input: In 1988, McFarlane joined writer David Michelinie on Marvel's The Amazing Spider-Man, beginning with issue 298, drawing the preliminary sketch for that cover's image on the back of one of his Incredible Hulk pages. McFarlane garnered notice for the more dynamic poses in which he depicted Spider-Man's aerial web-swinging, his enlarging of the eyes on the character's mask, and greater detail in which he rendered his artwork. In particular was the elaborate detail he gave to Spider-Man's webbing. Whereas it had essentially been rendered as a series of X's between two lines, McFarlane embellished it by detailing far more individual strands, which came to be dubbed "spaghetti webbing". McFarlane was the first to draw the first, full appearance of Eddie Brock, the original incarnation of the villain Venom. He has been credited as the character's co-creator, though this has been a topic of dispute within the comic book industry. (See Eddie Brock: Creation and conception.) McFarlane's work on Amazing Spider-Man made him an industry superstar. His cover art for Amazing Spider-Man No. 313, for which he was originally paid $700 in 1989, for example, would later sell for $71,200 in 2010. Despite this, he became increasingly dissatisfied with the lack of control over his own work, as he wanted more say in the direction of storylines. He began to miss deadlines, requiring guest artists to fill-in for him on some issues. In 1990, after a 28-issue run of Amazing Spider-Man, McFarlane told editor Jim Salicrup that he wanted to write his own stories, and would be leaving the book with issue No. 328, which was part of that year's company-wide "Acts of Vengeance" crossover storyline. In July 2012 the original artwork to that issue's cover, which features Spider-Man dispatching the Hulk, sold for a record-breaking $657,250 USD, the highest auction price ever for any piece of American comic book art. McFarlane was succeeded on Amazing Spider-Man by McFarlane's future fellow Image Comics co-founder Erik Larsen.

Answer this question "What special recognition or deals or signings did he get for it?"
output: His cover art for Amazing Spider-Man No. 313, for which he was originally paid $700 in 1989, for example, would later sell for $71,200

input: The melody and the chords were worked up in a November 1983 War Tour sound check in Hawaii and completed in Windmill Lane Studios during The Unforgettable Fire recording sessions. The guitar part is subtly varied through each verse, chorus, and melody, such that no riff is exactly repeated. The song had been intended to be based on Ronald Reagan's pride in America's military power, but Stephen B. Oates's book Let The Trumpet Sound: A Life of Martin Luther King, Jr. and a biography of Malcolm X caused the lyricist Bono to ponder the different sides of the civil rights campaigns, the violent and the non-violent. In subsequent years, Bono has expressed his dissatisfaction with the lyrics, which he describes, along with another Unforgettable Fire song "Bad", as being "left as simple sketches". He says that he was swayed by the Edge and producers Brian Eno and Daniel Lanois, who played down the need to develop the lyrics as they thought their impressionistic nature would give added forcefulness to the song's feeling, particularly when heard by non-English speakers. In U2 by U2, Bono said: "I looked at how glorious that song was and thought: 'What the fuck is that all about?' It's just a load of vowel sounds ganging up on a great man. It is emotionally very articulate - if you didn't speak English." The song contains the erroneous reference to King's shooting as "Early morning, April 4," when it actually occurred after 6 p.m. Bono acknowledges the error and in live performances he occasionally changes the lyric to "Early evening..." Chrissie Hynde of the Pretenders sang backing vocals on the recording. She was married to Jim Kerr of Simple Minds at the time and she is credited as "Christine Kerr".

Answer this question "Did they change anything based on what Bono said?"
output: The song contains the erroneous reference to King's shooting as "Early morning, April 4," when it actually occurred after 6 p.m.

input: Serling moved from radio to television, as a writer for WKRC-TV in Cincinnati. His duties included writing testimonial advertisements for dubious medical remedies and scripts for a comedy duo. He continued at WKRC after graduation and, amidst the mostly dreary day-to-day work, also created a series of scripts for a live TV program, The Storm, as well as for other anthology dramas (a format which was in demand by networks based in New York). Following a full day of classes (or, in later years, work), he spent evenings on his own, writing. He sent manuscripts to publishers and received forty rejection slips during these early years. In 1950, Serling hired Blanche Gaines as an agent. His radio scripts received more rejections, so he began rewriting them for television. Whenever a script was rejected by one program, he would resubmit it to another, eventually finding a home for many in either radio or television. As Serling's college years ended, his scripts began to sell. He continued to write for television and eventually left WKRC to become a full-time freelance writer. He recalled, "Writing is a demanding profession and a selfish one. And because it is selfish and demanding, because it is compulsive and exacting, I didn't embrace it. I succumbed to it." According to his wife, Serling "just up and quit one day, during the winter of 1952, about six months before our first daughter Jody was born--though he was also doing some freelancing and working on a weekly dramatic show for another Cincinnati station." He and his family moved to Connecticut in early 1953. Here he made a living by writing for the live dramatic anthology shows that were prevalent at the time, including Kraft Television Theatre, Appointment with Adventure and Hallmark Hall of Fame. By the end of 1954, his agent convinced him he needed to move to New York, "where the action is." The writer Marc Scott Zicree, who spent years researching his book The Twilight Zone Companion, noted, "Sometimes the situations were cliched, the characters two-dimensional, but always there was at least some search for an emotional truth, some attempt to make a statement on the human condition."

Answer this question "was he ever on television?"
output:
Serling moved from radio to television, as a writer for WKRC-TV in Cincinnati.