input: At the Drive-In's style is usually described as post-hardcore. Their sound has also been called punk rock, emo and art punk. Some of the group's influences are Indian Summer, Swing Kids, Fugazi, Sunny Day Real Estate (referred to by Ward as "Fugazi beyond Fugazi"), Bad Brains, and the Gravity Records-led post-hardcore sound of the 1990s that featured acts such as Antioch Arrow and Heroin. In their last period before their initial breakup, the biggest influences of At the Drive-In included bands such as Drive Like Jehu and The Nation of Ulysses, with frontman Bixler-Zavala going on to say that "there would be no Relationship of Command without Drive Like Jehu." The band also performed cover versions of songs such as "This Night Has Opened My Eyes" by The Smiths and "Take Up Thy Stethoscope and Walk" by Pink Floyd, both included in the 2004 compilation This Station Is Non-Operational. Their name was taken from the fact that Bad Brains took their name from the Ramones' song "Bad Brain" (from Road to Ruin), and Bixler liked the Bad Brains' song title "At the Movies" (track featured in Rock for Light); while Ward liked "at the drive-in", and his suggestion would eventually win out. Though In/Casino/Out was recorded live, "Relationship of Command may very well be the first record to harness the chaotic balance of adrenaline and intellect of ATDI's live performance." "Ross was instrumental in bringing out a lot of feeling from us," Bixler recalls. "We channeled a lot of emotion into this record. He pushed us farther than we thought we could go. I learned to cut loose the way we do live and not to be afraid to break something or whatever." While capturing the essence of ATDI's live shows in a way never before seen, the record also featured some of the band's most experimental songs, including "Rolodex Propaganda," "Non-Zero Possibility," and "Invalid Litter Dept." The band's guitar-playing, in the majority of their songs, is characterized by unusual chords, a fast tempo, and a quiet-loud-quiet song structure. While Jim and Paul provided the rhythmic structure of the song, Omar often played more experimental riffs and melodies over the top. Effects were heavily used by Omar, especially on Relationship of Command, while Jim used the keyboard to create melody, often switching between the guitar and keyboard such as in "Invalid Litter Department."

Answer this question "Did they created any other style ?"
output: Omar often played more experimental riffs and melodies over the top.

Problem: Background: Frederick II (26 December 1194 - 13 December 1250; Sicilian: Fidiricu, Italian: Federico, German: Friedrich) was King of Sicily from 1198, King of Germany from 1212, King of Italy and Holy Roman Emperor from 1220 and King of Jerusalem from 1225. His mother Constance was Queen of Sicily and his father was Henry VI of the Hohenstaufen dynasty. Frederick's reign saw the Holy Roman Empire reaching its all time territorial peak.
Context: Historians rate Frederick II as a highly significant European monarch of the Middle Ages. This reputation was present even in Frederick's era. Lansing and English, two British historians, argue that medieval Palermo has been overlooked in favor of Paris and London: One effect of this approach has been to privilege historical winners, [and] aspects of medieval Europe that became important in later centuries, above all the nation state.... Arguably the liveliest cultural innovation in the 13th century was Mediterranean, centered on Frederick II's polyglot court and administration in Palermo.... Sicily and the Italian South in later centuries suffered a long slide into overtaxed poverty and marginality. Textbook narratives therefore focus not on medieval Palermo, with its Muslim and Jewish bureaucracies and Arabic-speaking monarch, but on the historical winners, Paris and London. Modern medievalists no longer accept the notion, sponsored by the popes, of Frederick as an anti-Christian. They argue that Frederick understood himself as a Christian monarch in the sense of a Byzantine emperor, thus as God's "viceroy" on earth. Whatever his personal feelings toward religion, certainly submission to the pope did not enter into the matter in the slightest. This was in line with the Hohenstaufen Kaiser-Idee, the ideology claiming the Holy Roman Emperor to be the legitimate successor to the Roman Emperors. 20th century treatments of Frederick vary from the sober (Wolfgang Sturner) to the dramatic (Ernst Kantorowicz). However, all agree on Frederick II's significance as Holy Roman Emperor. In the judgment of British historian Geoffrey Barraclough, Frederick's extensive concessions to German princes--which he made in the hopes of securing his base for his Italian projects--undid the political power of his predecessors and postponed German unity for centuries. However, the modern approach to Frederick II tends to be focused on the continuity between Frederick and his predecessors as Kings of Sicily and Holy Roman Emperors, and the similarities between him and other thirteenth-century monarchs. David Abulafia, in a biography subtitled "A Medieval Emperor," argues that Frederick's reputation as an enlightened figure ahead of his time is undeserved, and that Frederick was mostly a conventionally Christian monarch who sought to rule in a conventional medieval manner.
Question: How did Frederick II achieve continuity as Holy ROman Emperor?
Answer: This was in line with the Hohenstaufen Kaiser-Idee, the ideology claiming the Holy Roman Emperor to be the legitimate successor to the Roman Emperors.

Question: George Orson Welles was born May 6, 1915, in Kenosha, Wisconsin, son of Richard Head Welles (b. Richard Hodgdon Wells, November 12, 1872, near St. Joseph, Missouri; d. December 28, 1930, Chicago, Illinois) and Beatrice Ives Welles (b. Beatrice Lucy Ives, September 1, 1883, Springfield, Illinois; d. May 10, 1924, Chicago).

Simultaneously with his work in the theatre, Welles worked extensively in radio as an actor, writer, director and producer, often without credit. Between 1935 and 1937 he was earning as much as $2,000 a week, shuttling between radio studios at such a pace that he would arrive barely in time for a quick scan of his lines before he was on the air. While he was directing the Voodoo Macbeth Welles was dashing between Harlem and midtown Manhattan three times a day to meet his radio commitments. In addition to continuing as a repertory player on The March of Time, in the fall of 1936 Welles adapted and performed Hamlet in an early two-part episode of CBS Radio's Columbia Workshop. His performance as the announcer in the series' April 1937 presentation of Archibald MacLeish's verse drama The Fall of the City was an important development in his radio career and made the 21-year-old Welles an overnight star. In July 1937, the Mutual Network gave Welles a seven-week series to adapt Les Miserables. It was his first job as a writer-director for radio, the radio debut of the Mercury Theatre, and one of Welles's earliest and finest achievements. He invented the use of narration in radio. "By making himself the center of the storytelling process, Welles fostered the impression of self-adulation that was to haunt his career to his dying day," wrote critic Andrew Sarris. "For the most part, however, Welles was singularly generous to the other members of his cast and inspired loyalty from them above and beyond the call of professionalism." That September, Mutual chose Welles to play Lamont Cranston, also known as The Shadow. He performed the role anonymously through mid-September 1938.

Using a quote from the above article, answer the following question: Was Les Miserables successful?
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Answer:
one of Welles's earliest and finest achievements.