Problem: The Macedonians (Greek: Makedones, Makedones) were an ancient tribe that lived on the alluvial plain around the rivers Haliacmon and lower Axios in the northeastern part of mainland Greece. Essentially an ancient Greek people, they gradually expanded from their homeland along the Haliacmon valley on the northern edge of the Greek world, absorbing or driving out neighbouring non-Greek tribes, primarily Thracian and Illyrian. They spoke Ancient Macedonian, a language closely related to Ancient Greek, perhaps a dialect, although the prestige language of the region was at first Attic and then Koine Greek. Their religious beliefs mirrored those of other Greeks, following the main deities of the Greek pantheon, although the Macedonians continued Archaic burial practices that had ceased in other parts of Greece after the 6th century BC.

By the reign of Archelaus I of Macedon, the Macedonian elite started importing significantly greater customs, artwork, and art traditions from other regions of Greece. However, they still retained more archaic, perhaps Homeric funerary rites connected with the symposium and drinking rites that were typified with items such as decorative metal kraters that held the ashes of deceased Macedonian nobility in their tombs. Among these is the large bronze Derveni Krater from a 4th-century BC tomb of Thessaloniki, decorated with scenes of the Greek god Dionysus and his entourage and belonging to an aristocrat who had a military career. Macedonian metalwork usually followed Athenian styles of vase shapes from the 6th century BC onward, with drinking vessels, jewellery, containers, crowns, diadems, and coins among the many metal objects found in Macedonian tombs.  Surviving Macedonian painted artwork includes frescoes and murals on walls, but also decoration on sculpted artwork such as statues and reliefs. For instance, trace colors still exist on the bas-reliefs of the Alexander Sarcophagus. Macedonian paintings have allowed historians to investigate the clothing fashions as well as military gear worn by ancient Macedonians, such as the brightly-colored tomb paintings of Agios Athanasios, Thessaloniki showing figures wearing headgear ranging from feathered helmets to kausia and petasos caps.  Aside from metalwork and painting, mosaics serve as another significant form of surviving Macedonian artwork, especially those discovered at Pella dating to the 4th century BC. The Stag Hunt Mosaic of Pella, with its three dimensional qualities and illusionist style, show clear influence from painted artwork and wider Hellenistic art trends, although the rustic theme of hunting was tailored for Macedonian tastes. The similar Lion Hunt Mosaic of Pella illustrates either a scene of Alexander the Great with his companion Craterus, or simply a conventional illustration of the generic royal diversion of hunting. Mosaics with mythological themes include scenes of Dionysus riding a panther and Helen of Troy being abducted by Theseus, the latter of which employs illusionist qualities and realistic shading similar to Macedonian paintings. Common themes of Macedonian paintings and mosaics include warfare, hunting and aggressive masculine sexuality (i.e. abduction of women for rape or marriage). In some instances these themes are combined within the same work, indicating a metaphorical connection that seems to be affirmed by later Byzantine Greek literature.

what was one of his first visual art project

Answer with quotes: Among these is the large bronze Derveni Krater from a 4th-century BC tomb of Thessaloniki,

Question:
Allen Toussaint (; January 14, 1938 - November 10, 2015) was an American musician, songwriter, arranger and record producer, who was an influential figure in New Orleans R&B from the 1950s to the end of the century, described as "one of popular music's great backroom figures." Many musicians recorded Toussaint's compositions, including "Java", "Mother-in-Law", "I Like It
In 1960, Joe Banashak, of Minit Records and later Instant Records, hired Toussaint as an A&R man and record producer. He also did freelance work for other labels, such as Fury. Toussaint played piano, wrote, arranged and produced a string of hits in the early and mid-1960s for New Orleans R&B artists such as Ernie K-Doe, Chris Kenner, Irma Thomas (including "It's Raining"), Art and Aaron Neville, the Showmen, and Lee Dorsey, whose first hit "Ya Ya" he produced in 1961.  The early to mid-1960s are regarded as Toussaint's most creatively successful period. Notable examples of his work are Jessie Hill's "Ooh Poo Pah Doo" (written by Hill and arranged and produced by Toussaint), Ernie K-Doe's "Mother-in-Law", and Chris Kenner's "I Like It Like That". A two-sided 1962 hit by Benny Spellman comprised "Lipstick Traces (on a Cigarette)" (covered by the O'Jays, Ringo Starr, and Alex Chilton) and the simple but effective "Fortune Teller" (covered by various 1960s rock groups, including the Rolling Stones, the Nashville Teens, the Who, the Hollies, the Throb, and ex-Searchers founder Tony Jackson). "Ruler of My Heart", written under his pseudonym Naomi Neville, first recorded by Irma Thomas for the Minit label in 1963, was adapted by Otis Redding under the title "Pain in My Heart" later that year, prompting Toussaint to file a lawsuit against Redding and his record company, Stax (the claim was settled out of court, with Stax agreeing to credit Naomi Neville as the songwriter). Redding's version of the song was also recorded by the Rolling Stones on their second album. In 1964, "A Certain Girl" (originally by Ernie K-Doe) was the B-side of the first single release by the Yardbirds. The song was released again in 1980 by Warren Zevon, as the single from the album Bad Luck Streak in Dancing School it reached 57 on Billboard's Hot 100. Mary Weiss, former lead singer of The Shangri-Las, released it as "A Certain Guy" in 2007.  Toussaint credited about twenty songs to his parents, Clarence and Naomi, sometimes using the pseudonym "Naomi Neville". These include "Fortune Teller", first recorded by Benny Spellman in 1961, and "Work, Work, Work", recorded by the Artwoods in 1966. Alison Krauss and Robert Plant covered "Fortune Teller" on their 2007 album Raising Sand.
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At what age did Toussaint start playing music?

Answer: