input: Big Star returned in 1993 with a new line-up when guitarist Jon Auer and bassist Ken Stringfellow joined Chilton and Stephens. Auer and Stringfellow remained members of the Posies, founded by the pair in 1986. Stringfellow is also known for his work with R.E.M. and the Minus 5. Hummel elected not to participate. First-era material dominated Big Star's performances, with the occasional addition of a song from the 2005 album In Space; Stringfellow recalled that during the 1990s, "We were working out the set list and we went to this little cafe. Little did I know we'd be playing that set for the next ten years". The resurrected band made its debut at the 1993 University of Missouri spring music festival. A recording of the performance was issued on CD by Zoo Records as Columbia: Live at Missouri University. The concert was followed by tours of Europe and Japan, as well as an appearance on The Tonight Show.  Big Star's first post-reunion studio recording was the song "Hot Thing", recorded in the mid-1990s for the Big Star tribute album Big Star, Small . As with their prior studio release, however, the tribute album was delayed for years due to its record company going under. Originally scheduled for a 1998 release on Ignition Records, the album was eventually released in 2006 on Koch Records.  In Space was released on September 27, 2005 on the Rykodisc label. Recorded during 2004, the album consisted of new material mostly co-written by Chilton, Stephens, Auer, and Stringfellow. Reviewing In Space, Rolling Stone's David Fricke first pointed out that the context of the release was now "a world expecting that American Beatles ideal all over again" from a band that "achieved its power-pop perfection when no one else was looking." In Fricke's estimation, this seemingly unrealistic expectation was met in part: "It's here - in the jangly longing and ice-wall harmonies of 'Lady Sweet'" - however, Fricke found that the successful songs were interleaved with "the eccentric R&B and demo-quality glam rock that have made Chilton's solo records a mixed blessing," and that "'A Whole New Thing' starts out like old T.Rex, then goes nowhere special." Warming nevertheless to "the rough sunshine" of "Best Chance", Fricke concluded, "In Space is no #1 Record, but at its brightest, it is Big Star in every way."  The band appeared at San Francisco's Fillmore Auditorium on October 20, 2007. San Francisco-based band Oranger, performed as opening act. Big Star performed at the 2008 Rhythm Festival, staged from August 29-31 in Bedfordshire, UK. On June 16, 2009, the #1 Record/Radio City double album was reissued in remastered form. The same month, it was announced that a film of Big Star's history, based on biographer Rob Jovanovic's book Big Star: The Story of Rock's Forgotten Band, was in pre-production. On July 1, 2009, Big Star performed at a concert in Hyde Park, London, UK. On September 15, 2009, Rhino Records issued a four-CD box set containing 98 recordings made between 1968 and 1975. Keep an Eye on the Sky included live and demo versions of Big Star songs, solo work, and material from Bell's earlier bands Rock City and Icewater. On November 18, 2009, the band performed at the Brooklyn Masonic Temple in New York City.

Answer this question "Did the album win any awards?"
output: 

input: Laine cut his first record in 1944, for a fledgling company called "Beltone Records." The sides were called "In the Wee Small Hours of the Morning", (an uptempo number not to be confused with the Frank Sinatra recording of the same name) and a wartime propaganda tune entitled "Brother, That's Liberty", though the records failed to make much of an impression. The label soon folded, and Laine was picked up by Atlas Records, a "race label" that initially hired him to imitate his friend Nat "King" Cole. Cole would occasionally "moonlight" for other labels, under pseudonyms, while under contract to "Capitol", and as he had previously recorded some sides for Atlas, they reasoned that fans would assume that "Frankie Laine" was yet another pseudonym for "Cole."  Laine cut his first two numbers for Atlas in the King mode, backed by R&B artist Johnny Moore's group, The Three Blazers which featured Charles Brown and Cole's guitarist (from "The King Cole Trio"), Oscar Moore. The ruse worked and the record sold moderately well, although limited to the "race" market. Laine cut the remainder of his songs for Atlas in his own style, including standards such as "Roses of Picardy" and "Moonlight in Vermont".  It was also at this time that he recorded a single for Mercury Records: "Pickle in the Middle with the Mustard on Top" and "I May Be Wrong (But I Think You're Wonderful)." He appears only as a character actor on the first side, which features the comedic singing of Artie Auerbach (a.k.a., "Mr. Kitzel") who was a featured player on the Jack Benny radio show. In it, Laine plays a peanut vendor at a ball game and can be heard shouting out lines like "It's a munchy, crunchy bag of lunchy!" The flip side features Laine, and is a jazzy version of an old standard done as a rhythm number. It was played by Laine's friend, disc jockey Al Jarvis, and gained the singer a small West Coast following.

Answer this question "What was atlas?"
output: Atlas Records,

input: In the field of epistemology, Putnam is known for his "brain in a vat" thought experiment (a modernized version of Descartes's evil demon hypothesis). The argument is that one cannot coherently state that one is a disembodied "brain in a vat" placed there by some "mad scientist".  This follows from the causal theory of reference. Words always refer to the kinds of things they were coined to refer to, thus the kinds of things their user, or the user's ancestors, experienced. So, if some person, Mary, were a "brain in a vat", whose every experience is received through wiring and other gadgetry created by the "mad scientist", then Mary's idea of a "brain" would not refer to a "real" brain, since she and her linguistic community have never seen such a thing. Rather, she saw something that looked like a brain, but was actually an image fed to her through the wiring. Similarly, her idea of a "vat" would not refer to a "real" vat. So, if, as a brain in a vat, she were to say "I'm a brain in a vat", she would actually be saying "I'm a brain-image in a vat-image", which is incoherent. On the other hand, if she is not a brain in a vat, then saying that she is a brain in a vat is still incoherent, but now because she actually means the opposite. This is a form of epistemological externalism: knowledge or justification depends on factors outside the mind and is not solely determined internally.  Putnam has clarified that his real target in this argument was never skepticism, but metaphysical realism. Since realism of this kind assumes the existence of a gap between how man conceives the world and the way the world really is, skeptical scenarios such as this one (or Descartes' evil demon) present a formidable challenge. Putnam, by arguing that such a scenario is impossible, attempts to show that this notion of a gap between man's concept of the world and the way it is, is in itself absurd. Man cannot have a "God's eye" view of reality. He is limited to his conceptual schemes. Metaphysical realism is therefore false, according to Putnam.

Answer this question "What was Putnam's "brain in a vat" experiment?"
output:
if some person, Mary, were a "brain in a vat", whose every experience is received through wiring and other gadgetry created by the "mad scientist