Some context: Paul Bruce Dickinson was born in Worksop, Nottinghamshire. His mother, Sonia, worked part-time in a shoe shop, and his father, Bruce, was a mechanic in the army. Dickinson's birth hurried the young couple, then just teenagers, into marriage. Initially, he was brought up by his grandparents; his grandfather was a coal-face worker at the local colliery and his grandmother was a housewife.
Dickinson went to audition for Iron Maiden at a rehearsal room in Hackney in September 1981 and immediately discovered that this was a much more professional operation than he was used to with Samson. In the practice rooms, the band played through "Prowler", "Sanctuary", "Running Free" and "Remember Tomorrow", before asking Dickinson to sing the same songs again in a recording studio, and he was immediately inducted into the group.  Iron Maiden had a strict and organised routine that suited the band's writing style, which Dickinson described as a "time table". After a few gigs, they began writing new material for their third album, The Number of the Beast, released in 1982. In the wake of Samson's contractual problems, Dickinson could not legally be credited on any of the record's songs, having to make, what he called, a "moral contribution", later revealing that he had contributed limited creative input to "The Prisoner", "Children of the Damned" and "Run to the Hills". The album was a major success, topping the UK charts, and earning platinum status in the UK and the US. Following the release, the band embarked on a supporting tour around the globe.  On the following albums, 1983's Piece of Mind and 1984's Powerslave, Steve Harris's song-writing monopoly was pushed aside in favour of other members' ideas, with Dickinson contributing to a number of tracks, including the singles "Flight of Icarus" and "2 Minutes to Midnight". Throughout the World Slavery Tour, as part of the new theatrical elements incorporated into the band's stage-show, Dickinson wore a feathered mask during "Powerslave". This was the band's longest tour to date, during which Dickinson considered going home mid-tour, due to the high number of shows. Iron Maiden's management were continually adding dates, until Dickinson demanded that they stop or he would leave the group.
Why couldn't he be credited?
A: Iron Maiden had a strict and organised routine that suited the band's writing style,
Some context: Cronin was born in Cardross, Dunbartonshire, Scotland, the only child of a Protestant mother, Jessie Cronin (nee Montgomerie), and a Catholic father, Patrick Cronin. Cronin often wrote of young men from similarly mixed backgrounds. His paternal grandparents had emigrated from County Armagh, Ireland, and become glass and china merchants in Alexandria. Owen Cronin, his grandfather, had had his surname changed from Cronague in 1870.
In 1930 Cronin was diagnosed with a chronic duodenal ulcer and was told that he must take six months' complete rest in the country on a milk diet. At Dalchenna Farm by Loch Fyne he was finally able to indulge his lifelong desire to write a novel, having previously "written nothing but prescriptions and scientific papers". From Dalchenna Farm he travelled to Dumbarton to research the background of his first novel, using the files of Dumbarton Library, which still has the letter from Cronin requesting advice. He composed Hatter's Castle in the span of three months, and the manuscript was quickly accepted by Gollancz, the only publishing house to which it had been submitted (it was apparently chosen when his wife randomly stuck a pin into a list of publishers). This novel, which was an immediate and sensational success, launched Cronin's career as a prolific author, and he never returned to practising medicine.  Many of Cronin's books were bestsellers in their day and have been translated into many languages. Some of his stories draw on his medical career, dramatically mixing realism, romance and social criticism. Cronin's works examine moral conflicts between the individual and society, as his idealistic heroes pursue justice for the common man. One of his early novels, The Stars Look Down (1935), chronicles transgressions in a mining community in Northeast England and an ambitious miner's rise to be a Member of Parliament.  A prodigiously fast writer, Cronin liked to average 5,000 words a day, meticulously planning the details of his plots in advance. He was known to be tough in business dealings, although in private life he was a person whose "pawky humour ... peppered his conversations," according to one of his editors, Peter Haining.  Cronin also contributed many stories and essays to various international publications. During the Second World War he worked for the British Ministry of Information, writing articles as well as participating in radio broadcasts to foreign countries.
anything else interesting about his writing career?
A: A prodigiously fast writer, Cronin liked to average 5,000 words a day, meticulously planning the details of his plots in advance.
Some context: Sir Henry Irving (6 February 1838 - 13 October 1905), born John Henry Brodribb, sometimes known as J. H. Irving, was an English stage actor in the Victorian era, known as an actor-manager because he took complete responsibility (supervision of sets, lighting, direction, casting, as well as playing the leading roles) for season after season at the Lyceum Theatre, establishing himself and his company as representative of English classical theatre. In 1895 he became the first actor to be awarded a knighthood, indicating full acceptance into the higher circles of British society. Irving is widely acknowledged to be one of the inspirations for Count Dracula, the title character of the 1897 novel Dracula whose author, Bram Stoker, was business manager of the theatre.
In 1878, Irving entered into a partnership with actress Ellen Terry and re-opened the Lyceum under his own management. With Terry as Ophelia and Portia, he revived Hamlet and produced The Merchant of Venice (1879). His Shylock was as much discussed as his Hamlet had been, the dignity with which he invested the vengeful Jewish merchant marking a departure from the traditional interpretation of the role.  After the production of Tennyson's The Cup and revivals of Othello (in which Irving played Iago to Edwin Booth's title character) and Romeo and Juliet, there began a period at the Lyceum which had a potent effect on the English stage.  Much Ado about Nothing (1882) was followed by Twelfth Night (1884); an adaptation of Goldsmith's Vicar of Wakefield by W. G. Wills (1885); Faust (1886); Macbeth (1888, with incidental music by Arthur Sullivan); The Dead Heart, by Watts Phillips (1889); Ravenswood by Herman, and Merivales' dramatic version of Scott's Bride of Lammermoor (1890). Portrayals in 1892 of the characters of Wolsey in Henry VIII and of the title character in King Lear were followed in 1893 by a performance of Becket in Tennyson's play of the same name. During these years, too, Irving, with the whole Lyceum company, paid several successful visits to the United States and Canada, which were repeated in succeeding years. As Terry aged, there seemed to be fewer opportunities for her in his company; that was one reason she eventually left, moving on into less steady but nonetheless beloved stage work, including solo performances of Shakespeare's women.
What else did he do during these years?
A:
With Terry as Ophelia and Portia, he revived Hamlet and produced The Merchant of Venice (1879).