Question: Raymond Colin Wilkins, MBE (14 September 1956 - 4 April 2018) was an English football player and coach. Born in a footballing family with his father and three brothers involved in the game, Wilkins played as a midfielder. He began his career at Chelsea, where he was appointed captain at the age of 18, and later played for the likes of Manchester United, Milan, Queens Park Rangers, and Rangers. He won 84 caps for the England national football team from 1976 to 1986, playing at UEFA Euro 1980 and the 1982 and 1986 FIFA World Cups.

The longest stint of his late career was at Queens Park Rangers, for whom he was a regular first team player from November 1989 to 1994, including the team's first two Premier League seasons. He made his debut in the 3-0 away win versus Crystal Palace. He soon become a fan favourite due to the big impact that he made on the team.  Wilkins left in the summer of 1994 on a free transfer to join Crystal Palace as a player-coach under manager Alan Smith, but only made one appearance due to breaking his left foot on his debut. Wilkins re-joined QPR as player manager on 15 November 1994, following the exit of Gerry Francis. The rest of that season was a success with the team finishing eighth in the Premiership. However the close season of 1995 saw the departure of Les Ferdinand to Newcastle and the following season the team struggled and were relegated. As player-manager, he appeared in a further 21 games for the club from 1994 to 1996. Wilkins left QPR by mutual agreement in September 1996 after the club was bought by media tycoon Chris Wright following their relegation from the FA Premier League.  Wilkins played for four different clubs in the 1996-97 season. He played one game at Wycombe Wanderers before moving to Hibernian for a 16-game stint. Twoard the end of the season he played three times for Millwall in the Second Division and, finally, three Third Division games for Leyton Orient before retiring.

Using a quote from the above article, answer the following question: Did his foot ever heal up?
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Answer: 


Question: Alejo Carpentier y Valmont (December 26, 1904 - April 24, 1980) was a Cuban novelist, essayist, and musicologist who greatly influenced Latin American literature during its famous "boom" period. Born in Lausanne, Switzerland, Carpentier grew up in Havana, Cuba, and despite his European birthplace, he strongly self-identified as Cuban throughout his life. He traveled extensively, particularly in France, and to South America and Mexico, where he met prominent members of the Latin American cultural and artistic community. Carpentier took a keen interest in Latin American politics and often aligned himself with revolutionary movements, such as Fidel Castro's Communist Revolution in Cuba in the mid-20th century.

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.

Using a quote from the above article, answer the following question: Did he go to school for music?
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Answer:
organ. Carpentier studied music theory at the Lycee Jeanson de Sailly when he lived in Paris for the first time.