Background: Victor August Herbert (February 1, 1859 - May 26, 1924) was an Irish-born, German-raised American composer, cellist and conductor. Although Herbert enjoyed important careers as a cello soloist and conductor, he is best known for composing many successful operettas that premiered on Broadway from the 1890s to World War I. He was also prominent among the tin pan alley composers and was later a founder of the American Society of Composers, Authors, and Publishers (ASCAP). A prolific composer, Herbert produced two operas, a cantata, 43 operettas, incidental music to 10 plays, 31 compositions for orchestra, nine band compositions, nine cello compositions, five violin compositions with piano or orchestra, 22 piano compositions and numerous songs, choral compositions and orchestrations of works by other composers, among other music.
Context: In 1894 Herbert composed his first operetta, Prince Ananias, for a popular troupe known as The Bostonians. The piece was well received, and Herbert soon composed three more operettas for Broadway, The Wizard of the Nile (1895), The Serenade (1897), which enjoyed international success, and The Fortune Teller (1898), starring Alice Nielsen. Although these achieved popularity, Herbert did not produce any more stage works for several years, focusing on his work with the Pittsburgh Symphony until 1904. Just before leaving that orchestra, he returned to Broadway with his first major hit, Babes in Toyland (1903). Two more successes followed, Mlle. Modiste (1905) and The Red Mill (1906), which solidified Herbert as one of the best-known American composers. He was elected to the National Institute of Arts and Letters in 1908. Although Herbert's reputation lies with his operettas, he also composed two grand operas. He searched for several years for a libretto that appealed to him, finally finding one by Joseph D. Redding called Natoma that concerned a historical story set in California. He composed the work from 1909 to 1910, and it premiered in Philadelphia on 25 February 1911 with soprano Mary Garden in the title role and the young Irish tenor John McCormack in his opera debut. The opera was well received and was repeated as part of the company's repertory during the next three seasons. It also enjoyed performances in New York City, making its debut there on February 28, 1911. Herbert's other opera, Madeleine, was a much lighter work in one act. On 24 January 1914, it had its premiere at the Metropolitan Opera, but it was not revived beyond that season. During this period, Herbert continued to compose operettas, producing two of his most successful works, Naughty Marietta (1910) and Sweethearts (1913). Another operetta, Eileen (1917, originally entitled Hearts of Erin), was the fulfillment of Herbert's desire to compose an Irish-themed operetta. The piece treats the Irish Rebellion of 1798 and boasts a rich score. This was the end of Herbert's greatest period of producing full scores for operettas. By World War I, with the birth of jazz, ragtime and new dance styles like the foxtrot and tango, Herbert reluctantly switched to writing musical comedies. These featured less elaborate ensembles and simpler songs for less classically trained singers than the European-style operettas that had dominated his earlier career. Herbert, during the last years of his career, was frequently asked to compose ballet music for the elaborate production numbers in Broadway revues and the shows of Irving Berlin and Jerome Kern, among others. He was also a contributor to the Ziegfeld Follies every year from 1917 to 1924.
Question: Was he sucessful?
Answer: Just before leaving that orchestra, he returned to Broadway with his first major hit, Babes in Toyland (1903). Two more successes followed,

Background: Lee was born on August 11, 1964 in Seoul, South Korea. He grew up in St. Louis, Missouri, where he lived a "typical middle-class childhood". Lee attended River Bend Elementary School in Chesterfield and later St. Louis Country Day School, where he drew posters for school plays. Having had to learn English when he first came to the U.S. presented the young Lee with the sense of being an outsider, as did the "preppy, upper-class" atmosphere of Country Day.
Context: Enticed by the idea of being able to exert more control over his own work, in 1992, Lee accepted the invitation to join six other artists who broke away from Marvel to form Image Comics, which would publish their creator-owned titles. Lee's group of titles was initially called Aegis Entertainment before being christened Wildstorm Productions, and published Lee's initial title WildC.A.T.s, which Lee pencilled and co-wrote, and other series created by Lee in the same shared universe. The other major series of the initial years of Wildstorm, for which Lee either created characters, co-plotted or provided art for, included Stormwatch, Deathblow and Gen13. In 1993, Lee and his friend, Valiant Comics publisher Steve Massarsky, arranged a Valiant-Image Comics crossover miniseries called Deathmate, in which the Valiant characters would interact with those of Wildstorm, and of Lee's fellow Image partner, Rob Liefeld. The miniseries would consist of four "center books", (each one denoted by a color rather than an issue number), two each produced by the respective companies, plus a prologue and epilogue book. Wildstorm produced Deathmate Black, with Lee himself contributing to the writing. He illustrated the covers for that book, the Deathmate Tourbook and the prologue book, as well as contributing to the prologue's interior inks. Wildstorm would expand its line to include other ongoing titles whose creative work was handled by other writers and artists, some of which were spinoffs of the earlier titles, or properties owned by other creators, such as Whilce Portacio's Wetworks. As publisher, Lee later expanded his comics line creating two publishing imprints of Wildstorm, Homage and Cliffhanger (that years later merged and were replaced by a single Wildstorm Signature imprint), to publish creator-owned comics by some selected creators of the US comics industry. Lee and Rob Liefeld, another Marvel-illustrator-turned-Image-founder, returned to Marvel in 1996 to participate in a reboot of several classic characters; the project was known as Heroes Reborn. While Liefeld reworked Captain America and The Avengers, Lee plotted Iron Man and plotted and illustrated Fantastic Four issues #1-6. Halfway through the project, Lee's studio took over Liefeld's two titles, finishing all four series. According to Lee, Marvel proposed continuing the Heroes Reborn lineup indefinitely, but under the condition that Lee would draw at least one of them himself, which he refused to do. Instead, he accepted an offer to re-imagine and relaunch (in the role of editor) three mainstream Marvel Universe titles: Defenders, Doctor Strange, and Nick Fury. Though scheduled to debut in December 1997, these three relaunches never appeared. Lee returned to Wildstorm, where he would publish series such as The Authority and Planetary, as well as Alan Moore's imprint, America's Best Comics. Lee himself wrote and illustrated a 12-issue series called Divine Right: The Adventures of Max Faraday, in which an internet slacker inadvertently manages to download the secrets of the universe, and is thrown into a wild fantasy world.
Question: What did he work on at Image?
Answer:
WildC.A.T.s, which Lee pencilled and co-wrote,