IN: Arabs (; Arabic: `arab ISO 233 'arab, Arabic pronunciation ['?arab] ( listen)) are a population inhabiting the Arab world. They primarily live in the Arab states in Western Asia, North Africa, the Horn of Africa and western Indian Ocean islands.

The earliest documented use of the word "Arab" to refer to a people appears in the Kurkh Monoliths, an Akkadian language record of the ninth century BCE Assyrian conquest of Aram, which referred to Bedouins of the Arabian Peninsula under King Gindibu, who fought as part of a coalition opposed to Assyria. Listed among the booty captured by the army of king Shalmaneser III of Assyria in the Battle of Qarqar are 1000 camels of "Gi-in-di-bu'u the ar-ba-a-a" or "[the man] Gindibu belonging to the Arab (ar-ba-a-a being an adjectival nisba of the noun 'arab). The related word `a'rab is still used to refer to Bedouins today, in contrast to 'arab which refers to Arabs in general.  The oldest surviving indication of an Arab national identity is an inscription made in an archaic form of Arabic in 328 using the Nabataean alphabet, which refers to Imru' al-Qays ibn 'Amr as "King of all the Arabs". Herodotus refers to the Arabs in the Sinai, southern Palestine, and the frankincense region (Southern Arabia). Other ancient Greek historians like Agatharchides, Diodorus Siculus and Strabo mention Arabs living in Mesopotamia (along the Euphrates), in Egypt (the Sinai and the Red Sea), southern Jordan (the Nabataeans), the Syrian steppe and in eastern Arabia (the people of Gerrha). Inscriptions dating to the 6th century BCE in Yemen include the term "Arab".  The most popular Arab account holds that the word "Arab" came from an eponymous father called Ya'rub who was supposedly the first to speak Arabic. Abu Muhammad al-Hasan al-Hamdani had another view; he states that Arabs were called Gharab ("West") by Mesopotamians because Bedouins originally resided to the west of Mesopotamia; the term was then corrupted into "Arab".  Yet another view is held by al-Masudi that the word "Arabs" was initially applied to the Ishmaelites of the "Arabah" valley. In Biblical etymology, "Arab" (in Hebrew Arvi ) comes both from the desert origin of the Bedouins it originally described (Arava means wilderness).  The root '-r-b has several additional meanings in Semitic languages--including "west/sunset," "desert," "mingle," "mixed," "merchant," and "raven"--and are "comprehensible" with all of these having varying degrees of relevance to the emergence of the name. It is also possible that some forms were metathetical from '-B-R "moving around" (Arabic '-B-R "traverse"), and hence, it is alleged, "nomadic."

What was notable about the Assyrian conquest of Aram?

OUT: Listed among the booty captured by the army of king Shalmaneser III of Assyria in the Battle of Qarqar are 1000

input: In Icons of Rock: An Encyclopedia of the Legends Who Changed Music Forever, Scott Schinder and Andy Schwartz describe the Beatles' musical evolution:  In their initial incarnation as cheerful, wisecracking moptops, the Fab Four revolutionised the sound, style, and attitude of popular music and opened rock and roll's doors to a tidal wave of British rock acts. Their initial impact would have been enough to establish the Beatles as one of their era's most influential cultural forces, but they didn't stop there. Although their initial style was a highly original, irresistibly catchy synthesis of early American rock and roll and R&B, the Beatles spent the rest of the 1960s expanding rock's stylistic frontiers, consistently staking out new musical territory on each release. The band's increasingly sophisticated experimentation encompassed a variety of genres, including folk-rock, country, psychedelia, and baroque pop, without sacrificing the effortless mass appeal of their early work.  In The Beatles as Musicians, Walter Everett describes Lennon and McCartney's contrasting motivations and approaches to composition: "McCartney may be said to have constantly developed - as a means to entertain - a focused musical talent with an ear for counterpoint and other aspects of craft in the demonstration of a universally agreed-upon common language that he did much to enrich. Conversely, Lennon's mature music is best appreciated as the daring product of a largely unconscious, searching but undisciplined artistic sensibility."  Ian MacDonald describes McCartney as "a natural melodist - a creator of tunes capable of existing apart from their harmony". His melody lines are characterised as primarily "vertical", employing wide, consonant intervals which express his "extrovert energy and optimism". Conversely, Lennon's "sedentary, ironic personality" is reflected in a "horizontal" approach featuring minimal, dissonant intervals and repetitive melodies which rely on their harmonic accompaniment for interest: "Basically a realist, he instinctively kept his melodies close to the rhythms and cadences of speech, colouring his lyrics with bluesy tone and harmony rather than creating tunes that made striking shapes of their own." MacDonald praises Harrison's lead guitar work for the role his "characterful lines and textural colourings" play in supporting Lennon and McCartney's parts, and describes Starr as "the father of modern pop/rock drumming".

Answer this question "What did they say"
output:
Their initial impact would have been enough to establish the Beatles as one of their era's most influential cultural forces,