Question:
Tatchell was born in Melbourne, Australia. His father was a lathe operator and his mother worked in a biscuit factory. His parents divorced when he was four and his mother remarried soon afterwards. Since the family finances were strained by medical bills, he had to leave school at 16 in 1968.
To avoid conscription into the Australian Army, Tatchell moved to London in 1971. He had accepted being gay in 1969, and in London became a leading member of the Gay Liberation Front (GLF) until its 1974 collapse. During this time Tatchell was prominent in organising sit-ins at pubs that refused to serve "poofs" and protests against police harassment and the medical classification of homosexuality as an illness. With others he helped organise Britain's first Gay Pride march in 1972.  In 1973, he attended the 10th World Youth Festival in East Berlin on GLF's behalf. His actions triggered opposition within and between different groups of national delegates including the Communist Party of Great Britain and National Union of Students. He was banned from conferences, had his leaflets confiscated and burned, was interrogated by the secret police (the Stasi) and threatened and assaulted by other delegates, mostly communists.  Tatchell later claimed that this was the first time gay liberation politics were publicly disseminated and discussed in a communist country, although he noted that, in terms of decriminalisation and the age of consent, gay men had greater rights in East Germany at the time than in Britain and much of the West.  Describing his time in the Gay Liberation Front, he wrote in The Guardian that:  [The] GLF was a glorious, enthusiastic and often chaotic mix of anarchists, hippies, leftwingers, feminists, liberals and counter-culturalists. Despite our differences, we shared a radical idealism - a dream of what the world could and should be - free from not just homophobia but the whole sex-shame culture, which oppressed straights as much as LGBTs. We were sexual liberationists and social revolutionaries, out to turn the world upside down. [...] GLF's main aim was never equality within the status quo. [...] GLF's strategy for queer emancipation was to change society's values and norms, rather than adapt to them. We sought a cultural revolution to overturn centuries of male heterosexual domination and thereby free both queers and women. [...] Forty years on, GLF's gender agenda has been partly won. [...] Girlish boys and boyish girls don't get victimised as much as in times past. LGBT kids often now come out at the age of 12 or 14. While many are bullied, many others are not. The acceptance of sexual and gender diversity is increasing.
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Are there any other interesting aspects about this article?

Answer:
In 1973, he attended the 10th World Youth Festival in East Berlin on GLF's behalf.


Question:
Jean-Philippe Rameau (French: [Zafilip Ramo]; (1683-09-25)25 September 1683 - (1764-09-12)12 September 1764) was one of the most important French composers and music theorists of the 18th century. He replaced Jean-Baptiste Lully as the dominant composer of French opera and is also considered the leading French composer for the harpsichord of his time, alongside Francois Couperin. Little is known about Rameau's early years, and it was not until the 1720s that he won fame as a major theorist of music with his Treatise on Harmony (1722) and also in the following years as a composer of masterpieces for the harpsichord, which circulated throughout Europe.
Along with Francois Couperin, Rameau is one of the two masters of the French school of harpsichord music in the 18th century. Both composers made a decisive break with the style of the first generation of harpsichordists, who confined their compositions to the relatively fixed mould of the classical suite. This reached its apogee in the first decade of the 18th century with successive collections of pieces by Louis Marchand, Gaspard Le Roux, Louis-Nicolas Clerambault, Jean-Francois Dandrieu, Elisabeth Jacquet de la Guerre, Charles Dieupart, and Nicolas Siret.  Rameau and Couperin have different styles. They seem not to have known one another (Couperin was one of the official court musicians while Rameau was still an unknown; fame would only come to him after Couperin's death). Rameau published his first book of harpsichord pieces in 1706 while Couperin (who was fifteen years his senior) waited until 1713 before publishing his first "ordres." Rameau's music includes pieces in the pure tradition of the French suite: imitative ("Le rappel des oiseaux," "La poule") and character ("Les tendres plaintes", "L'entretien des Muses") pieces and works of pure virtuosity that resemble Scarlatti ("Les tourbillons," "Les trois mains") as well as pieces that reveal the experiments of a theorist and musical innovator ("L'Enharmonique", "Les Cyclopes"), which had a marked influence on Daquin, Royer, and Jacques Duphly. The suites are grouped in the traditional way, by key.  Rameau's three collections appeared in 1706, 1724 and 1726 or 1727, respectively. After this, he only composed a single piece for the harpsichord: "La Dauphine" (1747). Other works, such as "Les petits marteaux," have been doubtfully attributed to him.  During his semiretirement in the years 1740 to 1744, he wrote the Pieces de clavecin en concert (1741), which some musicologists consider the pinnacle of French Baroque chamber music. Adopting a formula successfully employed by Mondonville a few years earlier, these pieces differ from trio sonatas in that the harpsichord is not simply there as basso continuo to accompany other instruments (the violin, flute or viol) playing the melody but has an equal part in the "concert" with them. Rameau also claimed that the pieces would be equally satisfying as solo harpsichord works--although this statement is far from convincing, since the composer took the trouble to transcribe five of them himself--those where the lack of other instruments would show the least.
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When did Rameau begin composing instrumental music?

Answer:
Rameau published his first book of harpsichord pieces in 1706