IN: Galton was born at "The Larches", a large house in the Sparkbrook area of Birmingham, England, built on the site of "Fair Hill", the former home of Joseph Priestley, which the botanist William Withering had renamed. He was Charles Darwin's half-cousin, sharing the common grandparent Erasmus Darwin. His father was Samuel Tertius Galton, son of Samuel "John" Galton. The Galtons were famous and highly successful Quaker gun-manufacturers and bankers, while the Darwins were distinguished in medicine and science.

Galton was a polymath who made important contributions in many fields of science, including meteorology (the anti-cyclone and the first popular weather maps), statistics (regression and correlation), psychology (synaesthesia), biology (the nature and mechanism of heredity), and criminology (fingerprints). Much of this was influenced by his penchant for counting or measuring. Galton prepared the first weather map published in The Times (1 April 1875, showing the weather from the previous day, 31 March), now a standard feature in newspapers worldwide. He became very active in the British Association for the Advancement of Science, presenting many papers on a wide variety of topics at its meetings from 1858 to 1899. He was the general secretary from 1863 to 1867, president of the Geographical section in 1867 and 1872, and president of the Anthropological Section in 1877 and 1885. He was active on the council of the Royal Geographical Society for over forty years, in various committees of the Royal Society, and on the Meteorological Council. James McKeen Cattell, a student of Wilhelm Wundt who had been reading Galton's articles, decided he wanted to study under him. He eventually built a professional relationship with Galton, measuring subjects and working together on research. In 1888, Galton established a lab in the science galleries of the South Kensington Museum. In Galton's lab, participants could be measured to gain knowledge of their strengths and weaknesses. Galton also used these data for his own research. He would typically charge people a small fee for his services. During this time, Galton wrote a controversial letter to the Times titled 'Africa for the Chinese', where he argued that the Chinese, as a race capable of high civilisation and only temporarily stunted by the recent failures of Chinese dynasties, should be encouraged to immigrate to Africa and displace the supposedly inferior aboriginal blacks.
QUESTION: what was one of his contributions?
IN: Douglas Clare Fischer (October 22, 1928 - January 26, 2012) was an American keyboardist, composer, arranger, and bandleader. After graduating from Michigan State University (from which, five decades later, he would receive an honorary doctorate), he became the pianist and arranger for the vocal group the Hi-Lo's in the late 1950s. Fischer went on to work with Donald Byrd and Dizzy Gillespie, and became known for his Latin and bossa nova recordings in the 1960s. He composed the Latin jazz standard "Morning", and the jazz standard "Pensativa".

Fischer next lived in Detroit, Michigan, whereupon, after first hearing the vocal quartet The Hi-Lo's in a live performance, he promptly offered his services. Over the next five years, Fischer recorded several albums with the group, serving as pianist and, on occasion, arranger. In addition, he contributed several vocal arrangements, making his debut in that capacity; it was these arrangements that Herbie Hancock would later point to as a major influence: [T]hat's when I really learned some much farther-out voicings - like the harmonies I used on Speak Like a Child - just being able to do that. I really got that from Clare Fischer's arrangements for the Hi-Lo's. Clare Fischer was a major influence on my harmonic concept... I heard some of his last records, and he was still doing amazing harmonic stuff. And, of course, he was a wonderful pianist, too. But it was those vocal harmonies that were the first thing I heard. I was in awe of him. When Fischer moved to Hollywood in 1958, he went to East L.A. to play and learn more about Latin-Jazz. He started in a charanga group with Modesto Duran as leader and played with many different groups. On November 2, 1959, he made a particularly fruitful connection within this genre when he appeared with the Hi-lo's at the First Annual Los Angeles Jazz Festival on the same bill with the already popular Latin jazz group led by vibraphonist Cal Tjader. Both his playing and arranging made an immediate impression on Tjader, who went on to employ Fischer in both capacities on several recordings over the next three years; the two would reunite in the mid-seventies, leading eventually to the formation of Fischer's own Latin jazz unit, Salsa Picante. In 1961, Fischer became interested in Brazilian music through the recordings of Elizete Cardoso and Joao Gilberto. This discovery, coupled with his introduction to the music of Mexican composer Mario Ruiz Armengol, led to Fischer's subsequent collaboration with Cal Tjader, a 1962 LP devoted jointly to Armengol's music and that of assorted contemporary Brazilian composers. Over the following year, Fischer collaborated on two Bossa Nova-themed LPs with saxophonist Bud Shank, and arranged another for pianist George Shearing. While with The Hi-Lo's, Fischer arranged a record by trumpeter Donald Byrd, which, by virtue of Fischer's use of strings and harps, imbued well-known standards with an unaccustomed, melancholic quality. Although it would be twenty-five years before the album was finally released, September Afternoon paid immediate dividends when Byrd played a copy for Dizzy Gillespie. In turn, Gillespie hired Fischer to write arrangements for a small ensemble featuring brass and woodwinds for his own album, A Portrait of Duke Ellington, which was well received. In 1960 albums for vibraphonist Cal Tjader and pianist George Shearing followed, as did an eight-year career of writing music for commercials, as well as the signing of Fischer's first record contract.
QUESTION:
Did she have a lot of success?