Problem: Journey is an American rock band that formed in San Francisco in 1973, composed of former members of Santana and Frumious Bandersnatch. The band has gone through several phases; its strongest commercial success occurred between 1978 and 1987. During that period, the band released a series of hit songs, including "Don't Stop Believin'" (1981), which in 2009 became the top-selling track in iTunes history among songs not released in the 21st century. Its parent studio album, Escape, the band's eighth and most successful, reached No. 1 on the Billboard 200 and yielded another of their most popular singles, "Open Arms".

With Cain on board, the band began writing material that would eventually lead up to Journey's biggest studio album, "Escape". Recording sessions began in April 1981, and lasted until the middle of June. Escape was released on July 31, 1981, and immediately the album became a mainstream success. The album, which has thus far sold nine times platinum, went to number one on the album charts later that year, and included three top-ten hits: "Who's Cryin' Now", "Don't Stop Believin'" and "Open Arms". The last is Journey's highest-charting single to date, staying at No. 2 for six consecutive weeks and ranking at No.34 on Billboard's 1982 year-end Hot 100. MTV videotaped one of their two sold-out shows in Houston on November 6, 1981, in front of over 20,000 fans. Capitalizing on their success, the band recorded radio commercials for Budweiser and sold rights to their likenesses and music for use in two video games: the Journey arcade game by Bally/Midway and Journey Escape by Data Age for the Atari 2600. This success was met with criticism. The 1983 Rolling Stone Record Guide gave each of the band's albums only one star, with Dave Marsh writing that "Journey was a dead end for San Francisco area rock." Marsh later would anoint Escape as one of the worst number-one albums of all time. Journey's next album, Frontiers (1983), continued their commercial success, reaching No. 2 on the album charts, selling nearly six million copies. The album generated four Top 40 hits, "Separate Ways (Worlds Apart)", which reached No. 8, "Faithfully", which reached No. 12, "Send Her My Love" and "After the Fall", both of which reached No. 23. By this time, Journey had become one of the top touring and recording bands in the world. During the subsequent stadium tour, the band contracted with NFL Films to record a video documentary of their life on the road, Frontiers and Beyond. Scenes from the documentary were shot at JFK Stadium in Philadelphia, Pennsylvania with more than 80,000 fans in attendance.

Did this album cement them as a success?

Answer with quotes: By this time, Journey had become one of the top touring and recording bands in the world.

Problem: Mojo is a fictional character, a supervillain appearing in American comic books published by Marvel Comics, usually those featuring the X-Men family of characters. Created by writer Ann Nocenti and artist Arthur Adams, Mojo first appeared in Longshot #4 (December 1985), as the titular hero's archenemy, and subsequently a villain to the X-Men and their various sub-groups as well. Mojo is one of the "Spineless Ones," an alien race that is immobile without advanced technology.

At the time she wrote the Longshot miniseries, writer Ann Nocenti was pursuing her Master's degree at the School of International and Public Affairs, Columbia University, working at the magazine Lies of Our Times, and reading the work of writers like Marshall McLuhan, Noam Chomsky, Edward S. Herman and Walter Lippmann. Mojo, a slaver and dictator who rules his dimension through the television programs he produces, was created as a direct result of these influences. (A character named Manufactured Consent after the Chomsky book of the same name, who appeared in Nocenti's 1990 book The New Mutants Summer Special, was also born of these works.) Artist Art Adams designed the character per Nocenti's instructions that he be disgusting and unpleasant, and also tried to make him look frightening. The wires that hold Mojo's eyelids open, thus preventing him from blinking, were inspired by an interview with actor Malcolm McDowell on Late Night with David Letterman, in which McDowell revealed that the similar apparatus he had to wear for the Ludovico technique scene in A Clockwork Orange had scarred his corneas. The rest of the equipment attached to Mojo's head controls his mechanized chair. Mojo first appeared in Longshot #4 (December 1985), and was the main villain of the miniseries, appearing in the subsequent three issues. The character subsequently appeared in The New Mutants Annual #2 (1986). That same year, in The Uncanny X-Men Annual #10, Mojo appeared as the villain in the story, which saw Longshot join the X-Men. In 1988, Mojo appeared in a backup story in The Uncanny X-Men Annual #12. He was the main villain of the one-shot special Excalibur: Mojo Mayhem (December 1989). Subsequent appearances include Marvel Comics Presents #89 (1991), The Uncanny X-Men Annual #15 (1991), Wolverine #52 (March 1992), X-Men #6 (March 1992), Wolverine #53 (April 1992), X-Men #7 (April 1992), #10-11 (July-August 1992), The Uncanny X-Men Annual 16 (Annual 1992), Marvel Comics Presents #119 (1993), What If? #59 (March 1994), X-Men Adventures: Season Two #11 (December 1994), Marvel: Portraits of the Universe #1 (March 1995), X-Men: Mutations #1 (1996), Youngblood/X-Force #1 (July 1996), X-Force/Youngblood #1 (August 1996), X-Force #60-61 (November-December 1996), The Adventures of the X-Men #9-10 (1996-January 1997), X-Babies: Murderama #1 (January 1998), X-Force #76 (April 1998), X-Babies Reborn #1 (January 2000), X-Men Unlimited #32 (September 2001), Exiles #18-19 (December 2002-January 2003), The Uncanny X-Men #460-461 (August 2005), and Exiles #73-74 (February 2006). Mojo was featured in an entry in the Official Handbook of the Marvel Universe Deluxe Edition #8, and in the All-New Official Handbook of the Marvel Universe A-Z #7 (2006).

When was he next seen

Answer with quotes:
The character subsequently appeared in The New Mutants Annual #2 (1986).