Question: Richard Hirschfeld Williams (May 7, 1929 - July 7, 2011) was an American left fielder, third baseman, manager, coach and front office consultant in Major League Baseball. Known especially as a hard-driving, sharp-tongued manager from 1967 to 1969 and from 1971 to 1988, he led teams to three American League pennants, one National League pennant, and two World Series triumphs. He is one of seven managers to win pennants in both major leagues, and joined Bill McKechnie in becoming only the second manager to lead three franchises to the Series. He and Lou Piniella are the only managers in history to lead four teams to seasons of 90 or more wins.

After spending 1970 as the third base coach of the Montreal Expos, working under Gene Mauch, Williams returned to the managerial ranks the next year as boss of the Oakland Athletics, owned by Charlie Finley. The iconoclastic Finley had signed some of the finest talent in baseball - including Catfish Hunter, Reggie Jackson, Sal Bando, Bert Campaneris, Rollie Fingers and Joe Rudi - but his players hated him for his penny-pinching and constant meddling in the team's affairs. During his first decade as the Athletics' owner, 1961-1970, Finley had changed managers a total of ten times.  Inheriting a second-place team from predecessor John McNamara, Williams promptly directed the A's to 101 victories and their first AL West title in 1971 behind another brilliant young player, pitcher Vida Blue. Despite being humbled in the ALCS by the defending World Champion Orioles, Finley brought Williams back for 1972, when the "Oakland Dynasty" began. Off the field, the A's players brawled with each other and defied baseball's tonsorial code. Because long hair, mustaches and beards were now the rage in the "civilian" world, Finley decided on a mid-season promotion encouraging his men to wear their hair long and grow facial hair. Fingers adopted his trademark handlebar mustache (which he still has to this day); Williams himself grew a mustache.  Of course, talent, not hairstyle, truly defined the Oakland Dynasty of the early 1970s. The 1972 A's won their division by 5 1/2  games over the White Sox and led the league in home runs, shutouts and saves. They defeated the Tigers in a bitterly fought ALCS, and found themselves facing the Cincinnati Reds in the World Series. With the A's leading power hitter, Jackson, out with an injury, Cincinnati's Big Red Machine was favored to win, but the home run heroics of Oakland catcher Gene Tenace and the managerial maneuvering of Williams resulted in a seven-game World Series victory for the A's, their first championship since 1930, when they played in Philadelphia.  In 1973, with Williams back for an unprecedented (for the Finley era) third straight campaign, the A's again coasted to a division title, then defeated Baltimore in the ALCS and the NL champion New York Mets in the World Series - each hard-fought series going the limit. With their World Series win, Oakland became baseball's first repeat champion since the 1961-62 New York Yankees. But Williams had a surprise for Finley. Tired of his owner's meddling, and upset by Finley's public humiliation of second baseman Mike Andrews for his fielding miscues during the World Series, Williams resigned. George Steinbrenner, then finishing his first season as owner of the Yankees, immediately signed Williams as his manager. However, Finley protested that Williams owed Oakland the final year of his contract and could not manage anywhere else, and so Steinbrenner hired Bill Virdon instead. Williams was the first manager in A's franchise history to leave the team with a winning record after running it for two full seasons.

Using a quote from the above article, answer the following question: What was the second title he won?
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Answer: managerial maneuvering of Williams resulted in a seven-game World Series victory for the A's, their first championship since 1930, when they played in Philadelphia.


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: Can these influences be found in his music?
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Answer:
Early in his career Carpentier collaborated with other young musicians eager to explore Cuban musical roots.