Problem: Background: Screeching Weasel is an American punk rock band originally from the Chicago suburb of Prospect Heights, Illinois. The band was formed in 1986 by Ben Weasel and John Jughead. Since their formation, Screeching Weasel have broken up and reformed numerous times with numerous line-up changes. Ben Weasel has been the only constant member, though Jughead was present in every incarnation of the band until 2009.
Context: After the break-up, Weasel and Jughead formed a new band called The Gore Gore Girls, and Ben briefly performed in the original incarnation of The Vindictives. In 1991, the members of Screeching Weasel reunited for what was intended as a one-off gig to pay off debts the band incurred from the recording of Boogadaboogadaboogada!. The line-up consisted of Ben, Jughead, Vapid, Vermin, and Ward. After the show, Vapid discussed the idea of reforming Screeching Weasel with Jughead. All of the band's members agreed to reform, with the exceptions of Brian Vermin and Douglas Ward. To replace Vermin, drummer Dan Panic (Dan Sullivan) was brought in. Before recording their third studio album, My Brain Hurts (1991) for Lookout! Records, Weasel decided that he wanted to focus on singing and would no longer be playing guitar in the band. Vapid switched instruments from bass to guitar, and former Gore Gore Girls bassist Dave Naked joined the band. The recording sessions for the album also produced the extended play Pervo Devo.  After recording My Brain Hurts, Dave Naked was fired from the band and Scott "Gub" Conway, Panic's former bandmate, was brought in as the band's bassist to tour. After the tour, Johnny Personality of The Vindictives became the band's bassist, as Gub was committed to another band. By late 1992, the band had recorded the follow-up to My Brain Hurts, Wiggle, which also marked their first collaboration with producer Mass Giorgini, who went on to produce the vast majority of the Screeching Weasel catalog, and also became the bassist of the band from 1998 to 2004. Personality then left the band to focus on The Vindictives. Instead of adding a new member, Weasel moved back to guitar, and Vapid moved back to bass.  The band was then asked to record a cover of an entire Ramones album, Ramones (1992), followed later that year by Anthem for a New Tomorrow. Shortly after the record's release, Weasel decided that he no longer wanted to perform live, and Vapid left after falling out with the rest of the band. Screeching Weasel enlisted the help of Green Day bassist Mike Dirnt to record what they intended to be their final studio album. After the release of How to Make Enemies and Irritate People (1994), the band broke up for the second time.
Question: What was the first reformation?
Answer: In 1991, the members of Screeching Weasel reunited for what was intended as a one-off gig to pay off debts the band incurred from the recording of Boogadaboogadaboogada!.

Background: Brian Douglas Wilson (born June 20, 1942) is an American musician, singer, songwriter, and record producer who co-founded the Beach Boys. After signing with Capitol Records in 1962, Wilson wrote or co-wrote more than two dozen Top 40 hits for the group. In addition to his lifelong struggles with mental illness, Wilson is known for his unorthodox approaches to pop composition and mastery of recording techniques, and he is widely acknowledged as one of the most innovative and significant songwriters of the late 20th century. The Beach Boys were formed by Brian, his brothers Carl and Dennis, their cousin Mike Love, and friend Al Jardine.
Context: Recording sessions for the band's first album took place in Capitol's basement studios in the famous tower building in August 1962, but early on Brian lobbied for a different place to cut Beach Boy tracks. The large rooms were built to record the big orchestras and ensembles of the 1950s, not small rock groups. At Brian's insistence, Capitol agreed to let the Beach Boys pay for their own outside recording sessions, to which Capitol would own all the rights, and in return the band would receive a higher royalty rate on their record sales. Additionally, during the taping of their first LP Brian fought for, and won, the right to be in charge of the production - though this fact was not acknowledged with an album liner notes production credit.  In January 1963, the Beach Boys recorded their first top-ten (cresting at number three in the United States) single, "Surfin' U.S.A.", which began their long run of highly successful recording efforts at Hollywood's United Western Recorders on Sunset Boulevard. It was during the sessions for this single that Brian made the production decision from that point on to use double tracking on the group's vocals, resulting in a deeper and more resonant sound. The Surfin' U.S.A. album was also a big hit in the United States, reaching number two on the national sales charts by early July 1963. The Beach Boys had become a top-rank recording and touring band.  Brian was for the first time officially credited as the Beach Boys' producer on the Surfer Girl album, recorded in June and July 1963 and released that September. This LP reached number seven on the national charts, containing singles that were top 15 hits. Feeling that surfing songs had become limiting, Brian decided to produce a set of largely car-oriented tunes for the Beach Boys' fourth album, Little Deuce Coupe, which was released in October 1963, only three weeks after the Surfer Girl LP. The departure of guitarist David Marks from the band that month meant that Brian was forced to resume touring with the Beach Boys, for a time reducing his availability in the recording studio.  For much of the decade, Brian attempted to establish himself as a record producer by working with various artists. On July 20, 1963, "Surf City", which he co-wrote with Jan Berry of Jan and Dean, was his first composition to reach the top of the US charts. The resulting success pleased Brian, but angered both Murry and Capitol Records. Murry went so far as to order his oldest son to sever any future collaborations with Jan and Dean. Brian's other non-Beach Boy work in this period included tracks by the Castells, Donna Loren, Sharon Marie, the Timers, and the Survivors. The most notable group to which Wilson would attach himself in this era would be the Honeys, which Wilson intended as the female counterpart to the Beach Boys, and as an attempt to compete with Phil Spector-led girl groups such as the Crystals and the Ronettes. He continued juggling between recording with the Beach Boys and producing records for other artists, but with less success at the latter--except for Jan and Dean.
Question: Are there any other interesting aspects about this article?
Answer:
For much of the decade, Brian attempted to establish himself as a record producer by working with various artists.