input: Vieira moved to ABC initially as one of six regular correspondents for the news-magazine show Turning Point (1994-99), and was also the host of the Lifetime Network's show Intimate Portrait, which debuted on January 3, 1995, and ran until August 28, 2004.  Vieira served as the original moderator and co-host of ABC's daytime talk show The View from its debut on August 11, 1997, until June 9, 2006. As moderator, she was responsible for opening and closing each of the show's live episodes, introducing "Hot Topics," guiding conversations, and breaking to commercials. On her final episode of The View, Vieira's co-hosts gave her a roast to commemorate her departure.  Vieira explained what led her to become The View's moderator in an interview with the Pittsburgh Post-Gazette, by making the following statement:  In August 2006, Vieira told Time that she hasn't watched The View since she left the show, except the episode when Star Jones announced she was leaving. She said it was "very sad" what's happened to it: "I'm proud of the work we did there, but it's not a good time in the history of the show... It's hard to watch. It sort of became a joke." On August 29, 2006, Vieira told the New York Post that she didn't mean that The View was a joke. She said the interview was taken out of context. "I felt that the media was turning [The View] into a joke, not that the show was a joke," she says. Time added a clarification to its website, saying "[Vieira] assures Time that in no way were her comments meant to be insensitive or derogatory..."

Answer this question "Did she ever recieve any awards for her hosting/"
output: 

input: In the late 1990s and early 2000s, Glass's lyrical and romantic styles peaked with a variety of projects: operas, theatre and film scores (Martin Scorsese's Kundun, 1997, Godfrey Reggio's Naqoyqatsi, 2002, and Stephen Daldry's The Hours, 2002), a series of five concerts, and three symphonies centered on orchestra-singer and orchestra-chorus interplay. Two symphonies, Symphony No. 5 "Choral" (1999) and Symphony No. 7 "Toltec" (2004), and the song cycle Songs of Milarepa (1997) have a meditative theme. The operatic Symphony No. 6 Plutonian Ode (2002) for soprano and orchestra was commissioned by the Brucknerhaus, Linz, and Carnegie Hall in celebration of Glass's sixty-fifth birthday, and developed from Glass's collaboration with Allen Ginsberg (poet, piano - Ginsberg, Glass), based on his poem of the same name.  Besides writing for the concert hall, Glass continued his ongoing operatic series with adaptions from literary texts: The Marriages of Zones 3, 4 and 5 ([1997] story-libretto by Doris Lessing), In the Penal Colony (2000, after the story by Franz Kafka), and the chamber opera The Sound of a Voice (2003, with David Henry Hwang), which features the Pipa, performed by Wu Man at its premiere. Glass also collaborated again with the co-author of Einstein on the Beach, Robert Wilson, on Monsters of Grace (1998), and created a biographic opera on the life of astronomer Galileo Galilei (2001).  In the early 2000s, Glass started a series of five concerti with the Tirol Concerto for Piano and Orchestra (2000, premiered by Dennis Russell Davies as conductor and soloist), and the Concerto Fantasy for Two Timpanists and Orchestra (2000, for the timpanist Jonathan Haas). The Concerto for Cello and Orchestra (2001) had its premiere performance in Beijing, featuring cellist Julian Lloyd Webber; it was composed in celebration of his fiftieth birthday. These concertos were followed by the concise and rigorously neo-baroque Concerto for Harpsichord and Orchestra (2002), demonstrating in its transparent, chamber orchestral textures Glass's classical technique, evocative in the "improvisatory chords" of its beginning a toccata of Froberger or Frescobaldi, and 18th century music. Two years later, the concerti series continued with Piano Concerto No. 2: After Lewis and Clark (2004), composed for the pianist Paul Barnes. The concerto celebrates the pioneers' trek across North America, and the second movement features a duet for piano and Native American flute. With the chamber opera The Sound of a Voice, Glass's Piano Concerto No. 2 might be regarded as bridging his traditional compositions and his more popular excursions to World Music, also found in Orion (also composed in 2004).

Answer this question "What is Philip's most famous work?"
output: 

input: Their first greatest hits compilation was released on September 16, 1997. It comprised most of their singles to that point and three new songs: "Honky Tonk Truth", "He's Got You", and "Days of Thunder". The first two were released as singles, with respective peaks of three and two on the country charts. The Greatest Hits Collection was certified platinum in April 1998, and double-platinum in 2001.  Brooks & Dunn collaborated with Reba McEntire to perform "If You See Him/If You See Her", which was the lead-off single to Brooks & Dunn's If You See Her and McEntire's If You See Him, both of which were released on the same day. Arista Nashville and MCA Nashville, the label to which McEntire was signed, both promoted the single. This cut went to number one, as did If You See Her's next two singles: "How Long Gone" and a cover of Roger Miller's "Husbands and Wives", which also became the duo's first top 40 hit on the Billboard Hot 100. Dunn recorded the vocals for "Husbands and Wives" in one take. Also included on the album was "Born and Raised in Black and White", the first song of the duo's career in which they alternated on lead vocals. The album's fourth single was "I Can't Get Over You", which was a top five country hit. Following it was "South of Santa Fe", which peaked at number 41 on the country charts and thus became the duo's lowest-peaking single there. In 2001, If You See Her reached double-platinum certification in the United States.  Jana Pendragon, in her review for Allmusic, praised Dunn's vocal performances on "Husbands and Wives" and "You're My Angel", but thought that a couple of the other cuts were "formula". Country Standard Time writer Kevin Oliver criticized the album for having "wildly uneven" material, calling the McEntire collaboration a "snoozer" and "South of Santa Fe" "wretched".

Answer this question "Are there any other interesting aspects about this article?"
output:
". Country Standard Time writer Kevin Oliver criticized the album for having "wildly uneven" material, calling the McEntire collaboration a "snoozer" and "South of Santa Fe" "wretched".