Answer the question at the end by quoting:

Joseph Raymond McCarthy (November 14, 1908 - May 2, 1957) was an American politician who served as U.S. Senator from the state of Wisconsin from 1947 until his death in 1957. Beginning in 1950, McCarthy became the most visible public face of a period in the United States in which Cold War tensions fueled fears of widespread Communist subversion. He is known for alleging that numerous Communists and Soviet spies and sympathizers had infiltrated the United States federal government, universities, film industry, and elsewhere. Ultimately, the smear tactics that he used led him to be censured by the U.S. Senate.
McCarthy was born in 1908 on a farm in the Town of Grand Chute in Outagamie County, Wisconsin, the fifth of seven children. His mother, Bridget (Tierney), was from County Tipperary, Ireland. His father, Timothy McCarthy, was born in the United States of America, the son of an Irish father and a German mother. McCarthy dropped out of junior high school at age 14 to help his parents manage their farm. He entered Little Wolf High School, in Manawa, Wisconsin, when he was 20 and graduated in one year. He attended Marquette University from 1930 to 1935. McCarthy worked his way through college, studying first electrical engineering for two years, then law, and receiving an LL.B. degree in 1935 from Marquette University Law School in Milwaukee. McCarthy was admitted to the bar in 1935. While working at a law firm in Shawano, Wisconsin, he launched an unsuccessful campaign for district attorney as a Democrat in 1936. In 1939, McCarthy had better success when he ran for the nonpartisan elected post of 10th District circuit judge. (During his years as an attorney, McCarthy made money on the side by gambling.) McCarthy became the youngest circuit judge in the state's history by defeating incumbent Edgar V. Werner, who had been a judge for 24 years. In the campaign, McCarthy exaggerated Werner's age of 66, claiming that he was 73, and so allegedly too old and infirm to handle the duties of his office. Writing of Werner in Reds: McCarthyism In Twentieth-Century America, Ted Morgan wrote: "Pompous and condescending, he was disliked by lawyers. He had been reversed often by the Wisconsin Supreme Court, and he was so inefficient that he had piled up a huge backlog of cases." McCarthy's judicial career attracted some controversy because of the speed with which he dispatched many of his cases as he worked to clear the heavily backlogged docket he had inherited. Wisconsin had strict divorce laws, but when McCarthy heard divorce cases, he expedited them whenever possible, and he made the needs of children involved in contested divorces a priority. When it came to other cases argued before him, McCarthy compensated for his lack of experience as a jurist by demanding and relying heavily upon precise briefs from the contesting attorneys. The Wisconsin Supreme Court reversed a low percentage of the cases he heard, but he was also censured in 1941 for having lost evidence in a price fixing case.

How many siblings did he have

the fifth of seven children.

IN: The Future Sound of London (often abbreviated to FSOL) is a British electronic music group composed of Garry Cobain (sometimes stylised as Gaz Cobain) and Brian Dougans. The duo are often credited with pushing the boundaries of electronic music experimentation and of pioneering a new era of dance music. Although often associated with ambient music, Cobain and Dougans usually resist being typecast into any one particular genre. Their work covers many areas of electronic music, such as ambient techno, house music, trip hop, ambient dub, acid techno.

"Cascade", released as a single in 1993, introduced the commercial music world to the new FSOL sound. Despite its length, clocking in at nearly forty minutes and stretched over six parts, the track made the UK top 30, and previewed what was to come. In 1994, they released Lifeforms to critical acclaim. The album featured unconventional use of percussion interspersed with ambient segments. The eponymous single from the album featured Elizabeth Fraser of the Cocteau Twins on vocals. The album itself featured epic, ambient soundscapes, with tracks flowing from one to the next with no pauses in between. Throughout the record, familiar motifs and samples repeated themselves, sitting alongside tropical birdsong, rainfall, wind and an array of other exotic sounds, lending the album a natural, organic feel, backed up by the environmental landscapes that filled the artwork booklet. Brian Dougan's father was involved with the BBC Radiophonic Workshop which was a heavy influence in the almost musique concrete feel to Lifeforms. The album was also a top 10 hit on the UK album chart. Cobain has said that around this time that journalists would come to talk to them and one of the first things they would ask would be if they liked Brian Eno (whom they cite as an influence), to which they would laugh and say that they were about looking forward, not to the past. It was, to them, very much a new work rather than just another Eno-type ambient album. We wanted to release a very immersive, mind-blowing piece of music that was long and would deeply drench you in it...Lifeforms was redefining 'classical ambient electronic experimental' - that was the phrase we used. That year, they released the limited edition album ISDN, which featured live broadcasts they had made over ISDN lines to various radio stations worldwide to promote Lifeforms, including The Kitchen, an avant-garde performance space in New York and several appearances on the late John Peel's celebrated BBC radio Sessions shows. These shows marked the evolution of the Kiss FM shows of 1992 and 1993, moving away from DJ sets and into ambient soundscapes, with previously released material performed alongside unheard tracks. One live performance to BBC Radio 1 featured Robert Fripp performing alongside the band. The released album's tone was darker and more rhythmic than Lifeforms. Cobain stated that with ISDN they had wanted to achieve something epic and grand but no matter how much technological or personal support they had (and they had everything they could have possibly wanted) they never got to truly do what they envisioned; he admits to wanting too much at this time, even though the album was successful; the 90s, for Cobain in particular, were a time of frustration and feelings of not being able to do what they wanted to, because the technology at the time didn't fit the band's ideas. The following year, the album was re-released with expanded artwork and a slightly altered track list as an unlimited pressing.

Was the album rerelease received well by fans?

OUT:
Cobain has said that around this time that journalists would come to talk to them