Question:
Arthur Wellesley, 1st Duke of Wellington, (1 May 1769 - 14 September 1852), was an Anglo-Irish soldier and statesman who was one of the leading military and political figures of 19th-century Britain, serving twice as Prime Minister. His defeat of Napoleon at the Battle of Waterloo in 1815 puts him in the first rank of Britain's military heroes. Wellesley was born in Dublin, into the Protestant Ascendancy in Ireland. He was commissioned as an ensign in the British Army in 1787, serving in Ireland as aide-de-camp to two successive Lords Lieutenant of Ireland.
Despite his new promise, he had yet to find a job and his family was still short of money, so upon the advice of his mother, his brother Richard asked his friend the Duke of Rutland (then Lord Lieutenant of Ireland) to consider Arthur for a commission in the Army. Soon afterward, on 7 March 1787, he was gazetted ensign in the 73rd Regiment of Foot. In October, with the assistance of his brother, he was assigned as aide-de-camp, on ten shillings a day (twice his pay as an ensign), to the new Lord Lieutenant of Ireland, Lord Buckingham. He was also transferred to the new 76th Regiment forming in Ireland and on Christmas Day, 1787, was promoted to lieutenant. During his time in Dublin his duties were mainly social; attending balls, entertaining guests and providing advice to Buckingham. While in Ireland, he overextended himself in borrowing due to his occasional gambling, but in his defence stated that "I have often known what it was to be in want of money, but I have never got helplessly into debt". On 23 January 1788, he transferred into the 41st Regiment of Foot, then again on 25 June 1789, still a lieutenant, he transferred to the 12th (Prince of Wales's) Regiment of (Light) Dragoons and, according to military historian Richard Holmes, he also dipped a reluctant toe into politics. Shortly before the general election of 1789, he went to the rotten borough of Trim to speak against the granting of the title "Freeman" of Dublin to the parliamentary leader of the Irish Patriot Party, Henry Grattan. Succeeding, he was later nominated and duly elected as a Member of Parliament (MP) for Trim in the Irish House of Commons. Because of the limited suffrage at the time, he sat in a parliament where at least two-thirds of the members owed their election to the landowners of fewer than a hundred boroughs. Wellesley continued to serve at Dublin Castle, voting with the government in the Irish parliament over the next two years. He became a captain on 30 January 1791, and was transferred to the 58th Regiment of Foot. On 31 October, he transferred to the 18th Light Dragoons and it was during this period that he grew increasingly attracted to Kitty Pakenham, the daughter of Edward Pakenham, 2nd Baron Longford. She was described as being full of 'gaiety and charm'. In 1793, he sought her hand, but was turned down by her brother Thomas, Earl of Longford, who considered Wellesley to be a young man, in debt, with very poor prospects. An aspiring amateur musician, Wellesley, devastated by the rejection, burnt his violins in anger, and resolved to pursue a military career in earnest. He became a major by purchase in the 33rd Regiment in 1793. A few months later, in September, his brother lent him more money and with it he purchased a lieutenant-colonelcy in the 33rd.
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How was his personality was he a likable character?

Answer:
While in Ireland, he overextended himself in borrowing due to his occasional gambling, but

Question:
Can was a German experimental rock band formed in Cologne, West Germany, in 1968 by the core quartet of Holger Czukay (bass), Irmin Schmidt (keyboards), Michael Karoli (guitar), and Jaki Liebezeit (drums). The group cycled through several vocalists, including Malcolm Mooney (1968-70) and Damo Suzuki (1970-73), as well as various temporary members. Drawing from backgrounds in the avant-garde and jazz, Can incorporated minimalist, electronic, and world music elements into their often psychedelic and funk-inflected music. They have been widely hailed as pioneers of the German krautrock scene.
Holger Czukay and Irmin Schmidt were both pupils of Karlheinz Stockhausen, and Can inherited a strong grounding in his musical theory; the latter was trained as a classical pianist, while Michael Karoli was a pupil of Holger Czukay and brought the influence of gypsy music through his esoteric studies. Drummer Jaki Liebezeit had strong jazz leanings. The band's sound was originally intended to be based on the sound of ethnic music, so when the band decided to pick up the garage rock sound, original member David Johnson left. This world music trend was later exemplified on albums such as Ege Bamyasi (the name meaning "Aegean okra" in Turkish), Future Days and Saw Delight, and by incorporating new band members with different nationalities. A series of tracks on Can albums, known as "Ethnological Forgery Series", abbreviated to "E.F.S", demonstrated the band's ability to successfully recreate ethnic-sounding music. They constructed their music largely through collective spontaneous composition, sampling themselves in the studio and editing down the results; bassist and chief engineer Czukay referred to Can's live and studio performances as "instant compositions". The band's early rock influences include The Beatles and The Velvet Underground as well as Jimi Hendrix, Sly Stone and Frank Zappa. The band have admitted that the beginning of Can's "Father Cannot Yell" was inspired by the Velvet Underground's "European Son". Malcolm Mooney's voice has been compared to that of James Brown (an acknowledged hero of the band members) and their early style, rooted in psychedelic music, drew comparisons with Pink Floyd. Along with their peers in the krautrock scene, they were under the influence of the wider progressive rock movement taking place in England and elsewhere during the late 1960s and early 1970s. Czukay's extensive editing has occasionally been compared to the late-'60s music of trumpeter Miles Davis (such as In a Silent Way and Bitches Brew): Can and Davis both would record long groove-intensive improvisations, then edit the best bits together for their albums. Czukay and Teo Macero (Davis's producer and editor) both had roots in the musique concrete of the 1940s and '50s. Irmin Schmidt stated in a discussion with Michael Karoli in 1996 concerning the various citations of influences upon their music: "You know, it's funny that in spite of all the supposed influences on us that have been written about, the one overriding influence has never been mentioned: Michael von Biel." Damo Suzuki was a very different singer from Mooney, with a multilingual (he claimed to sing in "the language of the Stone Age") and often inscrutable vocal style. With Suzuki, the band made their most critically and commercially successful albums. The rhythm section's work on Tago Mago has been especially praised: one critic writes that much of the album is based on "long improvisations built around hypnotic rhythm patterns"; another writes that "Halleluhwah" finds them "pounding out a monster trance/funk beat".
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Were there any other influences?

Answer:
Malcolm Mooney's voice has been compared to that of James Brown (an acknowledged hero of the band members) and their early style,