Question: Born in Glen Dale, West Virginia, Brett was the youngest of four sons of a sports-minded family which included Ken, the second oldest, a major league pitcher who pitched in the 1967 World Series at age 19. Brothers John (eldest) and Bobby had brief careers in the minor leagues. Although his three older brothers were born in Brooklyn, George was born in the northern panhandle of West Virginia. Jack and Ethel Brett then moved the family to the Midwest and three years later to El Segundo, California, a suburb of Los Angeles, just south of Los Angeles International Airport.

On July 24, 1983, the Royals played the Yankees at Yankee Stadium. In the top of the ninth inning with two out, Brett hit a go-ahead two-run homer off of Goose Gossage to put the Royals up 5-4. Upon Brett crossing the plate, Yankees manager Billy Martin cited to the umpires a rule that stated that any foreign substance on a bat could extend no further than 18 inches from the knob. The umpires measured the amount of pine tar, a legal substance used by hitters to improve their grip, on Brett's bat; the pine tar extended about 24 inches. The home plate umpire, Tim McClelland, signaled Brett out, ending the game as a Yankees win. In a now famous image, an enraged Brett charged out of the dugout sprinting directly toward McClelland and had to be physically restrained by two umpires and a Royals coach. The Royals protested the game, and American League president Lee MacPhail upheld the protest, reasoning that the bat should have been excluded from future use but the home run should not have been nullified. Amid much controversy, the game was resumed on August 18 from the point of Brett's home run and ended with a Royals win. In 1985, Brett had another brilliant season in which he helped propel the Royals to their second American League Championship. He batted .335 with 30 home runs and 112 RBI, finishing in the top 10 of the league in 10 different offensive categories. Defensively, he won his only Gold Glove, which broke Buddy Bell's six-year run of the award. In the final week of the regular season, he went 9-for-20 at the plate with 7 runs, 5 homers, and 9 RBI in six crucial games, five of them victories, as the Royals closed the gap and won the division title at the end. He was MVP of the 1985 playoffs against the Toronto Blue Jays, with an incredible Game 3. With KC down in the series two games to none, Brett went 4-for-4, homering in his first two at bats against Doyle Alexander, and doubled to the same spot in right field in his third at bat, leading the Royals' comeback. Brett then batted .370 in the World Series against the St. Louis Cardinals including a four-hit performance in Game 7. The Royals again rallied from a 3-1 deficit to become World Series Champions for the first time in Royals history.

Using a quote from the above article, answer the following question: What else changed as a result?
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Question: Francis Jean Marcel Poulenc (French: [fRasis Za maRsel pulek]; 7 January 1899 - 30 January 1963) was a French composer and pianist. His compositions include melodies, solo piano works, chamber music, choral pieces, operas, ballets, and orchestral concert music. Among the best-known are the piano suite Trois mouvements perpetuels (1919), the ballet Les biches (1923), the Concert champetre (1928) for harpsichord and orchestra, the Organ Concerto (1938), the opera Dialogues des Carmelites (1957), and the Gloria (1959) for soprano, choir and orchestra.

Poulenc, a highly accomplished pianist, usually composed at the piano and wrote many pieces for the instrument throughout his career. In Henri Hell's view, Poulenc's piano writing can be divided into the percussive and the gentler style reminiscent of the harpsichord. Hell considers that the finest of Poulenc's music for piano is in the accompaniments to the songs, a view shared by Poulenc himself. The vast majority of the piano works are, in the view of the writer Keith W Daniel, "what might be called 'miniatures'". Looking back at his piano music in the 1950s, the composer viewed it critically: "I tolerate the Mouvements perpetuels, my old Suite en ut [in C], and the Trois pieces. I like very much my two collections of Improvisations, an Intermezzo in A flat, and certain Nocturnes. I condemn Napoli and the Soirees de Nazelles without reprieve." Of the pieces cited with approval by Poulenc, the fifteen Improvisations were composed at intervals between 1932 and 1959. All are brief: the longest lasts a little more than three minutes. They vary from swift and balletic to tender lyricism, old-fashioned march, perpetuum mobile, waltz and a poignant musical portrait of the singer Edith Piaf. Poulenc's favoured Intermezzo was the last of three. Numbers one and two were composed in August 1934; the A flat followed in March 1943. The commentators Marina and Victor Ledin describe the work as "the embodiment of the word 'charming'. The music seems simply to roll off the pages, each sound following another in such an honest and natural way, with eloquence and unmistakable Frenchness." The eight nocturnes were composed across nearly a decade (1929-38). Whether or not Poulenc originally conceived them as an integral set, he gave the eighth the title "To serve as Coda for the Cycle" (Pour servir de Coda au Cycle). Although they share their generic title with the nocturnes of Field, Chopin and Faure, Poulenc's do not resemble those of the earlier composers, being "night-scenes and sound-images of public and private events" rather than romantic tone poems. The pieces Poulenc found merely tolerable were all early works: Trois mouvements perpetuels dates from 1919, the Suite in C from 1920 and the Trois pieces from 1928. All consist of short sections, the longest being the "Hymne", the second of the three 1928 pieces, which lasts about four minutes. Of the two works their composer singled out for censure, Napoli (1925) is a three-movement portrait of Italy, and Les Soirees de Nazelles is described by the composer Geoffrey Bush as "the French equivalent of Elgar's Enigma Variations" - miniature character sketches of his friends. Despite Poulenc's scorn for the work, Bush judges it ingenious and witty. Among the piano music not mentioned, favourably or harshly, by Poulenc, the best known pieces include the two Novelettes (1927-28), the set of six miniatures for children, Villageoises (1933), a piano version of the seven-movement Suite francaise (1935), and L'embarquement pour Cythere for two pianos (1953).

Using a quote from the above article, answer the following question: What did he prefer other than the 1950's music?
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Answer:
Of the pieces cited with approval by Poulenc, the fifteen Improvisations were composed at intervals between 1932 and 1959.