Question: Richard Allen Posner (; born January 11, 1939) is an American jurist and economist who was a United States Circuit Judge of the United States Court of Appeals for the Seventh Circuit in Chicago from 1981 until 2017, and is a Senior Lecturer at the University of Chicago Law School. He is a leading figure in the field of law and economics, and was identified by The Journal of Legal Studies as the most cited legal scholar of the 20th century. Posner is known for his scholarly range and for writing on topics outside of his primary field, law.

In Posner's youth and in the 1960s as law clerk to William J. Brennan he was generally counted as a liberal. However, in reaction to some of the perceived excesses of the late 1960s, Posner developed a strongly conservative bent. He encountered Chicago School economists Aaron Director and George Stigler while a professor at Stanford. Posner summarized his views on law and economics in his 1973 book The Economic Analysis of Law.  Today, although generally viewed as to the right in academia, Posner's pragmatism, his qualified moral relativism and moral skepticism, and his affection for the thought of Friedrich Nietzsche set him apart from most American conservatives. As a judge, with the exception of his rulings with respect to the sentencing guidelines and the recording of police actions, Posner's judicial votes have always placed him on the moderate-to-liberal wing of the Republican Party, where he has become more isolated over time. In July 2012, Posner stated, "I've become less conservative since the Republican Party started becoming goofy." Among Posner's judicial influences are the American jurists Oliver Wendell Holmes, Jr. and Learned Hand.  In June 2016, Posner was criticized by right-wing media organizations for a column he wrote for Slate in which he stated, "I see absolutely no value to a judge of spending decades, years, months, weeks, day, hours, minutes, or seconds studying the Constitution, the history of its enactment, its amendments, and its implementation."  He has called his approach to judging pragmatic. "I pay very little attention to legal rules, statutes, constitutional provisions... A case is just a dispute. The first thing you do is ask yourself -- forget about the law -- what is a sensible resolution of this dispute? The next thing...is to see if a recent Supreme Court precedent or some other legal obstacle stood in the way of ruling in favor of that sensible resolution. And the answer is that's actually rarely the case. When you have a Supreme Court case or something similar, they're often extremely easy to get around."

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Problem: Louis "Louison" Bobet (pronounced [lwi.zo bo.be]; 12 March 1925 - 13 March 1983) was a French professional road racing cyclist. He was the first great French rider of the post-war period and the first rider to win the Tour de France in three successive years, from 1953 to 1955. His career included the national road championship (1950 and 1951), Milan-San Remo (1951), Giro di Lombardia (1951), Criterium International (1951 & 52), Paris-Nice (1952), Grand Prix des Nations (1952), world road championship (1954), Tour of Flanders (1955), Criterium du Dauphine Libere (1955), Tour de Luxembourg (1955), Paris-Roubaix (1956) and Bordeaux-Paris (1959).

The most striking feature of Bobet the man rather than rider was his ambition to behave like a Hollywood matinee idol, a sort of David Niven character in a dinner suit tuxedo. It brought him much ribbing from other French riders. Geminiani says Bobet's diffident and elegant manner made him less popular even in his own Brittany than the more rustic, forthright manners of other Breton people such as Jean Robic. The British professional Brian Robinson called Bobet "a private man and a little moody" and said he would sulk if things went wrong. The French journalist Rene de Latour said of Bobet in Sporting Cyclist that "he didn't look good on a bike" and that he had "the legs of a football [soccer] player".  Bobet spoke out against French involvement in a war against communists in Indo-China. He said he wasn't a Marxist but a pacifist. Geminiani said Bobet lacked humility. "He really thought that, after him, there'd be no more cycling in France", he said. Bobet occasionally talked of himself in the third person.  Bobet was driven by personal hygiene and refused to accept his first yellow jersey because it had not been made with the pure wool he believed the only healthy material for a sweating and dusty rider. Synthetic thread or blends were added in 1947 following the arrival of Sofil as a sponsor. Sofil made artificial yarn. The race organiser, Jacques Goddet wrote:  It produced a real drama. Our contract with Sofil was crumbling away. If the news had got out, the commercial effect would have been disastrous for the manufacturer. I remember debating it with him a good part of the night. Louison was always exquisitely courteous but his principles were as hard as the granite blocks of his native Brittany coast.  Goddet had to get Sofil to produce another jersey overnight, its logo still visible but artificial fabric absent. Bobet's concern with hygiene and clothing was accentuated by frequent problems with saddle sores.

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Answer with quotes: Louison was always exquisitely courteous but his principles were as hard as the granite blocks of his native Brittany coast.

Problem: Sylvia Jane Hutton (nee Kirby, born December 9, 1956), known simply by her first name Sylvia during the 1980s, is an American country music and country pop singer and songwriter. Some original source books have her birth name as Sylvia Kirby Allen; however, Allen was her first husband's last name. She consequently used only her first name. There was also a point in time that she used Sylvia Rutledge.

The release of her fourth album, Surprise, spurred her second foray into the Adult Contemporary charts, but neither its sound, nor her newly shorn locks courtesy Francesco Scavullo, were well received in country music. Surprise was the last of Sylvia's first four albums to be produced by Tom Collins, who also produced Mandrell, Charley Pride, and Ronnie Milsap. They have been described by critics as too slick for country music.  Her following album, One Step Closer, produced by The Judds' producer Brent Maher, had a more guitar-driven feel to it as opposed to her previously more orchestrated affairs. It was followed up by Sylvia's last top 40 country hit, "Nothin' Ventured, Nothin' Gained", from the unreleased album Knockin Around. The shelving of this album marked the end of Sylvia's tenure with RCA Records. The label did release a Greatest Hits compilation and a single from it titled "Straight from my Heart" (written with Jimmy Fortune of The Statler Brothers). The record received little promotion from RCA and the single charted in the low 60s. In the late 1980s, RCA began streamlining its roster of country-pop artists and the casualties included Sylvia, Dolly Parton, Louise Mandrell, Deborah Allen, Juice Newton, John Denver and Kenny Rogers.  Over an eight-year period, Sylvia crisscrossed America many times with her popular concert performances (over 200 per year), and she was a frequent guest on network television talk shows and specials -- from The Today Show and Good Morning, America to Dick Clark's American Bandstand and the Country Music Awards.  Her decision to stop touring and recording at the end of the 1980s was not fueled by the grueling schedule, as some might guess, but by her desire to bring more of herself to the music, she turned her energies to songwriting.

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Her following album, One Step Closer, produced by The Judds' producer Brent Maher, had a more guitar-driven feel to it as opposed to her previously