IN: Toru Takemitsu (Wu Man Che , Takemitsu Toru, October 8, 1930 - February 20, 1996) pronounced [takemitsW to:rW] was a Japanese composer and writer on aesthetics and music theory. Largely self-taught, Takemitsu possessed consummate skill in the subtle manipulation of instrumental and orchestral timbre. He is famed for combining elements of oriental and occidental philosophy to create a sound uniquely his own, and for fusing opposites together such as sound with silence and tradition with innovation. He composed several hundred independent works of music, scored more than ninety films and published twenty books.

The influence of Olivier Messiaen on Takemitsu was already apparent in some of Takemitsu's earliest published works. By the time he composed Lento in Due Movimenti, (1950), Takemitsu had already come into possession of a copy of Messiaen's 8 Preludes (through Toshi Ichiyanagi), and the influence of Messiaen is clearly visible in the work, in the use of modes, the suspension of regular metre, and sensitivity to timbre. Throughout his career, Takemitsu often made use of modes from which he derived his musical material, both melodic and harmonic among which Messiaen's modes of limited transposition to appear with some frequency. In particular, the use of the octatonic, (mode II, or the 8-28 collection), and mode VI (8-25) is particularly common. However, Takemitsu pointed out that he had used the octatonic collection in his music before ever coming across it in Messiaen's music. In 1975, Takemitsu met Messiaen in New York, and during "what was to be a one-hour 'lesson' [but which] lasted three hours ... Messiaen played his Quartet for the End of Time for Takemitsu at the piano", which, Takemitsu recalled, was like listening to an orchestral performance. Takemitsu responded to this with his homage to the French composer, Quatrain, for which he asked Messiaen's permission to use the same instrumental combination for the main quartet, cello, violin, clarinet and piano (which is accompanied by orchestra). As well as the obvious similarity of instrumentation, Takemitsu employs several melodic figures that appear to "mimic" certain musical examples given by Messiaen in his Technique de mon langage musical, (see ex. 4). In 1977, Takemitsu reworked Quatrain for quartet alone, without orchestra, and titled the new work Quatrain II. On hearing of Messiaen's death in 1992, Takemitsu was interviewed by telephone, and still in shock, "blurted out, 'His death leaves a crisis in contemporary music!'" Then later, in an obituary written for the French composer in the same year, Takemitsu further expressed his sense of loss at Messiaen's death: "Truly, he was my spiritual mentor ... Among the many things I learned from his music, the concept and experience of color and the form of time will be unforgettable." The composition Rain Tree Sketch II, which was to be Takemitsu's final piano piece, was also written that year and subtitled "In Memoriam Olivier Messiaen".
QUESTION: Did he grant him permission?
IN: Coretta Scott King (April 27, 1927 - January 30, 2006) was an American author, activist, civil rights leader, and the wife of Martin Luther King, Jr. Coretta Scott King helped lead the Civil Rights Movement in the 1960s. She was an active advocate for African-American equality. King met her husband while in college.

Coretta Scott King was an early supporter in the struggle for gay and lesbian civil rights. In August, 1983 in Washington, D.C., she urged the amendment of the Civil Rights Act to include gays and lesbians as a protected class. In response to the Supreme Court's 1986 decision in Bowers v. Hardwick that there was no constitutional right to engage in consensual sodomy, King's longtime friend, Winston Johnson of Atlanta, came out to her and was instrumental in arranging King as the featured speaker at the September 27, 1986 New York Gala of the Human Rights Campaign Fund. As reported in the New York Native, King stated that she was there to express her solidarity with the gay and lesbian movement. She applauded gays and lesbians as having "always been a part of the civil rights movement." On April 1, 1998, at the Palmer House Hilton in Chicago, Mrs. King called on the civil rights community to join in the struggle against homophobia and anti-gay bias. "Homophobia is like racism and anti-Semitism and other forms of bigotry in that it seeks to dehumanize a large group of people, to deny their humanity, their dignity and personhood", she stated. "This sets the stage for further repression and violence that spread all too easily to victimize the next minority group." On March 31, 1998, At the 25th anniversary luncheon for the Lambda Legal Defense and Education Fund, King said "I still hear people say that I should not be talking about the rights of lesbian and gay people and I should stick to the issue of racial justice.... But I hasten to remind them that Martin Luther King, Jr. said, 'Injustice anywhere is a threat to justice everywhere.' ... I appeal to everyone who believes in Martin Luther King, Jr.'s dream to make room at the table of brotherhood and sisterhood for lesbian and gay people." On November 9, 2000, she repeated similar remarks at the opening plenary session of the 13th annual Creating Change Conference, organized by the National Gay and Lesbian Task Force. In 2003, she invited the National Gay and Lesbian Task Force to take part in observances of the 40th anniversary of the March on Washington and Martin Luther King's I Have a Dream speech. It was the first time that an LGBT rights group had been invited to a major event of the African American community.
QUESTION:
How is King associated with LGBT equality?