input: In 1973, Thompson was appointed minority counsel to assist the Republican senators on the Senate Watergate Committee, a special committee convened by the U.S. Senate to investigate the Watergate scandal. Thompson was sometimes credited for supplying Republican Senator Howard Baker's famous question, "What did the President know, and when did he know it?" This question is said to have helped frame the hearings in a way that eventually led to the downfall of President Richard Nixon. A Republican staff member, Donald Sanders, found out about the White House tapes and informed the committee on July 13, 1973. Thompson was informed of the existence of the tapes, and he, in turn, informed Nixon's attorney, J. Fred Buzhardt. "Even though I had no authority to act for the committee, I decided to call Fred Buzhardt at home," Thompson later wrote, "I wanted to be sure that the White House was fully aware of what was to be disclosed so that it could take appropriate action." Three days after Sanders's discovery, at a public, televised committee hearing, Thompson asked former White House aide Alexander Butterfield the famous question, "Mr. Butterfield, were you aware of the existence of any listening devices in the Oval Office of the President?" thereby publicly revealing the existence of tape recordings of conversations within the White House. National Public Radio later called that session and the discovery of the Watergate tapes "a turning point in the investigation." Thompson's appointment as minority counsel to the Senate Watergate committee reportedly upset Nixon, who believed Thompson was not skilled enough to interrogate unfriendly witnesses and would be outfoxed by the committee Democrats. According to historian Stanley Kutler, however, Thompson and Baker "carried water for the White House, but I have to give them credit--they were watching out for their interests, too... They weren't going to mindlessly go down the tubes [for Nixon]." When the Watergate investigation began to pick up speed, tapes revealed that Nixon remarked to his then-Chief of Staff Alexander Haig, "Oh shit, he's dumb as hell." Journalist Scott Armstrong, a Democratic investigator for the Senate Watergate Committee, is critical of Thompson for having disclosed the committee's knowledge of the tapes to Buzhardt during an ongoing investigation, and says Thompson was "a mole for the White House" and that Thompson's actions gave the White House a chance to destroy the tapes. Thompson's 1975 book At That Point in Time, in turn, accused Armstrong of having been too close to The Washington Post's Bob Woodward and of leaking committee information to him. In response to renewed interest in this matter, in 2007 during his presidential campaign, Thompson said, "I'm glad all of this has finally caused someone to read my Watergate book, even though it's taken them over 30 years."

Answer this question "Was there anything else interesting about the articale?"
output: Thompson asked former White House aide Alexander Butterfield the famous question, "Mr. Butterfield, were you aware of the existence of any listening devices in the Oval Office of the President?"

input: Waldron went on to work with Ike Quebec in New York in 1950 and made his recording debut with the saxophonist in 1952. They played at Cafe Society Downtown on Mondays for six or seven months, which helped Waldron gain exposure and more work. Waldron worked frequently with Charles Mingus from 1954 to 1956, as part of the latter's jazz composers' workshop. He was pianist on several Mingus recordings, including Pithecanthropus Erectus, which was a key development in the movement towards freer collective improvisation in jazz. In 1955, Waldron worked with Lucky Millinder and Lucky Thompson. Waldron formed his own band in 1956, which consisted of Idrees Sulieman (trumpet), Gigi Gryce (alto saxophone), Julian Euell (bass), and Arthur Edgehill (drums). This band recorded Waldron's first release as a leader, Mal-1, in November of that year. Waldron was Billie Holiday's regular accompanist from April 1957 until her death in July 1959, including for the all-star television broadcast The Sound of Jazz. Waldron played on numerous sessions for Prestige Records from 1956 to 1958, as he was the house pianist with the label, a position he acquired after being introduced to Prestige by saxophonist Jackie McLean. Waldron appeared on several McLean-led recordings, and was praised by critic John S. Wilson for these performances as being "a consistently interesting and inventive pianist, who apparently can create fresh and provocative ideas even in the midst of a shrilling bedlam". Other leaders he worked under at Prestige included Gene Ammons, Kenny Burrell, John Coltrane, and Phil Woods. Waldron often used his own arrangements and compositions for the Prestige sessions, of which his most famous, "Soul Eyes", written for Coltrane, became a widely recorded jazz standard following its initial appearance on the 1957 album Interplay for 2 Trumpets and 2 Tenors. He composed at night at home in St. Albans between all-day recording sessions, and in a car travelling to and from the studio in Hackensack. Waldron estimated that he composed more than 400 pieces of music during his time with Prestige. After Holiday died, Waldron played with vocalist Abbey Lincoln and her husband, drummer Max Roach. Around this time, Waldron's playing on his own recordings became darker, featuring emotional shifts and variations in minor keys. In 1961, Waldron played in Eric Dolphy and Booker Little's quintet, a promising combination that ended when Little died that year, aged 23. In addition to writing for his own band and those led by others, Waldron wrote and arranged for early play-along records that were published by Music Minus One. Some of these recordings on which Waldron played were released under his name. He also wrote scores for modern ballet in the 1950s and started writing film scores in the following decade. His writing for the film The Cool World (released in 1964) was described in The Oxford Companion to Jazz as one of the first attempts to stress improvisation rather than composition in a jazz-based film score.

Answer this question "What was his early career like?"
output: Waldron went on to work with Ike Quebec in New York in 1950 and made his recording debut with the saxophonist in 1952.

input: "Good Vibrations" established a new method of operation for Wilson. Instead of working on whole songs with clear large-scale syntactical structures, Wilson limited himself to recording short interchangeable fragments (or "modules"). Through the method of tape splicing, each fragment could then be assembled into a linear sequence, allowing any number of larger structures and divergent moods to be produced at a later time. This was the same modular approach used during the sessions for Smile and Smiley Smile. To mask each tape edit, vast reverb decays were added at the mixing and sub-mixing stages. For instrumentation, Wilson employed the services of "the Wrecking Crew", the nickname for a conglomerate of session musicians active in Los Angeles at that time. Production for "Good Vibrations" spanned more than a dozen recording sessions at four different Hollywood studios, at a time when most pop singles were typically recorded in a day or two. It was reported to have used over 90 hours of magnetic recording tape, with an eventual budget estimated between $50,000 and $75,000 (equivalent to $380,000 and $570,000 in 2017), at that time the largest sum spent on a single. In comparison, the whole of Pet Sounds had cost $70,000 ($530,000), itself an unusually high cost for an album. It is said that Wilson was so puzzled by "Good Vibrations" that he would often arrive at a session, consider a few possibilities, and then leave without recording anything, which exacerbated costs. In 2018, Wilson disputed the $50,000 figure for "Good Vibrations", saying that the overall expenses were closer to $25,000 ($190,000). When asked in a 2005 interview if it was true that the Electro-Theremin work alone cost $100,000, he responded "No. $15,000."

Answer this question "How long did the recording session take?"
output:
It was reported to have used over 90 hours of magnetic recording tape, with an eventual budget estimated between $50,000 and $75,000