Question:
Hideto Matsumoto (Song Ben  Xiu Ren , Matsumoto Hideto, December 13, 1964 - May 2, 1998), better known by his stage name hide, was a Japanese musician, singer and songwriter. He is primarily known for his work as lead guitarist of the heavy metal band X Japan.
hide joined X Japan (then called X) in February 1987, becoming the band's lead guitarist and occasional songwriter, going on to compose songs like "Celebration", "Joker" and the single "Scars". X released their first album Vanishing Vision, through drummer Yoshiki's own Extasy Records, on April 14, 1988 and toured extensively in support of the record. They would become one of the first Japanese acts to achieve mainstream success while on an independent label, and later widely credited as one of the pioneers of visual kei.  X 's major label debut album, Blue Blood, was released on April 21, 1989 and debuted at number six on the Oricon chart. Its success earned the band the "Grand Prix New Artist of the Year" award at the 4th annual Japan Gold Disc Awards in 1990. Their third album Jealousy was released on July 1, 1991 and debuted at number one, selling over 600,000 copies. It was later certified million by the RIAJ.  Shortly after the release of Art of Life, which also topped the Oricon, the members of X Japan took a break, to start solo projects. Around that time, the group also dropped most of its original visual kei aesthetics, except hide who would still perform in wildly colorful outfits and with his trademark red, later pink, hair. Dahlia, which would become the band's last album, was released on November 4, 1996 and once again, it reached the number one spot. In September 1997 it was announced that X Japan would disband, they performed their farewell show, aptly titled The Last Live, at the Tokyo Dome on December 31, 1997.
Answer this question using a quote from the text above:

What happened in 1987?

Answer:
in February 1987, becoming the band's lead guitarist and occasional songwriter, going on to compose songs like "Celebration",

input: 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.

Answer this question "What other success did Wilson have?"
output: The Surfin' U.S.A. album was also a big hit in the United States,

Answer the question at the end by quoting:

Lewis Robert "Hack" Wilson (April 26, 1900 - November 23, 1948) was an American Major League Baseball player who played 12 seasons for the New York Giants, Chicago Cubs, Brooklyn Dodgers and Philadelphia Phillies. Despite his diminutive stature, he was one of the most accomplished power hitters in the game during the late 1920s and early 1930s. His 1930 season with the Cubs is widely considered one of the most memorable individual single-season hitting performances in baseball history. Highlights included 56 home runs, the National League record for 68 years; and 191 runs batted in, a mark yet to be surpassed. "
Wilson made his major league debut with the Giants on September 29, 1923 and became the starting left fielder the following season. By mid-July he was ranked second in the National League (NL) in hitting. He ended the season with a .295 average, 10 home runs, and 57 runs batted in (RBIs) as New York won the NL pennant. In the 1924 World Series he averaged only .233 in a seven-game loss to the Washington Senators.  Multiple stories exist to explain the origin of Wilson's nickname: By one account, a New York newspaper held a nicknaming contest; the winning entry was "Hack" because he reminded many fans of another stocky athlete, the popular wrestler Georg Hackenschmidt. In another version, McGraw is said to have remarked that Wilson's physique was reminiscent of a "hack" (slang for taxicab in that era). Giants teammate Bill Cunningham claimed that the nickname was based on Wilson's resemblance to Hack Miller, an outfielder with the Chicago Cubs. The New York Times printed the first documented usage of "Hack" on June 10, 1924.  Early in the 1925 season Wilson hit the longest home run on record at Ebbets Field against the Brooklyn Robins, but fell into a slump in May, and was replaced in left field by Irish Meusel. On July 2 he hit two home runs in one inning, tying Ken Williams' major league record set in 1922, but his hitting slump continued. In August McGraw told reporters that he had "...made the mistake of rushing [Wilson] along," and sent him to the Giants' minor league affiliate, the Toledo Mud Hens of the American Association. At season's end, a front office oversight--or possibly, deliberate inaction--left him unprotected on the Toledo roster, and the last-place Chicago Cubs acquired him on waivers. "They let go the best outfielder I ever played alongside", said Giants right fielder Ross Youngs, "and they're going to regret it."  During the 1925 World Series -- between the Senators and the Pittsburgh Pirates -- Wilson's son, Robert, was born.

Are there any other interesting aspects about this article?
became the starting left fielder the following season.