Some context: Steven Ellison (born October 7, 1983), known by his stage name Flying Lotus or sometimes FlyLo, is an experimental multi-genre music producer, electronic musician, DJ, filmmaker, and rapper from Los Angeles, California. Flying Lotus has released five studio albums--1983 (2006), Los Angeles (2008), Cosmogramma (2010), Until the Quiet Comes (2012) and You're Dead! (2014)--to critical acclaim.
His third studio album, Cosmogramma, was released in the UK on May 3, 2010, and in the US on May 4, 2010. In January 2011, Cosmogramma won in the Dance/Electronica Album category in the 10th Annual Independent Music Awards. The multi-award-winning Cosmogramma was a hard-hitting afrofuturistic shrine to soul, hip-hop, jazz and IDM but, with more emphasis on a lyrical message than ever before, it was also a cathartic grieving experience. The album was accompanied by live instrumentation (Thundercat on bass, Miguel Atwood Ferguson on strings, Rebekah Raff on harp) and live vocalists (Thom Yorke, Laura Darlington) - all picked to help communicate the spiritual musical lineage of Ellison's family (Ravi Coltrane, himself, played tenor sax). Stephen Bruner, aka Thundercat, who is featured extensively on Cosmogramma, would later become a large part of future albums by Flying Lotus. In 2010, Flying Lotus collaborated with the Ann Arbor Film Festival in the performance of a live scoring of the 1962 avant-garde film Heaven and Earth Magic. In a post-viewing interview with the audience, Flying Lotus said that he was unsure whether or not a recording of the performance (or a recreation of it) would be publicly released, but he would be enthusiastic toward similar projects in the future. He was chosen by Battles to perform at the ATP Nightmare Before Christmas festival that it co-curated in December 2011 in Minehead, England, UK. In September 2010, Flying Lotus released "Pattern+Grid World", an 8 track EP featuring Thundercat on bass & art by Theo Ellsworth. The Track Camera Day was used in the Killer Mike song Swimming, which was released as part of the Adult Swim Singles Series. In January 2011, Flying Lotus won the 10th Annual Independent Music Awards for his video "MmmHmm" in the Short-Form Video category. It was reported in 2011 that Flying Lotus would be collaborating with R&B singer Erykah Badu on new material for her next album, and planned to remix one of Radiohead's songs from The King of Limbs.
Did he perform the album on a life band?
A:
Some context: Sergio Santos Mendes (Portuguese pronunciation: ['seRZju 'satuZ 'medZiS]; born February 11, 1941) is a Brazilian musician. He has over 55 releases, and plays bossa nova heavily crossed with jazz and funk. He was nominated for an Academy Award for Best Original Song in 2012 as co-writer of the song "Real in Rio" from the animated film Rio. Mendes is married to Gracinha Leporace, who has performed with him since the early 1970s.
Mendes was born in Niteroi, Brazil, the son of a physician. He attended the local conservatory with hopes of becoming a classical pianist. As his interest in jazz grew, he started playing in nightclubs in the late 1950s just as bossa nova, a jazz-inflected derivative of samba, was emerging. Mendes played with Antonio Carlos Jobim (regarded as a mentor) and many U.S. jazz musicians who toured Brazil. Mendes formed the Sexteto Bossa Rio and recorded Dance Moderno in 1961. Touring Europe and the United States, Mendes recorded albums with Cannonball Adderley and Herbie Mann and played Carnegie Hall. Mendes moved to the U.S. in 1964 and cut two albums under the Sergio Mendes & Brasil '65 group name with Capitol Records and Atlantic Records. Sergio became full partners with Richard Adler, a Brooklyn-born American who had previously brought Bossa Tres plus two dancers, Joe Bennett and a Brazilian partner, to appear on The Ed Sullivan Show, in 1963. He was also accompanied by Jobim; Flavio Ramos, and Aloisio Olivera, a record and TV producer from Rio. The Musicians Union only allowed this group to appear on one TV show and one club appearance (Basin Street East) before ordering them to leave the U.S. When the new group, Brasil '65 was formed, Shelly Manne, Bud Shank and other West Coast musicians got Sergio and the others into the local musicians union. Adler and Mendes formed Brasil '65, which consisted of Wanda Sa and Rosinha de Valenca, as well as the Sergio Mendes Trio. The group recorded albums for Atlantic and Capitol.
Did he record any more music?
A: cut two albums under the Sergio Mendes & Brasil '65 group name with Capitol Records and Atlantic Records.
Some context: Irving Fisher (February 27, 1867 - April 29, 1947) was an American economist, statistician, inventor, and Progressive social campaigner. He was one of the earliest American neoclassical economists, though his later work on debt deflation has been embraced by the Post-Keynesian school. Joseph Schumpeter described him as "the greatest economist the United States has ever produced", an assessment later repeated by James Tobin and Milton Friedman. Fisher made important contributions to utility theory and general equilibrium.
James Tobin argued that the intellectual breakthroughs that marked the neoclassical revolution in economics occurred in Europe around 1870. The next two decades witnessed lively debates, which led to the new theory being more or less incorporated into the classical tradition that preceded it. In the 1890s, according to Joseph A. Schumpeter there emerged A large expanse of common ground and ... a feeling of repose, both of which created, in the superficial observer, an impression of finality - the finality of a Greek temple that spreads its perfect lines against a cloudless sky. Of course, Tobin argues, the temple was by no means complete. Its building and decoration continue to this day, even while its faithful throngs worship within. American economists were not present at the creation. To a considerable extent they built their own edifice independently, designing some new architecture in the process. They participated actively in the international controversies and syntheses of the period 1870-1914. At least two Americans were prominent builders of the "temple," John Bates Clark and Irving Fisher. They and others brought neoclassical theory into American journals, classrooms, and textbooks, and its analytical tools into the kits of researchers and practitioners. Eventually, for better or worse, their paradigm would dominate economic science in this country. In reviewing the history of utility theory, economist George Stigler wrote that Fisher's doctoral thesis had been "brilliant" and stressed that it contained "the first careful examination of the measurability of the utility function and its relevance to demand theory." While his published work exhibited an unusual degree of mathematical sophistication for an economist of his day, Fisher always sought to bring his analysis to life and to present his theories as lucidly as possible. For instance, to complement the arguments in his doctoral thesis, he built an elaborate hydraulic machine with pumps and levers, allowing him to demonstrate visually how the equilibrium prices in the market adjusted in response to changes in supply or demand.
When did he come up with utility theory?
A:
James Tobin argued that the intellectual breakthroughs that marked the neoclassical revolution in economics occurred in Europe around 1870.