input: According to his birth certificate he was named Fred King, and his parents were Ella Mae King and J. T. Christian. When Freddie was six years old, his mother and his uncle began teaching him to play the guitar. In autumn 1949, he and his family moved from Dallas to the South Side of Chicago.  In 1952 King started working in a steel mill. In the same year he married another Texas native, Jessie Burnett. They had seven children.  Almost as soon as he had moved to Chicago, King started sneaking into South Side nightclubs, where he heard blues performed by Muddy Waters, Howlin' Wolf, T-Bone Walker, Elmore James, and Sonny Boy Williamson. King formed his first band, the Every Hour Blues Boys, with the guitarist Jimmie Lee Robinson and the drummer Frank "Sonny" Scott. In 1952, while employed at a steel mill, the eighteen-year-old King occasionally worked as a sideman with such bands as the Little Sonny Cooper Band and Earl Payton's Blues Cats. In 1953 he recorded with the latter for Parrot Records, but these recordings were never released. As the 1950s progressed, King played with several of Muddy Waters's sidemen and other Chicago mainstays, including the guitarists Jimmy Rogers, Robert Lockwood Jr., Eddie Taylor, and Hound Dog Taylor; the bassist Willie Dixon; the pianist Memphis Slim; and the harmonicist Little Walter.  In 1956 he cut his first record as a leader, for El-Bee Records. The A-side was "Country Boy", a duet with Margaret Whitfield. The B-side was a King vocal. Both tracks feature the guitar of Robert Lockwood, Jr., who during these years was also adding rhythm backing and fills to Little Walter's records.  King was repeatedly rejected in auditions for the South Side's Chess Records, the premier blues label, which was the home of Muddy Waters, Howlin' Wolf, and Little Walter. The complaint was that King sang too much like B.B. King. A newer blues scene, lively with nightclubs and upstart record companies, was burgeoning on the West Side, though. The bassist and producer Willie Dixon, during a period of estrangement from Chess in the late 1950s, asked King to come to Cobra Records for a session, but the results have never been heard. Meanwhile, King established himself as perhaps the biggest musical force on the West Side. He played along with Magic Sam and reputedly played backing guitar, uncredited, on some of Sam's tracks for Mel London's Chief and Age labels, though King does not stand out on them.

Answer this question "Did Freddie King release a biography?"
output: he cut his first record

input: Lewis went on to publish Counterfactuals (1973), which contained an analysis of Counterfactual conditionals in terms of the theory of possible worlds. He had already proposed it in some of his earlier papers: "Counterpart Theory and Quantified Modal Logic" (1968), "Anselm and Actuality" (1970), and "Counterparts of Persons and their Bodies" (1971). In spite of significant technical advantages promised by this approach, the theory was widely considered to be too implausible to be taken literally, as Lewis urged it should be. Most often the idea that there exists an infinite number of causally isolated universes, each as real as our own but different from it in some way, and that furthermore that alluding to objects in this universe as necessary in order to explain what makes certain counterfactual statements true but not others, meets with what Lewis calls the "incredulous stare" (Lewis, OPW, 2005, pg. 135-137). Lewis defends and elaborates his theory of extreme modal realism, while insisting that there is nothing extreme about it, in On the Plurality of Worlds (1986). Lewis acknowledges that his theory is contrary to common sense, but believes that its advantages far outweigh this disadvantage, and that therefore we should not be hesitant to pay this price.  According to Lewis, what makes a counterfactual conditional of the form  "Had I made that shot our team would have won the game."  true is that there is a world, as concrete as ours and significantly similar to it, in which my counterpart makes rather than misses the shot and the counterpart of our team wins the game. Had there been a world even more similar to ours in which my counterpart makes the shot but the counterpart of our team still loses the counterfactual would have been false. When we speak of counterfactual possibilities we speak of what is the case in some possible world or worlds. According to Lewis, "actual" is merely an indexical label we give to a world when we locate ourselves in it. Things are necessarily true when they are true in all possible worlds. (Note that Lewis is not the first one to speak of possible worlds in this context. Leibniz and C.I. Lewis, for example, both speak of possible worlds as a way of thinking about possibility and necessity, and some of David Kaplan's early work is on the counterpart theory. Lewis's original suggestion was that all possible worlds are equally concrete, and the world in which we find ourselves is no more real than any other possible world.)

Answer this question "What is modal realism?"
output: the idea that there exists an infinite number of causally isolated universes, each as real as our own but different from it in some way,

input: In March 2005, Adkins released his album entitled Songs About Me. The title track was released as its first single in December 2004. The album's second single, "Arlington", generated controversy over its content (a first-person account of a fictional soldier who was about to be buried in Arlington National Cemetery). It was followed by "Honky Tonk Badonkadonk", which became a crossover hit, bringing Adkins into the Top 40 of the Billboard Hot 100 for the first time.  2006 saw the release of Adkins' seventh studio album, Dangerous Man. "Swing", the album's lead-off single, peaked at No. 20, while the follow-up "Ladies Love Country Boys" became Adkins' second Number One single on the country charts and his first since "(This Ain't) No Thinkin' Thing" in 1997. Adkins daughter, Brianna, was featured in the "Ladies Love Country Boys" video. The album's final release, "I Wanna Feel Something", proved unsuccessful on the charts; as a result, Adkins announced that he would stop supporting the single.  In August 2007, Adkins released a single entitled "I Got My Game On". Originally, the song was planned to be the lead-off to a new album, tentatively titled Game On; however, Adkins decided not to release a full album, and instead released his second Greatest Hits compilation, American Man: Greatest Hits Volume II, for which "I Got My Game On" served as the lead-off single. The album has also produced Adkins' fastest-climbing single to date in its second single, "You're Gonna Miss This". "You're Gonna Miss This" has also become his third Number One hit on the Hot Country Songs, as well as the most successful single to date on the Billboard Hot 100 (#12), Billboard Pop 100 (#19), and Hot Digital Songs charts (#8).  Adkins released his first book, entitled A Personal Stand: Observations and Opinions from a Free-Thinking Roughneck.

Answer this question "What were some of the successful singles from the album Dangerous Man?"
output:
"Ladies Love Country Boys" became Adkins' second Number One single on the country charts