Background: Howard was born as Moses Harry Horwitz on June 19, 1897, in the Brooklyn, New York City neighborhood of Bensonhurst to Solomon Horwitz and Jennie Gorovitz, the fourth-born of five brothers of Lithuanian Jewish ancestry. He was named Moe when he was younger and later called himself Harry. Howard's parents and brothers, Benjamin and Irving, were not involved in show business, but his older brother Shemp Howard, younger brother Curly Howard, and he all eventually became known as members of the Three Stooges. He loved to read as older brother Jack recalled: "I had many Horatio Alger books, and it was Moe's greatest pleasure to read them.
Context: Howard continued his attempts at gaining show business experience by singing in a bar with his older brother Shemp until their father put a stop to it, and in 1914, by joining a performing minstrel show troupe on a Mississippi River showboat for the next two summers. In 1921, he joined Ted Healy in a vaudeville routine. In 1923, Moe saw Shemp in the audience during a theater performance and yelled at him from the stage. Shemp responded by heckling Moe, and the two brothers' amusing bickering during the performance resulted in Healy immediately hiring Shemp Howard as a permanent part of the act.  Moe retired in June 1925 after his marriage to Helen Schonberger, and went into real estate with his mother. Meanwhile, Healy's act with frequent stooge Shemp Howard went on to national fame in the Shubert Brothers' A Night in Spain (Jan. 1927 - Nov. 1928), which had a successful Broadway run, as well as a national tour. During A Night in Spain, and the end of a 4-month run in Chicago, Illinois, Healy recruited vaudeville violinist Larry Fine to join the troupe in March 1928.  After the show ended in late November, Healy signed for the Shuberts' new revue A Night in Venice and recruited Moe Howard out of retirement to rejoin the act in December 1928. In rehearsals in early 1929, Howard, Larry Fine, and Shemp Howard came together for the first time as a trio. When A Night in Venice closed in March 1930, Healy and the trio toured for a while as "Ted Healy and His Racketeers" (later changed to Ted Healy and His Stooges).
Question: Did they get recognized?
Answer: In 1921, he joined Ted Healy in a vaudeville routine.

Background: Neil Leslie Diamond (born January 24, 1941) is an American singer-songwriter, musician and actor. With 38 songs in the Top 10 on the Billboard Adult Contemporary charts, Diamond has sold more than 100 million records worldwide, making him one of the best-selling musicians of all time. Neil Diamond has been touring around the world consecutively for 50 years. Neil Diamond 50 - 50th Anniversary Collection Diamond was inducted into the Songwriters Hall of Fame in 1984 and into the Rock and Roll Hall of Fame in 2011.
Context: During the 1990s, Diamond produced six studio albums. He covered many classics from the movies and from famous Brill Building-era songwriters. He also released two Christmas albums, the first of which peaked at No. 8 on Billboard's Album chart. Diamond also recorded two albums of mostly new material during this period. In 1992, he performed for President George H.W. Bush's final Christmas in Washington NBC special. In 1993, Diamond opened the Mark of the Quad Cities (now the iWireless Center) with two shows on May 27 and 28 to a crowd of 27,000-plus.  The 1990s saw a resurgence in Diamond's popularity. "Sweet Caroline" became a popular sing-along at sporting events. It was used at Boston College football and basketball games. College sporting events in other states also played it, and it was even played at sports events in other countries, such as a Hong Kong Sevens rugby tournament or a soccer match in Northern Ireland. Most notably, it became the theme song of Red Sox Nation, the fans of the Boston Red Sox. The song also came to be played during the 8th inning of every New York Mets home game.  The New York Rangers also adapted it as their own, and played it whenever they were winning at the end of the 3rd period of their games. The Pitt Panthers football team also played it after the third quarter of all home games, with the crowd cheering, "Let's go Pitt". The Carolina Panthers played it at the end of every home game they won. The Davidson College pep band likewise played it at every Davidson Wildcats men's basketball home game, in the second half.
Question: Did his albums have any success in the 90s?
Answer: the first of which peaked at No. 8 on Billboard's Album chart.

Background: Anton Friedrich Wilhelm (von) Webern (German: ['anton 've:ban] ( listen); 3 December 1883 - 15 September 1945) was an Austrian composer and conductor. Along with his mentor Arnold Schoenberg and his colleague Alban Berg, Webern was in the core of those in the circle of the Second Viennese School, including Ernst Krenek and Theodor W. Adorno. As an exponent of atonality and twelve-tone technique, Webern exerted influence on contemporaries Luigi Dallapiccola, Krenek, and even Schoenberg himself.
Context: Webern insisted on lyricism, nuance, rubato, sensitivity, and both emotional and intellectual understanding in performance of music; this is evidenced by anecdotes, correspondence, extant recordings of Schubert's Deutsche Tanze (arr. Webern) and Berg's Violin Concerto under his direction, many such detailed markings in his scores, and finally by his compositional process as both publicly stated and later revealed in the musical and extramusical metaphors and associations everywhere throughout his sketches. As both a composer and conductor he was one of many (e.g., Wilhelm Furtwangler, Dimitri Mitropoulos, Hermann Scherchen) in a contemporaneous tradition of conscientiously and non-literally handling notated musical figures, phrases, and even entire scores so as to maximize expressivity in performance and to cultivate audience engagement and understanding.  This aspect of Webern's work had been typically missed in his immediate post-war reception, however, even as it may radically affect the music's reception. For example, Boulez's "complete" recording of Webern's music yielded more to this aesthetic the second time after largely missing it the first; but Eliahu Inbal's rendition of Webern's symphony with the hr-Sinfonieorchester is still far more within the spirit of the late Romantic performance tradition (which Webern seemingly intended for his music), nearly slowing to half-tempo for the whole of first movement and taking care to delineate and shape each melodic strand and expressive gesture throughout the entirety of the work.  Gunter Wand's 1966 recording of the Cantata No. 1 (1938-40), op. 29, with the Symphonieorchester des Bayerischen Rundfunks et al., may likewise be contrasted with both of Boulez's renditions.
Question: did his work go unnoticed any time?
Answer:
Webern's work had been typically missed in his immediate post-war reception, however, even as it may radically affect the music's reception.