Background: Mayhem is a Norwegian black metal band formed in 1984 in Oslo. They were one of the founders of the Norwegian black metal scene and their music has strongly influenced the black metal genre. Mayhem's early career was highly controversial, primarily due to their notorious live performances, the 1991 suicide of vocalist Per Yngve Ohlin ("Dead") and the 1993 murder of guitarist Oystein Aarseth ("Euronymous") by former member Varg Vikernes ("Count Grishnackh"), of Burzum. The group released a demo and an EP that were highly influential, and amassed a loyal following through sporadic and notorious live performances, attracting further attention through their ties to the string of Norwegian church burnings and the incidents of violence surrounding them.
Context: Dead's suicide affected Necrobutcher so much that he left Mayhem, thinning the band's ranks down to two. The group performed for a short time thereafter with Occultus, joining the band to begin recording vocal and bass tracks in Mayhem's debut album, De Mysteriis Dom Sathanas. However, this was short-lived; he left the band after receiving a death threat from Euronymous. In July 1993, Live in Leipzig was released as the band's tribute to Dead.  In late 1992, the recording of Mayhem's upcoming album resumed; thus Aarseth engaged three more session musicians: Burzum's Varg Vikernes (stage name "Count Grishnackh"), Thorns' Snorre W. Ruch ("Blackthorn"), who handled bass guitar and rhythm guitar respectively, and singer Attila Csihar, of Hungarian black metal band Tormentor. Due to complaints by his parents, Euronymous closed his scene focal point record shop Helvete, claiming as reasons adverse media and police attention. Much of the album was recorded during the first half of 1993 at the Grieg Hall in Bergen. To coincide with the release of the album, Euronymous and Vikernes had conspired to blow up Nidaros Cathedral, which appears on the album cover. Euronymous's murder in August 1993 put an end to this plan and delayed the album's release.  On 10 August 1993, Vikernes murdered Euronymous. On that night, Vikernes and Ruch travelled from Bergen 518 km to Euronymous' apartment in Oslo. Upon their arrival, a confrontation began, which ended when Vikernes fatally stabbed Euronymous. His body was found outside the apartment with twenty-three cut wounds -- two to the head, five to the neck and sixteen to the back. Vikernes claims that Euronymous had plotted to torture him to death and videotape the event, using a meeting about an unsigned contract as a pretext. On the night of the murder, Vikernes claims he intended to hand Euronymous the signed contract and "tell him to fuck off", but that Euronymous attacked him first. Additionally, Vikernes defends that most of Euronymous' cut wounds were caused by broken glass he had fallen on during the struggle. Vikernes was arrested within days, and a few months later he was sentenced to 21 years in prison for both the murder and church arsons; he was released from prison in 2009. Blackthorn, who waited for Vikernes downstairs and took no part in Aarseth's murder, was charged with complicity in murder and sentenced to serve 8 years in prison. With only Hellhammer remaining, Mayhem effectively ceased to exist.  In May 1994, De Mysteriis Dom Sathanas was released and dedicated to Euronymous. Its release had been delayed due to complaints filed by Euronymous' parents, who had objected to the presence of bass guitar parts played by Vikernes. According to Vikernes himself, Hellhammer assured Aarseth's parents that he would re-record the bass tracks himself; being unable to play bass guitar, Hellhammer left the bass tracks unchanged, and so the album features Vikernes as effective bassist .
Question: Did they go on tours?
Answer: 

Background: William John Evans ( , August 16, 1929 - September 15, 1980) was an American jazz pianist and composer who mostly worked in a trio setting. Evans' use of impressionist harmony, inventive interpretation of traditional jazz repertoire, block chords, and trademark rhythmically independent, "singing" melodic lines continue to influence jazz pianists today. Born in Plainfield, New Jersey, in 1929, he was classically trained, and studied at Southeastern Louisiana University and the Mannes School of Music, where he majored in composition and received the Artist Diploma. In 1955, he moved to New York City, where he worked with bandleader and theorist George Russell.
Context: Evans' career began just before the rock explosion in the 1960s. During this decade, jazz was swept in a corner, and most new talents had few opportunities to gain recognition, especially in America. However, Evans believed he had been lucky to gain some exposure before this profound change in the music world, and never had problems finding employers and recording opportunities.  Evans never embraced new music movements; he kept his style intact. For example, he lamented watching Davis shift his style towards jazz fusion, and blamed the change on considerations of commerce. Evans commented "I would like to hear more of the consummate melodic master [Davis], but I feel that big business and his record company have had a corrupting influence on his material. The rock and pop thing certainly draws a wider audience. It happens more and more these days, that unqualified people with executive positions try to tell musicians what is good and what is bad music." However, Evans and Davis kept in touch throughout their lives.  While Evans considered himself an acoustic pianist, from the 1970 album From Left to Right on, he also released some material with Fender-Rhodes piano intermissions. However, unlike other jazz players (e.g. Herbie Hancock) he never fully embraced the new instrument, and invariably ended up returning to the acoustic sound. "I don't think too much about the electronic thing, except that it's kind of fun to have it as an alternate voice. (...) [It's] merely an alternate keyboard instrument, that offers a certain kind of sound that's appropriate sometimes. I find that it's a refreshing auxiliary to the piano--but I don't need it (...) I don't enjoy spending a lot of time with the electric piano. I play it for a period of time, then I quickly tire of it, and I want to get back to the acoustic piano." He commented that electronic music: "just doesn't attract me. I'm of a certain period, a certain evolution. I hear music differently. For me, comparing electric bass to acoustic bass is sacrilege."
Question: What was his most promient veiw?
Answer:
It happens more and more these days, that unqualified people with executive positions try to tell musicians what is good and what is bad music.