Question:
Cameron Ezike Giles (born February 4, 1976), better known by his stage name Cam'ron (formerly Killa Cam), is an American rapper, actor and entrepreneur from Harlem, New York. He is the de facto leader of East Coast hip hop group The Diplomats (also known as Dipset), and is a member of the duo U.N. (Us Now). Cam'ron was also a part of the group Children of the Corn before they disbanded in 1997.
Two years before Big L's murder in 1999, Cam'ron was introduced to The Notorious B.I.G. by Mase who was signed to Bad Boy Records at the time. Biggie was so impressed by Cam'ron that he introduced him to his partner Lance "Un" Rivera who signed Cam'ron to his Untertainment label, distributed by Epic Records. His debut album, Confessions of Fire, was released a year later in July 1998 and included singles such as "3-5-7" (which was also featured in the movie Woo), and "Horse and Carriage" featuring Mase which reached the R&B Top Ten and just missed out on reaching the pop Top 40. The album achieved gold status and made the Top 10 of both the pop and R&B charts.  In 2000, Cam'ron was working with music executive Tommy Mottola and released his second album S.D.E. (Sports Drugs & Entertainment) on Sony/Epic Records. With features from Destiny's Child, Juelz Santana, Jim Jones, N.O.R.E., and producer Digga, it included the relatively successful singles, "Let Me Know" and "What Means The World To You". The album reached Number 2 on the R&B/Hip-Hop Albums chart, and Number 14 on the Billboard 200.  After demanding a release from Sony/Epic Records, Cam'ron signed with his childhood friend and new manager Damon Dash to Roc-A-Fella Records in 2001, alongside artists such as Jay-Z, Beanie Sigel, Freeway and Memphis Bleek. A reported $4.5 million record deal was agreed upon with and Damon Dash and his Roc-A-Fella partners Kareem Biggs and Jay-Z in the form of a record advance. His third and most successful album Come Home with Me was released in 2002 featuring guests such as Jay-Z, Beanie Sigel, and Memphis Bleek, and production from Just Blaze, Kanye West and The Heatmakerz. It included the hit singles "Oh Boy" and "Hey Ma", which both featured The Diplomats newest member and protege, Juelz Santana. The album achieved platinum status and served as a stepping stone for Cam'ron's group The Diplomats to sign with Roc-A-Fella.  In 2002, Cam'ron went on to appear in the Damon Dash produced film, Paid in Full, in which he played one of three main characters alongside Mekhi Phifer and Wood Harris. In 2006 started shooting his movie for his album titled Killa Season, the film would mark both Cam'ron's screenwriting and directorial debuts, as well as his return to acting. Killa Season was released to DVD on April 25, 2006, after a special two-day theatrical release.
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How well did it do?

Answer:
The album achieved platinum status and served as a stepping stone for Cam'ron's group The Diplomats to sign with Roc-A-Fella.


Question:
Chinua Achebe (, born Albert Chinualumogu Achebe; (16 November 1930 - 21 March 2013) was a Nigerian novelist, poet, professor, and critic. His first novel Things Fall Apart (1958), often considered his best, is the most widely read book in modern African literature. He won the Man Booker International Prize in 2007. Raised by his parents in the Igbo town of Ogidi in southeastern Nigeria, Achebe excelled at school and won a scholarship to study medicine, but changed his studies to English literature at University College (now the University of Ibadan).
Once he returned to Nigeria, Achebe was promoted at the NBS to the position of Director of External Broadcasting. One of his first duties was to help create the Voice of Nigeria network. The station broadcast its first transmission on New Year's Day 1962, and worked to maintain an objective perspective during the turbulent era immediately following independence. This objectivity was put to the test when Nigerian Prime Minister Abubakar Tafawa Balewa declared a state of emergency in the Western Region, responding to a series of conflicts between officials of varying parties. Achebe became saddened by the evidence of corruption and silencing of political opposition.  In 1962 he attended an executive conference of African writers in English at the Makerere University College in Kampala, Uganda. He met with important literary figures from around the continent and the world, including Ghanaian poet Kofi Awoonor, Nigerian playwright and poet Wole Soyinka, and US poet-author Langston Hughes. Among the topics of discussion was an attempt to determine whether the term African literature ought to include work from the diaspora, or solely that writing composed by people living within the continent itself. Achebe indicated that it was not "a very significant question", and that scholars would do well to wait until a body of work were large enough to judge. Writing about the conference in several journals, Achebe hailed it as a milestone for the literature of Africa, and highlighted the importance of community among isolated voices on the continent and beyond.  While at Makerere, Achebe was asked to read a novel written by a student (James Ngugi, later known as Ngugi wa Thiong'o) called Weep Not, Child. Impressed, he sent it to Alan Hill at Heinemann, which published it two years later to coincide with its paperback line of books from African writers. Hill indicated this was to remedy a situation where British publishers "regarded West Africa only as a place where you sold books." Achebe was chosen to be General Editor of the African Writers Series, which became a significant force in bringing postcolonial literature from Africa to the rest of the world, and he continued in that role until 1972.  As these works became more widely available, reviews and essays about African literature - especially from Europe - began to flourish. Bristling against the commentary flooding his home country, Achebe published an essay entitled "Where Angels Fear to Tread" in the December 1962 issue of Nigeria Magazine. In it, he distinguished between the hostile critic (entirely negative), the amazed critic (entirely positive), and the conscious critic (who seeks a balance). He lashed out at those who critiqued African writers from the outside, saying: "no man can understand another whose language he does not speak (and 'language' here does not mean simply words, but a man's entire world view)." In September 1964 he attended the Commonwealth Literature conference at the University of Leeds, presenting his essay "The Novelist as Teacher".
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What did he do there?

Answer:
Director of External Broadcasting.