input: Willson penned a number of very well known songs, such as "You and I," which was a No. 1 for Glenn Miller in 1941 on the Billboard charts. It was also recorded by Bing Crosby, and by Tommy Dorsey with Frank Sinatra on vocals. Three songs from The Music Man have become American standards: "Seventy-Six Trombones," "Gary, Indiana," and "Till There Was You." The last was recorded by The Beatles for their 1963 UK album With The Beatles. (The album's American equivalent, Meet The Beatles!, was issued in 1964.) Other popular songs composed by Willson include "It's Beginning to Look a Lot Like Christmas" (published as "It's Beginning to Look Like Christmas"), "May the Good Lord Bless and Keep You," and "I See the Moon." He wrote the University of Iowa's fight song Iowa Fight Song, and Iowa State University's "For I for S Forever." He also wrote the fight song for his hometown high school "Mason City, Go!" He honored The Salvation Army with a musical tribute, "Banners and Bonnets." An oddity in Willson's body of work is "Chicken Fat," written in 1962. In school gymnasiums across the nation, this was the theme song for President John F. Kennedy's youth fitness program. It was time to get the country's youth into shape, and Willson's song had youngsters moving through basic exercises at a frenetic pace: push-ups, sit-ups, jumping jacks, torso twists, running in place, pogo springs, and plenty of marching. With an energetic lead vocal by Robert Preston, orchestral marching band, and full chorus, it was likely recorded during sessions for the Music Man film. Two versions of the song exist: a three-minute, radio-friendly length, and a longer, six-minute version for use in the gymnasium. In 2014 "Chicken Fat" was used in a television commercial for the iPhone 5S. In 1974 he offered a marching song, "Whip Inflation Now," to the Ford Administration, but it was not used.

Answer this question "did he win any awards?"
output:

input: Sunstein co-authored a 2008 paper with Adrian Vermeule, titled "Conspiracy Theories," dealing with the risks and possible government responses to conspiracy theories resulting from "cascades" of faulty information within groups that may ultimately lead to violence. In this article they wrote, "The existence of both domestic and foreign conspiracy theories, we suggest, is no trivial matter, posing real risks to the government's antiterrorism policies, whatever the latter may be." They go on to propose that, "the best response consists in cognitive infiltration of extremist groups", where they suggest, among other tactics, "Government agents (and their allies) might enter chat rooms, online social networks, or even real-space groups and attempt to undermine percolating conspiracy theories by raising doubts about their factual premises, causal logic or implications for political action." They refer, several times, to groups that promote the view that the US Government was responsible or complicit in the September 11 attacks as "extremist groups." The authors declare that there are five hypothetical responses a government can take toward conspiracy theories: "We can readily imagine a series of possible responses. (1) Government might ban conspiracy theorizing. (2) Government might impose some kind of tax, financial or otherwise, on those who disseminate such theories. (3) Government might itself engage in counterspeech, marshaling arguments to discredit conspiracy theories. (4) Government might formally hire credible private parties to engage in counterspeech. (5) Government might engage in informal communication with such parties, encouraging them to help." However, the authors advocate that each "instrument has a distinctive set of potential effects, or costs and benefits, and each will have a place under imaginable conditions. However, our main policy idea is that government should engage in cognitive infiltration of the groups that produce conspiracy theories, which involves a mix of (3), (4) and (5)." Sunstein and Vermeule also analyze the practice of recruiting "nongovernmental officials"; they suggest that "government can supply these independent experts with information and perhaps prod them into action from behind the scenes," further warning that "too close a connection will be self-defeating if it is exposed." Sunstein and Vermeule argue that the practice of enlisting non-government officials, "might ensure that credible independent experts offer the rebuttal, rather than government officials themselves. There is a tradeoff between credibility and control, however. The price of credibility is that government cannot be seen to control the independent experts." This position has been criticized by some commentators who argue that it would violate prohibitions on government propaganda aimed at domestic citizens. Sunstein and Vermeule's proposed infiltrations have also been met by sharply critical scholarly critiques.

Answer this question "What is this in"
output: paper

input: Gingold was born in Carlton Hill, Maida Vale, London, the elder daughter of a prosperous Vienna-born Jewish stockbroker James Gingold and his wife, Kate (nee Walter). Her paternal grandparents were the Ottoman-born British subject, Moritz "Maurice" Gingold, a London stockbroker, and his Austrian-born wife, Hermine, after whom Hermione was named (Gingold mentions in her autobiography that her mother might have got Hermione from the Shakespeare's play The Winter's Tale, which she was reading shortly before her birth). On her father's side, she was descended from the celebrated Solomon Sulzer, a famous synagogue cantor and Jewish liturgical composer in Vienna. Her mother was from a "well-to-do Jewish family". James felt that religion was something children needed to decide on for themselves, and Gingold grew up with no particular religious beliefs. Gingold first appeared on stage in a kindergarten staging of Shakespeare's Henry VIII, in the role of Wolsey. Her professional debut was in 1908 when she had just turned eleven. She played the herald in Herbert Beerbohm Tree's production of Pinkie and the Fairies by W. Graham Robertson, in a cast including Ellen Terry, Frederick Volpe, Marie Lohr and Viola Tree. She was promoted to the leading role of Pinkie for a provincial tour. Tree cast her as Falstaff's page, Robin, in The Merry Wives of Windsor. She attended Rosina Filippi's stage school in London. In 1911 she was cast in the original production of Where the Rainbow Ends which opened to very good reviews on 21 December 1911. Among her colleagues as child-actors in "Where the Rainbow Ends" were Philip Tonge and Noel Coward. On 10 December 1912, the day after her fifteenth birthday, Gingold played Cassandra in William Poel's production of Troilus and Cressida at the King's Hall, Covent Garden, with Esme Percy as Troilus and Edith Evans as Cressida. The following year she appeared in a musical production, The Marriage Market, in a small role in a cast that included Tom Walls, W H Berry, and Gertie Millar. In 1914 she played Jessica in The Merchant of Venice at the Old Vic. In 1918 Gingold married the publisher Michael Joseph, with whom she had two sons, the younger of whom, Stephen, became a pioneer of theatre in the round in Britain.

Answer this question "How did Hermione Gingold start her career?"
output:
Her professional debut was in 1908 when she had just turned eleven.