Problem: Background: Dorothy Day, Obl.S.B. (November 8, 1897 - November 29, 1980) was an American journalist, social activist, and Catholic convert. Day initially lived a bohemian lifestyle before gaining fame as a social activist after her conversion. She later became a key figure in the Catholic Worker Movement and earned a national reputation as a political radical, perhaps the most famous radical in American Catholic Church history.
Context: In September 1963, Day discussed pre-marital sex in her column, warning against those who portrayed it as a form of freedom: "The wisdom of the flesh is treacherous indeed." She described herself as "a woman who must think in terms of the family, the need of the child to have both mother and father, who believes strongly that the home is the unit of society" and wrote that:  When sex is treated lightly, as a means of pleasure ... it takes on the quality of the demonic, and to descend into this blackness is to have a foretaste of hell... There is no such thing as seeing how far one can go without being caught, or how far one can go without committing mortal sin.  In 1968, Day wrote again about sex--this time in her diary--in response to the criticisms of Stanley Vishnewski (and other coworkers at the Tivoli farm) that she had "no power" over marijuana smoking "or sexual promiscuity, or solitary sins." The situation continued to remain a problem, as Day also documented in her diary:  For some weeks now my problem is this: What to do about the open immorality (and of course I mean sexual morality) in our midst. It is like the last times--there is nothing hidden that shall not be revealed. But when things become a matter for open discussion, what about example set, that most powerful of all teachers. We have with us now a beautiful woman with children whose husband has taken up with a seventeen-year-old, is divorcing her and starting on a new marriage. She comes to us as to a refuge where by working for others in our community of fifty or more, she can forget once in a while her human misery. . . .  We have one young one, drunken, promiscuous, pretty as a picture, college educated, mischievous, able to talk her way out of any situation--so far. She comes to us when she is drunk and beaten and hungry and cold and when she is taken in, she is liable to crawl into the bed of any man on the place. We do not know how many she has slept with on the farm. What to do? What to do?
Question: Was this over her own actions or the actions of others?
Answer: In 1968, Day wrote again about sex--this time in her diary--in response to the criticisms of Stanley Vishnewski (

Background: Lester Willis Young (August 27, 1909 - March 15, 1959), nicknamed "Pres" or "Prez", was an American jazz tenor saxophonist and occasional clarinetist. Coming to prominence while a member of Count Basie's orchestra, Young was one of the most influential players on his instrument. In contrast to many of his hard-driving peers, Young played with a relaxed, cool tone and used sophisticated harmonies, using what one critic called "a free-floating style, wheeling and diving like a gull, banking with low, funky riffs that pleased dancers and listeners alike". Known for his hip, introverted style, he invented or popularized much of the hipster jargon which came to be associated with the music.
Context: In 1933 Young settled in Kansas City, where after playing briefly in several bands, he rose to prominence with Count Basie. His playing in the Basie band was characterized by a relaxed style which contrasted sharply with the more forceful approach of Coleman Hawkins, the dominant tenor sax player of the day. One of Young's key influences was Frank Trumbauer, who came to prominence in the 1920s with Paul Whiteman and played the C-melody saxophone (between the alto and tenor in pitch).  Young left the Basie band to replace Hawkins in Fletcher Henderson's orchestra. He soon left Henderson to play in the Andy Kirk band (for six months) before returning to Basie. While with Basie, Young made small-group recordings for Milt Gabler's Commodore Records, The Kansas City Sessions. Although they were recorded in New York (in 1938, with a reunion in 1944), they are named after the group, the Kansas City Seven, and comprised Buck Clayton, Dicky Wells, Basie, Young, Freddie Green, Rodney Richardson, and Jo Jones. Young played clarinet as well as tenor in these sessions. Young is described as playing the clarinet in a "liquid, nervous style."  As well as the Kansas City Sessions, his clarinet work from 1938-39 is documented on recordings with Basie, Billie Holiday, Basie small groups, and the organist Glenn Hardman. Billie and Lester met at a Harlem jam session in the early 30s and worked together in the Count Basie band and in nightclubs on New York's 52nd St. At one point Lester moved into the apartment Billie shared with her mother, Sadie Fagan. Holiday always insisted their relationship was strictly platonic. She gave Lester the nickname "Prez" after President Franklin Roosevelt, the "greatest man around" in Billie's mind. Playing on her name, he would call her "Lady Day." Their famously empathetic classic recordings with Teddy Wilson date from this era.  After Young's clarinet was stolen in 1939, he abandoned the instrument until about 1957. That year Norman Granz gave him one and urged him to play it (with far different results at that stage in Young's life--see below).
Question: what was it like with the count basie orchestra?
Answer:
His playing in the Basie band was characterized by a relaxed style which contrasted sharply with the more forceful approach of Coleman Hawkins,