Problem: Richard Charles "Dick" Lewontin (born March 29, 1929) is an American evolutionary biologist, mathematician, geneticist, and social commentator. A leader in developing the mathematical basis of population genetics and evolutionary theory, he pioneered the application of techniques from molecular biology, such as gel electrophoresis, to questions of genetic variation and evolution. In a pair of seminal 1966 papers co-authored with J.L. Hubby in the journal Genetics, Lewontin helped set the stage for the modern field of molecular evolution. In 1979 he and Stephen Jay Gould introduced the term "spandrel" into evolutionary theory.

Along with others, such as Gould, Lewontin has been a persistent critic of some themes in neo-Darwinism. Specifically, he has criticised proponents of sociobiology and evolutionary psychology such as Edward O. Wilson and Richard Dawkins, who attempt to explain animal behaviour and social structures in terms of evolutionary advantage or strategy. He and others criticize this approach when applied to humans, as he sees it as genetic determinism. In his writing, Lewontin suggests a more nuanced view of evolution is needed, which requires a more careful understanding of the context of the whole organism as well as the environment. Such concerns about what he views as the oversimplification of genetics has led Lewontin to be a frequent participant in debates, and an active life as a public intellectual. He has lectured widely to promote his views on evolutionary biology and science. In books such as Not in Our Genes (co-authored with Steven Rose and Leon J. Kamin) and numerous articles, Lewontin has questioned much of the claimed heritability of human behavioral traits, such as intelligence as measured by IQ tests. Some academics have criticized him for rejecting sociobiology for non-scientific reasons. Edward Wilson (1995) suggested that Lewontin's political beliefs affected his scientific view. Robert Trivers described Lewontin as "...a man with great talents who often wasted them on foolishness, on preening and showing off, on shallow political thinking and on useless philosophical rumination while limiting his genetic work by assumptions congenial to his politics." Lewontin has at times identified himself as Marxist, and admitted that his ideological views have affected his scientific work (Levins and Lewontin 1985). Others such as Kitcher (1985) have countered that Lewontin's criticisms of sociobiology are genuine scientific concerns about the discipline. He wrote that attacking Lewontin's motives amounts to an ad hominem argument.

Who has he worked with?

Answer with quotes: Lewontin has at times identified himself as Marxist, and admitted that his ideological views have affected his scientific work (Levins and Lewontin 1985).

Problem: Grace Beverly Jones (born 19 May 1948) is a Jamaican singer, songwriter, supermodel, record producer, and actress. Born in Jamaica, she moved when she was 13, along with her siblings, to live with her parents in Syracuse, New York. Jones began her modelling career in New York state, then in Paris, working for fashion houses such as Yves St. Laurent and Kenzo, and appearing on the covers of Elle and Vogue. She worked with photographers such as Jean-Paul Goude, Helmut Newton, Guy Bourdin, and Hans Feurer, and became known for her distinctive androgynous appearance and bold features.

Jones was signed by Island Records, who put her in the studio with disco record producer, Tom Moulton. Moulton worked at Sigma Sound Studios in Philadelphia, and Portfolio, was released in 1977. The album featured three songs from Broadway musicals, "Send in the Clowns" by Stephen Sondheim from A Little Night Music, "What I Did for Love" from A Chorus Line and "Tomorrow" from Annie. The second side of the album opens up with a seven-minute reinterpretation of Edith Piaf's "La Vie en rose" followed by three new recordings, two of which were co-written by Jones, "Sorry", and "That's the Trouble". The album finished with "I Need a Man", Jones' first club hit. The artwork to the album was designed by Richard Bernstein, an artist for Interview. In 1978, Jones and Moulton made Fame, an immediate follow-up to Portfolio, also recorded at Sigma Sound Studios. The album featured another reinterpretation of a French classic, "Autumn Leaves" by Jacques Prevert. The Canadian edition of the vinyl album included another French language track, "Comme un oiseau qui s'envole", which replaced "All on a Summers Night"; in most locations this song served as the B-side of the single "Do or Die". In the North American club scene, Fame was a hit album and the "Do or Die"/"Pride"/"Fame" side reached top 10 on both the US Hot Dance Club Play and Canadian Dance/Urban charts. The album was released on compact disc in the early 1990s, but soon went out of print. In 2011, it was released and remastered by Gold Legion, a record company that specialises in reissuing classic disco albums on CD. Jones' live shows were highly sexualized and flamboyant, leading her to be called "Queen of the Gay Discos." Muse was the last of Jones' disco albums. The album features a re-recorded version "I'll Find My Way to You", which Jones released three years prior to Muse. Originally appearing in the 1976 Italian film, Colt 38 Special Squad in which Jones had a role as a club singer, Jones also recorded a song called "Again and Again" that was featured in the film. Both songs were produced by composer Stelvio Cipriani. Icelandic keyboardist Thor Baldursson arranged most of the album and also sang duet with Jones on the track "Suffer". Like the last two albums, the cover art is by Richard Bernstein. Like Fame, Muse was later released by Gold Legion.

was it a single or an album?

Answer with quotes:
album