input: Once in office as governor on May 21, 1928, Long moved quickly to consolidate his power, firing hundreds of opponents in the state bureaucracy, at all ranks from cabinet-level heads of departments and board members to rank-and-file civil servants and state road workers. Like previous governors, he filled the vacancies with patronage appointments from his own network of political supporters. Every state employee who depended on Long for a job was expected to pay a portion of his or her salary at election time directly into Long's political war-chest, which raised $50,000 to $75,000 (equivalent to about $700,000 to $1,000,000 in 2013 dollars) each election cycle. The funds were kept in a famous locked "deduct box" to be used at Long's discretion for political and personal purposes. The American historian David Kennedy wrote that the extremely authoritarian regime Long established in Louisiana was "... the closest thing to a dictatorship that America has ever known". Once his control over the state's political apparatus was strengthened, Long pushed a number of bills through the 1929 session of the Louisiana State Legislature to fulfill campaign promises. These included a free textbook program for schoolchildren, an idea advanced by John Sparks Patton, the Claiborne Parish school superintendent, and the Long confidant, Representative Harley Bozeman of Winnfield. Long also supported night courses for adult literacy (which taught 100,000 adults to read by the end of his term), and a supply of cheap natural gas for the city of New Orleans. Long began an unprecedented public works program, building roads, bridges, hospitals, and educational institutions. Huey P. Long's reign of legislation brought textbooks, a highway, natural gas heating to New Orleans, and buildings still standing at LSU. His bills met opposition from many legislators, wealthy citizens, and the media, but Long used aggressive tactics to ensure passage of the legislation he favored. He would show up unannounced on the floor of both the House and Senate or in House committees, corralling reluctant representatives and state senators and bullying opponents. These tactics were unprecedented, but they resulted in the passage of most of Long's legislative agenda. By delivering on his campaign promises, Long achieved hero status among the state's rural poor population. When Long secured passage of his free textbook program, the school board of Caddo Parish, home of conservative Shreveport, sued to prevent the books from being distributed, saying it would not accept "charity" from the state. Long responded by withholding authorization for locating an Army Air Corps base nearby until the parish accepted the books.

Answer this question "When did Long become governor?"
output: May 21, 1928,

Question: 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.

In 1948, Takemitsu conceived the idea of electronic music technology, or in his own words, to "bring noise into tempered musical tones inside a busy small tube." During the 1950s, Takemitsu had learned that in 1948 "a French [engineer] Pierre Schaeffer invented the method(s) of musique concrete based on the same idea as mine. I was pleased with this coincidence." In 1951, Takemitsu was a founding member of the anti-academic Jikken Kobo (Shi Yan Gong Fang , "experimental workshop"): an artistic group established for multidisciplinary collaboration on mixed-media projects, who sought to avoid Japanese artistic tradition. The performances and works undertaken by the group introduced several contemporary Western composers to Japanese audiences. During this period he wrote Saegirarenai Kyusoku I ("Uninterrupted Rest I", 1952: a piano work, without a regular rhythmic pulse or barlines); and by 1955 Takemitsu had begun to use electronic tape-recording techniques in such works as Relief Statique (1955) and Vocalism A*I (1956). Takemitsu also studied in the early 1950s with the composer Fumio Hayasaka, perhaps best known for the scores he wrote for films by Kenji Mizoguchi and Akira Kurosawa, the latter of whom Takemitsu would collaborate with decades later. In the late 1950s chance brought Takemitsu international attention: his Requiem for string orchestra (1957 listen ), written as an homage to Hayasaka, was heard by Igor Stravinsky in 1958 during his visit to Japan. (The NHK had organised opportunities for Stravinsky to listen to some of the latest Japanese music; when Takemitsu's work was put on by mistake, Stravinsky insisted on hearing it to the end.) At a press conference later, Stravinsky expressed his admiration for the work, praising its "sincerity" and "passionate" writing. Stravinsky subsequently invited Takemitsu to lunch; and for Takemitsu this was an "unforgettable" experience. After Stravinsky returned to the U.S., Takemitsu soon received a commission for a new work from the Koussevitsky Foundation which, he assumed, had come as a suggestion from Stravinsky to Aaron Copland. For this he composed Dorian Horizon, (1966), which was premiered by the San Francisco Symphony Orchestra, conducted by Copland.

Using a quote from the above article, answer the following question: what was Jikken Kobo?
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Answer:
an artistic group established for multidisciplinary collaboration on mixed-media projects, who sought to avoid Japanese artistic tradition.