Some context: Benjamin Lee Whorf (; April 24, 1897 - July 26, 1941) was an American linguist and fire prevention engineer. Whorf is widely known as an advocate for the idea that differences between the structures of different languages shape how their speakers perceive and conceptualize the world. This principle has frequently been called the "Sapir-Whorf hypothesis", after him and his mentor Edward Sapir, but Whorf called it the principle of linguistic relativity, because he saw the idea as having implications similar to Einstein's principle of physical relativity. Throughout his life Whorf was a chemical engineer by profession, but as a young man he took up an interest in linguistics.
Until his return from Mexico in 1930 Whorf had been entirely an autodidact in linguistic theory and field methodology, yet he had already made a name for himself in Middle American linguistics. Whorf had met Sapir, the leading US linguist of the day, at professional conferences, and in 1931 Sapir came to Yale from the University of Chicago to take a position as Professor of Anthropology. Alfred Tozzer sent Sapir a copy of Whorf's paper on "Nahuatl tones and saltillo". Sapir replied stating that it "should by all means be published"; however, it was not until 1993 that it was prepared for publication by Lyle Campbell and Frances Karttunen.  Whorf took Sapir's first course at Yale on "American Indian Linguistics". He enrolled in a program of graduate studies, nominally working towards a PhD in linguistics, but he never actually attempted to obtain a degree, satisfying himself with participating in the intellectual community around Sapir. At Yale, Whorf joined the circle of Sapir's students that included such luminary linguists as Morris Swadesh, Mary Haas, Harry Hoijer, G. L. Trager and Charles F. Voegelin. Whorf took on a central role among Sapir's students and was well respected.  Sapir had a profound influence on Whorf's thinking. Sapir's earliest writings had espoused views of the relation between thought and language stemming from the Humboldtian tradition he acquired through Franz Boas, which regarded language as the historical embodiment of volksgeist, or ethnic world view. But Sapir had since become influenced by a current of logical positivism, such as that of Bertrand Russell and the early Ludwig Wittgenstein, particularly through Ogden and Richards' The Meaning of Meaning, from which he adopted the view that natural language potentially obscures, rather than facilitates, the mind to perceive and describe the world as it really is. In this view, proper perception could only be accomplished through formal logics. During his stay at Yale, Whorf acquired this current of thought partly from Sapir and partly through his own readings of Russell and Ogden and Richards. As Whorf became more influenced by positivist science he also distanced himself from some approaches to language and meaning that he saw as lacking in rigor and insight. One of these was Polish philosopher Alfred Korzybski's General semantics, which was espoused in the US by Stuart Chase. Chase admired Whorf's work and frequently sought out a reluctant Whorf, who considered Chase to be "utterly incompetent by training and background to handle such a subject." Ironically, Chase would later write the foreword for Carroll's collection of Whorf's writings.
did he graduate from there
A: never actually attempted to obtain a degree, satisfying himself with participating in the intellectual community around Sapir.
Some context: Electric Ladyland is the third and final studio album by English-American rock band the Jimi Hendrix Experience, released in October 1968 by Track Records/Polydor, and Reprise Records in North America. The double album was the only record from the band produced by Jimi Hendrix. By mid-November, it had charted at number one in the United States, where it spent two weeks at the top spot. Electric Ladyland was the Experience's most commercially successful release and their only number one album.
According to music journalist David Stubbs, Electric Ladyland is "undoubtedly a rock album, albeit rock on the point of evolving into something else." Uncut magazine's John Robinson said that its music reconciles the psychedelic pop of Hendrix's earlier recordings with the aggressive funk he would explore on his 1970 album Band of Gypsys. During its recording, Kramer experimented with innovative studio techniques such as backmasking, chorus effect, echo, and flanging, which AllMusic's Cub Koda said recontextualized Hendrix's psychedelic and funk sounds on the album.  Electric Ladyland is a cross-section of Hendrix's wide range of musical talent. It includes examples of several genres and styles of music: the psychedelic "Burning of the Midnight Lamp", a UK single the previous summer (1967), the extended blues jam "Voodoo Chile", the New Orleans-style R&B of Earl King's "Come On", the epic studio production of "1983... (A Merman I Should Turn to Be)", the social commentary of "House Burning Down", and the Sixties-era Britpop of Noel Redding's "Little Miss Strange". The album also features an electric reworking of the Bob Dylan classic "All Along the Watchtower", which has been well received by critics as well as by Dylan himself, and also "Voodoo Child (Slight Return)", a staple of both radio and guitar repertoire. Rolling Stone's Holly George-Warren praised "Crosstown Traffic" for its hard rock guitar riff.  "All Along the Watchtower" became the band's highest-selling single and their only US top 40 hit, peaking at number 20; it reached number five in the UK. The album also included one of Hendrix's most prominent uses of a wah-wah pedal, on "Burning of the Midnight Lamp", which reached number 18 in the UK charts.
what other singles?
A:
All Along the Watchtower", which has been well received by critics as well as by Dylan himself, and also "Voodoo Child (Slight Return)",