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: when or what era was Vaughn popular ?
Answer: In 1953, Treadwell negotiated a unique contract for Vaughan with Mercury Records.

Problem: Background: Straczynski was born in Paterson, New Jersey, and is the son of Charles Straczynski, a manual laborer, and Evelyn Straczynski (nee Pate). He was raised in Newark, New Jersey; Kankakee, Illinois; Dallas, Texas; Chula Vista, California, where he graduated from high school; and San Diego, California. Straczynski's family religion was Catholic, and he has Polish ancestry. His grandparents lived in the area which today belongs to Belarus, and fled to America from the Russian Revolution; his father was born in the U.S., and has lived in Poland, Germany and Russia.
Context: Straczynski was a fan of the cartoon He-Man and the Masters of the Universe. He wrote a spec script in 1984 and sent it directly to Filmation. They purchased his script, bought several others, and hired him on staff. During this time he became friends with Larry DiTillio, and when Filmation produced the He-Man spinoff She-Ra: Princess of Power, they both worked as story editors on the show. However, Filmation refused to give them credit on-screen and Straczynski and DiTillio both left and found work with DIC on Jayce and the Wheeled Warriors.  Straczynski and DiTillio also worked to create an animated version of Elfquest but that project soon fell through when CBS attempted to retool the show to appeal to younger audiences.  While working on Jayce, Straczynski was hired to come aboard the Len Janson and Chuck Menville project to adapt the movie Ghostbusters to an animated version called The Real Ghostbusters. When Janson and Menville learned that there was not only a 13-episode order but a 65-episode syndication order as well, they decided that the workload was too much and that they would only work on their own scripts. DIC head Jean Chalopin asked Straczynski to take on the task of story editing the entire 78-episode block as well as writing his own scripts. After the show's successful first season, consultants were brought in to make suggestions for the show, including changing Janine to a more maternal character, giving every character a particular "job" (Peter is the funny one, Egon is the smart one, and Winston, the only black character, was to be the driver), and to add kids into the show. Straczynski left at this point and Janson and Menville took on the story editing job for the second network season. Straczynski then developed a show called Spiral Zone but left after only one script when his concept for the show was drastically altered and took his name off the series, substituting the pseudonym "Fettes Grey" (derived from the names of the grave robbers in The Body Snatcher).  Straczynski also wrote for CBS Storybreak, writing an adaptation of Evelyn Sibley Lampman's The Shy Stegosaurus of Cricket Creek.
Question: what did they do next?
Answer:
Straczynski was hired to come aboard the Len Janson and Chuck Menville project to adapt the movie Ghostbusters to an animated version called The Real Ghostbusters.