input: 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.

Answer this question "Did he teach anywhere?"
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Problem: Background: Musial was born in Donora, Pennsylvania, the fifth of the six children (four girls and two boys) of Lukasz and Mary (Lancos) Musial (, MOO-show). His mother was of Carpatho-Rusyn descent and his father was a Polish immigrant who chose the name Stanislaw Franciszek for his first son, though his father always referred to Musial using the Polish nickname Stasiu, pronounced "Stashu". Musial frequently played baseball with his brother Ed and other friends during his childhood, and considered Lefty Grove his favorite ballplayer. Musial also had the benefit of learning about baseball from his neighbor Joe Barbao, a former minor league pitcher.
Context: Musial's rookie year with Williamson in 1938 was a period of adjustment both on and off the field. He began gaining more in-depth knowledge about baseball strategy while posting a 6-6 win-loss record and a 4.66 earned run average (ERA), to go along with a .258 batting average. Off the field, he experienced feelings of homesickness while learning to live comfortably and independently on his $65-per-month salary. Musial finished his high school education before returning to Williamson in spring 1939. That season his numbers improved to a 9-2 record, a 4.30 ERA, and a .352 batting average. Musial spent the 1940 season with the Cardinals' other Class D team, the Daytona Beach Islanders, where he developed a lifelong friendship with manager Dickie Kerr. His pitching skills improved under the guidance of Kerr, who also recognized his hitting talent, playing him in the outfield between pitching starts. On May 25, 1940, Musial married fellow Donora resident, Lillian "Lil" Labash, in Daytona Beach, and the couple's first child followed in August. During late August, Musial suffered a shoulder injury while playing in the outfield, and later made an early exit as the starting pitcher in a 12-5 playoff game loss. For a while Musial considered leaving baseball entirely, complaining that he could not afford to support himself and his wife on the $16 a week pay. Kerr talked him out of it, and even took the Musials into his own home to relieve the financial burden. To repay the debt Musial bought Kerr a $20,000 home in Houston in 1958. In 113 games in 1940 he hit .311, while compiling an 18-5 pitching record that included 176 strikeouts and 145 walks. Musial was assigned to the Class AA Columbus Red Birds to begin 1941, though manager, Burt Shotton, and Musial himself quickly realized that the previous year's injury had considerably weakened his arm. He was reassigned to the Class C Springfield Cardinals as a full-time outfielder, and he later credited manager Ollie Vanek for displaying confidence in his hitting ability. During 87 games with Springfield, Musial hit a league-leading .379 before being promoted to the Rochester Red Wings of the International League. He was noted for his unique batting stance, a crouch in which his back was seemingly square to the pitcher. This stance was later described by pitcher Ted Lyons as "a kid peeking around the corner to see if the cops were coming". According to a 1950 description by author Tom Meany, "The bent knees and the crouch give him the appearance of a coiled spring, although most pitchers think of him as a coiled rattlesnake." Musial continued to play well in Rochester--in one three-game stretch, he had 11 hits. He was called up to the Cardinals for the last two weeks of the 1941 season.
Question: what happened in 1938
Answer: Musial's rookie year with Williamson in 1938 was a period of adjustment both on and off the field.

Question: Gary Wright was born and raised in Cresskill, New Jersey. A child actor, he made his TV debut at the age of seven, on the show Captain Video and His Video Rangers, filmed in New York. Among other acting work, he appeared in TV and radio commercials, before being offered a part in the 1954 Broadway production of the musical Fanny. Wright played the role of Cesario, the son of Fanny, who was played by future Brady Bunch matriarch Florence Henderson.

In 1988, Wright released Who I Am on A&M-distributed Cypress Records. Among the album's contributors were Western musicians such as Harrison, White and Keltner, a group of South Indian percussionists, and Indian classical violinists L. Subramaniam and L. Shankar. The previous year, Wright had contributed to Harrison's album Cloud Nine (1987), for which he co-wrote "That's What It Takes" with Harrison and Jeff Lynne, and played keyboards on songs such as "When We Was Fab". One of the tracks from Who I Am, "Blind Alley", was used in the 1988 horror film Spellbinder. Wright's next solo album was First Signs of Life (1995), recorded in Rio de Janeiro and at his own High Wave Studios in Los Angeles, and issued on the Triloka/Worldly record label. The album combined Brazilian rhythms with elements of African vocal tradition, creating what AllMusic's reviewer describes as "an infectious worldbeat hybrid", where "the musicians' performances radiate sincerity and joy". First Signs of Life featured guest appearances from drummer Terry Bozzio, Brazilian guitarist Ricardo Silveira and Harrison. The song "Don't Try to Own Me", co-written with Duane Hitchings, was later included on Rhino Records' Best of Gary Wright: The Dream Weaver - a 1998 compilation spanning his solo career from 1970 onwards, and featuring extensive liner notes by Wright. Human Love (1999) included new versions of "Wildfire" and "The Wrong Time", as well as "If You Believe in Heaven", a song written with Graham Gouldman that had first appeared on Best of Gary Wright. The album was co-produced by German world-music producer Marlon Klein and released on the High Wave Music label. Contributors to the sessions, held at High Wave and at Exil Musik in Bielefeld, included Hindustani classical vocalist Lakshmi Shankar, Lynne and German composer Roman Bunka.

Using a quote from the above article, answer the following question: What were some of the singles on this album?
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Answer:
Don't Try to Own Me", co-written with Duane Hitchings,