Background: Masami Akita (Qiu Tian  Chang Mei , Akita Masami, born December 19, 1956), better known by his stage name Merzbow (merutsubau, Merutsubau), is a Japanese noise musician. He is best known for his style of harsh, confrontational noise exemplified on his 1996 release, Pulse Demon. Since 1980, he has released over 400 recordings, and has collaborated with various artists.
Context: During the European tour in September-October 1989, Merzbow could only bring simple and portable gear; this led to the harsh noise style Merzbow became known for in the 1990s. Cloud Cock OO Grand (1990) was the first example of this new style, Merzbow's first digital recording (on DAT), and the first recording made for the CD format. It also includes live material recorded during the tour.  But when I started live in late 1980s I didn't like to use tape on stage. I like only live electronics. So, my studio works changed to more live composition style. I'm still using many tapes in studio works, but difference is I treat tapes and instruments. Before, I used tapes as overdubbing concept. But now tapes are crashing together, no static overdub. I found that style on Cloud Cock OO Grand.  Beginning in the mid-1990s, Merzbow began to be influenced by death metal and grindcore. Recordings from this time are mostly recorded at extreme volume, some mastered at levels far beyond standard (Noisembryo, Pulse Demon). In 1994, Akita acquired a vintage EMS synthesizer. From 1996, plans were made to release a "10 (or maybe 12)" CD box set on Extreme Records. In 2000, Extreme Records released the Merzbox, a fifty CD set of Merzbow records, twenty of them not previously released.  Throughout most of the 1990s, Merzbow live was a trio with Reiko A. on electronics and Bara on voice and dance. Masami Akita occasionally played drums for Hijokaidan during the early-mid 1990s.  In the early 1990s, Masami Akita composed the soundtracks to numerous kinbaku videos by Fuji Planning (Bu Er Qi Hua , Fuji Kikaku) and seppuku-themed videos by their sub-label Right Brain. Akita also directed Lost Paradise (Shi Le Yuan  Cheng Ma Fu Nu Fu Qie ri, Shitsurakuen: Jobafuku onna harakiri) for Right Brain. Some of this music was included on Music for Bondage Performance and Music for Bondage Performance 2, co-credited to Right Brain Audile. Director Ian Kerkhof would use a Merzbow track for his 1992 film La sequence des barres paralleles, and Akita composed original music for Kerhof's 1994 film The Dead Man 2: Return of the Dead Man. Kerkhof made the documentary Beyond Ultra Violence: Uneasy Listening by Merzbow in 1998. Akita also created music for Ilppo Pohjola's Asphalto (1998) and Routemaster (2000).
Question: did he release an album during this time?
Answer: In 2000, Extreme Records released the Merzbox, a fifty CD set of Merzbow records, twenty of them not previously released.

Problem: Background: Vaughan's father, Asbury "Jake" Vaughan, was a carpenter by trade and played guitar and piano. Her mother, Ada Vaughan, was a laundress and sang in the church choir. Jake and Ada Vaughan had migrated to Newark, New Jersey from Virginia during the First World War. Sarah was their only biological child, although in the 1960s they adopted Donna, the child of a woman who traveled on the road with Sarah Vaughan.
Context: In 1953, Treadwell negotiated a unique contract for Vaughan with Mercury Records. She would record commercial material for the Mercury label and more jazz-oriented material for its subsidiary EmArcy. Vaughan was paired with producer Bob Shad and their excellent working relationship yielded strong commercial and artistic success. Her debut Mercury recording session took place in February 1954 and she stayed with the label through 1959. After a stint at Roulette Records (1960 to 1963), Vaughan returned to Mercury from 1964 to 1967.  Vaughan's commercial success at Mercury began with the 1954 hit, "Make Yourself Comfortable", recorded in the fall of 1954, and continued with a succession of hits, including: "How Important Can It Be" (with Count Basie), "Whatever Lola Wants", "The Banana Boat Song", "You Ought to Have A Wife" and "Misty". Her commercial success peaked in 1959 with "Broken Hearted Melody", a song she considered to be "corny", but, nonetheless, became her first gold record, and a regular part of her concert repertoire for years to come. Vaughan was reunited with Billy Eckstine for a series of duet recordings in 1957 that yielded the hit "Passing Strangers". Vaughan's commercial recordings were handled by a number of different arrangers and conductors, primarily Hugo Peretti and Hal Mooney.  The jazz "track" of her recording career proceeded apace, backed either by her working trio or various combinations of stellar jazz players. One of her own favorite albums was a 1954 sextet date that included Clifford Brown.  In the latter half of the 1950s she followed a schedule of almost non-stop touring, with many famous jazz musicians. She was featured at the first Newport Jazz Festival in the summer of 1954 and starred in subsequent editions of that festival at Newport and in New York City for the remainder of her life. In the fall of 1954, she performed at Carnegie Hall with the Count Basie Orchestra on a bill that also included Billie Holiday, Charlie Parker, Lester Young and the Modern Jazz Quartet. That fall, she again toured Europe successfully before embarking on a "Big Show" U.S. tour, a grueling succession of start-studded one-nighters that included Count Basie, George Shearing, Erroll Garner and Jimmy Rushing. At the 1955 New York Jazz Festival on Randalls Island, Vaughan shared the bill with the Dave Brubeck quartet, Horace Silver, Jimmy Smith, and the Johnny Richards Orchestra.  Although the professional relationship between Vaughan and Treadwell was quite successful through the 1950s, their personal relationship finally reached a breaking point and she filed for a divorce in 1958. Vaughan had entirely delegated financial matters to Treadwell, and despite significant income figures reported through the 1950s, at the settlement Treadwell said that only $16,000 remained. The couple evenly divided the amount and their personal assets, terminating their business relationship.
Question: Are there any other interesting aspects about this article?
Answer:
Vaughan's commercial success at Mercury began with the 1954 hit, "Make Yourself Comfortable",