input: Ruth met Helen Woodford (1897-1929), by some accounts, in a coffee shop in Boston where she was a waitress, and they were married as teenagers on October 17, 1914. Although Ruth later claimed to have been married in Elkton, Maryland, records show that they were married at St. Paul's Catholic Church in Ellicott City. They adopted a daughter, Dorothy (1921-1989), in 1921. Ruth and Helen separated around 1925, reportedly due to his repeated infidelities. They appeared in public as a couple for the last time during the 1926 World Series. Helen died in January 1929 at age 31 in a house fire in Watertown, Massachusetts, in a house owned by Edward Kinder, a dentist with whom she had been living as "Mrs. Kinder". In her book, My Dad, the Babe, Dorothy claimed that she was Ruth's biological child by a mistress named Juanita Jennings. She died in 1989. On April 17, 1929 (only three months after the death of his first wife) Ruth married actress and model Claire Merritt Hodgson (1897-1976) and adopted her daughter Julia. It was the second and final marriage for both parties. By one account, Julia and Dorothy were, through no fault of their own, the reason for the seven-year rift in Ruth's relationship with teammate Lou Gehrig. Sometime in 1932, during a conversation that she assumed was private, Gehrig's mother remarked, "It's a shame [Claire] doesn't dress Dorothy as nicely as she dresses her own daughter." When the comment inevitably got back to Ruth, he angrily told Gehrig to tell his mother to mind her own business. Gehrig, in turn, took offense at what he perceived as Ruth's comment about his mother. The two men reportedly never spoke off the field until they reconciled at Yankee Stadium on Lou Gehrig Appreciation Day, July 4, 1939, which was shortly after Gehrig's retirement from baseball. Although Ruth was married throughout most of his baseball career, when Colonel Huston asked him to tone down his lifestyle, the player said, "I'll promise to go easier on drinking and to get to bed earlier, but not for you, fifty thousand dollars, or two-hundred and fifty thousand dollars will I give up women. They're too much fun."

Answer this question "What relationship did Babe Ruth have with his team mates?"
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 "Why did he start this"
output: 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,

input: Rosa Ponselle made her Metropolitan Opera debut on November 15, 1918, just a few days after the Great War had finished, as Leonora in Verdi's La forza del destino, opposite Caruso. It was her first performance on any opera stage. She was quite intimidated for being in the presence of Caruso, and in spite of an almost paralyzing case of nervousness (which she suffered from throughout her operatic career), she scored a tremendous success, both with the public and with the critics. New York Times critic James Huneker wrote: "...what a promising debut! Added to her personal attractiveness, she possesses a voice of natural beauty that may prove a gold mine; it is vocal gold, anyhow, with its luscious lower and middle tones, dark, rich and ductile, brilliant in the upper register." In addition to Leonora, Ponselle's roles in the 1918/19 season included Santuzza in Cavalleria rusticana, Rezia in Weber's Oberon, and Carmelita in the (unsuccessful) world premiere of Joseph Carl Breil's The Legend. In the following Met seasons, Ponselle's roles included the lead soprano roles in La Juive (opposite Caruso's Eleazar, his last new role before he died), William Tell, Ernani, Il trovatore, Aida, La Gioconda, Don Carlos, L'Africaine, L'amore dei tre re, Andrea Chenier, La vestale, and in 1927 the role that many considered her greatest achievement, the title role in Bellini's Norma. In addition to her operatic activities, which were centered at the Met, Ponselle had a lucrative concert career. A tour of the West coast included an appearance at the Lobero Theatre in Santa Barbara on March 14, 1927 in the Artist Series of the Community Arts Association's Music Branch, accompanied by pianist Stuart Ross.

Answer this question "What else did she perform during her early career?"
output:
Santuzza in Cavalleria rusticana, Rezia in Weber's Oberon, and Carmelita in the (unsuccessful) world premiere of Joseph Carl Breil's The Legend.