input: Macmillan's analysis of scientific and popular accounts of Gage found that they almost always distort and exaggerate his behavioral changes well beyond anything described by anyone who had direct contact with him, concluding that the known facts are "inconsistent with the common view of Gage as a boastful, brawling, foul-mouthed, dishonest useless drifter, unable to hold down a job, who died penniless in an institution".  In the words of Barker, "As years passed, the case took on a life of its own, accruing novel additions to Gage's story without any factual basis".[B]:678 Even today (writes Zbigniew Kotowicz) "Most commentators still rely on hearsay and accept what others have said about Gage, namely, that after the accident he became a psychopath";[K2]:125 Grafman has written that "the details of [Gage's] social cognitive impairment have occasionally been inferred or even embellished to suit the enthusiasm of the story teller";[G]:295 and Goldenberg calls Gage "a (nearly) blank sheet upon which authors can write stories which illustrate their theories and entertain the public".  For example, Harlow's statement that Gage "continued to work in various places; could not do much, changing often, and always finding something that did not suit him in every place he tried" [H]:15 refers only to Gage's final months, after convulsions had set in.[M]:107[M10]:646 But it has been misinterpreted as meaning that, after his accident, Gage never held a regular job, "was prone to quit in a capricious fit or be let go because of poor discipline",:8-9 "never returned to a fully independent existence",:1102 "spent the rest of his life living miserably off the charity of others and traveling around the country as a sideshow freak", and ("dependent on his family"  or "in the custody of his parents") died "in careless dissipation". In fact, after his initial post-recovery months spent traveling and exhibiting, Gage supported himself--at a total of two jobs--from early 1851 until just before his death in 1860.  [M10]:654-5[D]:77  Other behaviors ascribed to the post-accident Gage that are either unsupported by, or in contradiction to, the known facts include:  None of these behaviors is mentioned by anyone who had met Gage or even his family, and as Kotowicz put it, "Harlow does not report a single act that Gage should have been ashamed of." [K2]:122-3 Gage is "a great story for illustrating the need to go back to original sources", writes Macmillan, most authors having been "content to summarize or paraphrase accounts that are already seriously in error". [M]:315  Nonetheless (write Daffner and Searl) "the telling of [Gage's] story has increased interest in understanding the enigmatic role that the frontal lobes play in behavior and personality", and Ratiu has said that in teaching about the frontal lobes, an anecdote about Gage is like an "ace [up] your sleeve. It's just like whenever you talk about the French Revolution you talk about the guillotine, because it's so cool." [K] Benderly suggests that instructors use the Gage case to illustrate the importance of critical thinking.

Answer this question "Who was Macmillan?"
output: 

input: For their next two albums, Every Good Boy Deserves Favour (1971) - from which Hayward's "The Story in Your Eyes" was taken as a US charting single (No. 23) - and Seventh Sojourn (1972) (which reached No. 1 in the US), the band returned to their signature orchestral sound which, while difficult to reproduce in concert, had become their trademark. The title "Every Good Boy Deserves Favour" was borrowed, tongue-in-cheek, from a mnemonic used to remember the musical notes that form the lines of the treble clef: EGBDF. The opening track "Procession" was the only item composed by all five band members, a fascinating track depicting the "evolution" of music, leading into Hayward's "Story in Your Eyes". Thomas's reflective "Our Guessing Game" and whimsical "Nice To Be Here" offset the deeper drama of Hayward's "You Can Never Go Home", Lodge's "One More Time To Live" and Pinder's "My Song". Edge, the long-standing drummer-poet, started writing lyrics intended to be sung, rather than verses to be spoken - his "After You Came" (1971) featured each of the four lead singers taking a vocal section. Then in 1972, Lodge's songs "Isn't Life Strange?" (No. 13) and "I'm Just a Singer (In a Rock and Roll Band)" (No. 36) were lifted from Seventh Sojourn as charting UK singles. Sojourn also saw Pinder using the new Chamberlin instrument in place of the mellotron and Edge using an electronic drum kit. Pinder's stirring lament "Lost in a Lost World" opened this last "Core Seven" outing, while his sympathetic ode to Timothy Leary "When You're a Free Man", Thomas's romantic "For My Lady", and Hayward's serene "New Horizons" all stood out.  In an interview following the release of Seventh Sojourn, Graeme Edge told Rolling Stone: "We've got two Christians, one Mystic, one Pedantic and one Mess, and we all get on a treat."  By this time, other bands were picking up their work. Pinder's songs "A Simple Game" (1968) and "So Deep Within You" (1969) were successfully covered by the Four Tops, Pinder winning an Ivor Novello Award for "A Simple Game", Elkie Brooks later covered Hayward's "Nights in White Satin". Pinder also appeared on John Lennon's "Imagine" album in 1971, providing additional percussion on "I Don't Wanna Be a Soldier (I Don't Want to Die)". The 1968 to 1972 album sleeves, plus several solo sets up to Ray Thomas's "Hopes, Wishes & Dreams" in 1976, were characterised by striking surreal scenic sleeve artwork (mostly gatefold sleeves) by artist Phil Travers.  In late 1972, a re-issue of the five-year-old "Nights in White Satin" became the Moody Blues' biggest US hit, soaring to number two on the Billboard Hot 100 and becoming a certified million-seller; the song had "bubbled under" the Hot 100 charts on its original release. The song also returned to the UK charts, reaching No. 9, ten places higher than its original release in 1967.

Answer this question "Did they perform with any other artists?"
output:
". Pinder also appeared on John Lennon's "Imagine" album in 1971,