[Q]: The following article contains an answer for the question: What is the full name of the person who accompanies the "good luck charm" to Europe? , can you please find it? Superstitious New York gambler Joe Baldwin, owner of the thoroughbred racing horse Sarcasm, believes that luck can be bought with charitable deeds. Before the Kentucky Derby, to "buy luck," he finances an expensive trip to Europe for gold-digger Jean Jason, his "good luck charm," not knowing she is taking her lover with her, gigolo and sometime artist Paul Vinette. He also gives his old friend Frank Brent cash to save his cab business and visits an orphanage in Louisville with his sister, where he meets Betty McKay, a pretty teacher who scoffs at his philosophy. She scolds him for wishing for rain on the day of the Derby to aid his horse, who runs best on a muddy track, because the orphans plan an outdoor party. Although it rains as wished, Sarcasm loses the Derby, and Joe is convinced that it was because the orphans were pulling against him. In an attempt to repair the damage before the Preakness, Joe throws the orphans a lavish party, hiring clowns and other entertainment. To Betty's surprise, Joe is as excited as the children, and they fall in love. After Sarcasm wins the Preakness, Joe returns to New York, where Jean is back from Europe. Joe tells her that he will not be seeing her any more because he is going to marry Betty, and she cajoles $50,000 from him as a final "luck insurance" payment. Before Joe shows up with the check, however, Paul arrives at Jean's apartment. They argue when he sees that she plans to run out on him with the money. Jean threatens him with a gun, and during a scuffle, kills her.
****
[A]: Paul Vinette
input: Please answer the following: The following article contains an answer for the question: What version of the song was first included on the 1984 compilation Hatful of Hollow? , can you please find it? The earliest version of "This Charming Man" was recorded on 14 September 1983, in Maida Vale Studio 4, for John Peel's radio programme (first broadcast: 21 September 1983). Produced by Roger Pusey, and assisted by Ted De Bono, this version of the song was first included on the 1984 compilation Hatful of Hollow. On 28 October 1983, the "Manchester" version was released in the UK in 7" and 12" formats, reaching number 25 in the UK charts. The record sleeve uses a still frame from Jean Cocteau's 1949 film Orphee, featuring French actor Jean Marais. The song was later included as a bonus track on the cassette version of the band's debut album The Smiths in the UK, and subsequently on all American versions. Following the 1989 bankruptcy of Rough Trade, WEA Records purchased the Smiths' back catalogue. In 1992 WEA re-issued the band's catalogue, and all subsequent pressings of The Smiths have incorporated "This Charming Man". WEA re-released the single itself in 1992 to support the Best... I compilation album. The reissued single reached number 8 on the British singles chart, the band's highest chart placing.In December 1983, DJ Francois Kevorkian released a "New York" mix of the single on Megadisc records. Kevorkian geared the song for nightclub dancefloors. The track was intended to be pressed in limited numbers for New York club DJs. However, Rough Trade boss Geoff Travis liked the mix and gave the release wide distribution in the UK. Morrissey publicly disowned the mix, and urged fans not to purchase copies. Travis later claimed, "it was my idea, but they agreed. They said 'Go ahead', then didn't like it so it was withdrawn." He also said, "Nothing that ever happened in the Smiths occurred without Morrissey's guidance; there's not one Smiths record that went out that Morrissey didn't ask to do, so there's nothing on my conscience."
++++++++++
output: The earliest version
Problem: The following article contains an answer for the question: What is the full name of the person with whom Poulenc worked intermittently from 1921 to 1925? , can you please find it? Poulenc made his debut as a composer in 1917 with his Rapsodie negre, a ten-minute, five-movement piece for baritone and chamber group; it was dedicated to Satie and premiered at one of a series of concerts of new music run by the singer Jane Bathori. There was a fashion for African arts in Paris at the time, and Poulenc was delighted to run across some published verses purportedly Liberian, but full of Parisian boulevard slang. He used one of the poems in two sections of the rhapsody. The baritone engaged for the first performance lost his nerve on the platform, and the composer, though no singer, jumped in. This jeu d'esprit was the first of many examples of what Anglophone critics came to call "leg-Poulenc". Ravel was amused by the piece and commented on Poulenc's ability to invent his own folklore. Stravinsky was impressed enough to use his influence to secure Poulenc a contract with a publisher, a kindness that Poulenc never forgot. In completely arbitrary fashion Collet chose the names of six composers, Auric, Durey, Honegger, Poulenc, Tailleferre and myself, for no other reason than that we knew each other, that we were friends and were represented in the same programmes, but without the slightest concern for our different attitudes and our different natures. Auric and Poulenc followed the ideas of Cocteau, Honegger was a product of German Romanticism and my leanings were towards a Mediterranean lyrical art ... Collet's article made such a wide impression that the Groupe des Six had come into being. Cocteau, though similar in age to Les Six, was something of a father-figure to the group. His literary style, "paradoxical and lapidary" in Hell's phrase, was anti-romantic, concise and irreverent. It greatly appealed to Poulenc, who made his first setting of Cocteau's words in 1919 and his last in 1961. When members of Les Six collaborated with each other, they contributed their own individual sections to the joint work. Their 1920 piano suite L'Album des Six consists of six separate and unrelated pieces....

A:
Charles Koechlin