Problem: Background: Kanjani Eight (Guan ziyani[?](eito), Kanjani Eito, stylized as Kanjani[?]) is a seven-member Japanese boy band from Japan's Kansai region. They are managed by the multimedia talent agency, Johnny & Associates, and signed to Imperial Records. The group was formed in 2002 and made their CD debut in 2004 as "Johnny's modern enka group", though after the year 2006, their sound and style has become a mix of pop and rock. Like the rest of the acts managed under Johnny & Associates, Kanjani Eight also perform in various other areas of the Japanese entertainment industry such as variety show hosting, television, movie, and stage acting, and radio talk show hosting.
Context: Although Nishikido and Uchi were already members of NEWS, they went on to also debut as members of Kanjani Eight when the group released their debut single titled "Naniwa Iroha Bushi" in the Kansai area on August 25, 2004. The single became a local hit, capturing the traditional feel of their hometown region through the pop-enka tune. Shibutani had said, in regards to the feel of the song, " The song has a Kawachi Workman's bass, so it's entirely something new. It'd make me happy to see others dancing when they hear it."  Despite the release of the CD, their debut was lackluster, leaving many to question if the debut actually was real. The members themselves had found out of the debut through a newspaper article; Shibutani had said that he was "very surprised" when he found out.  Even though there was questions about the group's debut, "Naniwa Iroha Bushi" had risen to the number-one spot on the Oricon's Enka charts and reaching number-eight on the Oricon's generic music charts. When the single made its nationwide debut on September 22, it had hit number-one on both the Oricon Enka and General Music charts.  Much of 2004 activities were Kansai region focused in comparison their fellow acts who had the luxuries of nationwide exposure. Kanjani Eight had become hometown idols with majority of their popularity within the region but outside the area they were almost unknown. The release of their second single, "Osaka Rainy Blues", further exemplified the fact with the CD single debuting number-nine on the Oricon. To this date, "Osaka Rainy Blues" is the group's lowest single in sales.  2005 had marked the launch of Kanjani Eight's popularity even though it had opened up with the lackluster sales of their second single, "Osaka Rainy Blues". The group had been starring in three regular programs, now being aired nationwide, and were starting to get recognition as a debut Johnny's act. But with growing success came a scandal and in 2005 Hiroki Uchi was arrested for disorderly conduct and underage drinking, being 18 at the time.  The scandal had a significant impact on Kanjani Eight as well as NEWS, the other group he was active in. Johnny's & Associates removed Uchi from both units and put him under an indefinite hiatus from all activities. Also, the drama special about the World War II Kamikaze pilots starring the group, Yakusoku, was canceled. Kanjani Eight continued on that year to do their first Osaka-jo Hall performance with one member less in the summer of 2005.
Question: What was their debut?
Answer: the group released their debut single titled "Naniwa Iroha Bushi" in the Kansai area on August 25, 2004.

Problem: Background: Susan Keating Glaspell (July 1, 1876 - July 28, 1948) was an American playwright, novelist, journalist and actress. With her husband George Cram Cook she founded the Provincetown Players, the first modern American theatre company. During the Great Depression, she served in the Works Progress Administration as Midwest Bureau Director of the Federal Theater Project. Glaspell is known to have composed nine novels, fifteen plays, over fifty short stories, and one biography.
Context: Glaspell was highly regarded in her time, and was well known as a Pulitzer Prize-winning playwright. Her short stories were regularly printed in the era's top periodicals, and her New York Times obituary states that she was "one of the nation's most widely-read novelists." However, Glaspell's idealistic tales of strong and independent female protagonists were less popular in the post-war era that stressed female domesticity, and her novels fell out of print after her death.  In 1940 a new generation of influential Broadway-based critics began publishing derogatory reviews of her plays, having a sizable effect on her long-term standing. Exacerbating the issue was Glaspell's reluctance to seek publicity and her tendency to downplay her own accomplishments, perhaps a result of her modest Midwestern upbringing. Accordingly, in the United States her work was seriously neglected for many years. Internationally, she received some attention by scholars who were primarily interested in her more experimental work from the Provincetown years.  In the late 1970s feminist critics began to reevaluate Glaspell's career, and interest in her work has grown steadily ever since. Today, Glaspell scholarship is a "burgeoning" field, with several book-length biographies and analyses of her writing being published by university presses in recent years. After a century of being out of print, a large portion of her work has been republished. With major achievements in drama, novel, and short fiction, Glaspell is often cited as a "prime example" of an overlooked female writer deserving canonization. Perhaps the originator of modern American theater, Glaspell has been called "the First Lady of American Drama" and "the Mother of American Drama."  In 2003 the International Susan Glaspell Society was founded, with the aim of promoting "the recognition of Susan Glaspell as a major American dramatist and fiction writer." Her plays are frequently performed by college and university theater departments, but she has become more widely known for her often-anthologized works: the one-act play Trifles, and its short-story adaptation, "A Jury of Her Peers". Since the late 20th century, these two pieces have become staples of theatre and Women's Studies curricula across the United States and the world.
Question: What criticism did she get?
Answer:
Broadway-based critics began publishing derogatory reviews of her plays, having a sizable effect on her long-term standing. Exacerbating the issue was Glaspell's reluctance to seek publicity