Problem: Background: Hasan ibn Ali ibn Muhammad (c. 846 - 874) was the 11th Imam of Twelver Shia Islam, after his father Ali al-Hadi. He was also called Abu Muhammad and Ibn al-Ridha. Because Samarra, the city where he lived, was a garrison town, he is generally known as al-Askari (Askar is the word for military in Arabic). Al-Askari married Narjis Khatun and was kept under house arrest or in prison for most of his life, until, according to some Shia sources, he was poisoned at the age of 28 on the orders of the Abbasid caliph Al-Mu'tamid and was buried in Samarra.
Context: Various legends relate to al-Askari's wife, Narjis Khatun (the mother of the twelfth Imam, Muhammad al-Mahdi). It is said that al-Askari's father, Ali al-Hadi, wrote a letter in the script of Rum; put it in a red purse, with 220 Dinars; and gave it to his friend Bashar ibn Sulaiman. The letter instructed him to go to Baghdad, to a ferry place on the river where the boats from Syria were unloaded, and female slaves were sold. Bashar was told to look out for a shipowner named Amr ibn Yazid, who had a slave girl who would call out in the language of Rum: "Even if you have wealth and the glory of Solomon the son of David, I can never have affection for you, so take care lest you waste your money." And that if a buyer approached her, she would say "Cursed be the man who unveils my eyebrow!" Her owner would then protest, "But what recourse do I have I; I am compelled to sell you?" "You will then hear the slave answer", said the Imam, "Why this hast, let me choose my purchaser, that my heart may accept him in confidence and gratitude." Bashar gave the letter, as he was instructed, to the slave girl; who read it, and was not able to keep from crying afterward. Then she said to Amr ibn Yezid, "Sell me to the writer of this letter, for if you refuse I will surely kill myself." "I therefore talked over the price with Amr until we agreed on the 220 Dinars my master had given me," said Bashar. On her way to Samarra, the slave girl would kiss the letter and rub it to her face and body; and when asked by Bashar why she did so despite not knowing the writer of the letter, she said, "May the offspring of the Prophet dispel your doubts!" Later on, however, she gave a full description of the dream she had had, and how she had escaped from her father's palace. A lengthier version of this story is recorded in Donaldson's book, along with further discussion on the authenticity of this story. Some Shia sources have recorded her as being a "Roman (i.e. Byzantine) princess" who pretended to be a slave so that she might travel from her kingdom to Arabia. Mohammad Ali Amir-Moezzi, in the Encyclopedia of Iranica, suggests that the last version is "undoubtedly legendary and hagiographic".
Question: How long were they married?
Answer:

Problem: Background: Masami Akita (Qiu Tian Chang Mei , Akita Masami, born December 19, 1956), better known by his stage name Merzbow (merutsubau, Merutsubau), is a Japanese noise musician. He is best known for his style of harsh, confrontational noise exemplified on his 1996 release, Pulse Demon. Since 1980, he has released over 400 recordings, and has collaborated with various artists.
Context: During the European tour in September-October 1989, Merzbow could only bring simple and portable gear; this led to the harsh noise style Merzbow became known for in the 1990s. Cloud Cock OO Grand (1990) was the first example of this new style, Merzbow's first digital recording (on DAT), and the first recording made for the CD format. It also includes live material recorded during the tour. But when I started live in late 1980s I didn't like to use tape on stage. I like only live electronics. So, my studio works changed to more live composition style. I'm still using many tapes in studio works, but difference is I treat tapes and instruments. Before, I used tapes as overdubbing concept. But now tapes are crashing together, no static overdub. I found that style on Cloud Cock OO Grand. Beginning in the mid-1990s, Merzbow began to be influenced by death metal and grindcore. Recordings from this time are mostly recorded at extreme volume, some mastered at levels far beyond standard (Noisembryo, Pulse Demon). In 1994, Akita acquired a vintage EMS synthesizer. From 1996, plans were made to release a "10 (or maybe 12)" CD box set on Extreme Records. In 2000, Extreme Records released the Merzbox, a fifty CD set of Merzbow records, twenty of them not previously released. Throughout most of the 1990s, Merzbow live was a trio with Reiko A. on electronics and Bara on voice and dance. Masami Akita occasionally played drums for Hijokaidan during the early-mid 1990s. In the early 1990s, Masami Akita composed the soundtracks to numerous kinbaku videos by Fuji Planning (Bu Er Qi Hua , Fuji Kikaku) and seppuku-themed videos by their sub-label Right Brain. Akita also directed Lost Paradise (Shi Le Yuan Cheng Ma Fu Nu Fu Qie ri, Shitsurakuen: Jobafuku onna harakiri) for Right Brain. Some of this music was included on Music for Bondage Performance and Music for Bondage Performance 2, co-credited to Right Brain Audile. Director Ian Kerkhof would use a Merzbow track for his 1992 film La sequence des barres paralleles, and Akita composed original music for Kerhof's 1994 film The Dead Man 2: Return of the Dead Man. Kerkhof made the documentary Beyond Ultra Violence: Uneasy Listening by Merzbow in 1998. Akita also created music for Ilppo Pohjola's Asphalto (1998) and Routemaster (2000).
Question: What happen in 1989
Answer:
During the European tour in September-October 1989, Merzbow could only bring simple and portable gear;