IN: The Get Up Kids are an American rock band from Kansas City, Missouri. Formed in 1995, the band was a major player in the mid-1990s emo scene, otherwise known as the "second wave" of emo music. As they gained prominence, they began touring with bands such as Green Day and Weezer before becoming headliners themselves, eventually embarking on international tours of Japan and Europe. They founded Heroes & Villains Records, an imprint of the successful indie rock label Vagrant Records.

In 1998, James Dewees recorded his first solo album under the pseudonym Reggie and the Full Effect. While Dewees wrote the songs himself, he asked Matt Pryor and Rob Pope to help record some of the instrumentals. The resulting album, Greatest Hits 1984-1987 leaned heavily on the use of synthesizer keyboards for its sound. Their work together on the Reggie and the Full Effect album led Pryor to invite Dewees to collaborate with The Get Up Kids on Red Letter Day, a five-track EP produced by Ed Rose to fulfill their two-record deal with Doghouse. The cleaner, more focused sound of the EP provided the chance to experiment with the inclusion of keyboards and acts as a sonic bridge between the raw sound of Four Minute Mile and the more dynamic, produced style of their next studio album.  After the release of Red Letter Day, Dewees became a full-time member as the band began recording their second studio album in Los Angeles in June 1999 with producer Alex Brahl. Before the album went into production, Vagrant Records co-owner John Cohen borrowed money from his parents, who had mortgaged their house in order to fund the production of the album. On September 21, 1999, the band released Something to Write Home About on Vagrant Records. The album's lyrics reflected the record label strife the band had experienced and their distance between friends and family back home after their move to Los Angeles. Something to Write Home About has been singled out as the band's only 'true' emo album, as the album's aesthetic fit more into the contemporary definition of the genre. Furthermore, the album single-handedly turned the struggling Vagrant label into one of the top indie labels in the country, selling over 140,000 copies after its release. Not only did the album make The Get Up Kids the poster children for emo, but it also launched the genre into a public consciousness broader than the scattered local scenes that had previously embraced it. The album gave Vagrant Records the financial backing to grow and sign a string of other bands. At the same time, the addition of keyboards alienated some fans who thought it moved the band away from the contemporary punk scene's DIY ethic.  The Get Up Kids toured relentlessly for almost three years in promotion of the record. As well as touring Europe, Japan, and Australia, they shared bills with acts such as Green Day, The Anniversary, Koufax, Hot Rod Circuit, Jebediah, Weezer and Ozma. Their 2000 tour with The Anniversary and Koufax was sponsored by Napster. Their fanbase kept expanding through word of mouth. Venues booked months in advance could no longer hold the demand by the time the band arrived in town and fans were forced to stand outside to see them perform. To capitalize on anticipation for the band's next album, Vagrant Records released a rarities compilation Eudora in 2001. Eudora consisted of alternate takes, covers, and B-sides since the band's formation. Likewise, Doghouse released a re-mastered edition of Four Minute Mile and a compilation entitled The EPs: Woodson and Red Letter Day, combining the two Doghouse-owned EPs on one compact disc.
QUESTION: Is Something to Write Home About an album?
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 else did he do at the new yorker?