Answer the question at the end by quoting:

Madikizela-Mandela's Xhosa name was Nomzamo ("She who tries"). She was born in the village of Mbongweni, Bizana, Pondoland, in what is now the Eastern Cape province. She was the fourth of eight children, seven sisters and a brother. Her parents, Columbus and Gertrude, who had a white father, and Xhosa mother, were both teachers.
Due to her political activities, Winnie was regularly detained by the National Party government. She was tortured, subjected to house arrest, kept under surveillance, held in solitary confinement for over a year and even banished to a remote town. She emerged as a leading opponent of apartheid during the later years of her husband's imprisonment (August 1963 - February 1990). For many of those years, she was banished to the town of Brandfort in the Orange Free State and confined to the area, except for when she was allowed to visit her husband at Robben Island. Beginning in 1969, she spent eighteen months in solitary confinement at Pretoria Central Prison. It was at this time that Winnie Mandela became well known in the Western world. She organised local clinics, campaigned actively for equal rights and was promoted by the ANC as a symbol of their struggle against apartheid. In a leaked letter to Jacob Zuma in October 2008, outgoing President of South Africa Thabo Mbeki alluded to the role the ANC had created for her in their anti-apartheid activism: In the context of the global struggle for the release of political prisoners in our country, our movement took a deliberate decision to profile Nelson Mandela as the representative personality of these prisoners, and therefore to use his personal political biography, including the persecution of his then wife, Winnie Mandela, dramatically to present to the world and the South African community the brutality of the apartheid system. Beaten by the apartheid police, she developed an addiction to painkillers and alcohol as a result of a back injury caused by the assault.

Why did she go to prison?

Due to her political activities, Winnie was regularly detained by the National Party government.

Answer the question at the end by quoting:

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.

What works of Debussy did he particularly like?
For Takemitsu, Debussy's "greatest contribution was his unique orchestration which emphasizes colour, light and shadow