IN: Hilltop Hoods are an Australian hip hop group that formed in 1994 in Blackwood, Adelaide, South Australia. The group was founded by Suffa (Matthew David Lambert) and MC Pressure (Daniel Howe Smith), who were joined by DJ Debris (Barry John M. Francis) after fellow founder, DJ Next (Ben John Hare), left in 1999. The group released its first extended play, Back

In 2005 the annual "Hilltop Hoods Initiative" was established in association with Arts SA, made possible by a donation from the Hilltop Hoods. Valued at A$10,000 (originally $3000), the Hilltop Hoods initiative helped young and emerging South Australian hip hop artists to manufacture and distribute a CD. The initiative also included two mentorship sessions with Hilltop Hoods' former manager, PJ Murton. It acknowledges the important role South Australian government assistance played in the development of the careers of the Hilltop Hoods. In 2009, the initiative became a national grant available to entry for any emerging Australian hip hop artist who have not issued a professional album. In a Hilltop Hoods newsletter, released on 4 December 2012, the group communicated the following announcement: In 2013 The Hilltop Hoods and APRA are teaming up again to give a career changing $10K to the most impressive emerging Hip Hop/Soul act in Australia. Aimed at helping fund the manufacturing and marketing of an album release, the grant is open to any act who hasn't yet released anything professionally. Applications will open in early 2013 along with details on how to enter. Past recipients are: General Knowledge, a three-piece group (2006); Subsketch, a solo artist (2007); Jimblah, a solo artist (2008); K21, a solo artist (2009); 1/6, a solo artist (2010); Koolta, a solo artist (2011); Run for Your Life, a musical collective (2012); Gold Coast, Queensland artist Chelsea Jane (2013); Brisbane, Queensland solo artist I AM D (2014); Sarah Connor, a solo artist (2015); Astro Travellers, a seven-piece group (2016) and MC Sinks, a solo artist from Melbourne, Victoria. (2017).
QUESTION: what was this?
IN: James Whale (22 July 1889 - 29 May 1957) was an English film director, theater director and actor. He is best remembered for his four classic horror films: Frankenstein (1931), The Old Dark House (1932), The Invisible Man (1933) and Bride of Frankenstein (1935). Whale also directed films in other genres, including what is considered the definitive film version of the musical Show Boat (1936). He became increasingly disenchanted with his association with horror, but many of his non-horror films have fallen into obscurity.

The success of the various productions of Journey's End brought Whale to the attention of movie producers. Coming at a time when motion pictures were making the transition from silent to talking, producers were interested in hiring actors and directors with experience with dialogue. Whale traveled to Hollywood in 1929 and signed a contract with Paramount Pictures. He was assigned as "dialogue director" for a film called The Love Doctor (1929). He completed work on the film in 15 days and his contract was allowed to expire. It was at around this time that he met David Lewis. Whale was hired by independent film producer and aviation pioneer Howard Hughes, who planned to turn the previously silent Hughes production Hell's Angels (1930) into a talkie. Whale directed the dialogue sequences. When his work for Hughes was completed, he headed to Chicago to direct another production of Journey's End. Having purchased the film rights to Journey's End, British producers Michael Balcon and Thomas Welsh agreed that Whale's experience directing the London and Broadway productions of the play made him the best choice to direct the film. The two partnered with a small American studio, Tiffany-Stahl, to shoot it in New York. Colin Clive reprised his role as Stanhope, and David Manners was cast as Raleigh. Filming got underway on 6 December 1929 and wrapped on 22 January 1930. Journey's End was released in Great Britain on 14 April and in the United States on 15 April. On both sides of the Atlantic the film was a tremendous critical and commercial success.
QUESTION: What film did they want him to direct?
IN: Art Spiegelman (; born Itzhak Avraham ben Zeev on February 15, 1948) is an American cartoonist, editor, and comics advocate best known for his graphic novel Maus. His work as co-editor on the comics magazines Arcade and Raw has been influential, and from 1992 he spent a decade as contributing artist for The New Yorker, where he made several high-profile and sometimes controversial covers. He is married to designer and editor

Hired by Tina Brown as a contributing artist in 1992, Spiegelman worked for The New Yorker for ten years. Spiegelman's first cover appeared on the February 15, 1993, Valentine's Day issue and showed a black West Indian woman and a Hasidic man kissing. The cover caused turmoil at The New Yorker offices. Spiegelman intended it to reference the Crown Heights riot of 1991 in which racial tensions led to the murder of a Jewish yeshiva student. Spiegelman had twenty-one New Yorker covers published, and submitted a number which were rejected for being too outrageous. Within The New Yorker's pages, Spiegelman contributed strips such as a collaboration titled "In the Dumps" with children's illustrator Maurice Sendak and an obituary to Charles M. Schulz titled "Abstract Thought is a Warm Puppy". An essay he had published there on Jack Cole, the creator of Plastic Man, called "Forms Stretched to their Limits" was to form the basis for a book in 2001 about Cole called Jack Cole and Plastic Man: Forms Stretched to their Limits. The same year, Voyager Company published a CD-ROM version of Maus with extensive supplementary material called The Complete Maus, and Spiegelman illustrated a 1923 poem by Joseph Moncure March called The Wild Party. Spiegelman contributed the essay "Getting in Touch With My Inner Racist" in the September 1, 1997 issue of Mother Jones. Spiegelman's influence and connections in New York cartooning circles drew the ire of political cartoonist Ted Rall in 1999. In an article titled "The King of Comix" in The Village Voice, Rall accused Spiegelman of the power to "make or break" a cartoonist's career in New York, while denigrating Spiegelman as "a guy with one great book in him". Cartoonist Danny Hellman responded by sending a forged email under Rall's name to thirty professionals; the prank escalated until Rall launched a defamation suit against Hellman for $1.5 million. Hellman published a "Legal Action Comics" benefit book to cover his legal costs, to which Spiegelman contributed a back-cover cartoon in which he relieves himself on a Rall-shaped urinal. In 1997, Spiegelman had his first children's book published: Open Me... I'm a Dog, with a narrator who tries to convince its readers that it is a dog via pop-ups and an attached leash. From 2000 to 2003 Spiegelman and Mouly edited three issues of the children's comics anthology Little Lit, with contributions from Raw alumni and children's book authors and illustrators.
QUESTION:
What did he do for the New Yorker?