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 "what;s another interesting fact about his television?"
output: In 1950, Serling hired Blanche Gaines as an agent.

input: Teenagers Rosalind Ashford and Annette Beard first became acquainted after a local music manager hired them to be members of a girl group he named The Del-Phis. Ashford & Beard, along with then-lead vocalist Gloria Williams, performed at local clubs, private events, church benefits, YMCA events and school functions. They were also being coached by Maxine Powell at Detroit's Ferris Center. One of the group's first professional engagements was singing background for singer Mike Hanks. The group originally had up to six members, shortened to four. After another member left the group, she was replaced by Alabama-born vocalist Martha Reeves, who had been a member of a rival group, the Fascinations and had also been a member of another group, the Sabre-Ettes. In 1960, the group signed their first recording contract with Checker Records, releasing the Reeves-led "I'll Let You Know". The record flopped. The group then recorded for Checkmate Records, a subsidiary of Chess Records, recording their first take of "There He Is (At My Door)". That record, featuring Williams on lead vocals, also flopped. Briefly separated, Reeves returned to a solo career performing under the name Martha LaVaille, in hopes of getting a contract with emerging Detroit label Motown. After Motown staffer Mickey Stevenson noticed Reeves singing at a prominent Detroit club, he offered her his business card for an audition. Reeves showed up at Motown on a wrong date (Motown auditions were held at Thursdays, while Reeves showed up to Motown's Hitsville USA studios on a Tuesday). Stevenson, initially upset, told Reeves to look out for clients and other matters. Soon Reeves became Stevenson's secretary and later was responsible for helping acts audition for the label. By 1961, the group, now known as The Vels, were recording background vocals for Motown acts. Prior to her success as lead singer of The Elgins, Sandra Edwards (then going by her surname Maulett) recorded the song "Camel Walk", in 1962, which featured the Vels in background vocals. That year, the quartet began applying background vocals for emerging Motown star Marvin Gaye, singing on Gaye's first hit single, "Stubborn Kind of Fellow" After Mary Wells failed to make a scheduled recording session feigning a short illness, the Vels recorded what was initially a demo recording of "I'll Have to Let Him Go". Motown was so impressed by the group's vocals - and Martha's lead vocals in the song - that the label CEO Berry Gordy offered to give the group a contract. Figuring that being in show business was too rigorous, Williams opted out of the group. With Williams out, the remaining trio of Ashford, Beard and Reeves renamed themselves The Vandellas, after Detroit's Van Dyke Street and Reeves' favorite singer, Della Reese.

Answer this question "Who were the original members of the band?"
output:
Teenagers Rosalind Ashford and Annette Beard first became acquainted after a local music manager hired them to be members of a girl group he named The Del-Phis.