Here is a question about this article: Hoover began using wiretapping in the 1920s during Prohibition to arrest bootleggers. In the 1927 case Olmstead v. United States, in which a bootlegger was caught through telephone tapping, the United States Supreme Court ruled that FBI wiretaps did not violate the Fourth Amendment as unlawful search and seizure, as long as the FBI did not break into a person's home to complete the tapping. After Prohibition's repeal, Congress passed the Communications Act of 1934, which outlawed non-consensual phone tapping, but allowed bugging. In the 1939 case Nardone v. United States, the court ruled that due to the 1934 law, evidence the FBI obtained by phone tapping was inadmissible in court. After the 1967 case Katz v. United States overturned the 1927 case that had allowed bugging, Congress passed the Omnibus Crime Control Act, allowing public authorities to tap telephones during investigations as long as they obtain a warrant beforehand.
What is the answer to this question: What Act did Congress pass to outlaw non-consensual phone tapping?
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So... Communications Act of 1934


Here is a question about this article: During the summer of 1969, a Chicago studio group produced a single record called "Hey Hey! Holy Mackerel! (The Cubs Song)" whose title and lyrics incorporated the catch-phrases of the respective TV and radio announcers for the Cubs, Jack Brickhouse and Vince Lloyd. Several members of the Cubs recorded an album called Cub Power which contained a cover of the song. The song received a good deal of local airplay that summer, associating it very strongly with that bittersweet season. It was played much less frequently thereafter, although it remained an unofficial Cubs theme song for some years after.
What is the answer to this question: What year was the single "Hey Hey! Holy Mackerel! (The Cubs Song)" produced? 
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So... 1969


Here is a question about this article: West's fifth album, My Beautiful Dark Twisted Fantasy, has been noted by writers for its maximalist aesthetic and its incorporation of elements from West's previous four albums. Entertainment Weekly's Simon Vozick-Levinson perceives that such elements "all recur at various points", namely "the luxurious soul of 2004's The College Dropout, the symphonic pomp of Late Registration, the gloss of 2007's Graduation, and the emotionally exhausted electro of 2008's 808s & Heartbreak". Sean Fennessey of The Village Voice writes that West "absorb[ed] the gifts of his handpicked collaborators, and occasionally elevat[ed] them" on previous studio albums, noting collaborators and elements as Jon Brion for Late Registration, DJ Toomp for Graduation, and Kid Cudi for 808s & Heartbreak.
What is the answer to this question: Which album by Kanye West has been talked about by writers for having maximalist aesthetic?
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So...
My Beautiful Dark Twisted Fantasy