input: Jason Flom, Atlantic Records's head of A&R, recommended that they meet David Foster, a Canadian musician, producer, composer and arranger. The Corrs played live for Foster and he agreed to sign them to Atlantic Records. They extended their stay in the US for over five months to record their debut album, Forgiven, Not Forgotten. It featured six instrumental selections among its Celtic-influenced tracks. The album sold well in Ireland, Australia, Japan, Norway and Spain. Major success in the US and the UK, however, was not immediately forthcoming. Eventually, the album reached Platinum status in the UK and Australia, and 4x Platinum in Ireland, making it one of the most successful debuts by an Irish group.  The Corrs' next album, 1997's Talk on Corners, was produced by Glen Ballard, who was respected for his collaboration with Alanis Morissette. The Corrs also collaborated with Carole Bayer Sager, Oliver Leiber, Rick Nowels and Billy Steinberg. The album met with lukewarm response. It was successful in Ireland and entered the Australian album charts at number 3.  After the band recorded a version of Dreams for a Fleetwood Mac tribute album, they re-released Talk on Corners, with new remixes of "What Can I Do?", "So Young" and "Runaway". The special edition topped the charts worldwide and again reached multi-Platinum status in the UK and Australia.  In June 1998, The Corrs participated in the Pavarotti and Friends for the Children of Liberia charity concert. The concert was held in Modena, Italy and was hosted by Luciano Pavarotti. Other performers included Jon Bon Jovi, Celine Dion, Spice Girls and Stevie Wonder. The concert aimed to raise money to build the Pavarotti and Friends Liberian Children's Village, to provide refuge for children in Liberia.  The following year, The Corrs received a BRIT Award for Best International Band. They performed live on MTV's Unplugged on 5 October 1999 at Ardmore Studios, Co. Wicklow, Ireland. The resulting CD and DVD sold 2.7 million copies and featured live performances of previously released songs, plus a new song, "Radio", later featured on their third album, In Blue.

Answer this question "What did this make them want"
output: The album met with lukewarm response. It was successful in Ireland and entered the Australian album charts at number 3.

input: On April 16, 1962, Cronkite succeeded Douglas Edwards as anchorman of the CBS's nightly feature newscast, tentatively renamed Walter Cronkite with the News, but later the CBS Evening News on September 2, 1963, when the show was expanded from 15 to 30 minutes, making Cronkite the anchor of American network television's first nightly half-hour news program. Cronkite's tenure as anchor of the CBS Evening News made him an icon in television news.  During the early part of his tenure anchoring the CBS Evening News, Cronkite competed against NBC's anchor team of Chet Huntley and David Brinkley, who anchored the Huntley-Brinkley Report. For much of the 1960s, the Huntley-Brinkley Report had more viewers than Cronkite's broadcast. A key moment for Cronkite came during his coverage of John F. Kennedy's assassination on November 22, 1963. Another factor in Cronkite and CBS' ascendancy to the top of the ratings was that, as the decade progressed, RCA made a corporate decision not to fund NBC News at the levels that CBS provided for its news broadcasts. Consequently, CBS News acquired a reputation for greater accuracy and depth in coverage. This reputation meshed well with Cronkite's wire service experience, and in 1967 the CBS Evening News began to surpass The Huntley-Brinkley Report in viewership during the summer months.  In 1969, during the Apollo 11 (with co-host and former astronaut Wally Schirra) and Apollo 13 moon missions, Cronkite received the best ratings and made CBS the most-watched television network for the missions. In 1970, when Huntley retired, the CBS Evening News finally dominated the American TV news viewing audience. Although NBC finally settled on the skilled and well-respected broadcast journalist John Chancellor, Cronkite proved to be more popular and continued to be top-rated until his retirement in 1981.  One of Cronkite's trademarks was ending the CBS Evening News with the phrase "...And that's the way it is," followed by the date. Keeping to standards of objective journalism, he omitted this phrase on nights when he ended the newscast with opinion or commentary. Beginning with January 16, 1980, Day 50 of the Iran hostage crisis, Cronkite added the length of the hostages' captivity to the show's closing in order to remind the audience of the unresolved situation, ending only on Day 444, January 20, 1981.

Answer this question "What was Walter Cronkite known as?"
output: anchorman

input: With their new lineup finalized, Rise Against began work on their debut studio album, The Unraveling. Recording sessions took place in late 2000, at Sonic Iguana Studios in Lafayette. Wleklinski served as an assistant engineer under producer Mass Giorgini, and later remarked on the grueling workdays: "12-hour days for 4 of those weeks, and then 22-24 hours per day during that last week of tracking. These were the times of 'If you don't play it right, you have to play it again,' not 'That was good enough, I'll edit it so it's on time." The Unraveling was released on April 24, 2001. Although the album failed to reach any record charts, it did receive positive reviews from critics, who commended the raw and unadulterated music. To promote the album, Rise Against toured extensively throughout North America and Europe. While on tour, Wleklinski left the band due to several complaints from McIlrath. Rumor spread that Wleklinski was fired because of his long hair, although McIlrath derided these claims. Phillip Hill stood in as the lead guitarist while on tour, after which White returned as a replacement.  Less than a year later, White left the band for a second time, and was replaced by Todd Mohney, McIlrath's roommate and former bandmate. When it came time to record their second album, Revolutions per Minute, McIlrath noted that the band was suffering from an "identity crisis". Fat Wreck Chords was known for a specific pop punk sound, and Rise Against wanted to find a producer that could highlight the heavier side of their music. They decided on Bill Stevenson--the former drummer of the punk band Descendents--and Jason Livermore to produce the album. Revolutions per Minute was recorded at the Blasting Room in Fort Collins, from November to December 2002. The band members developed a strong rapport with Stevenson and Livermore, and the two parties would eventually collaborate on four of next five Rise Against albums.  Revolutions per Minute was released on April 8, 2003. Like The Unraveling, it failed to reach any major record charts, but did reach number thirty-five on the Independent Albums chart in the United States. Critics praised the album for its impassioned lyrics and unique blend of hardcore punk and melodic hardcore; Brian Hiatt of Rolling Stone called Revolutions per Minute "easily among the finest punk records of the past decade". To support the album, Rise Against traveled with other Fat Wreck Chord bands like Anti-Flag, None More Black, and No Use for a Name on North American and Japan based tours, and participated in the 2003 Warped Tour in North America. When asked about the band's early years with Fat Wreck Chords, Principe said: "Our goal was to be on Fat Wreck Chords and just sell enough records so that when we were home from tour, we wouldn't have to get jobs...Of course, that was all before we had families and children and numerous responsibilities. That was the beauty. And then the longer we did it things just kept coming our way."

Answer this question "When was Revolution released?"
output:
Revolutions per Minute was released on April 8, 2003.