input: After signing their deal with Forefront, the band started writing and recording demo songs similar to "My God" for the first album. The band has described this period as one of adaptation and experimentation since ForeFront wanted a hip-hop act. As a result, Dave Stuart and Ron Gibson left the band. Singer Mark Stuart said in an interview "We had no idea what we were doing. Forefront signed us to do this rap/metal stuff, and we only had one song" while original guitarist Barry Blair said "We thought 'If they liked My God, we'll send them more songs like that." Blair added that it was a "big, long process of getting to where we are now, of creating music we like, not music we think is what they [ForeFront] would like."  The band's first Forefront album was the self-titled Audio Adrenaline, released in 1992. Filled with drum machine beats, rap and hip-hop it eventually went out of print. It included "DC-10", the only track from the original A-180 recordings (live drums) and was well received selling 75,000 copies. However, the band wasn't happy with the end result. Blair was quoted as saying:  If it was up to me, I would burn them all, make them disappear. It did well, it sold 75,000 units. But a lot of people don't understand. It is more than about it being a good record. It's about it being a true representation of us. There is nothing personal about that record.  The follow-up album, Don't Censor Me, came the next year and featured what is considered the biggest hit of the band, "Big House". The album sold 250,000 copies and launched the band into stardom. The album also includes the song "We're a Band", which remained one of their live staples. Next the band released a live album titled Live Bootleg.  Although Don't Censor Me leaned more towards rock, the band still wasn't happy. Stuart said of the songs "there are really only a few songs I love to play live. I like to do 'Big House,' 'We're a Band' and 'Scum Sweetheart.'" On the other hand, most of the band members disliked "Jesus and the California Kid" which Stuart referred to as "pure agony". Still, the album earned them their first Dove Award for Long Form Music Video of the Year for "Big House", as well as a Billboard Music Award Nomination.

Answer this question "how did they get a record deal?"
output: Barry Blair said "We thought 'If they liked My God, we'll send them more songs like that.

input: Brooks made her screen debut in the silent The Street of Forgotten Men, in an uncredited role in 1925. Soon, however, she was playing the female lead in a number of silent light comedies and flapper films over the next few years, starring with Adolphe Menjou and W. C. Fields, among others.  She was noticed in Europe for her pivotal vamp role in the Howard Hawks directed silent "buddy film", A Girl in Every Port in 1928.  In an early sound film drama, Beggars of Life (1928), Brooks played an abused country girl who kills her foster father in a moment of desperation. A hobo, Richard Arlen, happens on the murder scene and convinces Brooks to disguise herself as a young boy and escape the law by "riding the rails" with him. In a hobo encampment, or "jungle," they meet another hobo, Wallace Beery. Brooks's disguise is soon uncovered and she finds herself the only female in a world of brutal, sex-hungry men. Much of this film was shot on location, and the boom microphone was invented for this film by the director William Wellman, who needed it for one of the first experimental talking scenes in the movies.  By this time in her life, she was mixing with the rich and famous, and was a regular guest of William Randolph Hearst and his mistress, Marion Davies, at San Simeon, being close friends with Davies' niece, Pepi Lederer. Her distinctive bob haircut helped start a trend; many women styled their hair in imitation of her and fellow film star Colleen Moore. Soon after the film Beggars Of Life was made, Brooks, who loathed the Hollywood "scene", refused to stay on at Paramount after being denied a promised raise, and left for Europe to make films for G. W. Pabst, the prominent Austrian Expressionist director.  Paramount attempted to use the coming of sound films to pressure the actress, but she called the studio's bluff. It was not until 30 years later that this rebellious move would come to be seen as arguably the most savvy of her career, securing her immortality as a silent film legend and independent spirit. Unfortunately, while her initial snubbing of Paramount alone would not have finished her in Hollywood altogether, her refusal after returning from Germany to come back to Paramount for sound retakes of The Canary Murder Case (1929) irrevocably placed her on an unofficial blacklist. Actress Margaret Livingston was hired to dub Brooks's voice for the film, as the studio claimed that Brooks' voice was unsuitable for sound pictures.

Answer this question "Was Brooks wealthy?"
output: 

input: In 1965 the Irish comedian Dave Allen presented a talk show on Sydney television for TCN-9. He was eventually sacked and Nine producer John Collins looked for replacement hosts to fill in for the rest of the season. After a series of temporary hosts, Collins found Lane working in The Dunes Nightclub in Hawaii. While in the United States, Collins asked Las Vegas performer Wayne Newton if there was anybody he should consider as a replacement; Newton's answer was "Don Lane".  Lane was offered the job after filming and sending in an audition tape for the TCN-9 executives. He was given the host's chair for six weeks. He planned to base his version of the show on Johnny Carson's Tonight Show. Lane's run was variously referred to as The Tonight Show, Tonight with Don Lane and Sydney Tonight. Within a month, Nine settled on Lane as permanent host. After four weeks, his original six-week contract was extended to forty weeks.  Tonight with Don Lane featured comedy sketches, interviews with visiting entertainers and musical numbers often performed by Lane with the Tonight Show Orchestra. The announcer for the show was Mike Walsh, who later went on to host his own successful variety show.  Due to technical restrictions, Lane's tonight show was only broadcast throughout New South Wales, just as In Melbourne Tonight(IMT) was restricted to Victoria. Work on a coaxial cable linking Melbourne with Sydney had begun in June 1959 and was completed on 5 February 1963. On 7 July 1965, Lane appeared on a then-innovative live split-screen link with Graham Kennedy via the cable. Lane and Kennedy sang the song "Seventy-Six Trombones" as a duet. They took full advantage of the new technology and the duet included the performers throwing jugs of water and Kennedy holding up a sign saying "Go Home Yank", to which Lane laughed. Lane also performed another duet with Kennedy at the Logies ceremony in 1967.  In March 1968, Lane was charged with importing marijuana into Australia. He was arrested at Sydney Airport and remanded in custody. He strenuously protested his innocence, claiming that the drugs were planted into his jacket pocket by a former business associate who wanted revenge. He was found not guilty on all charges, being defended by barrister Marcus Einfeld.

Answer this question "When did the show end?"
output: