input: Two of Hilltop Hoods' founders first met in 1987 when MC Suffa (aka Matthew David Lambert) and MC Pressure (Daniel Howe Smith) attended Blackwood High School in Eden Hills - a suburb of Adelaide. In 1991 they joined up with DJ Next (Ben John Hare) through a mutual friend and formed an Australian hip hop group. Their name was supplied by fellow local MC Flak (from Cross Bred Mongrels) - the suburb of Blackwood is known by locals as the Hilltop. The band's influences include American hip hop artists: Notorious B.I.G., KRS-One, Gang Starr, Wu-Tang Clan and Public Enemy. At live shows Next was the group's DJ, for recording he contributed audio engineering and all the scratching/turntablism on their early works. He regularly competed in the local DMC World DJ Championships (DMC) tournaments, winning the South Australian DMC championships multiple times. Hilltop Hoods recorded a demo, Highlanders, which was released on cassette tape only. As well as Pressure and Suffa on vocals, the group included MC Summit aka DJ Sum-1, but he did not appear on later Hilltop Hoods work. The group's first official release, in 1997, was a vinyl-only, seven-track extended play, Back Once Again. Production was handled by DJ Debris (Barry John M Francis), turntablism and audio engineering by Next, vocals by Pressure and Suffa. The third track, "Shades of Grey", features Debris with a verse, and was co-written by Francis, Hare, Lambert and Smith. Fifth track, "Mankind Must Suffa" also features a guest verse from Quromystix (aka Quro, Andrew Michael Bradley) - a member of Finger Lickin' Good and later the Fuglemen. "Mankind Must Suffa" is credited to Lambert, Smith, Francis and Bradley. Back Once Again is out of print and unavailable for retail purchase. The group's debut studio album, A Matter of Time, was released in 1999 on CD only. As with Back Once Again, it is now unavailable for retail purchase. All scratching/turntablism is performed by Next, a track, "Let Me Show You", has no vocals - solely showcasing his turntable skills. American MC Bukue One (Tion Torrence) appears for a guest verse on "Deaf Can Hear". The track is credited to Lambert, Smith, Francis, Hare and Torrence. The album was released independently but with financial assistance from Arts SA - the band were inspired, in 2005, to set up their own Hilltop Hoods Initiative, to help local artists. After the album appeared, Next left the group and moved to Melbourne. In 2004 he moved to London. In 1999 Debris, who was also a member of the Cross Bred Mongrels, replaced Next and became the Hilltop Hoods' full-time DJ. Hilltop Hoods founded the Certified Wise Crew - a hip hop collaborative - with local groups Terra Firma, Cross Bred Mongrels and After Hours. Certified Wise Crew has since expanded to include MCs Trauma, Blockade, Kolaps, Flea, with Vents and Funkoars joining in later years. Hilltop Hoods received two nominations for the Hip Hop Act of the Year Award at the Australian Dance Music Awards and again at the 3D World Music Awards in 2001 and 2002. In 2001 the group's second album, Left Foot, Right Foot, was released with Lambert, Francis and M. Veraquth producing.

Answer this question "What year was Highlanders released?"
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input: In 1935 Holiday was signed to Brunswick Records by John Hammond to record current pop tunes with Teddy Wilson in the new swing style for the growing jukebox trade. They were given free rein to improvise the material. Holiday's improvisation of melody to fit the emotion was revolutionary. Their first collaboration included "What a Little Moonlight Can Do" and "Miss Brown to You". "What a Little Moonlight Can Do" has been deemed her "claim to fame." Brunswick did not favor the recording session, because producers wanted Holiday to sound more like Cleo Brown. After "What a Little Moonlight Can Do" garnered success, however, the company began considering Holiday an artist in her own right. She began recording under her own name a year later (on the 35-cent Vocalion label), producing a series of extraordinary performances with groups comprising the swing era's finest musicians. The sessions were co-produced by Hammond and Bernie Hanighen. With their arrangements, Wilson and Holiday took pedestrian pop tunes, such as "Twenty-Four Hours a Day" (number 6 Pop) and "Yankee Doodle Went to Town", and turned them into jazz classics. Most of Holiday's recordings with Wilson or under her own name during the 1930s and early 1940s are regarded as important parts of the jazz vocal library. She was then in her twenties. Another frequent accompanist was the tenor saxophonist Lester Young, who had been a boarder at her mother's house in 1934 and with whom Holiday had a special rapport. He said, "I think you can hear that on some of the old records, you know. Some time I'd sit down and listen to 'em myself, and it sound like two of the same voices, if you don't be careful, you know, or the same mind, or something like that." Young nicknamed her "Lady Day", and she called him "Prez". Hammond spoke about the commercial impact of the Wilson-Holiday sides from 1935 to 1938, calling them a great asset to Brunswick. The record label, according to Hammond, was broke and unable to record many jazz tunes. Wilson, Holiday, Young, and other musicians came into the studio without musical arrangements and improvised as they performed, dispensing with the expense of having written arrangements, so that the records they produced were cheap. Holiday was never given any royalties for her work, instead being paid a flat fee, which saved the company money. Some of the records produced were successful, such as "I Cried for You", which sold 15,000 copies. Hammond said of the record, "15,000 ... was a giant hit for Brunswick in those days. I mean a giant hit. Most records that made money sold around three to four thousand."

Answer this question "Are there any other interesting aspects about this article?"
output:
Holiday was never given any royalties for her work, instead being paid a flat fee, which saved the company money.