IN: Modern Sounds in Country and Western Music is a studio album by American R&B singer-songwriter and musician Ray Charles. It was recorded by Charles in February 1962 at Capitol Studios in New York City and at United Recording Studios in Hollywood, then released in April of that year by ABC-Paramount Records. The album departed stylistically from the singer's previous rhythm and blues music. It featured country, folk, and Western music standards reworked by Charles in popular song forms of the time, including R&B, pop, and jazz.

Modern Sounds in Country and Western Music was the 18th overall LP Charles had recorded. According to him, the title of the album was conceived by producer Sid Feller and ABC-Paramount's executives and management people. The recording sessions for the album took place at three sessions in mid-February 1962. The first two sessions were set on February 5 and 7 at Capitol Studios in New York, New York, at which one half of the album was recorded and produced. The other half was recorded on February 15 of that same year at United Recording Studios in Hollywood, California. Instead of drawing what he should record from memory and his knowledge of country music, Charles asked Feller, his newly appointed A&R (Artists and Repertoire) man, to research top country standards through major country music publishers. By canvassing premier country publishing companies, such as Acuff-Rose Publishing (which featured the Hank Williams catalog) and Hill & Range Songs (most of which were located in Nashville, Tennessee), Feller amassed around 250 songs on tape for Charles to consider recording for Modern Sounds in Country and Western Music. From New York City, Feller sent the recordings to Charles, who was living in California at the time, for him to choose. According to music essayist Daniel Cooper: While his selections provided the album's country and western foundation, the musical arrangements represented its contemporary influence. Eager to display his big band ensemble in studio, Charles enlisted premier jazz arrangers Gerald Wilson and Gil Fuller, while Marty Paich, who was active in the West Coast jazz scene, was hired to arrange the lush strings and chorus numbers. Despite enlisting a roster of professional arrangers and musicians, Charles intended to control the artistic direction of the recordings. To indicate specific licks he wanted emphasized for certain songs, Charles would put together voice-and-piano demos and pass them along to the arrangers, informing them of what he wanted to do with specific sounds. According to Feller, at one point during recording, Charles rewrote an entire botched arrangement and dictated the parts to each of the 18 backing musicians.
QUESTION: What was his western music like
IN: William Clark Styron Jr. (June 11, 1925 - November 1, 2006) was an American novelist and essayist who won major literary awards for his work. Styron was best known for his novels, including: Lie Down in Darkness (1951), his acclaimed first work, published when he was 26; The Confessions of Nat Turner (1967), narrated by Nat Turner, the leader of an 1831 Virginian slave revolt; Sophie's Choice (1979), a story "told through the eyes of a young aspiring writer from the South, about a Polish Catholic survivor of Auschwitz and her brilliant but psychotic Jewish lover in postwar Brooklyn". In 1985, he suffered from his first serious bout with depression.

Styron's next two novels, published between 1967 and 1979, sparked much controversy. Feeling wounded by his first truly harsh reviews, for Set This House on Fire, Styron spent the years after its publication researching and writing his next novel, the fictitious memoirs of the historical Nathaniel "Nat" Turner, a slave who led a slave rebellion in 1831. During the 1960s, Styron became an eyewitness to another time of rebellion in the United States, living and writing at the heart of that turbulent decade, a time highlighted by the counterculture revolution with its political struggle, civil unrest, and racial tension. The public response to this social upheaval was furious and intense: battle lines were being drawn. In 1968, Styron signed the "Writers and Editors War Tax Protest" pledge, a vow refusing to pay taxes as a protest against the Vietnam War. In this atmosphere of dissent, many had criticized Styron's friend James Baldwin for his novel Another Country, published in 1962. Among the criticisms was outrage over a black author choosing a white woman as the protagonist in a story that tells of her involvement with a black man. Baldwin was Styron's house guest for several months following the critical storm generated by Another Country. During that time, he read early drafts of Styron's new novel, and predicted that Styron's book would face even harsher scrutiny than Another Country. "Bill's going to catch it from both sides," he told an interviewer immediately following the 1967 publication of The Confessions of Nat Turner. Baldwin's prediction was correct, and despite public defenses of Styron by leading artists of the time, including Baldwin and Ralph Ellison, numerous other black critics reviled Styron's portrayal of Turner as racist stereotyping. The historian and critic John Henrik Clarke edited and contributed to a polemical anthology, William Styron's Nat Turner: Ten Black Writers Respond, published in 1968 by Beacon Press. Particularly controversial was a passage in which Turner fantasizes about raping a white woman. Styron also writes of a situation where Turner and another slave boy have a homosexual encounter while alone in the woods. Several critics pointed to this as a dangerous perpetuation of a traditional Southern justification for lynching. Despite the controversy, the novel was a runaway critical and financial success, and won both the 1968 Pulitzer Prize for Fiction, and the William Dean Howells Medal in 1970.
QUESTION:
Did William apologize for his portrayal?