India. During his playing career, Ganguly established himself as one of the world's leading batsmen and also one of the greatest captains of the national cricket team. While batting, he was especially prolific through the off side, earning himself the nickname God of the Off Side for his elegant strokeplay square of the wicket and through the covers. Sourav Ganguly is one of the four members of the Indian Premier League's Governing Council, responsible for all the functions of the tournament.
Context: Sourav Ganguly was born on 8 July 1972 in Calcutta, and is the youngest son of Chandidas and Nirupa Ganguly. Chandidas ran a flourishing print business and was one of the richest men in the city. Ganguly had a luxurious childhood and was nicknamed the 'Maharaja', meaning the 'Great King'. Ganguly's father Chandidas Ganguly died at the age of 73 on 21 February 2013 after a long illness.  Since the favourite sport for the people of Calcutta was football, Ganguly was initially attracted to the game. However, academics came in-between his love for sports and Nirupa was not very supportive of Ganguly taking up cricket or any other sport as a career. By then, his elder brother Snehasish was already an established cricketer for the Bengal cricket team. He supported Ganguly's dream to be a cricketer and asked their father to get Ganguly enrolled in a cricket coaching camp during his summer holidays. Ganguly was studying in tenth grade at that time.  Despite being right-handed, Ganguly learnt to bat left-handed so he could use his brother's sporting equipment. After he showed some promise as a batsman, he was enrolled in a cricket academy. An indoor multi-gym and concrete wicket was built at their home, so he and Snehasish could practice the game. They used to watch a number of old cricket match videos, especially the games played by David Gower, whom Ganguly admired. After he scored a century against the Orissa Under-15 side, he was made captain of St Xavier's School's cricket team, where several of his teammates complained against what they perceived to be his arrogance. While touring with a junior team, Ganguly refused his turn as the twelfth man, as he reportedly felt that the duties involved, which included organising equipment and drinks for the players, and delivering messages, were beneath his social status. Ganguly purportedly refused to do such tasks as he considered it beneath his social status to assist his teammates in such a way. However, his playmanship gave him a chance to make his first-class cricket debut for Bengal in 1989, the same year that his brother was dropped from the team.
Question: why was he asked to do such menial tasks?
Answer: While touring with a junior team, Ganguly refused his turn as the twelfth man,

Background: Harry Partch (June 24, 1901 - September 3, 1974) was an American composer, music theorist, and creator of musical instruments. He composed using scales of unequal intervals in just intonation, and was one of the first 20th-century composers in the West to work systematically with microtonal scales. He built custom-made instruments in these tunings on which to play his compositions, and described his theory and practice in his book Genesis of a Music (1947). Partch composed with scales dividing the octave into 43 unequal tones derived from the natural harmonic series; these scales allowed for more tones of smaller intervals than in standard Western tuning, which uses twelve equal intervals to the octave.
Context: 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.
Question: why did he leave?
Answer:
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.