Question: 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.

Using a quote from the above article, answer the following question: Did he produce any albums?
HHHHHH
Answer: 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.


Question: John Anthony Gillis was born in Detroit, Michigan, the youngest of ten children--and the seventh son--of Teresa (nee Bandyk) and Gorman M. Gillis. His mother's family was Polish, while his father was Scottish-Canadian. He was raised a Catholic, and his father and mother both worked for the Archdiocese of Detroit as the Building Maintenance Superintendent and secretary in the Cardinal's office, respectively. Gillis became an altar boy, which landed him an uncredited role in the 1987 movie The Rosary Murders, filmed mainly at Holy Redeemer parish in southwest Detroit.

On December 13, 2003, White was involved in an altercation with Jason Stollsteimer, lead singer of the Von Bondies, at the Magic Stick, a Detroit club. White was charged with misdemeanor aggravated assault. He pleaded guilty to the lesser charge of assault and battery, was fined $750 (including court costs), and was sentenced to take anger management classes.  White has repeatedly referenced conflicts that erupted between him and fellow artists in Detroit's underground music scene after The White Stripes gained international success. In a 2006 interview with the Associated Press, he said that he eventually left Detroit because, "he could not take the negativity anymore." However, in an effort to clarify his feelings towards the city of Detroit itself, he wrote and released a poem called "Courageous Dream's Concern." In it, he expresses his affection for his hometown.  During their 2013 divorce proceedings, Elson entered into evidence an e-mail White had sent her that included disparaging remarks about The Black Keys. When asked about the email in a 2014 Rolling Stone magazine interview, White stood by the remarks saying, "I'll hear TV commercials where the music's ripping off sounds of mine, to the point I think it's me. Half the time, it's the Black Keys." He later apologized for the comments. However, in September 2015, Patrick Carney of the band posted a series of tweets alleging that White tried to fight him in a bar. White denied the claim in a statement to the online magazine Pitchfork, saying that Carney should talk to him directly, and not on the internet. The following day, Carney posted a tweet saying, "Talked to jack for an hour he's cool. All good." White tweeted on the Third Man Twitter account, "From one musician to another, you have my respect Patrick Carney."  On February 1, 2015, the University of Oklahoma's newspaper OU Daily ran a story regarding White's February 2 show at McCasland Field House that included the publication of White's tour rider. The rider, especially the guacamole recipe it included and White's ban of bananas backstage, received significant media coverage. It was later reported that in response to the rider's publication White's booking agency, William Morris Endeavor Entertainment, had banned its acts from playing shows at the University of Oklahoma. On February 15 White released an open letter addressed to "journalists and other people looking for drama or a diva" in which he referred to the guacamole recipe as his tour manager's "inside joke with local promoters" and "just something to break up the boredom" while criticizing journalists who wrote about the rider as "out of their element." In the same letter he forgave OU Daily for publishing the story and reaffirmed his desire to perform in Oklahoma.  In October 2016--upon learning that Donald Trump had used the White Stripes' song "Seven Nation Army" in video campaign materials--White denounced the presidential candidate, and began selling shirts reading "Icky Trump" through the Third Man Records website.

Using a quote from the above article, answer the following question: Are there any other interesting aspects about this article?
HHHHHH
Answer:
In October 2016--upon learning that Donald Trump had used the White Stripes' song "Seven Nation Army" in video campaign materials--White denounced the presidential candidate,