Answer the question at the end by quoting:

Schlessinger was born in the New York City borough of Brooklyn. She was raised in Brooklyn and later on Long Island. Her parents were Monroe "Monty" Schlessinger, a civil engineer, and Yolanda (nee Ceccovini) Schlessinger, an Italian Catholic war bride. Schlessinger has said her father was charming and her mother beautiful as a young woman.
On August 10, 2010, Nita Hanson, a black woman married to a white man, called Schlessinger's show to ask for advice on how to deal with a husband who did not care when she was the subject of racist comments by acquaintances. Schlessinger first replied that "some people are hypersensitive" and asked for some examples from the caller. Hanson informed Schlessinger that her acquaintances had stated, "How you black people do this? You black people like doing that." Schlessinger responded that her examples were not racist and that "a lot of blacks only voted for Obama simply because he was half black. Didn't matter what he was going to do in office; it was a black thing. You gotta' know that. That's not a surprise." Schlessinger continued by telling the caller that she had a "chip on [her] shoulder," was "sensitive," and also, "Don't NAACP me," and, "a lot of what I hear from black think... it's really distressing and disturbing."  When the caller noted that she was referred to as the "n-word" by the individuals in question, Schlessinger complained that blacks are fine with cordially using the slur among themselves, but that it was wrong when whites used it to slur them. In doing so, she uttered "nigger" eleven times, albeit not directed at the caller. She discussed the word and its use by blacks and in black media. Her profuse use of the slur was mimicking the frequency of the word's use among black stand-up comics. When Hanson asked, "Is it ever OK to say that word?" Schlessinger responded, "It depends how it's said. Black guys talking to each other seem to think it's OK." After the call Schlessinger said, "If you're that hypersensitive about color and don't have a sense of humor, don't marry out of your race." Early that evening she wrote an apology to Los Angeles Radio People online journalist Don Barrett. A day later, as soon as she was back on the air, Schlessinger apologized. Hanson questioned the motivation and sincerity of Schlessinger's apology, believing it to be result of being "caught." Hanson also said that Schlessinger did not apologize for her comments on interracial marriage.  Schlessinger announced that, while not retiring from radio, she would end her radio show at the end of 2010:  I have made the decision not to do radio anymore. I want to regain my First Amendment rights. I want to be able to say what is on my mind.  In 2011, she began broadcasting on satellite radio with Sirius XM. Her program is also available as a podcast at iTunes and from her own website.

What was the response to what she said?

When Hanson asked, "Is it ever OK to say that word?" Schlessinger responded, "It depends how it's said. Black guys talking to each other seem to think it's OK.

IN: Kurt Julian Weill (March 2, 1900 - April 3, 1950) was a German composer, active from the 1920s in his native country, and in his later years in the United States. He was a leading composer for the stage who was best known for his fruitful collaborations with Bertolt Brecht. With Brecht, he developed productions such as his best-known work The Threepenny Opera, which included the ballad "Mack the Knife". Weill held the ideal of writing music that served a socially useful purpose.

In 1922 he joined the Novembergruppe, a group of leftist Berlin artists that included Hanns Eisler and Stefan Wolpe. In February 1924 the conductor Fritz Busch introduced him to the dramatist Georg Kaiser, with whom Weill would have a long-lasting creative partnership resulting in several one-act operas. At Kaiser's house in Grunheide, Weill first met singer/actress Lotte Lenya in the summer of 1924. The couple were married twice: in 1926 and again in 1937 (following their divorce in 1933). She took great care to support Weill's work, and after his death she took it upon herself to increase awareness of his music, forming the Kurt Weill Foundation. From November 1924 to May 1929, Weill wrote hundreds of reviews for the influential and comprehensive radio program guide Der deutsche Rundfunk. Hans Siebert von Heister had already worked with Weill in the November Group, and offered Weill the job shortly after becoming editor-in-chief.  Although he had some success with his first mature non-stage works (such as the String Quartet, Op. 8, or the Concerto for Violin and Wind Orchestra, Op. 12), which were influenced by Gustav Mahler, Arnold Schoenberg and Igor Stravinsky, Weill tended more and more to vocal music and musical theatre. His musical theatre work and his songs were extremely popular with the wider public in Germany at the end of the 1920s and the beginning of the 1930s. Weill's music was admired by composers such as Alban Berg, Alexander von Zemlinsky, Darius Milhaud and Stravinsky, but it was also criticised by others: by Schoenberg, who later revised his opinion, and by Anton Webern.  His best-known work is The Threepenny Opera (1928), a reworking of John Gay's The Beggar's Opera written in collaboration with Bertolt Brecht. Engel directed the original production of The Threepenny Opera in 1928. It contains Weill's most famous song, "Mack the Knife" ("Die Moritat von Mackie Messer"). The stage success was filmed by G. W. Pabst in two language versions: Die 3-Groschen-Oper and L'opera de quat' sous. Weill and Brecht tried to stop the film adaptation through a well publicised lawsuit--which Weill won and Brecht lost. Weill's working association with Brecht, although successful, came to an end over politics in 1930. Though Weill associated with socialism, after Brecht tried to push the play even further into a left wing direction, Weill commented, according to his wife Lotte Lenya, that he was unable to "set the communist party manifesto to music."

What happen to him how did he die

OUT: