Problem: Luzzatti was born of Jewish parents in Venice on 11 March 1841. After completing his studies in law at the University of Padua, he attracted the attention of the Austrian police by his lectures on political economy, and was obliged to emigrate after starting a mutual aid society among gondoliers. In 1863 he obtained a professorship at the Milan Technical Institute; in 1867 he was appointed professor of constitutional law at Padua, whence he was transferred to the University of Rome. Gifted with eloquence and energy, he popularized the economic ideas of Franz Hermann Schulze-Delitzsch in Italy, worked for the establishment of a commercial college at Venice, and contributed to the spread of people's banks on a basis of limited liability throughout the country.

Appointed minister of the treasury in the first Di Rudini cabinet of 1891, he imprudently abolished the system of frequent clearings of banknotes between the state banks, a measure which facilitated the duplication of part of the paper currency and hastened the bank crisis of 1893 and the resulting Banca Romana scandal. A Parliamentary Commission that investigated the bank scandal concluded that former Prime Minister Francesco Crispi, Prime Minister Giovanni Giolitti, and Luzzatti, had been aware of the conditions of the Banca Romana but had held back that information.  In 1896 he entered the second Di Rudini cabinet as minister of the treasury, and by timely legislation helped to save the bank of Naples from failure. Following the revolt and suppression of the Fasci Siciliani (1891-1894), Luzzatti introduced two measures of social legislation in 1898. The industrial workmen's compensation scheme from 1883 was made obligatory with the employer bearing all costs; and a voluntary fund for contributory disability and old age pensions was created.  After his fall from office in June 1898, his principal achievement was the negotiation of the Franco-Italian commercial treaty, though, as deputy, journalist and professor, he continued to take an active part in all political and economic manifestations. He was again minister of the treasury from November 1903 to March 1905 in Giolitti's second administration, and for the third time from February to May 1906, under Sonnino's premiership. During the latter term of office he achieved the conversion of the Italian 5% debt (reduced to 4% by the tax) to 3 3/4 % to be eventually lowered to 3 1/2 %, an operation which other ministers had attempted without success; although the actual conversion was not completed until after the fall of the cabinet of which he formed part the merit is entirely his. In 1907 he was president of the co-operative congress at Cremona.

How did he do as treasury minister at that time?

Answer with quotes: he achieved the conversion of the Italian 5% debt (reduced to 4% by the tax) to 3 3/4 % to be eventually lowered to 3 1/2 %,


Problem: Clarence White (born Clarence Joseph LeBlanc; June 7, 1944 - July 14, 1973), was an American bluegrass and country guitarist and singer. He is best known as a member of the bluegrass ensemble the Kentucky Colonels and the rock band the Byrds, as well as for being a pioneer of the musical genre of country rock during the late 1960s. White also worked extensively as a session musician, appearing on recordings by the Everly Brothers, Joe Cocker, Ricky Nelson, Pat Boone, the Monkees, Randy Newman, Gene Clark, Linda Ronstadt, Arlo Guthrie, and Jackson Browne amongst others. Together with frequent collaborator Gene Parsons, he invented the B-Bender, a guitar accessory that enables a player to mechanically bend the B-string up a whole tone and emulate the sound of a pedal steel guitar.

During 1964, White began to look beyond bluegrass music towards rock 'n' roll as an avenue for artistic expression. Although he was influenced by Country guitarists like Doc Watson, Don Reno and Joe Maphis, he also idolized the playing of jazz guitarist Django Reinhardt, rock 'n' roller Chuck Berry, and studio musician James Burton. White even anticipated the viability of a folk/rock hybrid when, in the summer of 1964, he was approached by Jim Dickson to record a version of the then-unreleased Bob Dylan song "Mr. Tambourine Man" with electric instruments. However, despite White's enthusiasm for the project, he was unable to convince his bandmates in the Kentucky Colonels of the experiment's validity and ultimately, the song was instead recorded by Dickson's proteges, the Byrds.  By the time the original line-up of the Kentucky Colonels folded in late 1965, White had become a respected and well-known guitarist. Abandoning bluegrass temporarily, he switched from his Martin D-28 acoustic guitar to an electric Fender Telecaster, with the intention of becoming a studio musician like his hero James Burton. Transitioning to electric guitar required White to modify his right hand playing technique, switch from open chording to fretting the whole guitar neck with his left hand, and practice using the tone and volume controls. However, he soon mastered the intricacies of the instrument and, between 1965 and 1968, he undertook session work for artists including Ricky Nelson, the Monkees, and the Gosdin Brothers.  As 1965 turned into 1966, White met Gene Parsons and Gib Guilbeau at a recording session for the Gosdin Brothers and shortly after, he began to perform live with the duo in local California clubs, as well as doing regular session work on their records, which were released under the moniker of Cajun Gib and Gene. 1966 also saw White begin playing with a country group called Trio, which featured drummer Bart Haney and former Kentucky Colonel, Roger Bush, on bass. In autumn of that year, as a result of his friendship with Gilbeau, Parsons and the Gosdin Brothers, White was asked to provide lead guitar to ex-Byrd Gene Clark's debut solo album, Gene Clark with the Gosdin Brothers. White also briefly joined Clark's touring band shortly thereafter.  During the Clark album sessions, White reconnected with mandolin player and bassist Chris Hillman, who he had known during the early 1960s as a member of the bluegrass combo the Hillmen. Hillman was currently a member of the Byrds and in December 1966, he invited White to contribute countrified lead guitar playing to his songs "Time Between" and "The Girl with no Name", which both appeared on the Byrds' Younger Than Yesterday album. The country-oriented nature of the songs was something of a stylistic departure for the group and can be seen as an early indicator of the experimentation with country music that would color the Byrds' subsequent work. White also contributed guitar to the band's follow-up album, The Notorious Byrd Brothers, and to their seminal 1968 country rock release, Sweetheart of the Rodeo.

was that song successful?

Answer with quotes:
the song was instead recorded by Dickson's proteges, the Byrds.