input: Courbet wrote a Realist manifesto for the introduction to the catalogue of this independent, personal exhibition, echoing the tone of the period's political manifestos. In it he asserts his goal as an artist "to translate the customs, the ideas, the appearance of my epoch according to my own estimation."  The title of Realist was thrust upon me just as the title of Romantic was imposed upon the men of 1830. Titles have never given a true idea of things: if it were otherwise, the works would be unnecessary.  Without expanding on the greater or lesser accuracy of a name which nobody, I should hope, can really be expected to understand, I will limit myself to a few words of elucidation in order to cut short the misunderstandings.  I have studied the art of the ancients and the art of the moderns, avoiding any preconceived system and without prejudice. I no longer wanted to imitate the one than to copy the other; nor, furthermore, was it my intention to attain the trivial goal of "art for art's sake". No! I simply wanted to draw forth, from a complete acquaintance with tradition, the reasoned and independent consciousness of my own individuality.  To know in order to do, that was my idea. To be in a position to translate the customs, the ideas, the appearance of my time, according to my own estimation; to be not only a painter, but a man as well; in short, to create living art - this is my goal. (Gustave Courbet, 1855)

Answer this question "What happened to the Manifesto?"
output: 

Problem: Background: Sir Walter Winterbottom, CBE (31 March 1913 - 16 February 2002) was the first manager of the England football team (1946-1962) and FA Director of Coaching. He resigned from the FA in 1962 to become General Secretary of the Central Council of Physical Recreation (CCPR) and was appointed as the first Director of the Sports Council in 1965. He was knighted for his services to sport in 1978 when he retired. The Football Association marked the 100th anniversary of Winterbottom's birth by commissioning a bust which was unveiled by Roy Hodgson at St Georges Park on 23 April 2013 in recognition of his outstanding contribution to the development of English football.
Context: Walter Winterbottom has the distinction of being England's first, youngest and longest serving England team manager; he is also the only England manager to have had no previous professional managerial experience. In all matches in which he was in charge, England played 139, won 78, drew 33, and lost 28; goals for 383, against 196. At home England lost six matches in sixteen years. England won the British championship in thirteen out of his sixteen seasons (seven times outright and six times sharing top place). In the World Cup tournament England qualified on all four occasions, reaching the quarter finals twice, playing 28 matches, winning 15, drawing 7 and losing 6; goals for 75 against 35 (including World Cup qualifying matches).  Although he had coaching and managerial responsibilities, Winterbottom never had the power to pick his own team (it was chosen by a selection committee). Over time his technical knowledge increasingly influenced selectors. Finally, prior to Alf Ramsey's arrival in 1962, he convinced the FA that the team manager must have sole control of selection. During his time Winterbottom repeatedly warned the English football establishment that countries in Continental Europe and South America were overtaking England and that English football had to change. His sixteen years as England team manager helped greatly in creating a modern and competitive national team and four years after his departure in 1966 England won the World Cup. His innovations included the introduction of England B, Under 23, youth and schoolboy teams providing players with continuity and experience in international football before being selected for the full England team.  Notable victories during his era were 10-0 away to Portugal in 1947, 4-0 away to Italy in 1948, 4-2 at home to Brazil in 1956 and 9-3 at home to Scotland in 1961. Notable defeats were losing 1-0 to the USA in the 1950 World Cup and 6-3 at home to Hungary in 1953 when England lost her unbeaten home record to a foreign team, followed by a 7-1 away defeat to the same team in 1954.
Question: How long did he serve as an England team manager?
Answer: his departure in 1966

Question: Modern Sounds in Country and Western Music is a studio album by American R&B singer-songwriter and musician Ray Charles. It was recorded by Charles in February 1962 at Capitol Studios in New York City and at United Recording Studios in Hollywood, then released in April of that year by ABC-Paramount Records. The album departed stylistically from the singer's previous rhythm and blues music. It featured country, folk, and Western music standards reworked by Charles in popular song forms of the time, including R&B, pop, and jazz.

Following his blues fusion with gospel and jazz influences on his earlier Atlantic material, which had brought him much fame and controversy, Charles sought to experiment with country music. As noted by himself in the liner notes for What'd I Say (1959), Charles was influenced by the genre in his youth, stating that he "used to play piano in a hillbilly band" and that he believed that he "could do a good job with the right hillbilly song today." At Atlantic, he attempted to incorporate this style and influence with his cover of country singer Hank Snow's "I'm Movin' On". Charles later said about the song, "When I heard Hank Snow sing 'Moving On', I loved it. And the lyrics. Keep in mind, I'm a singer, so I like lyrics. Those lyrics are great, so that's what made me want to do it." The "I'm Movin' On" sessions were his last for Atlantic.  Charles's recording of his acclaimed studio effort The Genius of Ray Charles (1959) brought him closer to expressing his jazz and pop crossover ambitions. Described by one music critic as "the most important of his albums for Atlantic", the record was the first to introduce Charles's musical approach of blending his brassy R&B sound with the more middle of the road, pop-oriented style, while performing in the presence of a big band ensemble. Recording of the album, as well his ABC-Paramount debut, The Genius Hits the Road (1960), a collection of place-name songs devoted to parts of the United States, expanded on Charles's thematic and conceptually-organized approach to albums rather than commercially successful singles production. Inspired by this approach and his recording of "I'm Movin' On", Charles originally made plans for a single-less concept album.  When Charles had announced that he wanted to work on an album of country music in 1961, during a period of racial segregation and tension in the United States, he received generally negative commentary and feedback from his peers, including fellow R&B musicians and ABC-Paramount executives. The country album concept, however, meant more to Charles as a test of his record label's faith in him and respect for his artistic freedom than as a test of social tolerance among listeners amid racial distinctions of country and R&B. Fueled by his esteem for creative control, Charles pitched the idea of a country album to ABC representatives. Following the successful lobby of the concept and a contract renewal in early 1962, which was linked to the launching of his own Tangerine label, Charles prepared his band for the recording sessions that produced Modern Sounds in Country and Western Music.

Using a quote from the above article, answer the following question: did it work out well for him ?
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Answer: