Problem: Background: Abu al-'Ala' al-Ma'arri (Arabic 'bw l'l lm'ry Abu al-'Ala' al-Ma'arri, full name 'bw l'l 'Hmd bn 'bd llh bn slymn ltnwkhy lm'ry Abu al-'Ala' Ahmad ibn 'Abd Allah ibn Sulaiman al-Tanuhi al-Ma'arri; December 973 - May 1057) was a blind Arab philosopher, poet, and writer. Al-Ma'arri held and expressed an irreligious world view which was met with controversy, but in spite of it, he is regarded as one of the greatest classical Arabic poets.
Context: Abu al-'Ala' was born in Ma'arra, modern Maarrat al-Nu'man, Syria, near the city of Aleppo, in December 973. At his time, the city was part of the Abbasid Caliphate, the third Islamic caliphate, and was during the Golden Age of Islam. He was a member of the Banu Sulayman, a notable family of Ma'arra, belonging to the larger Tanukh tribe. One of his ancestors was probably the first qadi of Ma'arra. The Tanukh tribe had formed part of the aristocracy in Syria for hundreds of years and some members of the Banu Sulayman had also been noted as good poets. He lost his eyesight at the age of four due to smallpox. His later pessimism may be explained by his virtual blindness. Later in his life, he regarded himself as "a double prisoner" which referred to both this blindness and the general isolation that he felt during his life. He started his career as a poet at an early age, at about 11 or 12 years old. He was educated at first in Ma'arra and Aleppo, later also in Antioch and other Syrian cities. Among his teachers in Aleppo were companions from the circle of Ibn Khalawayh. This grammarian and Islamic scholar had died in 980 CE when al-Ma'arri was still a child. Al-Ma'arri nevertheless laments the loss of Ibn Khalawayh in strong terms in a poem of his Risalat al-ghufran. Al-Qifti reports that when on his way to Tripoli, al-Ma'arri visited a Christian monastery near Latakia where he listened to debates about Hellenistic philosophy, which planted in him the seeds of his later scepticism and irreligiosity; but other historians such as Ibn al-Adim deny that he had been exposed to any theology other than Islamic doctrine. In 1004-5 al-Ma'arri learned that his father had died and, in reaction, wrote an elegy where he praised his father. Years later he would travel to Baghdad where he became well received in the literary salons of the time, though he was a controversial figure. After the eighteen months in Baghdad, al-Ma'arri returned home for unknown reasons. He may have returned because his mother was ill, or he may have run out of money in Baghdad, as he refused to sell his works. He returned to his native town of Ma'arra in about 1010 and learned that his mother had died before his arrival. He remained in Ma'arra for the rest of his life, where he opted for an ascetic lifestyle, refusing to sell his poems, living in seclusion and observing a strict vegetarian diet. His personal confinement to his house was only broken one time when violence had struck his town. Though he was confined, he lived out his later years continuing his work and collaborating with others. He enjoyed great respect and attracted many students locally, as well as actively holding correspondence with scholars abroad. Despite his intentions of living a secluded lifestyle, in his seventies, he became rich and was the most revered person in his area. Al-Ma'arri never married and died in May 1057 in his home town.
Question: What was his childhood like?
Answer: Islam. He was a member of the Banu Sulayman, a notable family of Ma'arra, belonging to the larger Tanukh tribe.

Background: Lester Willis Young (August 27, 1909 - March 15, 1959), nicknamed "Pres" or "Prez", was an American jazz tenor saxophonist and occasional clarinetist. Coming to prominence while a member of Count Basie's orchestra, Young was one of the most influential players on his instrument. In contrast to many of his hard-driving peers, Young played with a relaxed, cool tone and used sophisticated harmonies, using what one critic called "a free-floating style, wheeling and diving like a gull, banking with low, funky riffs that pleased dancers and listeners alike". Known for his hip, introverted style, he invented or popularized much of the hipster jargon which came to be associated with the music.
Context: Young left the Basie band in late 1940. He is rumored to have refused to play with the band on Friday, December 13 of that year for superstitious reasons spurring his dismissal, although Young and drummer Jo Jones would later state that his departure had been in the works for months. He subsequently led a number of small groups that often included his brother, drummer Lee Young, for the next couple of years; live and broadcast recordings from this period exist. During this period Young accompanied the singer Billie Holiday in a couple of studio sessions (during 1937 - 1941 period) and also made a small set of recordings with Nat "King" Cole (their first of several collaborations) in June 1942. His studio recordings are relatively sparse during the 1942 to 1943 period, largely due to the recording ban by the American Federation of Musicians. Small record labels not bound by union contracts continued to record and he recorded some sessions for Harry Lim's Keynote label in 1943. In December 1943 Young returned to the Basie fold for a 10-month stint, cut short by his being drafted into the army during World War II (see below). Recordings made during this and subsequent periods suggest Young was beginning to make much greater use of a plastic reed, which tended to give his playing a somewhat heavier, breathier tone (although still quite smooth compared to that of many other players). While he never abandoned the cane reed, he used the plastic reed a significant share of the time from 1943 until the end of his life. Another cause for the thickening of his tone around this time was a change in saxophone mouthpiece from a metal Otto Link to an ebonite Brilhart. In August 1944 Young appeared alongside drummer Jo Jones, trumpeter Harry "Sweets" Edison, and fellow tenor saxophonist Illinois Jacquet in Gjon Mili's short film Jammin' the Blues.
Question: Why did he change to a plastic reed?
Answer:
which tended to give his playing a somewhat heavier, breathier tone