input: Phillips auditioned in Savannah, Georgia. He sang "Superstition" by Stevie Wonder. The judges then asked him to perform a second song with his guitar, and he performed Michael Jackson's "Thriller." He advanced to the Hollywood rounds, and later to the Las Vegas round. On February 23, 2012, Phillips was chosen as one of the Top 25 semi-finalists, and was then voted into the Top 13.  His performance style on the show has been compared to Dave Matthews, and he covered one of his songs, "The Stone," in the competition. When asked about Phillips' imitation of his style, Dave Matthews said: "More power to him, I don't mind," and added "He should kick my ass, [then] maybe I can retire and he can take over my band." Mentor Stevie Nicks said Phillips would have been good enough to join Fleetwood Mac back in 1975, after his performance of Jonny Lang's Still Rainin, which he received a standing ovation from the judges.  After the Top 13 performance night, Phillips was taken to a doctor for possible kidney stones. He had eight procedures while he was on Idol, and considered quitting the show due to the pain.  For his Top 3 performance, Phillips sang Bob Seger's "We've Got Tonight." For Top 4, he did a cover of Damien Rice's Volcano - which has been heralded as one of the best American Idol performances of all time. As the sole contestant who was never in jeopardy of elimination in any week of the competition, Phillips became the winner on the finale against Jessica Sanchez after a record-breaking 132 million votes were cast. His coronation song, "Home," was released after his performance, and had the biggest digital sales week for any Idol winner's coronation song.  ^Note 1 Due to the judges using their one save on Jessica Sanchez, the Top 7 remained intact for another week.

Answer this question "Are there any other interesting aspects about this article?"
output: Phillips was taken to a doctor

input: Thomas Sheehan wrote that "Evola's first philosophical works from the 'twenties were dedicated to reshaping neo-idealism from a philosophy of Absolute Spirit and mind into a philosophy of the "absolute individual" and action." Accordingly, Evola developed the doctrine of "magical idealism", which held that "the Ego must understand that everything that seems to have a reality independent of it is nothing but an illusion, caused by its own deficiency." For Evola, this ever-increasing unity with the "absolute individual" was consistent with unconstrained liberty, and therefore unconditional power. In his 1925 work Essays on Magical Idealism, Evola declared that "God does not exist. The Ego must create him by making itself divine."  According to Sheehan, Evola discovered the power of metaphysical mythology while developing his theories. This led to his advocacy of supra-rational intellectual intuition over discursive knowledge. In Evola's view, discursive knowledge separates man from Being. Sheehan stated that this position is a theme in certain interpretations of Western philosophers such as Plato, Thomas Aquinas, and Martin Heidegger that was exaggerated by Evola. Evola would later write:  The truths that allow us to understand the world of Tradition are not those that can be "learned" or "discussed." They either are or are not. We can only remember them, and that happens when we are freed from the obstacles represented by various human constructions (chief among these are the results and methods of the authorized "researchers") and have awakened the capacity to see from the nonhuman viewpoint, which is the same as the Traditional viewpoint ... Traditional truths have always been held to be essentially non-human.  Evola developed a doctrine of the "two natures": the natural world and the primordial "world of 'Being'". He believed that these "two natures" impose form and quality on lower matter and create a hierarchical "great chain of Being." He understood "spiritual virility" as signifying orientation towards this postulated transcendent principle. He held that the State should reflect this "ordering from above" and the consequent hierarchical differentiation of individuals according to their "organic preformation". By "organic preformation" he meant that which "gathers, preserves, and refines one's talents and qualifications for determinate functions."

Answer this question "Was he well known?"
output: 

input: Within a few years of moving to New York, Laswell founded a recording studio with producer/engineer Martin Bisi (of later indie rock renown) and hooked up with Jean Karakos and his fledgling label Celluloid Records. Under the Material moniker (now also a production unit consisting of Laswell and Beinhorn - Maher being long gone - and by 1984 consisting solely of Laswell) Laswell became the de facto house producer for Celluloid until the sale of the label in the later 1980s. During this time in the early to mid-1980s, Laswell was able to record some of his Material excursions (which ran the gamut from experimental jazz/funk to pop and R&B, featuring everyone from avant-jazz figures Henry Threadgill and Sonny Sharrock to Archie Shepp and pop star Whitney Houston) as well as projects such as Massacre, with Fred Frith and Fred Maher.  His association with Celluloid allowed some of his first forays into this so-called "collision music" - the term was coined for Laswell by the British writer Chris May, then editor of Black Music & Jazz Review and later a Celluloid staff member - and forays into world music. Recordings with the Golden Palominos and production on albums by Shango, Toure Kunda and Fela Kuti all appeared on the label. Celluloid also released a slew of 12" devoted to Hip-Hop, becoming a precursor to the popularity the form enjoyed starting in the mid-1980s. Fab 5 Freddy, Phase II and Afrika Bambaataa all appeared on the label. Criminally forgotten, Laswell also put together the very successful 12" World Destruction which paired PiL's John Lydon with Afrika Bambaataa - years before the Run-D.M.C./Aerosmith collaboration broke down the rock/hip-hop barrier. 1982 also saw Laswell's solo debut, Baselines.  Also recording a Laswell-helmed solo album for Celluloid was Ginger Baker, whom Laswell coaxed out of semi-retirement, giving the drummer's career a new boost. He likewise brought Sonny Sharrock out of semi-retirement and produced some of the guitarist's most acclaimed recordings, starting with the solo LP Guitar.

Answer this question "As a record signing company, did it receive recognition for notable artists?"
output:
Fab 5 Freddy, Phase II and Afrika Bambaataa all appeared on the label.