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.

Takemitsu frequently expressed his indebtedness to Claude Debussy, referring to the French composer as his "great mentor". As Arnold Whittall puts it: Given the enthusiasm for the exotic and the Orient in these [Debussy and Messiaen] and other French composers, it is understandable that Takemitsu should have been attracted to the expressive and formal qualities of music in which flexibility of rhythm and richness of harmony count for so much. For Takemitsu, Debussy's "greatest contribution was his unique orchestration which emphasizes colour, light and shadow ... the orchestration of Debussy has many musical focuses." He was fully aware of Debussy's own interest in Japanese art, (the cover of the first edition of La mer, for example, was famously adorned by Hokusai's The Great Wave off Kanagawa). For Takemitsu, this interest in Japanese culture, combined with his unique personality, and perhaps most importantly, his lineage as a composer of the French musical tradition running from Rameau and Lully through Berlioz in which colour is given special attention, gave Debussy his unique style and sense of orchestration. During the composition of Green (November Steps II, for orchestra, 1967: "steeped in the sound-color world of the orchestral music of Claude Debussy") Takemitsu said he had taken the scores of Debussy's Prelude a l'Apres-midi d'un Faune and Jeux to the mountain villa where both this work and November Steps I were composed. For Oliver Knussen, "the final appearance of the main theme irresistibly prompts the thought that Takemitsu may, quite unconsciously, have been attempting a latter-day Japanese Apres-midi d'un Faune". Details of orchestration in Green, such as the prominent use of antique cymbals, and tremolandi harmonies in the strings, clearly point to the influence of Takemitsu's compositional mentor, and of these works in particular. In Quotation of Dream (1991), direct quotations from Debussy's La Mer and Takemitsu's earlier works relating to the sea are incorporated into the musical flow ("stylistic jolts were not intended"), depicting the landscape outside the Japanese garden of his own music.
QUESTION: In which of Takemitsu's works is Debussy's influence apparent?
IN: Born in Nelson County, Virginia, Allen was the son of Loretta M. and Earl Raymond Allen, who was recorded in the 1920 and 1930 U.S. census records for Wayne County, Michigan as working as a chauffeur to a private family. He earned varsity letters in football, track and basketball at Lake Shore High School in St. Clair Shores, Michigan; having graduated in 1940. Allen went to Alma College in Michigan and later at Marquette University in Milwaukee, Wisconsin, where he was sent as an officer trainee in the U. S. Navy's World War II V-12 program. He graduated with a B.S. in education from Michigan State Normal College (now Eastern Michigan University) in Ypsilanti, and then attended the University of Michigan in Ann Arbor, where he earned his master's degree in physical education in 1947.

After rejecting a $1 million, four-year contract offer throughout the 1977 season, Allen was dismissed by the Redskins in mid-January. He was replaced by one of his favorite players, Jack Pardee, by then the promising young head coach of the Bears, who had gained the wild card playoff berth ahead of the Redskins; both had finished at 9-5. Rams owner Carroll Rosenbloom was searching for a new coach after parting ways with Chuck Knox, and decided to bring Allen back. Allen's hiring was announced on February 1, and he returned to Los Angeles in 1978 with much media fanfare. His second stint as the Rams' head coach was an unfortunate experience for all concerned. Unlike his first stint, Allen did not have full authority over personnel. He thus worked with general manager Don Klosterman to oversee a talented roster that had made the team a perennial playoff challenger. Allen brought with him his scrupulous discipline and attention to detail, which extended to practice-field protocol and dining-hall decorum. However, his coaching style did not play well with the new generation of NFL players, and a group of Ram players chafed at the regulations almost immediately. Some made their grievances public; a few, including standout linebacker Isiah Robertson, briefly left camp. As newspaper reports were quoting players expressing confidence that differences would be resolved, the Rams played listlessly and lost the first two games of the 1978 exhibition schedule. Rosenbloom decided that for the season to be salvaged a change must be made, and the announcement of Allen's abrupt dismissal was made on August 13. Many of Allen's own players were surprised by the decision. Defensive coordinator Ray Malavasi, well-respected and liked by players (and the only holdover from Chuck Knox' staff), replaced him; the Rams ultimately advanced to that year's NFC Championship Game and the following year to the Super Bowl. Rosenbloom died in April 1979. Allen soon joined CBS Sports as an analyst for NFL network telecasts, and worked in the broadcast booth from 1978 to 1983. With former Cleveland Browns great running back Jim Brown and play-by-play announcer Vin Scully, they were the network's only three-man announcing team.
QUESTION:
who owned the Rams during this time?