[Q]: The following article contains an answer for the question: What is the name of the 1917 song that borrowed heavily from the man who wrote one of the best-selling songs of the 19th century? , can you please find it? "On the Banks of the Wabash, Far Away" was among the best-selling songs of the 19th century, earning over $100,000 from sheet-music revenues. Written and composed by American songwriter Paul Dresser, it was published by the Tin Pan Alley firm of Howley, Haviland and Company in October 1897. The lyrics of the ballad reminisce about life near Dresser's childhood home by the Wabash River in Indiana, United States. The song remained popular for decades, and the Indiana General Assembly adopted it as the official state song on March 14, 1913. The song was the basis for a 1923 film of the same title. Its longtime popularity led to the emergence of several lyrical versions, including an 1898 anti-war song and a Swedish version that was a number-one hit. The song was composed during a transitory time in musical history when songs first began to be recorded for the phonograph. It was among the earliest pieces of popular music to be recorded. Dresser's inability to control the distribution of phonograph cylinders led him and his company to join other composers to petition the United States Congress to expand federal copyright protections over the new technology. Dresser's ballad was the subject of some controversy after his death in 1906. His younger brother, novelist Theodore Dreiser, publicly claimed to have authored part of the song, but the validity of his claim was never proven. The ambiguity of United States copyright laws at the time and the poor management of Dresser's estate left the song vulnerable to plagiarism. The 1917 song "Back Home Again in Indiana" borrowed heavily from Dresser's song, both lyrically and musically, and led to a dispute with Dresser's estate that was never resolved.
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[A]: Back Home Again in Indiana
input: Please answer the following: The following article contains an answer for the question: What is the last name of the person who prevented his sidemen from being influenced by conventional styles? , can you please find it? By the end of the 1960s, Ornette Coleman had become one of the most influential musicians in jazz after pioneering its most controversial subgenre, free jazz, which jazz critics and musicians initially derided for its deviation from conventional structures of harmony and tonality. In the mid-1970s, he stopped recording free jazz, recruited electric instrumentalists, and pursued a new creative theory he called harmolodics. According to Coleman's theory, all the musicians are able to play individual melodies in any key, and still sound coherent as a group. He taught his young sidemen this new improvisational and ensemble approach, based on their individual tendencies, and prevented them from being influenced by conventional styles. Coleman likened this group ethic to a spirit of "collective consciousness" that stresses "human feelings" and "biological rhythms", and said that he wanted the music, rather than himself, to be successful. He also started to incorporate elements from other styles into his music, including rock influences such as the electric guitar and non-Western rhythms played by Moroccan and Nigerian musicians.Of Human Feelings was a continuation of the harmolodics approach Coleman had applied with Prime Time, an electric quartet introduced on his 1975 album Dancing in Your Head. The group comprised guitarists Charlie Ellerbee and Bern Nix, bassist Jamaaladeen Tacuma, and drummers Ronald Shannon Jackson and Denardo Coleman, Ornette Coleman's son. Tacuma was still in high school when Coleman enlisted him, and first recorded with Prime Time in 1975 for the album Body Meta, which was released in 1978. Tacuma had played in an ensemble for jazz organist Charles Earland, but Earland dismissed him as he felt audiences gave excessive attention to his playing. Coleman found Tacuma's playing ideal for harmolodics and encouraged him not to change. Although Coleman's theory initially challenged his knowledge and perception of music, Tacuma came to like the unconventional role each band member was given as a...
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output: Coleman
Problem: The following article contains an answer for the question: What is the last name of the boy who begged the medical office not to be evacuated because he did not want to leave his unit? , can you please find it? Private Paul G. Bennett, 21, of C Battery, U.S. 17th Field Artillery Regiment, was a four-year veteran of the U.S. Army, and had served in the division since March 1943. Records show he had no medical history until 6 August 1943, when a friend was wounded in combat. According to a report, he "could not sleep and was nervous." Bennett was brought to the 93rd Evacuation Hospital. In addition to having a fever, he exhibited symptoms of dehydration, including fatigue, confusion, and listlessness. His request to return to his unit was turned down by medical officers. The shells going over him bothered him. The next day he was worried about his buddy and became more nervous. He was sent down to the rear echelon by a battery aid man and there the medical aid man gave him some medicine which made him sleep, but still he was nervous and disturbed. On the next day the medical officer ordered him to be evacuated, although the boy begged not to be evacuated because he did not want to leave his unit. On 10 August, Patton entered the receiving tent of the hospital, speaking to the injured there. Patton approached Bennett, who was huddled and shivering, and asked what the trouble was. "It's my nerves," Bennett responded. "I can't stand the shelling anymore." Patton reportedly became enraged at him, slapping him across the face. He began yelling: "Your nerves, hell, you are just a goddamned coward. Shut up that goddamned crying. I won't have these brave men who have been shot at seeing this yellow bastard sitting here crying." Patton then reportedly slapped Bennett again, knocking his helmet liner off, and ordered the receiving officer, Major Charles B. Etter, not to admit him. Patton then threatened Bennett, "You're going back to the front lines and you may get shot and killed, but you're going to fight. If you don't, I'll stand you up against a wall and have a firing squad kill you on purpose. In fact, I ought to shoot you myself, you goddamned whimpering coward." Upon saying this, Patton pulled out his pistol...

A:
Bennett