input: The band's lead singer, Damian Kulash, met bassist Tim Nordwind at Interlochen Arts Camp when they were 11. Kulash was in for graphic design, Nordwind for music. The band name comes from an art teacher of the band members saying, "OK... Go!" while they were drawing. They kept in touch after camp, often exchanging mixtapes which influenced each other's musical taste and the band's future sound. They met the band's future guitarist and keyboardist Andy Duncan in high school. Nordwind and Duncan moved to Chicago for college, where they formed the band Stanley's Joyful Noise with drummer Dan Konopka. The name OK Go was adopted in 1998, when Kulash moved to Chicago to join the band.  The band plastered the city with posters for its earliest gigs and within a year had shared the stage with international artists such as Elliott Smith, the Promise Ring, the Olivia Tremor Control and Sloan. At the end of 2000, the band was invited by radio host Ira Glass to serve as the house band for live performances of This American Life in Boston, New York, and Chicago.  The band self-released two EPs, titled Brown EP (2000) and Pink EP (2001), which were culled from an album's worth of songs recorded in February 2000 with producer Dave Trumfio, to serve as demos. The early music had electronic influences, as Kulash told the Chicago Reader in 2001, "We were trying to figure out how we could get a sampler and beats to work in rock songs that didn't sound like rip-offs of Portishead." The demos did not land the band a label deal, but got them the attention of booking agent Frank Riley, who offered them shows with They Might Be Giants, a relationship that has endured as OK Go opened for the band numerous times during this period, and was introduced to the band's manager by them.  Though the members of OK Go eventually left for Los Angeles and New York, they consider themselves a Chicago band. In a 2011 interview, Kulash described the band's formative years: "As far as the band is concerned, we only have one home town. We all live in L.A. now but there's only one period of your life as a band where you're playing the same clubs every week or every month, and you know everybody in every other band; and it's all your friends, all the people that work at the clubs, and it's such a community. Chicago had such a close-knit and intense community five years ago when we were here. It's amazing. The Empty Bottle was where it all started for us. We played at the Metro and the Double Door as well."

Answer this question "Are there any other interesting aspects about this article?"
output: Though the members of OK Go eventually left for Los Angeles and New York, they consider themselves a Chicago band.

input: Keith was moved to the short-lived Nashville division of A&M Records to release Blue Moon in April 1996. His third album to achieve a platinum certification, it also included three singles. The first was "Does That Blue Moon Ever Shine on You", written by Keith in 1987, which reached number 2. Following it were "A Woman's Touch" at number 6, and his third number 1 hit, "Me Too", which peaked in March 1997. Keith also appeared on The Beach Boys' now out-of-print 1996 album Stars and Stripes Vol. 1 performing a cover of their 1963 hit "Be True to Your School" with the Beach Boys themselves providing the harmonies and backing vocals.  Following a corporate merger, Keith returned to Mercury in 1997. His fourth studio album, Dream Walkin', was also his first produced by James Stroud, who would also serve as Keith's co-producer until 2005. It produced two consecutive number 2 hits in "We Were in Love" and a cover of Sting's 1996 single "I'm So Happy I Can't Stop Crying". Sting also sang duet vocals and played bass guitar on it, and the two also performed the song at the 1997 Country Music Association awards. After this song, the album's title track made number 5, while "Double Wide Paradise" peaked at number 40.  Keith's last Mercury release was Greatest Hits Volume One in October 1998. The album included twelve of his prior singles and two new songs: the country rap "Getcha Some" and "If a Man Answers". Both were released as singles, with "Getcha Some" reaching top 20, but "If a Man Answers" became his first single to miss top 40. According to Keith, these two songs were originally to be put on a studio album, but Mercury executives, dissatisfied with the album that Keith had made, chose to put those two songs on a greatest hits package, and asked him to "go work on another album". After he recorded two more songs which the label also rejected, he asked to terminate his contract with the label. After exiting Mercury, Keith co-wrote Shane Minor's debut single "Slave to the Habit" with Chuck Cannon and Kostas.

Answer this question "Were there any hit songs on Blue Moon?"
output: Does That Blue Moon Ever Shine on You",

input: West Yorkshire Police were criticised for being inadequately prepared for an investigation on this scale. It was one of the largest investigations by a British police force and predated the use of computers. Information on suspects was stored on handwritten index cards. Aside from difficulties in storing and accessing the paperwork (the floor of the incident room was reinforced to cope with the weight of the paper), it was difficult for officers to overcome the information overload of such a large manual system. Sutcliffe was interviewed nine times, but all information the police had about the case was stored in paper form, making cross-referencing difficult, compounded by television appeals for information which generated thousands more documents.  Assistant Chief Constable George Oldfield was criticised for being too focused on a hoax confessional tape that seemed to indicate a perpetrator with a Wearside background, and for ignoring advice from survivors of Sutcliffe's attacks, and several eminent specialists including the FBI, plus dialect analysts such as Stanley Ellis and Jack Windsor Lewis, whom he had also consulted throughout the manhunt, that "Wearside Jack" was a blatant hoaxer. The investigation used it as a point of elimination rather than a line of enquiry and allowed Sutcliffe to avoid scrutiny, as he did not fit the profile of the sender of the tape or letters. The "Wearside Jack" hoaxer was given unusual credibility when analysis of saliva on the envelopes he sent showed he had the same blood group as the Yorkshire Ripper had left at crime scenes, a type shared by only 6% of the population. The hoaxer appeared to know details of the murders which had not been released to the press, but which in fact he had acquired from his local newspaper and pub gossip. The official response to the criticisms led to the implementation of the forerunner of the Home Office Large Major Enquiry System, the development of the Major Incident Computer Application (MICA), developed between West Yorkshire Police and ISIS Computer Services.  In response to the police reaction to the murders, the Leeds Revolutionary Feminist Group organised a number of 'Reclaim the Night' marches. The group and other feminists had criticised the police for victim-blaming, especially the suggestion that women should remain indoors at night. Eleven marches in various towns across the United Kingdom took place on the night of 12 November 1977. They made the point that women should be able to walk anywhere without restriction and that they should not be blamed for men's violence.  In 1988, the mother of Sutcliffe's last victim, Jacqueline Hill, during action for damages on behalf of her daughter's estate, argued in the High Court that the police had failed to use reasonable care in apprehending the murderer of her daughter in Hill v Chief Constable of West Yorkshire. The House of Lords held that the Chief Constable of West Yorkshire did not owe a duty of care to the victim due to the lack of proximity and therefore failing on the second limb of the Caparo test.

Answer this question "What does this mean for the police"
output:
compounded by television appeals for information which generated thousands more documents.