Background: Elaine May (born April 21, 1932) is an American screenwriter, film director, actress, and comedienne. She made her initial impact in the 1950s from her improvisational comedy routines with Mike Nichols, performing as Nichols and May. After her duo with Nichols ended, May subsequently developed a career as a director and screenwriter. Her screenwriting has been twice nominated for the Academy Award, for Heaven Can Wait (1978) and the Nichols-directed Primary Colors (1998).
Context: Audiences were still discovering them in 1961, four years after they arrived. However, at the height of their fame, they decided to discontinue their act that year and took their careers in different directions: Nichols became a leading film director; May became primarily a screenwriter and playwright, with some acting and directing. Among the reasons they decided to call it quits was that keeping their act fresh was becoming more difficult. Nichols explains:  Several things happened. One was that I, more than Elaine, became more and more afraid of our improvisational material. She was always brave. We never wrote a skit, we just sort of outlined it: I'll try to make you, or we'll fight--whatever it was. We found ourselves doing the same material over and over, especially in our Broadway show. This took a great toll on Elaine.  Nichols said that for him personally the breakup was "cataclysmic", and he went into a state of depression: "I didn't know what I was or who I was." It was not until 1996, thirty-five years later, that they would work together again as a team, when she wrote the screenplay and he directed The Birdcage. It "was like coming home, like getting a piece of yourself back that you thought you'd lost," he said. He adds that May had been very important to him from the moment he first saw her, adding that for her "improv was innate," and few people have that gift.  Director Arthur Penn said of their sudden breakup, "They set the standard and then they had to move on." To New York talk show host Dick Cavett, "They were one of the comic meteors in the sky."  They reunited for benefits for George McGovern for President in 1972.
Question: What is the article about?
Answer: Director Arthur Penn said of their sudden breakup, "They set the standard and then they had to move on."

Question:
Lester Willis Young (August 27, 1909 - March 15, 1959), nicknamed "Pres" or "Prez", was an American jazz tenor saxophonist and occasional clarinetist. Coming to prominence while a member of Count Basie's orchestra, Young was one of the most influential players on his instrument. In contrast to many of his hard-driving peers, Young played with a relaxed, cool tone and used sophisticated harmonies, using what one critic called "a free-floating style, wheeling and diving like a gull, banking with low, funky riffs that pleased dancers and listeners alike". Known for his hip, introverted style, he invented or popularized much of the hipster jargon which came to be associated with the music.
In 1933 Young settled in Kansas City, where after playing briefly in several bands, he rose to prominence with Count Basie. His playing in the Basie band was characterized by a relaxed style which contrasted sharply with the more forceful approach of Coleman Hawkins, the dominant tenor sax player of the day. One of Young's key influences was Frank Trumbauer, who came to prominence in the 1920s with Paul Whiteman and played the C-melody saxophone (between the alto and tenor in pitch).  Young left the Basie band to replace Hawkins in Fletcher Henderson's orchestra. He soon left Henderson to play in the Andy Kirk band (for six months) before returning to Basie. While with Basie, Young made small-group recordings for Milt Gabler's Commodore Records, The Kansas City Sessions. Although they were recorded in New York (in 1938, with a reunion in 1944), they are named after the group, the Kansas City Seven, and comprised Buck Clayton, Dicky Wells, Basie, Young, Freddie Green, Rodney Richardson, and Jo Jones. Young played clarinet as well as tenor in these sessions. Young is described as playing the clarinet in a "liquid, nervous style."  As well as the Kansas City Sessions, his clarinet work from 1938-39 is documented on recordings with Basie, Billie Holiday, Basie small groups, and the organist Glenn Hardman. Billie and Lester met at a Harlem jam session in the early 30s and worked together in the Count Basie band and in nightclubs on New York's 52nd St. At one point Lester moved into the apartment Billie shared with her mother, Sadie Fagan. Holiday always insisted their relationship was strictly platonic. She gave Lester the nickname "Prez" after President Franklin Roosevelt, the "greatest man around" in Billie's mind. Playing on her name, he would call her "Lady Day." Their famously empathetic classic recordings with Teddy Wilson date from this era.  After Young's clarinet was stolen in 1939, he abandoned the instrument until about 1957. That year Norman Granz gave him one and urged him to play it (with far different results at that stage in Young's life--see below).
Answer this question using a quote from the text above:

did he become successful?

Answer:
Their famously empathetic classic recordings with Teddy Wilson date from this era.

Problem: Background: The Wildhearts are an English rock group, formed in 1989 in Newcastle upon Tyne. The band's sound is a mixture of hard rock and melodic pop music, often described in the music press as combining influences as diverse as The Beatles and 1980s-era Metallica. However, this characterization is denied by the band, who see their influences as being far broader, as shown in the song "29 X The Pain", which lists many of group leader Ginger's influences. Despite several top 20 singles and one top 10 album in Britain, the Wildhearts have not achieved major commercial success, owing in part to difficulties with record companies and many internal problems often relating to recreational drugs and depression.
Context: The Wildhearts formed in late 1989, after Ginger was sacked from the Quireboys. An often-told story from this time period is that Ginger decided to start his own band after falling down a flight of stairs with a bottle of Jack Daniel's but emerging with the bottle intact. Had the bottle smashed, he would have slit his wrists with the shards, but instead he resolved to form a band in which he could exercise his songwriting skills, rather than just playing guitar as in his previous bands. Throughout the band's career, Ginger has written almost all the songs himself.  Initially called the Wild Hearts (two words), the band originally included singers Snake (ex-Tobruk) and Dunken F. Mullett (ex-Mournblade), who both joined for short periods. Nine demos were recorded in 1989 and 1990 with Snake singing on four and Dunken on five. These demos remain unreleased and displayed a sound resembling Guns N' Roses, with the Wildhearts sound still to be developed. Some of the demos were produced by Ric Browde and intended for an EP release that never materialized, though these demos are occasionally found on unofficial releases. In March 1991, Ginger reluctantly took over on lead vocals despite his reservations, as he has never thought himself a good singer.  After many early personnel changes, the line-up solidified around Ginger on guitar and vocals, CJ (Christopher Jagdhar) on guitar and vocals, Danny McCormack on bass and vocals, and Dogs D'Amour drummer Bam. This line-up released two EPs in 1992, Mondo Akimbo a-Go-Go and Don't Be Happy...Just Worry.
Question: What record label did they first sign with?
Answer:
Some of the demos were produced by Ric Browde