Background: Edward Henry Weston (March 24, 1886 - January 1, 1958) was a 20th-century American photographer. He has been called "one of the most innovative and influential American photographers..." and "one of the masters of 20th century photography." Over the course of his 40-year career Weston photographed an increasingly expansive set of subjects, including landscapes, still lifes, nudes, portraits, genre scenes and even whimsical parodies. It is said that he developed a "quintessentially American, and specially Californian, approach to modern photography" because of his focus on the people and places of the American West.
Context: Weston was a prolific writer. His Daybooks were published in two volumes totaling more than 500 pages in the first edition. This does not include the years of the journal he kept between 1915 and 1923; for reasons he never made clear he destroyed those before leaving for Mexico. He also wrote dozens of articles and commentaries, beginning in 1906 and ending in 1957, and he hand-wrote or typed at least 5,000 letters to colleagues, friends, lovers, his wives and his children.  In addition, Weston kept very thorough notes on the technical and business aspects of his work. The Center for Creative Photography at the University of Arizona, which now houses most of Weston's archives, reports that it houses 75 linear feet of pages from his Daybooks, correspondence, financial records, memorabilia, and other personal documents in his possession when he died.  Among Weston's most important early writings are those that provide insights into his development of the concept of previsualization. He first spoke and wrote about the concept in 1922, at least a decade before Ansel Adams began utilizing the term, and he continued to expand upon this idea both in writing and in his teachings. Historian Beaumont Newhall noted the significance of Weston's innovation in his book The History of Photography, saying "The most important part of Edward Weston's approach was his insistence that the photographer should previsualize the final print before making the exposure."  In his Daybooks he provided an unusually detailed record of his evolution as an artist. Although he initially denied that his images reflect his own interpretations of the subject matter, by 1932 his writings revealed that he had come to accept the importance of artistic impression in his work. When combined with his photographs, his writings provide an extraordinarily vivid series of insights into his development as an artist and his impact of future generations of photographers.
Question: Was weston a published writer?
Answer: He also wrote dozens of articles and commentaries, beginning in 1906 and ending in 1957,

Background: (Franz) Joseph Haydn (; German: ['jo:zef 'haId@n] ( listen); 31 March 1732 - 31 May 1809) was an Austrian composer of the Classical period. He was instrumental in the development of chamber music such as the piano trio and his contributions to musical form have earned him the epithets "Father of the Symphony" and "Father of the String Quartet".
Context: By 1749, Haydn had matured physically to the point that he was no longer able to sing high choral parts. Empress Maria Theresa herself complained to Reutter about his singing, calling it "crowing". One day, Haydn carried out a prank, snipping off the pigtail of a fellow chorister. This was enough for Reutter: Haydn was first caned, then summarily dismissed and sent into the streets. He had the good fortune to be taken in by a friend, Johann Michael Spangler, who shared his family's crowded garret room with Haydn for a few months. Haydn immediately began his pursuit of a career as a freelance musician.  Haydn struggled at first, working at many different jobs: as a music teacher, as a street serenader, and eventually, in 1752, as valet-accompanist for the Italian composer Nicola Porpora, from whom he later said he learned "the true fundamentals of composition". He was also briefly in Count Friedrich Wilhelm von Haugwitz's employ, playing the organ in the Bohemian Chancellery chapel at the Judenplatz.  While a chorister, Haydn had not received any systematic training in music theory and composition. As a remedy, he worked his way through the counterpoint exercises in the text Gradus ad Parnassum by Johann Joseph Fux and carefully studied the work of Carl Philipp Emanuel Bach, whom he later acknowledged as an important influence.  As his skills increased, Haydn began to acquire a public reputation, first as the composer of an opera, Der krumme Teufel, "The Limping Devil", written for the comic actor Johann Joseph Felix Kurz, whose stage name was "Bernardon". The work was premiered successfully in 1753, but was soon closed down by the censors due to "offensive remarks". Haydn also noticed, apparently without annoyance, that works he had simply given away were being published and sold in local music shops. Between 1754 and 1756 Haydn also worked freelance for the court in Vienna. He was among several musicians who were paid for services as supplementary musicians at balls given for the imperial children during carnival season, and as supplementary singers in the imperial chapel (the Hofkapelle) in Lent and Holy Week.  With the increase in his reputation, Haydn eventually obtained aristocratic patronage, crucial for the career of a composer in his day. Countess Thun, having seen one of Haydn's compositions, summoned him and engaged him as her singing and keyboard teacher. In 1756, Baron Carl Josef Furnberg employed Haydn at his country estate, Weinzierl, where the composer wrote his first string quartets. Furnberg later recommended Haydn to Count Morzin, who, in 1757, became his first full-time employer.
Question: What was so offensive about it?
Answer:
"offensive remarks".