input: Tapper is the author of The Outpost: An Untold Story of American Valor, a critically acclaimed book about U.S. troops in Afghanistan that debuted at number 10 on The New York Times bestseller list for hardback non-fiction. Bob Woodward described the book as: "Brilliant, dedicated reporting by a journalist who goes to ground to get the truth. A sad, real tale about this war, America and the brave warriors who live--and die--at the point of the spear" and Jon Krakauer called it "a mind-boggling, all-too-true story of heroism, hubris, failed strategy, and heartbreaking sacrifice. If you want to understand how the war in Afghanistan went off the rails, you need to read this book." In 2014, the Congressional Medal of Honor Society recognized Tapper for the book and his reporting on military topics in general with the Tex McCrary Award for Excellence in Journalism. In addition to The Outpost, Tapper is the author of Down and Dirty: The Plot to Steal the Presidency, based on the 2000 Presidential election, that The Washington Post called "lively", the Chicago Tribune "a churning effusion well worth reading" and The Daily Telegraph "engrossing". He also wrote Body Slam: The Jesse Ventura Story (St. Martin's Press) that was excerpted by The Washington Post Magazine. Tapper also wrote a political thriller entitled The Hellfire Club released in 2018. The novel follows a new congressmen discovering corruption and conspiracy in 1950s Washington. His comic strip Capitol Hell appeared in Roll Call from 1994 to 2003. He has also contributed cartoons to The American Spectator magazine, the Los Angeles Times, and The Philadelphia Inquirer. During the week of May 23, 2016, Tapper guest illustrated the Dilbert cartoon. The original drawings were auctioned online to raise money for the Homes for our Troops Foundation.

Answer this question "Did he get any recognition for this book?"
output: Bob Woodward described the book as: "Brilliant, dedicated reporting by a journalist who goes to ground to get the truth.

input: Little is known about Johnson's life and musical career, although his recordings are well documented. In October 1936, Johnson auditioned for music store owner and sometime talent scout H. C. Speir in Jackson, Mississippi; Speir passed on Johnson's contact information to Ernie Oertle, who was a representative for ARC Records. After a second audition, Oertle arranged for Johnson to travel to San Antonio, Texas, for a recording session. Johnson recorded 22 songs for ARC over three days from November 23 to 27, 1936. During the first session, he recorded his most commercially appealing songs. They mostly represented his original pieces and reflected current, piano-influenced musical trends. The songs include "Terraplane Blues" (his first single and most popular record) along with "Sweet Home Chicago" and "I Believe I'll Dust My Broom", which became blues standards after others recorded them. A second and third recording date took place in San Antonio after a two-day break. Johnson reached back into his long-standing repertoire for songs to record. The material reflects the styles of country blues performers Charley Patton and Son House, who influenced Johnson in his youth. The songs are among Johnson's most heartfelt and forceful, and music historian Ted Gioia sees a shift in the lyrical themes: At the close of the San Antonio session, the darker, more apocalyptic side of Johnson's work emerges ... [he] evokes the themes of damnation and redemption, darkness and light ... glimpses into the musician's inner life, and all its attendant turmoils. "Cross Road Blues" was recorded during Johnson's third session in San Antonio, on Friday November 27, 1936. The sessions continued at an improvised studio in Room 414 at the Gunter Hotel. ARC producers Art Satherley and Don Law supervised the recording and used a portable disc cutting machine. It is unknown what input, if any, they had into Johnson's selection of material to record or how to present it. Two similar takes of the song were recorded.

Answer this question "How many copies did that sale?"
output:

input: Preminger decided to release the finished film prior to submitting it for a Code seal of approval. He contended that his film would not entice any viewers to take drugs, since drug use was depicted as having severely negative consequences. The black-and-white film was also the first to portray heroin use as a serious literary topic, rejecting the standard "dope fiend" approach of the time. United Artists, which had invested $1 million in the film's production, opted to distribute the film, even though doing so could result in the company being fined $25,000 by the Motion Picture Association of America (MPAA). The president of United Artists, Arthur Krim, expressed the company's hope that the PCA would make an exception to its usual rules and grant the film approval because of the film's "immense potential for public service." The film received several advance bookings in November and early December 1955, before the PCA had made a decision on whether to grant a Code seal. However, in early December 1955, the PCA denied the film a Code seal, and the decision was upheld upon appeal to the MPAA. As a result, United Artists resigned from the MPAA that same month (although the company re-joined a few years later). The National Legion of Decency also showed disagreement with the PCA ruling by rating the film as a "B" meaning "morally objectionable in part for all", instead of a "C" meaning "condemned", which was the rating normally given to films that were denied a Code seal. Large theater circuits including Loews also refused to ban the film and instead showed it despite the lack of a Code seal. As a result of the controversy, the MPAA investigated and revised production codes, allowing later movies more freedom to deeply explore hitherto taboo subjects such as drug abuse, kidnapping, miscegenation, abortion, and prostitution. In the end, The Man With The Golden Arm finally received the Production Code seal number 17011 in June 1961, which permitted the film to be reissued and sold for television broadcast.

Answer this question "Are there any other interesting aspects about this article?"
output:
The black-and-white film was also the first to portray heroin use as a serious literary topic,