input: After leaving MADtv, Jones expanded his cinema resume. He appeared in a bit part in his first big screen film, In Harm's Way (1991), Jones then joined Larry David in the feature Sour Grapes (1998), playing the character of an itinerant man. Subsequently, he appeared in Woo (1990), Mike Judge's Office Space (1999), alongside fellow MADtv alumnus David Herman, and in Barry Levinson's praised drama, Liberty Heights (1999). Since then, Jones has appeared in Magnolia (1999), New Jersey Turnpikes (1999) and in Harold Ramis' Bedazzled (2000). During the 2000s, Jones' career began to branch out. In addition to his witty appearances in the 7-Up campaigns, Jones played the role of Clifford Franklin in The Replacements (2000) and the horror film From Dusk till Dawn 3: The Hangman's Daughter (2003). In 2002, Jones landed the lead role of Daryl Chase in the action-dramedy Double Take (2001), alongside Eddie Griffin, and worked with Seann William Scott and Julianne Moore in Ivan Reitman's sci-fi comedy, Evolution (2001). Jones was also in the 2009 film Cirque du Freak: The Vampire's Assistant and he appeared as the computer Vox 114 in The Time Machine (2002). His other more recent films includes Biker Boyz (2003), Godzilla (2005), Runaway Jury (2003) and Primeval (2004). Jones appeared in an uncredited cameo and played in Grindhouse Planet Terror (2007 film). In 2011 Jones appeared in the documentary film Looking for Lenny in which he talks about Lenny Bruce and freedom of speech. In 2012, Jones starred in Mystery Guitar Man's original interactive thriller series Meridian created in conjunction with Fourth Wall Studios.

Answer this question "Did he ever win any awards?"
output:

input: While Rancid was writing for a follow-up album, Billie Joe Armstrong joined them to co-write the song "Radio", which resulted in Armstrong playing a live performance with Rancid. Tim had previously asked Lars Frederiksen to be Rancid's second guitarist, but he turned down the request initially as he was playing with the UK Subs at the time. After Billie Joe turned down the request, Frederiksen changed his mind and joined Rancid. Frederiksen played with the band on its second studio album Let's Go (1994). That year, its then-label-mates, The Offspring, experienced huge success with its album Smash. Rancid supported the Offspring's 1994 tour, which helped Let's Go reach number 97 on Billboard's Heatseekers and the Billboard 200 charts, respectively. The album also provided its first widespread exposure when MTV broadcast the video for the single "Salvation." Let's Go was certified gold on July 7, 2000, and with the success of the album, the band was pursued by a number of major record labels, including Madonna's label Maverick Records. Many rumors circulated during this time period. Some of the rumors were Epitaph employees were not allowed to discuss matters with the press, Rancid convinced an A&R man from Epic to shave a blue mohawk, and Madonna sent the band nude pictures of herself. The band eventually decided to remain signed to Epitaph, and the next year released its third album ...And Out Come the Wolves on August 22, 1995. The album quickly surpassed Let's Go in terms of success, and reached number 45 on the Billboard 200 album chart. on January 22, 1996, the album was certified gold. The album received positive reviews, Stephen Thomas Erlewine of AllMusic described the album as having "classic moments of revivalist punk". Erlewine praised the music and claims the album "doesn't mark an isolationist retreat into didactic, defiantly underground punk rock". Three of the album's singles, "Roots Radicals", "Time Bomb", and "Ruby Soho" all charted on the Billboard Modern Rock Tracks, and earned Rancid its heaviest airplay on MTV and radio stations to date. The band also performed "Roots Radicals" and "Ruby Soho" on Saturday Night Live.

Answer this question "were any of them married?"
output:

input: Baudrillard's provocative 1991 book The Gulf War Did Not Take Place raised his public profile as an academic and political commentator. He argued that the first Gulf War was the inverse of the Clausewitzian formula: not "the continuation of politics by other means", but "the continuation of the absence of politics by other means". Accordingly, Saddam Hussein was not fighting the Coalition, but using the lives of his soldiers as a form of sacrifice to preserve his power (p. 72, 2004 edition). The Coalition fighting the Iraqi military was merely dropping 10,000 tonnes of bombs daily, as if proving to themselves that there was an enemy to fight (p. 61). So, too, were the Western media complicit, presenting the war in real time, by recycling images of war to propagate the notion that the U.S.-led coalition and the Iraqi government were actually fighting, but, such was not the case. Saddam Hussein did not use his military capacity (the Iraqi Air Force). His power was not weakened, evinced by his easy suppression of the 1991 internal uprisings that followed afterwards. Overall, little had changed. Saddam remained undefeated, the "victors" were not victorious, and thus there was no war--i.e., the Gulf War did not occur. The book was originally a series of articles in the British newspaper The Guardian and the French newspaper Liberation. These were published in three parts: "The Gulf War Will Not Take Place", published during the American military and rhetorical buildup; "The Gulf War Is Not Taking Place", published during military action; and "The Gulf War Did Not Take Place", published afterwards. Some critics accused Baudrillard of instant revisionism; a denial of the physical action of the conflict (which was related to his denial of reality in general). Consequently, Baudrillard was accused of lazy amoralism, cynical scepticism, and Berkelian idealism. Sympathetic commentators such as William Merrin (in his book Baudrillard and the Media) have argued that Baudrillard was more concerned with the West's technological and political dominance and the globalization of its commercial interests, and what that means for the present possibility of war. Merrin argued that Baudrillard was not denying that something had happened, but merely questioning whether that something was in fact war or a bilateral "atrocity masquerading as a war". Merrin viewed the accusations of amorality as redundant and based on a misreading. In Baudrillard's own words (pp. 71-72): Saddam liquidates the communists, Moscow flirts even more with him; he gases the Kurds, it is not held against him; he eliminates the religious cadres, the whole of Islam makes peace with him ... Even ... the 100,000 dead will only have been the final decoy that Saddam will have sacrificed, the blood money paid in forfeit according to a calculated equivalence, in order to preserve his power. What is worse is that these dead still serve as an alibi for those who do not want to have been excited for nothing: at least these dead will prove this war was indeed a war and not a shameful and pointless hoax ...

Answer this question "What else did she say regarding the gulf war?"
output:
Some critics accused Baudrillard of instant revisionism; a denial of the physical action of the conflict