input: After the departure of Jeremy Hummel, Breaking Benjamin auditioned fifteen drummers, of whom Chad Szeliga stood out for his ability as a stage performer and the fact that he had "serious problem-solving skills", according to Burnley. The group's next album, Phobia, was again produced by Bendeth and was the first to be recorded with Szeliga. The concept of the album is dedicated to Burnley's various phobias. The cover of the album depicts a winged man suspended over a runway, which represents the singer's fear of flying. Burnley also suffers from death anxiety, a fear of the dark, driving anxiety, and hypochondriasis. Burnley cites his fear of flying as for why he did not perform overseas, saying, "I'll go as far as a boat will take me", though at the time the band's record label had not facilitated travel by boat. Phobia's "Intro" and "Outro" tracks feature sound effects of an airport intercom, airplane turbulance, car doors, and crowd panic.  Phobia was released on August 8, 2006 to commercial success. The album sold more than 131,000 copies in its first week of sales and peaked at No. 2 on the Billboard 200. It went gold on November 8, 2006, then platinum on May 21, 2009. Its lead single, "The Diary of Jane", peaked at No. 2 on the Mainstream Rock Songs chart and was the fastest single added to radio playlists in the history of Hollywood Records, later receiving a double platinum certification on November 24, 2015. "Breath", the record's second single, spent seven weeks at No. 1 on the Mainstream Rock Songs chart, and went platinum on November 24, 2015. The third single, "Until the End", peaked at No. 6 on the same chart, and became a gold single on February 11, 2014.  In February 2007 in support of Phobia, AXS TV (then known as HDNet) aired a one-hour Breaking Benjamin concert from Stabler Arena in Bethlehem, Pennsylvania. The broadcast recording was included on the re-released Phobia DVD in April, billed as "The Homecoming". A music video was created for "Breath" which was made from footage of the song's performance at the show. Breaking Benjamin followed with Spring and Fall tours alongside Three Days Grace, accompanied by Puddle of Mudd during the Spring tour, and Seether, Skillet, and Red during the Fall tour.  Phobia received mixed critical reception. It received praise for general composition and musicianship but received criticism for a lack of originality. AllMusic's Corey Apar found the album "nothing if not consistent," and while generally regarding the disc with positive sentiments, noted a lack of distinction from the "rest of the post-grunge/alt-metal pack" aside from "a certain charm". IGN's Spence D. gave the disc a negative review, citing tedium and lack of vocal distinction, feeling that the group's "intersection of hard rock and emo-oriented introspection" is "not a bad thing, but also not a terribly memorable or earth-shattering one, either." However, the writer praised the musicianship of Fink, Klepaski, and Szeliga, ultimately giving the album a score of 5.7 out of 10. Entertainment Weekly graded the album C+ and noted its angst-ridden themes, saying, "as pathological angst goes, it's expertly done, with expansive choruses and epic riffs - not that that matters, when, like, we're all going to die cold and alone anyway."

Answer this question "Was the album created by the original members of the band?"
output: After the departure of Jeremy Hummel, Breaking Benjamin auditioned fifteen drummers,

input: Upon leaving college, Simon worked as a police reporter at The Baltimore Sun from 1982 to 1995. He spent most of his career covering the crime beat. A colleague has said that Simon loved journalism and felt it was "God's work". Simon says that he was initially altruistic and was inspired to enter journalism by the Washington Post's coverage of Watergate but became increasingly pragmatic as he gained experience. Later in his career he aimed to tell the best possible story without "cheating it".  Simon was a union captain when the writing staff went on strike in 1987 over benefit cuts. He remained angry after the strike ended and began to feel uncomfortable in the writing room. He searched for a reason to justify a leave of absence and settled on the idea of writing a novel. "I got out of journalism because some sons of bitches bought my newspaper and it stopped being fun," says Simon.  In an interview in Reason in 2004, Simon said that since leaving the newspaper business he has become more cynical about the power of journalism. "One of the sad things about contemporary journalism is that it actually matters very little. The world now is almost inured to the power of journalism. The best journalism would manage to outrage people. And people are less and less inclined to outrage," said Simon. "I've become increasingly cynical about the ability of daily journalism to effect any kind of meaningful change. I was pretty dubious about it when I was a journalist, but now I think it's remarkably ineffectual." In 1988, disillusioned, Simon took a year's leave to go into the Baltimore Police Department Homicide Unit to write a book.

Answer this question "Who bought his newspaper?"
output: 

input: "Good Vibrations" established a new method of operation for Wilson. Instead of working on whole songs with clear large-scale syntactical structures, Wilson limited himself to recording short interchangeable fragments (or "modules"). Through the method of tape splicing, each fragment could then be assembled into a linear sequence, allowing any number of larger structures and divergent moods to be produced at a later time. This was the same modular approach used during the sessions for Smile and Smiley Smile. To mask each tape edit, vast reverb decays were added at the mixing and sub-mixing stages.  For instrumentation, Wilson employed the services of "the Wrecking Crew", the nickname for a conglomerate of session musicians active in Los Angeles at that time. Production for "Good Vibrations" spanned more than a dozen recording sessions at four different Hollywood studios, at a time when most pop singles were typically recorded in a day or two. It was reported to have used over 90 hours of magnetic recording tape, with an eventual budget estimated between $50,000 and $75,000 (equivalent to $380,000 and $570,000 in 2017), at that time the largest sum spent on a single. In comparison, the whole of Pet Sounds had cost $70,000 ($530,000), itself an unusually high cost for an album. It is said that Wilson was so puzzled by "Good Vibrations" that he would often arrive at a session, consider a few possibilities, and then leave without recording anything, which exacerbated costs.  In 2018, Wilson disputed the $50,000 figure for "Good Vibrations", saying that the overall expenses were closer to $25,000 ($190,000). When asked in a 2005 interview if it was true that the Electro-Theremin work alone cost $100,000, he responded "No. $15,000."

Answer this question "Is there anything interesting about the modular approach?"
output:
Production for "Good Vibrations" spanned more than a dozen recording sessions at four different Hollywood studios, at a time when