Question:
Sam Benjamin Harris (born April 9, 1967) is an American author, philosopher, neuroscientist, blogger, and podcast host. He is a critic of religion and proponent of the liberty to criticize religion. He is concerned with matters that touch on spirituality, morality, neuroscience, free will, and terrorism. He is described as one of the "Four Horsemen of atheism", with Richard Dawkins, Christopher Hitchens and Daniel Dennett.
Harris considers Islam to be "especially belligerent and inimical to the norms of civil discourse," relative to other world religions. He asserts that the "dogmatic commitment to using violence to defend one's faith, both from within and without" to varying degrees, is a central Islamic doctrine that is found in few other religions to the same degree, and that "this difference has consequences in the real world."  In 2006, after the Jyllands-Posten Muhammad cartoons controversy, Harris wrote, "The idea that Islam is a 'peaceful religion hijacked by extremists' is a dangerous fantasy--and it is now a particularly dangerous fantasy for Muslims to indulge. It is not at all clear how we should proceed in our dialogue with the Muslim world, but deluding ourselves with euphemisms is not the answer. It now appears to be a truism in foreign policy circles that real reform in the Muslim world cannot be imposed from the outside. But it is important to recognize why this is so--it is so because the Muslim world is utterly deranged by its religious tribalism. In confronting the religious literalism and ignorance of the Muslim world, we must appreciate how terrifyingly isolated Muslims have become in intellectual terms." He states that his criticism of the religion is aimed not at Muslims as people, but at the doctrine of Islam.  Harris wrote a response to controversy over his criticism of Islam, which also aired on a debate hosted by The Huffington Post on whether critics of Islam are unfairly labeled as bigots:  Is it really true that the sins for which I hold Islam accountable are "committed at least to an equal extent by many other groups, especially [my] own"? ... The freedom to poke fun at Mormonism is guaranteed [not by the First Amendment but] by the fact that Mormons do not dispatch assassins to silence their critics or summon murderous hordes in response to satire. ... Can any reader of this page imagine the staging of a similar play [to The Book of Mormon] about Islam in the United States, or anywhere else, in the year 2013? ... At this moment in history, there is only one religion that systematically stifles free expression with credible threats of violence. The truth is, we have already lost our First Amendment rights with respect to Islam--and because they brand any observation of this fact a symptom of Islamophobia, Muslim apologists like Greenwald are largely to blame.  Harris has criticized common usage of the term "Islamophobia". "My criticism of Islam is a criticism of beliefs and their consequences," he wrote following a controversial clash with Ben Affleck in October 2014 on the show Real Time with Bill Maher, "but my fellow liberals reflexively view it as an expression of intolerance toward people." During an email exchange with Glenn Greenwald, a critic of the New Atheists, Harris argued that "Islamophobia is a term of propaganda designed to protect Islam from the forces of secularism by conflating all criticism of it with racism and xenophobia. And it is doing its job, because people like you have been taken in by it."
Answer this question using a quote from the text above:

Where did the debate happen?

Answer:
on a debate hosted by The Huffington Post

Answer the question at the end by quoting:

The Kinks were an English rock band formed in Muswell Hill, North London, in 1964 by brothers Ray and Dave Davies. They are regarded as one of the most important and influential rock bands of the 1960s. The band emerged during the height of British rhythm and blues and Merseybeat, and were briefly part of the British Invasion of the United States until their touring ban in 1965. Their third single, the Ray Davies-penned "You Really Got Me", became an international hit, topping the charts in the United Kingdom and reaching the Top 10 in the United States.
The Kinks started out playing the then popular R&B and blues styles; then, under the influence of The Kingsmen's "Louie Louie" recording, developed louder rock and hard rock sounds -- due to their pioneering contribution to the field, they have often been labelled as "the original punks". Dave Davies was "really bored with this guitar sound - or lack of an interesting sound" so he purchased "a little green amplifier ... an Elpico" from a radio spares shop in Muswell Hill, and "twiddled around with it", including "taking the wires going to the speaker and putting a jack plug on there and plugging it straight into my AC30" (a larger amplifier), but didn't get the sound he wanted until he got frustrated and "got a single-sided Gillette razorblade and cut round the cone [from the centre to the edge] ... so it was all shredded but still on there, still intact. I played and I thought it was amazing." The jagged sound of the amplifier was replicated in the studio; the Elpico was plugged into the Vox AC30, and the resulting effect became a mainstay in The Kinks' early recordings--most notably on "You Really Got Me" and "All Day and All of the Night".  From 1966 onwards, The Kinks came to be known for their adherence to traditions of English music and culture, during a period when many other British bands dismissed their heritage in favour of American blues, R&B and pop styles. Ray Davies recalled that at a distinct moment in 1965 he decided to break away from the American scene, and write more introspective and intelligent songs. "I decided I was going to use words more, and say things. I wrote 'Well Respected Man'. That was the first real word-oriented song I wrote. ... [I also] abandoned any attempt to Americanise my accent." The Kinks' allegiance to English styles was strengthened by the ban placed on them by the American Federation of Musicians. The ban cut them off from the American record buying public, the world's largest musical market, forcing them to focus on Britain and mainland Europe. The Kinks expanded on their English sound throughout the remainder of the 1960s, incorporating elements of music hall, folk, and baroque music through use of harpsichord, acoustic guitar, mellotron, and horns, and creating some of the most influential and important music of the period.  Beginning with Everybody's In Show-biz (1972), Ray Davies began exploring theatrical concepts on the group's albums; these themes became manifest on the 1973 album Preservation Act 1 and continued through Schoolboys In Disgrace (1976). The Kinks found little success with these conceptual works, and reverted to a traditional rock format throughout the remainder of the 1970s. Sleepwalker (1977), which heralded their return to commercial success, featured a mainstream, relatively slick production style that would become their norm. The band returned to hard rock for Low Budget (1979), and continued to record within the genre throughout the remainder of their career.

what was their greatest accomplishment?
The Kinks came to be known for their adherence to traditions of English music and culture, during a period when many other British bands dismissed their heritage