Problem: Background: Gorillaz are an English virtual band created in 1998 by musician Damon Albarn and artist Jamie Hewlett. The band consists of four animated members: 2-D (lead vocals, keyboards), Murdoc Niccals (bass guitar), Noodle (guitar, keyboards), and Russel Hobbs (drums and percussion). These members are fictional and are not personas of any "real life" musicians involved in the project. Their fictional universe is explored through the band's music videos, as well as a number of other short cartoons.
Context: The band's first release was the EP Tomorrow Comes Today, released in 2000. The band's first single was "Clint Eastwood" and was released on 5 March 2001, reaching No. 4 in the UK. It was produced by hip hop producer Dan the Automator and originally featured UK rap group Phi Life Cypher, but the version that appears on the album features American rapper Del the Funky Homosapien, known on the album as Del tha' Ghost Rapper, a spirit in the band's drummer Russel Hobbs. The Phi Life Cypher version of "Clint Eastwood" appears on the B-side album G Sides. Later that same month, their first full-length album, the self-titled Gorillaz, was released, producing four singles: "Clint Eastwood", "19-2000", "Tomorrow Comes Today", and "Rock the House". In June 2001, "19-2000" charted at No. 6 in the UK, and the song was used as the title theme for EA Sports FIFA video game FIFA Football 2002. The end of the year brought the song "911", a collaboration between Gorillaz and hip hop group D12 (without Eminem) and Terry Hall about the September 11 attacks. Meanwhile, G Sides, a compilation of the B-sides from the Tomorrow Comes Today EP and first three singles, was released in Japan on 12 December 2001 and quickly followed with international releases in early 2002. Gorillaz performed at the 2002 Brit Awards in London on 22 February, appearing in 3D animation on four large screens along with rap accompaniment by Phi Life Cypher. The band were nominated for four Brit Awards, including Best British Group, Best British Album and British Breakthrough Act, but did not win any awards. In November 2002, a DVD titled Phase One: Celebrity Take Down was released, giving the phase its name. The DVD contains the four Phase One promos, the abandoned video for "5/4", the Charts of Darkness documentary, the five Gorilla Bitez (comedic shorts starring the band characters), a tour of the website by the MEL 9000 server and more. The DVD's menu was designed much like the band's website and depicts an abandoned Kong Studios. Rumours were circulating at this time that the Gorillaz team were busy preparing a film, but Hewlett said that the film project had been abandoned: "We lost all interest in doing it as soon as we started meeting with studios and talking to these Hollywood executive types, we just weren't on the same page. We said, fuck it, we'll sit on the idea until we can do it ourselves, and maybe even raise the money ourselves."
Question: Did this dvd do well?
Answer:

Problem: Background: The Future Sound of London (often abbreviated to FSOL) is a British electronic music group composed of Garry Cobain (sometimes stylised as Gaz Cobain) and Brian Dougans. The duo are often credited with pushing the boundaries of electronic music experimentation and of pioneering a new era of dance music. Although often associated with ambient music, Cobain and Dougans usually resist being typecast into any one particular genre. Their work covers many areas of electronic music, such as ambient techno, house music, trip hop, ambient dub, acid techno.
Context: "Cascade", released as a single in 1993, introduced the commercial music world to the new FSOL sound. Despite its length, clocking in at nearly forty minutes and stretched over six parts, the track made the UK top 30, and previewed what was to come. In 1994, they released Lifeforms to critical acclaim. The album featured unconventional use of percussion interspersed with ambient segments. The eponymous single from the album featured Elizabeth Fraser of the Cocteau Twins on vocals. The album itself featured epic, ambient soundscapes, with tracks flowing from one to the next with no pauses in between. Throughout the record, familiar motifs and samples repeated themselves, sitting alongside tropical birdsong, rainfall, wind and an array of other exotic sounds, lending the album a natural, organic feel, backed up by the environmental landscapes that filled the artwork booklet. Brian Dougan's father was involved with the BBC Radiophonic Workshop which was a heavy influence in the almost musique concrete feel to Lifeforms. The album was also a top 10 hit on the UK album chart. Cobain has said that around this time that journalists would come to talk to them and one of the first things they would ask would be if they liked Brian Eno (whom they cite as an influence), to which they would laugh and say that they were about looking forward, not to the past. It was, to them, very much a new work rather than just another Eno-type ambient album. We wanted to release a very immersive, mind-blowing piece of music that was long and would deeply drench you in it...Lifeforms was redefining 'classical ambient electronic experimental' - that was the phrase we used. That year, they released the limited edition album ISDN, which featured live broadcasts they had made over ISDN lines to various radio stations worldwide to promote Lifeforms, including The Kitchen, an avant-garde performance space in New York and several appearances on the late John Peel's celebrated BBC radio Sessions shows. These shows marked the evolution of the Kiss FM shows of 1992 and 1993, moving away from DJ sets and into ambient soundscapes, with previously released material performed alongside unheard tracks. One live performance to BBC Radio 1 featured Robert Fripp performing alongside the band. The released album's tone was darker and more rhythmic than Lifeforms. Cobain stated that with ISDN they had wanted to achieve something epic and grand but no matter how much technological or personal support they had (and they had everything they could have possibly wanted) they never got to truly do what they envisioned; he admits to wanting too much at this time, even though the album was successful; the 90s, for Cobain in particular, were a time of frustration and feelings of not being able to do what they wanted to, because the technology at the time didn't fit the band's ideas. The following year, the album was re-released with expanded artwork and a slightly altered track list as an unlimited pressing.
Question: did it have any hit singles?
Answer:
Despite its length, clocking in at nearly forty minutes and stretched over six parts, the track made the UK top 30,