Question: Eleanor Rosalynn Smith was born on August 18, 1927 in Plains, Georgia. She was the eldest of four children of Wilburn Edgar Smith, an auto mechanic and farmer, and Allethea "Allie" Murray Smith, a dressmaker. Her brothers were William Jerrold "Jerry" Smith (1929-2003), an engineer, and Murray Lee Smith (1932-2003), a teacher and minister. Her sister, Lillian Allethea (Smith) Wall (born 1936), is a real estate broker.

Rosalynn represented President Carter in meetings with domestic and foreign leaders, most notably as an envoy to Latin America in 1977. She purposely scheduled so as not to have meetings with any of the heads of state. President Carter said that while his wife had initially been met with hesitance as an American representative, "at the conclusion of those meetings, they now rely on her substantially to be sure that I understand the sensitivities of the people." Following the Latin America meetings, David Vidal observed, "Mrs. Carter has achieved a personal and diplomatic success that goes far beyond the modest expectations of both her foreign policy tutors at the State Department and her hosts." In a June 7, 1977 news conference, Carter stated that her meetings with Brazilian leaders included discussions on human rights and her wishes for Brazil to include itself among other countries seeking out a reduction in nuclear weapons via an international study. On December 30, 1977, Carter and National Security Advisor Zbigniew Brzezinski met with Stefan Wyszynski at the Cardinal's Warsaw residence. President Carter said the meeting was intended to display American "appreciation for the degree of freedom of worship in the country."  Carter led the American delegation to the May 1978 inauguration of Rodrigo Carazo Odio as President of Costa Rica. In August 1978, Rosalynn led the American delegation to the funeral of Pope Paul VI in Rome.  Rosalynn also led a delegation to Thailand in 1979 to address the problems of Cambodian and Laotian refugees. She examined camps where Cambodian refugees had fled to avoid the combat between the Vietnamese troops and the government of Pol Pot. Helping the refugees, particularly the children, became a special cause for her. She returned to the United States and played a prominent role in speeding up a large appeal for assistance after being affected by the suffering she witnessed during her visit. By the time she had returned, however, her husband met with families of the hostages in Iran. They were more concerned for what they needed to do to get them out over being worried about whether or not they would ever get out. Carter stated that she wanted to return to the US as quickly as possible to mobilize their forces to assist in calming the refugees' plight.

Using a quote from the above article, answer the following question: When did she return to the US?
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Question: La Monte Thornton Young (born October 14, 1935) is an American avant-garde composer, musician, and artist generally recognized as the first minimalist composer. His works are cited as prominent examples of post-war experimental and contemporary music, and were tied to New York's downtown music and Fluxus art scenes. Initially inspired by sources such as Indian classical music, serialism, and jazz, Young is perhaps best known for his pioneering work in Western drone music (originally referred to as "dream music"), prominently explored in the 1960s with the experimental music collective the Theatre of Eternal Music. He has engaged in musical and multimedia collaborations with a wide range of artists, including Tony Conrad, Pandit Pran Nath, John Cale, Terry Riley, and visual artist Marian Zazeela, with whom he developed the Dream House sound and light installation.

Young's first musical influence came in early childhood in Bern. He relates that "the very first sound that I recall hearing was the sound of wind blowing under the eaves and around the log extensions at the corners of the log cabin". Continuous sounds--human-made as well as natural--fascinated him as a child. He described himself as fascinated from a young age by droning sounds, such as "the sound of the wind blowing", the "60 cycle per second drone [of] step-down transformers on telephone poles", the tanpura drone and the alap of Indian classical music, "certain static aspects of serialism, as in the Webern slow movement of the Symphony Opus 21", and Japanese gagaku "which has sustained tones in it in the instruments such as the Sho". The four pitches he later named the "Dream chord", on which he based many of his mature works, came from his early age appreciation of the continuous sound made by the telephone poles in Bern.  Jazz is one of his main influences and until 1956 he planned to devote his career to it. At first, Lee Konitz and Warne Marsh influenced his alto saxophone playing style, and later John Coltrane shaped Young's use of the sopranino saxophone. Jazz was, together with Indian music, an important influence on the use of improvisation in his works after 1962. La Monte Young discovered Indian music in 1957 on the campus of UCLA. He cites Ali Akbar Khan (sarod) and Chatur Lal (tabla) as particularly significant. The discovery of the tambura, which he learned to play with Pandit Pran Nath, was a decisive influence in his interest in long sustained sounds. Young also acknowledges the influence of Japanese music, especially Gagaku, and Pygmy music.  La Monte Young discovered classical music rather late, thanks to his teachers at university. He cites Bela Bartok, Igor Stravinsky, Perotin, Leonin, Claude Debussy and Organum musical style as important influences, but what made the biggest impact on his compositions was the serialism of Arnold Schoenberg and Anton Webern.  Young was also keen to pursue his musical endeavors with the help of psychedelics. Cannabis, LSD and peyote played an important part in Young's life from mid-1950s onwards, when he was introduced to them by Terry Jennings and Billy Higgins. He said that "everybody [he] knew and worked with was very much into drugs as a creative tool as well as a consciousness-expanding tool". This was the case with the musicians of the Theatre of Eternal Music, with whom he "got high for every concert: the whole group". He considers that the cannabis experience helped him open up to where he went with Trio for Strings, though sometimes it proved a disadvantage when performing anything which required keeping track of the number of elapsed bars. He commented on the subject:  These tools can be used to your advantage if you're a master of [them]... If used wisely - the correct tool for the correct job - they can play an important role... It allows you to go within yourself and focus on certain frequency relationships and memory relationships in a very, very interesting way.

Using a quote from the above article, answer the following question: Did that make for any interesting experiences?
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Answer:
sometimes it proved a disadvantage when performing anything which required keeping track of the number of elapsed bars.