Problem: Background: "Hey Jude" is a song by the English rock band the Beatles, written by Paul McCartney and credited to Lennon-McCartney. The ballad evolved from "Hey Jules", a song McCartney wrote to comfort John Lennon's son, Julian, during his parents' divorce. "Hey Jude" begins with a verse-bridge structure incorporating McCartney's vocal performance and piano accompaniment; further instrumentation is added as the song progresses. After the fourth verse, the song shifts to a fade-out coda that lasts for more than four minutes. "
Context: Having earmarked the song for release as a single, the Beatles recorded "Hey Jude" during the sessions for their self-titled double album, commonly known as "the White Album". The sessions were marked by an element of discord within the group for the first time, partly as a result of Ono's constant presence at Lennon's side, and also reflective of the four band members' divergence following their communal trip to Rishikesh in the spring of 1968 to study Transcendental Meditation. Author Peter Doggett describes the completed version of "Hey Jude" as a song that "glowed with optimism after a summer that had burned with anxiety and rage within the group". The Beatles first taped 25 takes of the song at EMI's Abbey Road Studios in London over two nights, 29 and 30 July 1968, with George Martin as their producer. These dates served as rehearsals, however, since they planned to record the master track at Trident Studios to utilise their eight-track recording machine (Abbey Road was still limited to four-tracks). A take from 29 July, which author and critic Kenneth Womack describes as a "jovial" session, was issued on the Anthology 3 compilation in 1996. The 30 July rehearsals were filmed for a short documentary titled Music! However, the film shows only three of the Beatles performing "Hey Jude", as George Harrison remained in the studio control room, with Martin and EMI recording engineer Ken Scott. Author Simon Leng views this as indicative of how Harrison was increasingly allowed little room to develop ideas on McCartney compositions, whereas he was free to create empathetic guitar parts for Lennon's songs of the period. During the rehearsals that day, Harrison and McCartney had a heated disagreement over the lead guitar part for the song. Harrison's idea was to play a guitar phrase as a response to each line of the vocal, which did not fit with McCartney's conception of the song's arrangement, and he vetoed it. In a 1994 interview, McCartney said, "looking back on it, I think, Okay. Well, it was bossy, but it was ballsy of me, because I could have bowed to the pressure." Ron Richards, a record producer who worked for Martin at both Parlophone and AIR Studios, said McCartney was "oblivious to anyone else's feelings in the studio", and that he was driven to making the best possible record, at almost any cost.
Question: Are there any other interesting aspects about this article?
Answer: Harrison was increasingly allowed little room to develop ideas on McCartney compositions, whereas he was free to create empathetic guitar parts for Lennon's songs of the period.

Problem: 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: What was the first alternative hypotheses?
Answer:
The first completely denies the relational character of mental states