IN: 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.

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.

How many instruments did he have

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IN: Raymond Emmett Berry Jr. (born February 27, 1933) is a former American football player and coach in the National Football League (NFL). He played as a split end for the Baltimore Colts from 1955 to 1967, and after several assistant coaching positions, was head coach of the New England Patriots from 1984 to 1989. With the Colts, Berry led the NFL in receptions and receiving yards three times and in receiving touchdowns twice, and he was invited to six Pro Bowls. He and the Colts won consecutive NFL championships, including the 1958 NFL Championship Game--known as "The Greatest Game Ever Played"--in which Berry caught 12 passes for 178 yards and a touchdown.

Berry overcame several physical ailments during his football career, a fact he became famous for, but one that according to Berry was often exaggerated by the media. He was skinny and injury prone, such that when his college teammates saw him for the first time they sarcastically dubbed him, "Jack Armstrong, the All-American Boy". Reportedly, because one leg was shorter than the other, Berry had to wear padding inside his shoe in order to walk properly. However, according to Berry, this was not entirely true. In actuality, bruised nerves near the sacroiliac joint occasionally caused misalignment in his back, which in turn affected his legs and caused one to become slightly shorter; it was not a permanent condition. To alleviate this, he wore a back brace for 13 years in the NFL. That he required specialized shoes was a myth, which Berry says was perpetuated by an overzealous information director with the Colts when Berry tried to compensate for his condition by putting something in his shoe during training camp.  Due to his poor eyesight, Berry wore contact lenses when he played. Because the lenses would often slip when he did rapid eye movements toward the ball, he tried many different lenses, which led sportswriters to believe he must have had major eye problems. "I tried all kinds of lenses till we got what we wanted," he said. "I even had tinted lenses for sunny days, so I could watch the ball come right across the sun."  Berry was famous for his attention to detail and preparation, which he used to overcome his physical limitations. Considered slow for a wide receiver, he ran the 40-yard dash in 4.8 seconds. Rather than speed, he was renowned for his precise pass patterns and sure hands; he rarely dropped passes, and he fumbled only once in his career. He would squeeze Silly Putty constantly to strengthen his hands. He and Unitas regularly worked after practice and developed the timing and knowledge of each other's abilities that made each more effective. The reason for this, according to Berry, was that the two did not think on the same wavelength. "Every season we had to start all over on our timing, especially the long ball," said Berry. "He knew he had to release the ball when I was eighteen yards from scrimmage for me to receive it thirty-eight yards out. I knew I had to make my break in those first eighteen yards and get free within 2.8 seconds." He also relied on shifty moves, and by his count, he had 88 different moves to get open, all of which he practiced every week.  Even in his adult years, Berry was soft-spoken and reserved. He preferred not to draw attention to himself, and was described by sportswriter Jim Murray as "polite as a deacon, as quiet as a monk." Both as a player and as a coach, he was studious, serious, and orderly; "He was too straight and narrow--but a great guy, a hell of a guy," former Colts teammate Art Donovan said of Berry. "He was a little peculiar, to say the least."

when was he born

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