Background: Dr. Victor Von Doom (commonly known as Doctor Doom, or simply Doom) is a fictional character appearing in American comic books published by Marvel Comics. The son of a Romani witch, Von Doom has been depicted as a supervillain, the archenemy of the Fantastic Four, and the leader of the fictional nation called Latveria. While his chief opponents have been the Fantastic Four, he has also come into conflict with Spider-Man, Iron Man, Black Panther, and multiple others. Von Doom has also been depicted as a superhero, being the third character to take up the mantle of Iron Man and joining the Avengers.
Context: In 1976, Marvel and DC Comics collaborated on Superman vs. the Amazing Spider-Man, and seeking to replicate that success the two companies again teamed the characters in Superman and Spider-Man in 1981. Marvel editor in chief Jim Shooter co-wrote the story with Marv Wolfman, and recalled choosing Victor von Doom based on his iconic status: "I figured I needed the heaviest-duty bad guy we had to offer -- Doctor Doom. Their greatest hero against our greatest villain." The same year, John Byrne began his six-year run writing and illustrating Fantastic Four, sparking a "second golden age" for the title but also attempting to "turn the clock back [...] get back and see fresh what it was that made the book great at its inception." Doctor Doom made his first appearance under Byrne's tenure with issue #236. Whereas Kirby had intimated that Doom's disfigurement was more a figment of Victor's vain personality, Byrne decided that Doom's face was truly ravaged: only Doom's own robot slaves are allowed to see the monarch without his helmet. Byrne emphasized other aspects of Doom's personality; despite his ruthless nature, Victor von Doom is a man of honor. Returning to Latveria after being temporarily deposed, Doctor Doom abandons a scheme to wrest mystical secrets from Doctor Strange in order to oversee his land's reconstruction. Despite a tempestuous temper, Doom occasionally shows warmth and empathy to others; he tries to free his mother from Mephisto and treats Kristoff Vernard like his own son. Byrne gave further detail regarding Doom's scarring: Byrne introduced the idea that the accident at Empire State University only left Victor with a small scar that was exaggerated into a more disfiguring accident by Doom's own arrogance--by donning his newly forged face mask before it had fully cooled, he caused massive irreparable damage. After Byrne's departure Doom continued to be a major villain in Fantastic Four, and as the 1980s continued Doom appeared in other comics such as Punisher, The Spectacular Spider-Man, and Excalibur. Under Fantastic Four writer Steven Englehart, Doom became exiled from Latveria by his heir Kristoff, who was brainwashed into thinking he was Victor von Doom. Doom would spend most of his time in exile planning his return, but Englehart left the title before he could resolve the storyline. This storyline ultimately ended with the controversial Fantastic Four #350, where writer Walt Simonson had the Victor von Doom who had been seen in the book during the Englehart run being revealed to be a robotic imposter and the real Von Doom, in a newly redesigned armor, returning to claim his country from his usurper. According to Simonson's retcon, the last appearance of the real Victor von Doom was in the "Battle of the Baxter Building" story arc, but Simonson's interpretation of the character was unaware of certain major changes at the time to the Fantastic Four. Simonson drew up a list of stories which featured the real Doom and those which did not but later writers ignored Simonson's choices, retconning these story elements as an attempt by Doom to blame his own past failures on unruly robots.
Question: Are there any other interesting aspects about this article?
Answer: After Byrne's departure Doom continued to be a major villain in Fantastic Four, and as the 1980s continued Doom appeared in other comics such as

Background: The Beatles were an English rock band formed in Liverpool in 1960. With members John Lennon, Paul McCartney, George Harrison and Ringo Starr, they became widely regarded as the foremost and most influential music band. Rooted in skiffle, beat and 1950s rock and roll, the Beatles later experimented with several musical styles, ranging from pop ballads and Indian music to psychedelia and hard rock, often incorporating classical elements and unconventional recording techniques in innovative ways. In 1963 their enormous popularity first emerged as "Beatlemania"; as the group's music grew in sophistication, led by primary songwriters Lennon and McCartney, the band were integral to pop music's evolution into an art form and to the development of the counterculture of the 1960s.
Context: Touring internationally in June and July, the Beatles staged 37 shows over 27 days in Denmark, the Netherlands, Hong Kong, Australia and New Zealand. In August and September they returned to the US, with a 30-concert tour of 23 cities. Generating intense interest once again, the month-long tour attracted between 10,000 and 20,000 fans to each 30-minute performance in cities from San Francisco to New York. In August, journalist Al Aronowitz arranged for the Beatles to meet Bob Dylan. Visiting the band in their New York hotel suite, Dylan introduced them to cannabis. Gould points out the musical and cultural significance of this meeting, before which the musicians' respective fanbases were "perceived as inhabiting two separate subcultural worlds": Dylan's audience of "college kids with artistic or intellectual leanings, a dawning political and social idealism, and a mildly bohemian style" contrasted with their fans, "veritable 'teenyboppers' - kids in high school or grade school whose lives were totally wrapped up in the commercialised popular culture of television, radio, pop records, fan magazines, and teen fashion. To many of Dylan's followers in the folk music scene, the Beatles were seen as idolaters, not idealists." Within six months of the meeting, according to Gould, "Lennon would be making records on which he openly imitated Dylan's nasal drone, brittle strum, and introspective vocal persona"; and six months after that, Dylan began performing with a backing band and electric instrumentation, and "dressed in the height of Mod fashion". As a result, Gould continues, the traditional division between folk and rock enthusiasts "nearly evaporated", as the Beatles' fans began to mature in their outlook and Dylan's audience embraced the new, youth-driven pop culture. During the 1964 US tour, the group were confronted with the reality of racial segregation in the country at the time, particularly in the South. When informed that the 11 September show at the Gator Bowl in Jacksonville, Florida was to be held at a segregated venue, the Beatles expressed astonishment and announced that they would refuse to perform unless the show become integrated. Lennon stated: "We never play to segregated audiences and we aren't going to start now ... I'd sooner lose our appearance money." The group's stand drew controversy in the local media, but city officials relented and agreed to allow an integrated show. On the tour the group also refused to stay in segregated hotels. Documents reveal that for their subsequent US tours in 1965 and 1966, the Beatles included clauses in contracts stipulating that shows be integrated.
Question: How did they deal with racial segregation?
Answer:
Lennon stated: "We never play to segregated audiences and we aren't going to start now ...