Background: Kaki King (born Katherine Elizabeth King, August 24, 1979) is an American guitarist and composer. King is known for her percussive and jazz-tinged melodies, energetic live shows, use of multiple tunings on acoustic and lap steel guitar, and her diverse range in different genres. In February 2006, Rolling Stone released a list of "The New Guitar Gods", on which King was the sole woman and youngest artist (beating Derek Trucks in age by two months as the youngest on the list). In addition to a 10-year career that includes six LP and two EP albums, King has also scored music for television and film.
Context: At the end of her tour for Legs to Make Us Longer in 2005, King departed from her previous musical direction out of a desire to escape being pigeonholed as a solo instrumental artist. She amicably parted ways with major label Sony/Epic and returned to her original label, Velour, to begin work on her third album ...Until We Felt Red. Released August 8, 2006, on Velour Records, the album features production work by Tortoise's John McEntire. With the prominence of electric guitar shoegazing and effect boxes on the new record, and the addition of a full band, the music website, The A.V. Club, called the sound a "post-rock makeover." She supported the album by going on tour with Sarah Bettens from K's Choice. In early 2007, Dave Grohl invited King to appear as a guitarist on the track "Ballad of the Beaconsfield Miners", a song penned by Grohl for an upcoming studio album by the Foo Fighters. King agreed and is credited on the album, entitled Echoes, Silence, Patience & Grace, released on September 25, 2007. On November 18, 2007, she joined Dave Grohl on stage to perform the track at the O2 arena in London. Grohl highly praised King's performance:  "There are some guitar players that are good and there are some guitar players that are really fucking good. And then there's Kaki King."  King toured with the Foo Fighters on the Australian leg of the Echoes, Silence, Patience and Grace tour. While on tour, King finished recording what became the Day Sleeper (Australian tour EP). It was released in late 2007 after King had finished working on August Rush, and with Eddie Vedder and Sean Penn on Into The Wild.
Question: Who else has she worked with in her carreer?
Answer: and with Eddie Vedder and Sean Penn on Into The Wild.

Background: A big band is a type of musical ensemble that usually consists of ten or more musicians with four sections: saxophones, trumpets, trombones, and a rhythm section. Big bands originated during the early 1910s and dominated jazz in the early 1940s when swing was most popular. The term "big band" is also used to describe a genre of music. One problem with this usage is that it overlooks the variety of music played by these bands.
Context: Although big bands are identified with the swing era, they continued to exist after those decades, though the music they played was often different from swing. Bandleader Charlie Barnet's recording of "Cherokee" in 1942 and "The Moose" in 1943 have been called the beginning of the bop era. Woody Herman's first band, nicknamed the First Herd, borrowed from progressive jazz, while the Second Herd emphasized the saxophone section of three tenors and one baritone. In the 1950s, Stan Kenton referred to his band's music as "progressive jazz", "modern", and "new music". He created his band as a vehicle for his compositions. Kenton pushed the boundaries of big bands by combining clashing elements and by hiring arrangers whose ideas about music conflicted. This expansive eclecticism characterized much of jazz after World War II. During the 1960s and '70s, Sun Ra and his Arketstra took big bands further out. Ra's eclectic music was played by a roster of musicians from ten to thirty and was presented as theater, with costumes, dancers, and special effects.  As jazz was expanded during the 1950s through the 1970s, the Basie and Ellington bands were still around, as were bands led by Buddy Rich, Gene Krupa, Lionel Hampton, Earl Hines, Les Brown, Clark Terry, and Doc Severinsen. Progressive bands were led by Dizzy Gillespie, Gil Evans, Carla Bley, Toshiko Akiyoshi and Lew Tabackin, Don Ellis, and Anthony Braxton.  Other bandleaders used Brazilian and Afro-Cuban music with big band instrumentation, and big bands led by arranger Gil Evans, saxophonist John Coltrane (on the album Ascension from 1965) and bass guitarist Jaco Pastorius introduced cool jazz, free jazz and jazz fusion, respectively, to the big band domain. Modern big bands can be found playing all styles of jazz music. Some large contemporary European jazz ensembles play mostly avant-garde jazz using the instrumentation of the big bands. Examples include the Vienna Art Orchestra, founded in 1977, and the Italian Instabile Orchestra, active in the 1990s.  In the late 1990s, there was a swing revival in the U.S. The Lindy Hop became popular again and young people took an interest in big band styles again.  Big bands maintained a presence on American television, particularly through the late-night talk show, which has historically used big bands as house accompaniment. Typically the most prominent shows with the earliest time slots and largest audiences have bigger bands with horn sections while those in later time slots go with smaller, leaner ensembles.
Question: Was there mention of any names of the big bands?
Answer: Examples include the Vienna Art Orchestra,

Background: Jerry Alan Fodor (; April 22, 1935 - November 29, 2017) was an American philosopher and cognitive scientist. He held the position of State of New Jersey Professor of Philosophy, Emeritus, at Rutgers University and was the author of many works in the fields of philosophy of mind and cognitive science, in which he laid the groundwork for the modularity of mind and the language of thought hypotheses, among other ideas. He was known for his provocative and sometimes polemical style of argumentation and as "one of the principal philosophers of mind of the late twentieth and early twenty-first century. In addition to having exerted an enormous influence on virtually every portion of the philosophy of mind literature since 1960, Fodor's work has had a significant impact on the development of the cognitive sciences."
Context: In his article "Propositional Attitudes" (1978), Fodor introduced the idea that mental states are relations between individuals and mental representations. Despite the changes in many of his positions over the years, the idea that intentional attitudes are relational has remained unchanged from its original formulation up to the present time.  In that article, he attempted to show how mental representations, specifically sentences in the language of thought, are necessary to explain this relational nature of mental states. Fodor considers two alternative hypotheses. The first completely denies the relational character of mental states and the second considers mental states as two-place relations. The latter position can be further subdivided into the Carnapian view that such relations are between individuals and sentences of natural languages and the Fregean view that they are between individuals and the propositions expressed by such sentences. Fodor's own position, instead, is that to properly account for the nature of intentional attitudes, it is necessary to employ a three-place relation between individuals, representations and propositional contents.  Considering mental states as three-place relations in this way, representative realism makes it possible to hold together all of the elements necessary to the solution of this problem. Further, mental representations are not only the objects of beliefs and desires, but are also the domain over which mental processes operate. They can be considered the ideal link between the syntactic notion of mental content and the computational notion of functional architecture. These notions are, according to Fodor, our best explanation of mental processes.
Question: Where was he educated?
Answer: