Question:
Orville Willis Forte IV was born in Alameda County, California. His father, Orville Willis Forte III, is a financial broker, and his mother, Patricia C. (nee Stivers), is an artist and former schoolteacher. He was raised in Moraga, before moving to Lafayette. He went by Billy in his early years until he was teased at school for it also being a girl's name, at which point he decided he would from there on be known as Will.
He began taking classes at the Groundlings in Los Angeles, an improvisational and sketch comedy troupe and school, while tutoring children to make ends meet. Forte's first successful foray into comedy was 101 Things to Definitely Not Do If You Want to Get a Chick, a comic book he produced that details incompetent men. The comics landed him his first professional job writing for The Jenny McCarthy Show, a short-lived variety show starring Jenny McCarthy. Shortly thereafter, he was asked to submit a packet to the Late Show with David Letterman and was told Letterman responded favorably to animation. After only nine months at Letterman, he was "let go" from the job. He recalled his stint on the program as unpleasant, noting that he did not have enough experience in writing. "What an honor to work at that show but I don't think I was fully mentally prepared. [...] I always wonder what it would be like if I'd had a couple more years of experience before going there."  Forte returned to Los Angeles and began performing with the Groundlings' Main Company, with Cheryl Hines, Jim Rash and Maya Rudolph. He tried stand-up comedy three times, mostly at open mic nights, but quit after being voted into the Main Company. He joined the writing teams of two failed sitcoms, including The Army Show and Action. Forte got jobs writing for 3rd Rock from the Sun and That '70s Show, two successful programs. He loved writing but had mostly given up on acting, aside from acting with the Groundlings. While performing with the troupe in 2001, he was spotted by Lorne Michaels, the creator of Saturday Night Live (SNL). Forte felt his confidence was higher than usual, as That '70s Show had been picked up for two more years. He was invited to audition for SNL, which he regarded as unexpected.  At his audition for SNL, he performed multiple original characters, including Tim Calhoun, a speed reader, a prison guard, in addition to impressions of singer Michael McDonald and actor Martin Sheen. His final character was an older piece from his days with the Groundlings, in which he portrays a gold-painted street performer who performs fellatio to pay for his face paint, which devolves into a song needlessly uttering the words "cock" and "face paint" dozens of times. He felt his time to shine as a performer was already over, as he was in his thirties when he auditioned. To his surprise, he was offered a chance to be on the show, but declined, opting instead for the financial stability of his work at That '70s Show. He felt working for SNL could not live up to the idealized version he had dreamed of, but he later realized he would be making a mistake.
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Where did he perform that show?

Answer:
Get a Chick, a comic book he produced that details incompetent men. The comics landed him his first professional job writing for The Jenny McCarthy Show,

Answer the question at the end by quoting:

Eleanora Fagan (April 7, 1915 - July 17, 1959), better known as Billie Holiday, was an American jazz musician and singer-songwriter with a career spanning nearly thirty years. Nicknamed "Lady Day" by her friend and music partner Lester Young, Holiday had a seminal influence on jazz music and pop singing. Her vocal style, strongly inspired by jazz instrumentalists, pioneered a new way of manipulating phrasing and tempo. She was known for her vocal delivery and improvisational skills, which made up for her limited range and lack of formal music education.
In 1935 Holiday was signed to Brunswick Records by John Hammond to record current pop tunes with Teddy Wilson in the new swing style for the growing jukebox trade. They were given free rein to improvise the material. Holiday's improvisation of melody to fit the emotion was revolutionary. Their first collaboration included "What a Little Moonlight Can Do" and "Miss Brown to You". "What a Little Moonlight Can Do" has been deemed her "claim to fame." Brunswick did not favor the recording session, because producers wanted Holiday to sound more like Cleo Brown. After "What a Little Moonlight Can Do" garnered success, however, the company began considering Holiday an artist in her own right. She began recording under her own name a year later (on the 35-cent Vocalion label), producing a series of extraordinary performances with groups comprising the swing era's finest musicians. The sessions were co-produced by Hammond and Bernie Hanighen.  With their arrangements, Wilson and Holiday took pedestrian pop tunes, such as "Twenty-Four Hours a Day" (number 6 Pop) and "Yankee Doodle Went to Town", and turned them into jazz classics. Most of Holiday's recordings with Wilson or under her own name during the 1930s and early 1940s are regarded as important parts of the jazz vocal library. She was then in her twenties.  Another frequent accompanist was the tenor saxophonist Lester Young, who had been a boarder at her mother's house in 1934 and with whom Holiday had a special rapport. He said, "I think you can hear that on some of the old records, you know. Some time I'd sit down and listen to 'em myself, and it sound like two of the same voices, if you don't be careful, you know, or the same mind, or something like that." Young nicknamed her "Lady Day", and she called him "Prez".  Hammond spoke about the commercial impact of the Wilson-Holiday sides from 1935 to 1938, calling them a great asset to Brunswick. The record label, according to Hammond, was broke and unable to record many jazz tunes. Wilson, Holiday, Young, and other musicians came into the studio without musical arrangements and improvised as they performed, dispensing with the expense of having written arrangements, so that the records they produced were cheap. Holiday was never given any royalties for her work, instead being paid a flat fee, which saved the company money. Some of the records produced were successful, such as "I Cried for You", which sold 15,000 copies. Hammond said of the record, "15,000 ... was a giant hit for Brunswick in those days. I mean a giant hit. Most records that made money sold around three to four thousand."

What happened in 1936?
Hammond spoke about the commercial impact of the Wilson-Holiday sides from 1935 to 1938, calling them a great asset to Brunswick.