IN: Sean Michael Waltman (born July 13, 1972) is an American professional wrestler. He wrestled for the World Wrestling Federation (WWF, now called WWE) under the ring names 1-2-3 Kid and X-Pac intermittently between 1993 and 2002, World Championship Wrestling (WCW) as Syxx, and Total Nonstop Action Wrestling (TNA) as Syxx-Pac and Sean Waltman. He is currently signed with WWE working in their Legends program. Waltman has won a dozen championships between WWE, WCW, and TNA; the majority were cruiserweight and tag team titles.

As The Lightning Kid, Waltman had his WWF tryout match in Phoenix, Arizona, the day after WrestleMania IX, against fellow hopeful Louie Spicolli (soon known as Rad Radford in the WWF). He reminisced that he was lucky to have an opponent with a vested interest in an impressive match, rather than (as was then typical) a disinterested WWF veteran jobber like Virgil or Jim Powers.  After earning a contract, he made his TV debut as The Kamikaze Kid on Monday Night Raw on May 3, losing to Doink the Clown. He quickly became The Cannonball Kid, then simply The Kid. He scored an upset pinfall on Razor Ramon on the May 17 episode of Monday Night Raw, thus becoming The 1-2-3 Kid. Razor challenged him to a rematch, wagering $10,000 of his own money. Kid accepted the challenge, but grabbed the money and ran from the arena during the match. Ted DiBiase, who was feuding with Razor, taunted him over losing to a nobody. This angered Kid, and led to a match in which he upset DiBiase as well. Razor turned face shortly after and took Kid under his wing. The 1-2-3 Kid made his pay-per-view debut at SummerSlam, losing to DiBiase's tag partner Irwin R. Schyster after Razor had defeated DiBiase. At Survivor Series, Kid was on Razor's team in a four-on-four elimination match. He and Marty Jannetty were the sole survivors, which led to them forming a tag team and holding the Tag Team Championship for a week in January 1994 after beating The Quebecers.  For the next two years, The 1-2-3 Kid was a natural underdog and fan favorite. He wrestled Bret Hart in an unusually long (for the time) and highly acclaimed match for the WWF World Heavyweight Championship in July 11, 1994 on Raw and had another brief (one-day) tag title reign in January 1995, with Bob Holly beating Bam Bam Bigelow and Tatanka at the 1995 Royal Rumble before losing to The Smoking Gunns on Raw.

Who was his tag team partner?

OUT: Marty Jannetty

input: As a young child Carpentier was exposed to a great deal of music. Carpentier himself played the piano, as did his mother; his father played cello, studying under Pablo Casals, and his grandmother played the organ. Carpentier studied music theory at the Lycee Jeanson de Sailly when he lived in Paris for the first time. Carpentier's own compositions made him an important part of the contemporary Cuban musical landscape, but he also studied the origins and political nuances of Cuban music. His devotion to the adaptations of European artistic styles into Latin American music styles can also be seen in his admiration for Afro-Cuban musical themes.  Early in his career Carpentier collaborated with other young musicians eager to explore Cuban musical roots. One such collaborator was Amadeo Roldan, a French musician of Cuban background. They helped to organize the Cuban premiere of popular orchestral music of the era Conciertos de musica nueva (Concerts of New Music), featuring composers such as Stravinsky, Milhaud, Ravel, Malipiero, Poulenc and Erik Satie. In regards to their own music, Carpentier and Roldan were far more interested in integrating African rhythms and melodies into their works and abandoned imitation of European musical styles. "!Abajo la lira, arriba el bongo!" (Down with the lyre, up with the bongo!) was the popular slogan for their style of music. Carpentier and Roldan collaborated on numerous works, including the 1925 orchestral piece Obertura sobre temas cubanos (Overture on Cuban Themes) which was regarded as scandalous for its betrayal of what was seen as the proper European-style symphony in favor of Afro-Cuban inspired music. Other well-known collaborations between the two included Tres pequenas poemas: Oriente, Pregon, Fiesta negra (Three little poems) produced in 1926, and two Afro-Cuban ballets: La Rebambaramba, a colonial ballet in two parts (1928) and El milagro de Anaquille (1929).  Carpentier's interest in music had great influence on his prose writing. Navarro suggests that readers of Carpentier's works are more listeners than they are readers. Lyrical use of colloquial dialects, literary rhythms such as alliteration and assonance and the theme of music within the world of the narrative (drums, footsteps, etc.) are a few examples of music's influence over Carpentier's work. In an interview the author himself was quoted as saying "Music is present in all of my work." For Carpentier, analysis of Cuban identity was grounded in the analysis of Cuban music. As such, for Carpentier to better understand Cuban identity through his work, he eagerly integrated music into his writing.

Answer this question "Did he go to school for music?"
output:
organ. Carpentier studied music theory at the Lycee Jeanson de Sailly when he lived in Paris for the first time.