Problem: Given the question: The following article contains an answer for the question: What was the name of the place that was a direct grant grammar school? , can you please find it? There are three universities in the City of Manchester. The University of Manchester, Manchester Metropolitan University and Royal Northern College of Music. The University of Manchester is the largest full-time non-collegiate university in the United Kingdom and was created in 2004 by the merger of Victoria University of Manchester founded in 1904 and UMIST, founded in 1956, though the university's logo appears to claim it was established in 1824. It includes the Manchester Business School, which offered the first MBA course in the UK in 1965. Manchester Metropolitan University was formed as Manchester Polytechnic on the merger of three colleges in 1970. It gained university status in 1992, and in the same year absorbed Crewe and Alsager College of Higher Education in South Cheshire. The University of Law, the largest provider of vocation legal training in Europe, has a campus in the city.The three Universities are grouped around Oxford Road on the southern side of the city centre, which forms Europe's largest urban higher education precinct. Together they have a combined population of 76,025 students in higher education as of 2015, although almost 6,000 of them were based at Manchester Metropolitan University's campuses at Crewe and Alsager in Cheshire.One of Manchester's most notable secondary schools is the Manchester Grammar School. Established in 1515, as a free grammar school next to what is now the Cathedral, it moved in 1931 to Old Hall Lane in Fallowfield, south Manchester, to accommodate the growing student body. In the post-war period, it was a direct grant grammar school (i.e. partially state funded), but it reverted to independent status in 1976 after abolition of the direct-grant system. Its previous premises are now used by Chetham's School of Music. There are three schools nearby: William Hulme's Grammar School, Withington Girls' School and Manchester High School for Girls. In 2010, the Manchester Local Education Authority was ranked last out of Greater Manchester's ten LEAs and 147th out...
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The answer is:
Manchester Grammar School
input question: The following article contains an answer for the question: What had become an entirely new set of sounds according to Condon? , can you please find it? Like Green, who made particular mention of Beiderbecke's "amount of teaching," the jazz historian Ted Gioia also has emphasized Beiderbecke's lack of formal instruction, suggesting that it caused him to adopt "an unusual, dry embouchure" and "unconventional fingerings," which he retained for the rest of his life. Gioia points to "a characteristic streak of obstinacy" in Beiderbecke that provokes "this chronic disregard of the tried-and-true." He argues that this stubbornness was behind Beiderbecke's decision not to switch from cornet to trumpet when many other musicians, including Armstrong, did so. In addition, Gioia highlights Beiderbecke's precise timing, relaxed delivery, and pure tone, which contrasted with "the dirty, rough-edged sound" of King Oliver and his protege Armstrong, whose playing was often more energetic and whose style held more sway early in the 1920s than Beiderbecke's. Beiderbecke's playing - both as a cornetist and a pianist - had a profound effect on a number of his contemporaries. Eddie Condon, for instance, described Beiderbecke's cornet playing as "like a girl saying yes" and also wrote of being amazed by Beiderbecke's piano playing: "All my life I had been listening to music [] But I had never heard anything remotely like what Beiderbecke played. For the first time I realized music isn't all the same, it had become an entirely new set of sounds" "I tried to explain Bix to the gang," Hoagy Carmichael wrote, but "[i]t was no good, like the telling of a vivid, personal dream [] the emotion couldn't be transmitted."Mezz Mezzrow described Beiderbecke's tone as being "pickled in alcohol [] I have never heard a tone like he got before or since. He played mostly open horn, every note full, big, rich and round, standing out like a pearl, loud but never irritating or jangling, with a powerful drive that few white musicians had in those days."Some critics have highlighted "Jazz Me Blues", recorded with the Wolverines on February 18, 1924, as being particularly important to understanding...???
output answer: music
Please answer this: The following article contains an answer for the question: What is the last name of the person dubbed "Brother Seer" and "Brother Seeing Eye" by Paul Dermee? , can you please find it? Kertesz emigrated to Paris in September 1925, leaving behind his mother, his unofficial fiancee Elizabeth, both brothers, and his uncle Hoffman, who died shortly afterward. Jeno later emigrated to Argentina. Elizabeth Kertesz remained until her future husband was well enough established in Paris that they could marry. Kertesz was among numerous Hungarian artists who emigrated during these decades, including Francois Kollar, Robert Capa, Emeric Feher, Brassai, and Julia Bathory. Man Ray, Germaine Krull and Lucien Aigner also emigrated to Paris during this period. Initially Kertesz took on commissioned work for several European magazines, gaining publication of his work in Germany, France, Italy and Great Britain. Soon after arriving in Paris, Kertesz changed his first name to Andre, which he kept for the rest of his life. In Paris he found critical and commercial success. In 1927 Kertesz was the first photographer to have a one-man exhibition; Jan Slivinsky presented 30 of his photographs at the "Sacre du Printemps Gallery". Kertesz had become connected with members of the growing Dada movement. Paul Dermee dubbed him "Brother Seer" and "Brother Seeing Eye" during his first solo exhibit, alluding to a medieval monastery where all the monks were blind bar one. Over the next years, Kertesz was featured in both solo exhibits and group shows. In 1932 at the Julien Levy Gallery in New York, the price of Kertesz's proofs was set at US$20 ($ 367 in 2019), a large sum of money during the Great Depression.Kertesz and other Hungarian artists formed a synergistic circle; he was featured in exhibits with some of them later in his life. Visiting his sculptor friends, he was fascinated by the Cubism movement. He created photo portraits of painters Piet Mondrian and Marc Chagall, the writer Colette, and film-maker Sergei Eisenstein. In 1928, Kertesz switched from using plate-glass cameras to a Leica. This period of work was one of his most productive; he was photographing daily, with work divided between magazine...
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Kertesz