Question: Benjamin Ryan Tillman (August 11, 1847 - July 3, 1918) was a politician of the Democratic Party who served as Governor of South Carolina from 1890 to 1894, and a United States Senator from 1895 until his death in 1918. A white supremacist who opposed civil rights for blacks, Tillman led a paramilitary group of Red Shirts during South Carolina's violent 1876 election. On the floor of the U.S. Senate, he frequently ridiculed blacks, and boasted of having helped to kill them during that campaign. In the 1880s, Tillman, a wealthy landowner, became dissatisfied with the Democratic leadership and led a movement of white farmers calling for reform.

Tillman was sworn in as governor in Columbia on December 4, 1890, before a crowd of jubilant supporters, the largest to see South Carolina's governor inaugurated since Hampton's swearing-in. In his inaugural address, Tillman celebrated his victory, "the citizens of this great commonwealth have for the first time in its history demanded and obtained for themselves the right to choose her Governor; and I, as the exponent and leader of the revolution which brought about the change, am here to take the solemn oath of office ... the triumph of democracy and white supremacy over mongrelism and anarchy, of civilization over barbarism, has been most complete."  Tillman made it clear he was not content that African Americans were allowed even a limited role in the political life of South Carolina:  The whites have absolute control of the State government, and we intend at any and all hazards to retain it. The intelligent exercise of the right of suffrage ... is as yet beyond the capacity of the vast majority of colored men. We deny, without regard to color, that "all men are created equal"; it is not true now, and was not true when Jefferson wrote it.  The legislature, at Tillman's recommendation, reapportioned itself, costing Charleston County four of its twelve seats, and other lowcountry counties one each, with the seats going to the upcountry. Although Tillman sought to reduce public expenditures, he was not successful in doing so as his reform program required spending, and the legislature could find few savings to make. Construction of Clemson College was slowed, and subsidies for fairs were cut.  Among the matters before the new, Tillman-controlled legislature was who should fill the Senate seat held by Hampton, whose term expired in March 1891--until 1913, state legislatures elected senators. There was a call from many in the South Carolina Democratic Party to re-elect Hampton, who had played a major role in the state for the past thirty years, in war and peace. Tillman was embittered against Hampton for a number of slights, including the senator's neutrality in the race against Haskell. The legislature retired Hampton, who received only 43 of 157 votes, and sent Irby to Washington in his place. The ouster of Hampton was controversial, and remained so for decades afterwards; according to Simkins (writing in 1944), "to future generations of South Carolinians, Tillman's act was a ruthless violation of cherished traditions of which Hampton was a living symbol".

Using a quote from the above article, answer the following question: How many terms did he serve of Governor?
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Problem: Mal Waldron was born in New York City on August 16, 1925, to West Indian immigrants. His father was a mechanical engineer who worked on the Long Island Rail Road. The family moved to Jamaica, Queens when Mal was four years old. Waldron's parents discouraged his initial interest in jazz, but he was able to maintain it by listening to swing on the radio.

Waldron went on to work with Ike Quebec in New York in 1950 and made his recording debut with the saxophonist in 1952. They played at Cafe Society Downtown on Mondays for six or seven months, which helped Waldron gain exposure and more work. Waldron worked frequently with Charles Mingus from 1954 to 1956, as part of the latter's jazz composers' workshop. He was pianist on several Mingus recordings, including Pithecanthropus Erectus, which was a key development in the movement towards freer collective improvisation in jazz. In 1955, Waldron worked with Lucky Millinder and Lucky Thompson. Waldron formed his own band in 1956, which consisted of Idrees Sulieman (trumpet), Gigi Gryce (alto saxophone), Julian Euell (bass), and Arthur Edgehill (drums). This band recorded Waldron's first release as a leader, Mal-1, in November of that year. Waldron was Billie Holiday's regular accompanist from April 1957 until her death in July 1959, including for the all-star television broadcast The Sound of Jazz.  Waldron played on numerous sessions for Prestige Records from 1956 to 1958, as he was the house pianist with the label, a position he acquired after being introduced to Prestige by saxophonist Jackie McLean. Waldron appeared on several McLean-led recordings, and was praised by critic John S. Wilson for these performances as being "a consistently interesting and inventive pianist, who apparently can create fresh and provocative ideas even in the midst of a shrilling bedlam". Other leaders he worked under at Prestige included Gene Ammons, Kenny Burrell, John Coltrane, and Phil Woods. Waldron often used his own arrangements and compositions for the Prestige sessions, of which his most famous, "Soul Eyes", written for Coltrane, became a widely recorded jazz standard following its initial appearance on the 1957 album Interplay for 2 Trumpets and 2 Tenors. He composed at night at home in St. Albans between all-day recording sessions, and in a car travelling to and from the studio in Hackensack. Waldron estimated that he composed more than 400 pieces of music during his time with Prestige.  After Holiday died, Waldron played with vocalist Abbey Lincoln and her husband, drummer Max Roach. Around this time, Waldron's playing on his own recordings became darker, featuring emotional shifts and variations in minor keys. In 1961, Waldron played in Eric Dolphy and Booker Little's quintet, a promising combination that ended when Little died that year, aged 23.  In addition to writing for his own band and those led by others, Waldron wrote and arranged for early play-along records that were published by Music Minus One. Some of these recordings on which Waldron played were released under his name. He also wrote scores for modern ballet in the 1950s and started writing film scores in the following decade. His writing for the film The Cool World (released in 1964) was described in The Oxford Companion to Jazz as one of the first attempts to stress improvisation rather than composition in a jazz-based film score.

Did he win any awards?

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