Question: Charles Krauthammer (; born March 13, 1950) is an American syndicated columnist, author, political commentator, and former physician whose weekly column is syndicated to more than 400 publications worldwide. While in his first year studying at Harvard Medical School, Krauthammer became permanently paralyzed from the neck down after a diving accident, severing the spinal cord at C5. After spending 14 months recovering in a hospital, he returned to medical school, graduating to become a psychiatrist involved in the creation of the Diagnostic and Statistical Manual of Mental Disorders III, and later developing a career as a Pulitzer Prize-winning writer. He was a weekly panelist on PBS news program Inside Washington from 1990 until it ceased production in December 2013.

Krauthammer criticized President George W. Bush's nomination of Harriet Miers to succeed Supreme Court Justice Sandra Day O'Connor. He called the nomination of Miers a "mistake" on several occasions. He noted her lack of constitutional experience as the main obstacle to her nomination. On October 21, 2005, Krauthammer published "Miers: The Only Exit Strategy", in which he explained that all of Miers's relevant constitutional writings are protected by both attorney-client privilege and executive privilege, which presented a unique face-saving solution to the mistake: "Miers withdraws out of respect for both the Senate and the executive's prerogatives." Six days later, Miers withdrew, employing that argument: "As I stated in my acceptance remarks in the Oval Office, the strength and independence of our three branches of government are critical to the continued success of this great Nation. Repeatedly in the course of the process of confirmation for nominees for other positions, I have steadfastly maintained that the independence of the Executive Branch be preserved and its confidential documents and information not be released to further a confirmation process. I feel compelled to adhere to this position, especially related to my own nomination. Protection of the prerogatives of the Executive Branch and continued pursuit of my confirmation are in tension. I have decided that seeking my confirmation should yield." The same day, NPR noted, "Krauthammer's scenario played out almost exactly as he wrote." Columnist E.J. Dionne wrote that the White House was following Krauthammer's strategy "almost to the letter". A few weeks later, the New York Times reported that Krauthammer's "exit strategy" was "exactly what happened," and that Krauthammer "had no prior inkling from the administration that they were taking that route; he has subsequently gotten credit for giving [the Bush administration] a plan."

Using a quote from the above article, answer the following question: What did Krauthammer say about her nomination?
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Answer: He called the nomination of Miers a "mistake" on several occasions.

Question: Chicago is an American rock band formed in 1967 in Chicago, Illinois as The Chicago Transit Authority before shortening the name in 1970. The self-described "rock and roll band with horns" began as a politically charged, sometimes experimental, rock band and later moved to a predominantly softer sound, generating several hit ballads. The group had a steady stream of hits throughout the 1970s and 1980s. Since at least 2008, Billboard has shown Chicago to be the "greatest of all time" American band in singles chart success, and since 2015, the "greatest of all time" American band in album chart success as well.

Upon being renamed from Chicago Transit Authority to Chicago, the band sported a new logo. Its inspiration was found in the design of the Coca-Cola logo, in the attitude of the city of Chicago itself, and in the desire to visually transcend the individual identities of the band's members. It was designed by the Art Director of Columbia/CBS Records, John Berg, with each album's graphic art work being done by Nick Fasciano. Berg said, "The Chicago logo...was fashioned for me by Nick Fasciano from my sketch." The logo would serve as the band's chief visual icon from Chicago II, onward. In various artistic forms and visual similes, it has been the subject of every subsequent album cover, except the fifteenth album, Greatest Hits, Volume II. For example, it appeared as an American flag on III, a piece of wood on V, a U.S. dollar bill on VI, a leather relief on VII, an embroidered patch on VIII, a chocolate bar on X, a map on XI, a building on 13, a fingerprint on XIV, a computer silicon chip on 16, a parcel on 17, a mosaic on 18, and an aquarelle on 19. Chicago IX's incarnation was a caricature of the band itself, in the shape of the logo. The album cover series has endured as a cataloged work of art in its own right, described by Paul Nini of the American Institute of Graphic Arts as a "real landmark in record cover design". In 2013, the iconic status of Chicago's album art was featured in a New York art museum exhibit, which centered upon ninety-five album covers completely selected from John Berg's career portfolio of hundreds. Having overseen the design of approximately fourteen Chicago album covers across more than twenty years, Berg stated that this artistic success resulted from the combination of Chicago's "unique situation" and his position in "the best possible job at the best possible time to have that job, at the center of the graphic universe". Berg won the 1976 Grammy Award for Best Album Package for Chicago X, one of four Grammy Awards he won in his lifetime. The book titled Type and Image: The Language of Graphic Design described the logo as "a warm vernacular form, executed in thick script letters with Victorian swashes in the tradition of sports teams and orange crate labels." The book mentions the cultural and material background of the city of Chicago as inspiration for the logo; for example, describing the leather embossing of Chicago VII as representative of the great fire and the stockades. The author connects the album art to the atmosphere of the band's namesake city, quoting the band's original manager, James William Guercio: "The printed word can never aspire to document a truly musical experience, so if you must call them something, speak of the city where all save one were born; where all of them were schooled and bred, and where all of this incredible music went down barely noticed; call them CHICAGO."

Using a quote from the above article, answer the following question: why did they change their names
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Answer:
"The printed word can never aspire to document a truly musical experience, so if you must call them something, speak of the city where all save one were born;