Problem: Background: Hattie McDaniel (June 10, 1895 - October 26, 1952) was an American stage actress, professional singer-songwriter, and comedian. She is best known for her role as "Mammy" in Gone with the Wind (1939), for which she won the Academy Award for Best Supporting Actress, the first Academy Award won by an African American entertainer. In addition to acting in many films, McDaniel was a radio performer and television star; she was the first black woman to sing on radio in the United States. She appeared in over 300 films, although she received screen credits for only 80 or so.
Context: The whereabouts of McDaniel's Oscar are currently unknown. In 1992, Jet magazine reported that Howard University could not find it and alleged that it had disappeared during protests in the 1960s. In 1998, Howard University stated that it could find no written record of the Oscar having arrived at Howard. In 2007, an article in the Huffington Post repeated rumors that the Oscar had been cast into the Potomac River by angry civil rights protesters in the 1960s. The assertion reappeared in the Huffington Post under the same byline in 2009.  In 2010, Mo'Nique, the winner of the Academy Award for Best Supporting Actress, wearing a blue dress and gardenias in her hair, as McDaniel had at the ceremony in 1940, in her acceptance speech thanked McDaniel "for enduring all that she had to so that I would not have to". Her speech revived interest in the whereabouts of McDaniel's plaque. In 2011, J. Freedom duLac reported in the Washington Post that the plaque had disappeared in the 1960s.  In November 2011, W. B. Carter, of the George Washington University Law School, published the results of her year-and-a-half-long investigation into the Oscar's fate. Carter rejected claims that students had stolen the Oscar (and thrown it in the Potomac River) as wild speculation or fabrication that traded on long-perpetuated stereotypes of blacks. She questioned the sourcing of the Huffington Post stories. Instead, she argued that the Oscar was likely returned to Howard University's Channing Pollack Theater Collection between the spring of 1971 and the summer of 1973 or had possibly been boxed and stored in the drama department at that time. The reason for its removal, she argued, was not civil rights unrest but rather efforts to make room for a new generation of black performers. If neither the Oscar nor any paper trail of its ultimate destiny can be found at Howard today, she suggested, inadequate storage or record-keeping in a time of financial constraints and national turbulence may be blamed. She also suggested that a new generation of caretakers may have failed to realize the historic significance of the 5 1/2" x 6" plaque.
Question: When did it go missing?
Answer: In 1992, Jet magazine reported that Howard University could not find it and alleged that it had disappeared during protests

IN: William James Dixon (July 1, 1915 - January 29, 1992) was an American blues musician, vocalist, songwriter, arranger and record producer. He was proficient in playing both the upright bass and the guitar and was a capable singer, but he is perhaps best known as one of the most prolific songwriters of his time. Next to Muddy Waters, Dixon is recognized as the most influential person in shaping the post-World War II sound of the Chicago blues. Dixon's songs have been recorded by countless musicians in many genres as well as by various ensembles in which he participated.

Dixon signed with Chess Records as a recording artist, but he began performing less, being more involved with administrative tasks for the label. By 1951, he was a full-time employee at Chess, where he acted as producer, talent scout, session musician and staff songwriter. He was also a producer for the Chess subsidiary Checker Records. His relationship with Chess was sometimes strained, but he stayed with the label from 1948 to the early 1960s. During this time Dixon's output and influence were prodigious. From late 1956 to early 1959, he worked in a similar capacity for Cobra Records, for which he produced early singles for Otis Rush, Magic Sam, and Buddy Guy. He later recorded for Bluesville Records. From the late 1960s until the mid-1970s, Dixon ran his own record label, Yambo Records, and two subsidiary labels, Supreme and Spoonful. He released his 1971 album, Peace?, on Yambo and also singles by McKinley Mitchell, Lucky Peterson and others.  Dixon is considered one of the key figures in the creation of Chicago blues. He worked with Chuck Berry, Muddy Waters, Howlin' Wolf, Otis Rush, Bo Diddley, Joe Louis Walker, Little Walter, Sonny Boy Williamson, Koko Taylor, Little Milton, Eddie Boyd, Jimmy Witherspoon, Lowell Fulson, Willie Mabon, Memphis Slim, Washboard Sam, Jimmy Rogers, Sam Lay and others.  In December 1964, the Rolling Stones reached number one on the UK Singles Chart with their cover of Dixon's "Little Red Rooster". In the same year, the group also covered "I Just Want To Make Love To You" on their debut album, The Rolling Stones.

Did he ever win a grammy?

OUT: 

Background: Hedren was born on January 19, 1930, in New Ulm, Minnesota, to Bernard Carl and Dorothea Henrietta (nee Eckhardt) Hedren. For much of her career, Hedren's year of birth was reported as 1935. In 2004, however, she acknowledged that she was actually born in 1930 (which is consistent with the birth registration index at the Minnesota Historical Society). Her paternal grandparents were Swedish immigrants, while her maternal ancestry is German and Norwegian.
Context: On October 13, 1961, she received a call from an agent who told her a producer was interested in working with her. When she was told it was Alfred Hitchcock who, while he was watching The Today Show, saw her in a commercial for a diet drink called Sego, she agreed to sign a seven-year contract. During their first meeting, the two talked about everything except the role he was considering her for. Hedren was convinced for several weeks it was for his television series, Alfred Hitchcock Presents. Hitchcock later said, "I was not primarily concerned with how she looked in person. Most important was her appearance on the screen, and I liked that immediately. She has a touch of that high-style, lady-like quality which was once well-represented in films by actresses like Irene Dunne, Grace Kelly, Claudette Colbert, and others but which is now quite rare."  Hitchcock put Hedren through an extensive color screen test that lasted two days and cost $25,000, doing scenes from his previous films, such as Rebecca, Notorious and To Catch a Thief with actor Martin Balsam. According to Balsam, Hedren was very nervous but studied every line, did every move she was asked to, and tried to do everything right. Hitchcock asked costume designer Edith Head to design clothes for Hedren's private life and he personally advised her about wine and food. He also insisted for publicity purposes that her name should be printed only in single quotes, 'Tippi'. The press mostly ignored this directive from the director, who felt that the single quotes added distinction and mystery to her name. Hitchcock was impressed with Hedren. As production designer Robert F. Boyle explained, "Hitch always liked women who behaved like well-bred ladies. Tippi generated that quality."  Afterward, Hedren was invited to lunch with Hitchcock, his wife, Alma, and Lew Wasserman, head of Universal, at one of Hitchcock's favorite restaurants, Chasen's. There she was presented with a golden pin of three birds in flight, adorned by three tiny seed pearls, and was asked by Hitchcock to play the leading role in his upcoming film The Birds. "I was so stunned. It never occurred to me that I would be given a leading role in a major motion picture. I had great big tears in my eyes", Hedren later recalled.
Question: what movies did they make together?
Answer:
and was asked by Hitchcock to play the leading role in his upcoming film The Birds. "