Problem: Background: Douglas Clare Fischer (October 22, 1928 - January 26, 2012) was an American keyboardist, composer, arranger, and bandleader. After graduating from Michigan State University (from which, five decades later, he would receive an honorary doctorate), he became the pianist and arranger for the vocal group the Hi-Lo's in the late 1950s. Fischer went on to work with Donald Byrd and Dizzy Gillespie, and became known for his Latin and bossa nova recordings in the 1960s. He composed the Latin jazz standard "Morning", and the jazz standard "Pensativa".
Context: Fischer next lived in Detroit, Michigan, whereupon, after first hearing the vocal quartet The Hi-Lo's in a live performance, he promptly offered his services. Over the next five years, Fischer recorded several albums with the group, serving as pianist and, on occasion, arranger. In addition, he contributed several vocal arrangements, making his debut in that capacity; it was these arrangements that Herbie Hancock would later point to as a major influence:  [T]hat's when I really learned some much farther-out voicings - like the harmonies I used on Speak Like a Child - just being able to do that. I really got that from Clare Fischer's arrangements for the Hi-Lo's. Clare Fischer was a major influence on my harmonic concept... I heard some of his last records, and he was still doing amazing harmonic stuff. And, of course, he was a wonderful pianist, too. But it was those vocal harmonies that were the first thing I heard. I was in awe of him.  When Fischer moved to Hollywood in 1958, he went to East L.A. to play and learn more about Latin-Jazz. He started in a charanga group with Modesto Duran as leader and played with many different groups. On November 2, 1959, he made a particularly fruitful connection within this genre when he appeared with the Hi-lo's at the First Annual Los Angeles Jazz Festival on the same bill with the already popular Latin jazz group led by vibraphonist Cal Tjader. Both his playing and arranging made an immediate impression on Tjader, who went on to employ Fischer in both capacities on several recordings over the next three years; the two would reunite in the mid-seventies, leading eventually to the formation of Fischer's own Latin jazz unit, Salsa Picante.  In 1961, Fischer became interested in Brazilian music through the recordings of Elizete Cardoso and Joao Gilberto. This discovery, coupled with his introduction to the music of Mexican composer Mario Ruiz Armengol, led to Fischer's subsequent collaboration with Cal Tjader, a 1962 LP devoted jointly to Armengol's music and that of assorted contemporary Brazilian composers. Over the following year, Fischer collaborated on two Bossa Nova-themed LPs with saxophonist Bud Shank, and arranged another for pianist George Shearing.  While with The Hi-Lo's, Fischer arranged a record by trumpeter Donald Byrd, which, by virtue of Fischer's use of strings and harps, imbued well-known standards with an unaccustomed, melancholic quality. Although it would be twenty-five years before the album was finally released, September Afternoon paid immediate dividends when Byrd played a copy for Dizzy Gillespie. In turn, Gillespie hired Fischer to write arrangements for a small ensemble featuring brass and woodwinds for his own album, A Portrait of Duke Ellington, which was well received. In 1960 albums for vibraphonist Cal Tjader and pianist George Shearing followed, as did an eight-year career of writing music for commercials, as well as the signing of Fischer's first record contract.
Question: Did he get any awards when he was in his early stage?
Answer: 

Problem: Background: Earl Kemp Long (August 26, 1895 - September 5, 1960) was an American politician and the 45th Governor of Louisiana, serving three non-consecutive terms. Long, known as "Uncle Earl", connected with voters through his folksy demeanor and colorful oratory. He departed from other southern politicians of his time by promoting a progressive agenda, including expanding school lunch programs, teacher pay, public works projects, and minority voting rights. His sometimes erratic behavior - including a liaison with New Orleans stripper Blaze Starr - did not affect his electoral success.
Context: The colorful "Uncle Earl" (so-named because of his relatives, including nephew and U.S. Senator Russell Long) once joked that one day the people of Louisiana would elect "good government, and they won't like it!" But, beneath his public persona as a simple, plain-spoken rural Louisianan of little education, he had an astute political mind of considerable intelligence. Earl Long was a master campaigner, who attracted large crowds when his caravan crisscrossed the state. He would not allow a local person to introduce him or his ticket mates at a rally. Only out-of-parish people could do the honor. Long reasoned that nearly any local person would have made some political enemies who might reject Earl Long just because that person's "enemy" was pro-Long. Long was determined to get every vote possible and so tried to remain independent of local rivalries.  Both Earl Long and his brother Huey had grown close to Earl Williamson, a local politician in Caddo Parish. Williamson's son, Don W. Williamson, later recalled Earl Long coming into their town of Vivian and picking up his father to join the Long entourage for a trip to Hot Springs, Arkansas, where they enjoyed buttermilk drinking and horse racing as well as illicit attractions in the resort city. Long demanded absolute loyalty among his inner circle, often saying that he did not need them to back him when he was right but when he was wrong.  Long's erratic political behavior led the aspiring singer Jay Chevalier to compose in 1959 the song, "The Ballad of Earl K. Long".
Question: How did the people feel about Earl Long?
Answer:
Earl Long was a master campaigner, who attracted large crowds