Problem: Thomas Kennerly Wolfe Jr. (born March 2, 1931) is an American author and journalist, best known for his association with and influence in stimulating the New Journalism literary movement, in which literary techniques are used extensively. He reduced traditional values of journalistic objectivity. He began his career as a regional newspaper reporter in the 1950s, but achieved national prominence in the 1960s following the publication of such best-selling books as The Electric Kool-Aid Acid Test (a highly experimental account of Ken Kesey and the Merry Pranksters), and two collections of articles and essays, Radical Chic & Mau-Mauing the Flak Catchers and The Kandy-Kolored Tangerine-Flake Streamline Baby. His first novel, The Bonfire of the Vanities, published in 1987, was met with critical acclaim, and also became a commercial success.

In 1965, Wolfe published a collection of his articles in this style, The Kandy-Kolored Tangerine-Flake Streamline Baby, adding to his notability. He published a second collection of articles, The Pump House Gang, in 1968. Wolfe wrote on popular culture, architecture, politics, and other topics that underscored, among other things, how American life in the 1960s had been transformed by post-WWII economic prosperity. His defining work from this era is The Electric Kool-Aid Acid Test (published the same day as The Pump House Gang in 1968), which for many epitomized the 1960s. Although a conservative in many ways (in 2008, he claimed never to have used LSD and to have tried marijuana only once) Wolfe became one of the notable figures of the decade. In 1970, he published two essays in book form as Radical Chic & Mau-Mauing the Flak Catchers. "Radical Chic" was a biting account of a party given by composer and conductor Leonard Bernstein to raise money for the Black Panther Party. "Mau-Mauing The Flak Catchers" was about the practice by some African Americans of using racial intimidation ("mau-mauing") to extract funds from government welfare bureaucrats ("flak catchers"). Wolfe's phrase, "radical chic", soon became a popular derogatory term for critics to apply to upper-class leftism. His Mauve Gloves & Madmen, Clutter & Vine (1977) included Wolfe's noted essay, "The Me Decade and the Third Great Awakening." In 1979, Wolfe published The Right Stuff, an account of the pilots who became America's first astronauts. Following their training and unofficial, even foolhardy, exploits, he likened these heroes to "single combat champions" of a bygone era, going forth to battle in the space race on behalf of their country. In 1983, the book was adapted as a successful feature film. In 2016 Wolfe published The Kingdom of Speech, a controversial critique of the work of Charles Darwin and Noam Chomsky. His take on how humans developed speech was described as opinionated and not supported by research.

Are there any other interesting aspects about this article?

Answer with quotes: In 2016 Wolfe published The Kingdom of Speech, a controversial critique of the work of Charles Darwin and Noam Chomsky.

Problem: Slipknot is an American heavy metal band from Des Moines, Iowa. The band was formed in 1992 by percussionist Shawn Crahan, drummer Joey Jordison and bassist Paul Gray. After several lineup changes in its early years, the band settled on nine members for more than a decade: Corey Taylor, Mick Thomson, Jim Root, Paul Gray, Craig Jones, Sid Wilson, Shawn Crahan, Chris Fehn and Joey Jordison. Gray died on May 24, 2010, and was replaced during 2011-2014 by guitarist Donnie Steele.

The band is known for its attention-grabbing image; the members perform wearing unique, individual facemasks and matching uniforms--typically jumpsuits--while each member is typically assigned and referred to by number based on their role in the band (#0 through #8), although the latter practice has diminished following the death of Paul Gray. The band has said the idea of wearing masks stemmed from a clown mask that Crahan took to rehearsals when the band first started. Crahan later became known for his clown masks, adopting the pseudonym "Shawn the Clown". The concept developed; by late 1997, the band decided every band member would wear a unique mask and matching jumpsuit. Taylor said in 2002, "it's our way of becoming more intimate with the music. It's a way for us to become unconscious of who we are and what we do outside of music. It's a way for us to kind of crawl inside it and be able to use it." The concept of wearing matching jumpsuits has been described as a response to commercialism in the music industry and led to the idea of assigning the band members numerical aliases. According to Taylor, "Originally, we were just going to wear the jumpsuits ... we figured we might as well take that further and number ourselves ... We were basically saying, 'Hey, we're a product!'". During their careers, the members of Slipknot have developed their images, updating their uniforms and each member's mask upon the release of each album. The appearance and style of the masks do not usually differ significantly between albums; members typically maintain the established theme of their mask while adding new elements. Jordison, in an interview in 2004, said the masks are updated to show growth within each individual. Slipknot's members have worn special masks for specific occasions, most notably for the music video and live performances of "Vermilion" in 2004 and 2005 when they wore life masks made from casts of their own faces. In 2008, the band wore a set of large masks titled "purgatory masks" during photograph shoots before the release of All Hope Is Gone; in the music video for "Psychosocial" they are seen burning them. Shortly after its inception, Slipknot's masks were homemade, but since 2000 they have been custom-made by special effect artist and musician Screaming Mad George. The band's image has been the subject of much criticism and controversy, with critics generally accusing it of being a sales gimmick. The band's members object to these claims; according to them the masks are used to divert attention from themselves and put it on the music. Several band members have said wearing the masks helps to maintain privacy in their personal lives. During an interview in 2005, percussionist Fehn said the masks were a "blessing" because they meant the members are not recognized in public. In 2012, Slipknot released an app for iOS and Android called "Slipknot: Wear the Mask", which invites fans to construct their own masks, defining the kind of Slipknot fans they are.

Do they all wear masks?

Answer with quotes:
the members perform wearing unique, individual facemasks