input: Merzbow's sounds employ the use of distortion, feedback, and noises from synthesizers, machinery, and home-made noisemakers. While much of Merzbow's output is intensely harsh in character, Akita does occasionally make forays into ambient music. Vocals are employed sometimes, but never in a lyrical sense. Contrary to most harsh noise music, Akita also occasionally uses elements of melody and rhythm.  Akita's early work consisted of industrial noise music made from tape loops and conventional instruments. Similar to his present albums, he produced lengthy, disorienting pieces. He also became famous for the sheer volume of his releases.  The avant-garde nature of Akita's work made acceptance by mainstream and unprepared audiences difficult. When he performed with Kiyoshi Mizutani in 1988 at the Jazz-on-Amur festival in Khabarovsk, the Far East of USSR, his improvised, experimental electroacoustic set was praised by fellow musicians as well as the festival's producer. The number of the - jazz-oriented (and - even just curious) - crowd, however, had been expecting a more traditional (and much-much more quiet) performance, and started walking out. Prior to his second performance at the festival -- which was to be made to an even more conservative audience-- Akita was asked to play "more musically." On that first stage, Merzbow used the finest example of "classical analogue live noisemaiking technologies" to display: untuned guitar, a drumset, various micro-objects, small springs centered in its shell baffles, large aluminium boxes with strings inside to be attacked with a fiddlestick, etc. along with multi- piezo-pickuping and close-miking techniques, live processing through vintage US fuzz, ring modulator etc. boxes, and quite vivid and spontaneous approach, backed by domestically supplied slide and light shows. These live recordings were post-processed/re-mixed and released as Live in Khabarovsk, CCCP (I'm Proud by Rank of the Workers) LP - and as the (once more re-mixed comparing to the LP) CD 26 of the Merzbox later on.  During the 1990s Akita's work became much harsher and was generally mastered at a louder volume than usual. These were heavily influenced by death metal and grindcore bands of the time (a prime example is the Venereology album). The mid-1990s saw Akita being heavily influenced by psychedelic bands and this was reflected in various albums.

Answer this question "Are there any other interesting aspects about this article?"
output: he performed with Kiyoshi Mizutani in 1988 at the Jazz-on-Amur festival

input: Weston always made contact prints, meaning that the print was exactly the same size as the negative. This was essential for the platinum printing that he preferred early in his career, since at that time the platinum papers required ultra-violet light to activate. Weston did not have an artificial ultra-violet light source, so he had to place the contact print directly in sunlight in order to expose it. This limited him to printing only on sunny days.  When he wanted a print that was larger than the original negative size, he used an enlarger to create a larger inter-positive, then contact printed it to a new negative. The new larger negative was then used to make a print of that size. This process was very labor-intensive; he once wrote in his Daybooks "I am utterly exhausted tonight after a whole day in the darkroom, making eight contact negatives from the enlarged positives."  In 1924 Weston wrote this about his darkroom process, "I have returned, after several years use of Metol-Hydroquinine open-tank" developer to a three-solution Pyro developer, and I develop one at a time in a tray instead of a dozen in a tank." Each sheet of film was viewed under either a green or an orange safelight in his darkroom, allowing him to control the individual development of a negative. He continued to use this technique for the rest of his life.  Weston was known to extensively use dodging and burning to achieve the look he wanted in his prints.

Answer this question "How did he use this technique to his advantage?"
output: This was essential for the platinum printing that he preferred early in his career, since at that time the platinum papers required ultra-violet light to activate.

input: Winehouse's battles with substance abuse were the subject of much media attention. In 2005, she went through a period of drinking, heavy drug use, and weight loss. People who saw her during the end of that year and early 2006 reported a rebound that coincided with the writing of Back to Black. Her family believes that the mid-2006 death of her grandmother, who was a stabilising influence, set her off into addiction. In August 2007, Winehouse cancelled a number of shows in the UK and Europe, citing exhaustion and ill health. She was hospitalised during this period for what was reported as an overdose of heroin, ecstasy, cocaine, ketamine and alcohol. In various interviews, she admitted to having problems with self-harm, depression, and eating disorders.  Winehouse told a magazine that the drugs were to blame for her hospitalisation and that "I really thought that it was over for me then." Soon afterward, Winehouse's father commented that when he had made public statements regarding her problems he was using the media because it seemed the only way to get through to her. In an interview with The Album Chart Show on British television, Winehouse said she was manic depressive and not alcoholic, adding that that sounded like "an alcoholic in denial." A US reporter writes that Winehouse was a "victim of mental illness in a society that doesn't understand or respond to mental illness with great effectiveness."  In December 2007, Winehouse's spokesman reported that the singer was in a physician-supervised programme and was channelling her difficulties by writing a lot of music. The British tabloid The Sun posted a video of a woman, alleged to be Winehouse, apparently smoking crack cocaine and speaking of having taken ecstasy and valium. Winehouse's father moved in with her, and Island Records, her record label, announced the abandonment of plans for an American promotion campaign on her behalf. In late January 2008, Winehouse reportedly entered a rehabilitation facility for a two-week treatment program.  On 23 January 2008, the video was passed on to the Metropolitan Police, who questioned her on 5 February. No charges were brought. On 26 March 2008, Winehouse's spokesman said she was "doing well." Her record company reportedly believed that her recovery remained fragile. By late April 2008, her erratic behaviour, including an allegation of assault, caused fear that her drug rehabilitation efforts had been unsuccessful, leading to efforts by Winehouse's father and manager to seek assistance in having her involuntarily committed. Her dishevelled appearance during and after a scheduled club night in September sparked new rumours of a relapse. Photographers were quoted as saying she appeared to have cuts on her legs and arms.  According to her physician, Winehouse quit illegal substances in 2008. In an October 2010 interview, speaking of her decision to quit drugs, Winehouse said, "I literally woke up one day and was like, 'I don't want to do this any more'." Drinking alcohol emerged as a problem with Winehouse abstaining for a few weeks then lapsing. The physician said that Winehouse was treated with Librium for alcohol withdrawal and anxiety, and underwent psychological and psychiatric evaluations in 2010, but refused psychological therapy.

Answer this question "What did the press say about her drinking and drug use?"
output:
A US reporter writes that Winehouse was a "victim of mental illness in a society that doesn't understand or respond to mental illness with great effectiveness."