Question: Andre Roussimoff was born in Moliens, the son of Boris and Mariann Roussimoff. His parents were of Bulgarian and Polish descent. His nickname growing up was "Dede". As a child, he displayed symptoms of his gigantism very early, reaching a height of 191 cm (6 ft 3 in) and a weight of 94 kg (208 lb) by the age of 12.

At the age of 17, Roussimoff moved to Paris and was taught professional wrestling by a local promoter who recognised the earning potential of Roussimoff's size. He trained at night and worked as a mover during the day to pay living expenses. Roussimoff was billed as "Geant Ferre", a name based on the French folk hero Grand Ferre, and began wrestling in Paris and nearby areas. Canadian promoter and wrestler Frank Valois met Roussimoff in 1966, becoming his business manager and adviser. Roussimoff began making a name for himself wrestling in the United Kingdom, Germany, Australia, New Zealand, and Africa.  He made his Japanese debut in 1970, billed as "Monster Roussimoff", wrestling for the International Wrestling Enterprise. Wrestling as both a singles and tag-team competitor, he quickly was made the company's tag-team champion alongside Michael Nador. During his time in Japan, doctors first informed Roussimoff that he suffered from acromegaly.  Roussimoff next moved to Montreal, Canada, where he became an immediate success, regularly selling out the Montreal Forum. However, promoters eventually ran out of plausible opponents for him and, as the novelty of his size wore off, the gate receipts dwindled. Roussimoff was defeated by Adnan Al-Kaissie in Baghdad in 1971, and wrestled numerous times in 1972 for Verne Gagne's American Wrestling Association (AWA) as a special attraction until Valois appealed to Vince McMahon Sr., founder of the World Wide Wrestling Federation (WWWF), for advice. McMahon suggested several changes. He felt Roussimoff should be portrayed as a large, immovable monster, and to enhance the perception of his size, McMahon discouraged Roussimoff from performing maneuvers such as dropkicks (although he was capable of performing such agile maneuvers before his health deteriorated in later life). He also began billing Roussimoff as "Andre the Giant" and set up a travel-intensive schedule, lending him to wrestling associations around the world, to keep him from becoming overexposed in any area. Promoters had to guarantee Roussimoff a certain amount of money as well as pay McMahon's WWWF booking fee.

Using a quote from the above article, answer the following question: Did he wrestle with anyone of note?
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Answer: was made the company's tag-team champion alongside Michael Nador.

Problem: Modern Sounds in Country and Western Music is a studio album by American R&B singer-songwriter and musician Ray Charles. It was recorded by Charles in February 1962 at Capitol Studios in New York City and at United Recording Studios in Hollywood, then released in April of that year by ABC-Paramount Records. The album departed stylistically from the singer's previous rhythm and blues music. It featured country, folk, and Western music standards reworked by Charles in popular song forms of the time, including R&B, pop, and jazz.

Following his blues fusion with gospel and jazz influences on his earlier Atlantic material, which had brought him much fame and controversy, Charles sought to experiment with country music. As noted by himself in the liner notes for What'd I Say (1959), Charles was influenced by the genre in his youth, stating that he "used to play piano in a hillbilly band" and that he believed that he "could do a good job with the right hillbilly song today." At Atlantic, he attempted to incorporate this style and influence with his cover of country singer Hank Snow's "I'm Movin' On". Charles later said about the song, "When I heard Hank Snow sing 'Moving On', I loved it. And the lyrics. Keep in mind, I'm a singer, so I like lyrics. Those lyrics are great, so that's what made me want to do it." The "I'm Movin' On" sessions were his last for Atlantic.  Charles's recording of his acclaimed studio effort The Genius of Ray Charles (1959) brought him closer to expressing his jazz and pop crossover ambitions. Described by one music critic as "the most important of his albums for Atlantic", the record was the first to introduce Charles's musical approach of blending his brassy R&B sound with the more middle of the road, pop-oriented style, while performing in the presence of a big band ensemble. Recording of the album, as well his ABC-Paramount debut, The Genius Hits the Road (1960), a collection of place-name songs devoted to parts of the United States, expanded on Charles's thematic and conceptually-organized approach to albums rather than commercially successful singles production. Inspired by this approach and his recording of "I'm Movin' On", Charles originally made plans for a single-less concept album.  When Charles had announced that he wanted to work on an album of country music in 1961, during a period of racial segregation and tension in the United States, he received generally negative commentary and feedback from his peers, including fellow R&B musicians and ABC-Paramount executives. The country album concept, however, meant more to Charles as a test of his record label's faith in him and respect for his artistic freedom than as a test of social tolerance among listeners amid racial distinctions of country and R&B. Fueled by his esteem for creative control, Charles pitched the idea of a country album to ABC representatives. Following the successful lobby of the concept and a contract renewal in early 1962, which was linked to the launching of his own Tangerine label, Charles prepared his band for the recording sessions that produced Modern Sounds in Country and Western Music.

what genre was that?

Answer with quotes:
country music