Question:
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 Inspired by this approach and his recording of "I'm Movin' On", Charles originally made plans for a single-less concept album.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.
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How did the public take this change?

Answer:
he received generally negative commentary and feedback

input: Dravid's poor form in Tests continued as India suffered a 0-2 whitewash against South Africa in a home series. Tendulkar resigned from captaincy in March 2000 after the humiliating loss to South Africa amidst much speculations. Sourav Ganguly, the team's vice-captain then, was promoted as the new Indian team captain and Dravid was appointed as his deputy.  The newly appointed vice-captain had moderate success in the bilateral ODI series against South Africa. Dravid scored 208 runs in 5 matches at an average of 41.60 including 2 fifties. He also took 3 wickets in the series including two wickets in a single over in the First ODI at Kochi. His bowling figures of 2/43 in 9 overs remained his career best ODI bowling figures. It was also the best bowling figure by any bowler for that particular match. His series bowling average of 22.66 was the best amongst all the bowlers in the series. India won the series 3-2.  India played a tri-nation series in Sharjah immediately after the bilateral ODI series against South Africa. Indian team performed poorly and failed to qualify for the Finals. Collective failure of Indian batting in the series can be judged from the fact that Dravid, with a poor show of 89 runs from 4 matches at an average of 22.25, was still the 2nd best Indian batsman in the series. A week later, a match fixing scandal rocked the international cricket scene opening a Pandora's box that eventually engulfed top Indian and South African cricketers including Azharuddin and Cronje.

Answer this question "did he have any other stats?"
output: His series bowling average of 22.66 was the best amongst all the bowlers in the series.

Answer the question at the end by quoting:

Kenneth Charles Loach (born 17 June 1936) is an English director of television and independent film. His socially critical directing style and socialist ideals are evident in his film treatment of social issues such as poverty (Poor Cow, 1967), homelessness (Cathy Come Home, 1966) and labour rights (Riff-Raff, 1991, and The Navigators, 2001). Loach's film Kes (1969) was voted the seventh greatest British film of the 20th century in a poll by the British Film Institute. Two of his films, The Wind That Shakes the Barley (2006) and I, Daniel Blake (2016) received the Palme d'Or at the Cannes Film Festival, making him the ninth filmmaker to win the award twice.
Loach was born in Nuneaton, Warwickshire, the son of Vivien (nee Hamlin) and John Loach. He attended King Edward VI Grammar School and went on to study law at St Peter's College, Oxford. He graduated with a law degree in 1957. After Oxford He spent 2 years in the Royal Air Force.  Loach's ten contributions to the BBC's Wednesday Play anthology series include the docudramas Up the Junction (1965), Cathy Come Home (1966) and In Two Minds (1967). They portray working-class people in conflict with the authorities above them. Three of his early plays are believed to be lost. His 1965 play Three Clear Sundays dealt with capital punishment, and was broadcast at a time when the debate was at a height in the United Kingdom. Up the Junction, adapted by Nell Dunn from her book with the assistance of Loach, deals with an illegal abortion while the leading characters in Cathy Come Home, by Jeremy Sandford, are affected by homelessness, unemployment, and the workings of Social Services. In Two Minds, written by David Mercer, concerns a young schizophrenic woman's experiences of the mental health system. Tony Garnett began to work as his producer in this period, a professional connection which would last until the end of the 1970s.  During this period, he also directed the absurdist comedy The End of Arthur's Marriage, about which he later said that he was "the wrong man for the job".  Coinciding with his work for The Wednesday Play, Loach began to direct feature films for the cinema, with Poor Cow (1967) and Kes (1969). The latter recounts the story of a troubled boy and his kestrel, and is based on the novel A Kestrel for a Knave by Barry Hines. The film was well received, although the use of Yorkshire dialect throughout the film restricted its distribution, with some American executives at United Artists saying that they would have found a film in Hungarian easier to understand. The British Film Institute named it No 7 in its list of best British films of the twentieth century, published in 1999.

Did he have others that did that well?