input: During the day, Steranko made his living as an artist for a printing company in his hometown of Reading, designing and drawing pamphlets and flyers for local dance clubs and the like. He moved on after five years to join an advertising agency, where he designed ads and drew products ranging from "baby carriages to beer cans". Interested in writing and drawing for comic books, he visited DC Comics as a fan and was treated to a tour of the office by editor Julius Schwartz, who gave Steranko a copy of a script featuring the science-fiction adventurer Adam Strange. Steranko recalled in 2003, "It was the first full script I'd ever seen, complete with panel descriptions and dialogue. I learned a lot from it and eventually went on to create a few comics of my own." He initially entered the comics industry in 1957, not long out of high school, working for a short time inking pencil art by Vince Colletta and Matt Baker in Colletta's New York City studio before returning to Reading. In 1966, he landed assignments at Harvey Comics under editor Joe Simon, who as one writer described was "trying to create a line of super heroes within a publishing company that had specialized in anthropomorphic animals." Here Steranko created and wrote the characters Spyman, Magicmaster and the Gladiator for the company's short-lived superhero line, Harvey Thriller. His first published comics art came in Spyman #1 (Sept. 1966), for which he wrote the 20-page story "The Birth of a Hero" and penciled the first page, which included a diagram of a robotic hand that was reprinted as an inset on artist George Tuska's cover. Steranko also approached Marvel Comics in 1966. He met with editor Stan Lee, who had Steranko ink a two-page Jack Kirby sample of typical art for the superspy feature "Nick Fury Agent of S.H.I.E.L.D.". Steranko self-published it in 1970 in the limited-edition "Steranko Portfolio One"; it appeared again 30 years later in slightly altered form in the 2000 trade-paperback collection Nick Fury, Agent of S.H.I.E.L.D. This led to Lee's assigning him the Nick Fury feature in Strange Tales, a "split book" that shared each issue with another feature. Future Marvel editor-in-chief Roy Thomas, then a staff writer, recalled, [H]e came up to the office ... and I was sent out by Sol [Brodsky] to look at his work and basically brush him off. Stan was busy and didn't want to be bothered that day. But when I saw Jim's work, ... on an impulse I took it in to Sol and said, 'I think Stan should see this'. Sol agreed, and took it in to Stan. Stan brought Steranko into his office, and Jim left with the 'S.H.I.E.L.D.' assignment. ... I think Jim's legacy to Marvel was demonstrating that there were ways in which the Kirby style could be mutated, and many artists went off increasingly in their own directions after that.

Answer this question "Did he find success with the comic industry?"
output: working for a short time inking pencil art by Vince Colletta and Matt Baker in Colletta's New York City studio before returning to Reading.

Problem: Background: Lewis Fry Richardson was the youngest of seven children born to Catherine Fry (1838-1919) and David Richardson (1835-1913). They were a prosperous Quaker family, David Richardson operating a successful tanning and leather manufacturing business. At age 12 he was sent to a Quaker boarding school, Bootham School in York, where he received an education in science, which stimulated an active interest in natural history. In 1898 he went on to Durham College of Science (a college of Durham University) where he took courses in mathematical physics, chemistry, botany, and zoology.
Context: Richardson decided to search for a relation between the probability of two countries going to war and the length of their common border. However, while collecting data, he found that there was considerable variation in the various published lengths of international borders. For example, that between Spain and Portugal was variously quoted as 987 or 1214 km, and that between the Netherlands and Belgium as 380 or 449 km. The reason for these inconsistencies is the "coastline paradox". Suppose the coast of Britain is measured using a 200 km ruler, specifying that both ends of the ruler must touch the coast. Now cut the ruler in half and repeat the measurement, then repeat: Notice that the smaller the ruler, the longer the resulting coastline. It might be supposed that these values would converge to a finite number representing the true length of the coastline. However, Richardson demonstrated that this is not the case: the measured length of coastlines, and other natural features, increases without limit as the unit of measurement is made smaller. This is known nowadays as the Richardson effect. At the time, Richardson's research was ignored by the scientific community. Today, it is considered an element of the beginning of the modern study of fractals. Richardson's research was quoted by mathematician Benoit Mandelbrot in his 1967 paper How Long Is the Coast of Britain? Richardson identified a value (between 1 and 2) that would describe the changes (with increasing measurement detail) in observed complexity for a particular coastline; this value served as a model for the concept of fractal dimension.
Question: Why did he start that research?
Answer: At the time, Richardson's research was ignored by the scientific community. Today, it is considered an element of the beginning of the modern study of fractals.

Question: Ace of Base was a Swedish pop group, originally consisting of Ulf "Buddha" Ekberg and three siblings: Jonas "Joker" Berggren, Malin "Linn" Berggren and Jenny Berggren. The group released four studio albums between 1992 and 2002, which sold more than 30 million copies worldwide, making it the third-most successful Swedish band of all time, after ABBA and Roxette. Happy Nation (reissued as The Sign) is one of the best-selling debut albums of all time, and was certified nine times platinum in the United States.

Ace of Base released its fourth studio album, Da Capo, on September 30, 2002, in Europe, and in Japan through Toshiba EMI with a different cover and three bonus tracks. The album had originally been planned for release in mid-2000, but was repeatedly postponed due to record company complications. The album received only a soft release in the United Kingdom and was not released in America or Australia, though a release was planned for the United States in 2003. The album is named for the musical term da capo, which translates as "back to the beginning". It was intended to be a return to the band's earliest sound. Although the album entered the album charts in many European countries, it was not as successful as previous releases. Only Jenny and Ulf went on a promotional tour of Sweden, Denmark, Norway, Finland, Germany, Poland and Austria. Jonas didn't attend promotional activities because "it was better to be two then" because it led to "less questions" about Linn's lack of participation. Linn attended only one performance in Germany, which was her last public appearance. The first single release from the Da Capo album was "Beautiful Morning", which peaked at No.14 in Sweden and No. 38 in Germany, where it was followed by "The Juvenile"; this was used for a Christmas campaign by German TV channel RTL. "The Juvenile" was previously written for the GoldenEye James Bond movie in 1995. However, Arista, the band's American record label at the time, shelved the idea. In Scandinavia, Edel-Mega released the album's opening track, "Unspeakable", as the second single, but its poor chart performance ended the promotion of the album prematurely.

Using a quote from the above article, answer the following question: did it have any singles?
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Answer:
Beautiful Morning