Some context: Vladimir Tismaneanu (Romanian pronunciation: [vladi'mir tism@'neanu]; born July 4, 1951) is a Romanian and American political scientist, political analyst, sociologist, and professor at the University of Maryland, College Park. A specialist in political systems and comparative politics, he is director of the University of Maryland's Center for the Study of Post-Communist Societies, having served as chairman of the editorial committee (2004-2008) and editor (1998-2004) of the East European Politics and Societies academic review. Over the years, Tismaneanu has been a contributor to several periodicals, including Studia Politica, Journal of Democracy, Sfera Politicii, Revista 22, Evenimentul Zilei, Idei in Dialog and Cotidianul. He has also worked with the international radio stations Radio Free Europe and Deutsche Welle, and authored programs for the Romanian Television Company.
Outside the realms of history, political science and political analysis, Vladimir Tismaneanu is a noted author of memoirs. This part of his work is centered on the volume Ghilotina de scrum ("The Ashen Guillotine"), also written on the basis of interviews with Mihaies. The book offers an account of his complicating relationship with Leonte Tismaneanu, postulating a difference between the everyday father, who has earned his son's admiration for being marginalized by his political adversaries, and a "political father", whose attitudes and public actions are rejected by Vladimir Tismaneanu. This approach earned praise from two influential intellectual figures of the Romanian diaspora, critics Monica Lovinescu and Virgil Ierunca, whose letter to the author read: "the distances you take from your own background are of most-rare authenticity and tact. You accomplish a radical break, being at the same time participative, negating things only after you have understood them, being dissociated from both roles of judge and defense counsel." Cioroianu also notes: "He is not the only son of (relatively) well-known communists; but he is one of the few to have reached the level of detachment needed in order to X-ray, in a cold and precise way, a political system. Does this seem easy to you? I do not know how many of us would be capable of introspecting with such lucidity our own parents' utopias, phantasms and disappointments". The historian opposes Tismaneanu's approach to that of Petre Roman, Romania-s first post-1989 Premier, whose attempts at discussing the public image of his father, the communist politico Valter Roman, are argued by Cioroianu to have "failed". Tismaneanu has contributed the screenplay for Dinu Tanase's documentary film Condamnati la fericire ("Sentenced to Happiness"), released in 1992. With Octavian Serban, he has also authored a series about Communist Romania, which was showcased by the Romanian Television Company.
Did he make other contributions?
A: Tismaneanu has contributed the screenplay for Dinu Tanase's documentary film Condamnati la fericire

Some context: King Crimson are an English progressive rock band formed in London in 1968. King Crimson have been influential both on the early 1970s progressive rock movement and numerous contemporary artists. The band has undergone numerous formations throughout its history of which 21 musicians have been members; since October 2017 it has consisted of Robert Fripp, Jakko Jakszyk, Tony Levin, Mel Collins, Pat Mastelotto, Gavin Harrison, Jeremy Stacey and Bill Rieflin. Fripp is the only consistent member of the group and is considered the band's leader and driving force.
After their first US tour, King Crimson was in a state of flux with various line-up changes, thwarted tour plans, and difficulties in finding a satisfactory musical direction. This period has subsequently been referred to as the "interregnum" - a nickname implying that the "King" (King Crimson) was not properly in place during this time. Fripp became the only remaining musician in the band, with Sinfield expanding his creative role to playing synthesizers. Fripp and Sinfield recorded the second King Crimson album, In the Wake of Poseidon, in 1970 with the Giles brothers hired back as the session rhythm section, and with jazz pianist Keith Tippett and Circus saxophonist Mel Collins as guest musicians. The group considered hiring Elton John to be the singer, but decided against the idea. Lake then agreed to sing on the album in exchange for receiving King Crimson's PA equipment, except on "Cadence and Cascade", which is sung by Fripp's friend Gordon Haskell. Though Tippett was offered band membership, he preferred to remain as a studio collaborator, performing with the band for a single gig. Upon its release in May 1970, In the Wake of Poseidon reached No. 4 in the UK and No. 31 in the US. It received some criticism from those who thought it sounded too similar to their first album. With no musicians to perform material from their new album, Fripp and Sinfield persuaded Haskell to join as singer and bassist and recruited Andy McCulloch as drummer, retaining Collins as saxophonist, flautist and occasional keyboard player. During the writing sessions for the third album, Lizard, Haskell and McCulloch had no say in the direction of the material, since Fripp and Sinfield wrote the album themselves, bringing in Tippett, Mark Charig on cornet, Nick Evans on trombone, and Robin Miller on oboe and cor anglais as additional musicians. Haskell sang and played bass. Jon Anderson of Yes was also brought in to sing the first part of the album's title track, "Prince Rupert Awakes", which Fripp and Sinfield considered to be outside Haskell's range and style. Lizard featured stronger avant-garde jazz and chamber-classical influences than previous albums, as well as Sinfield's upfront experiments with processing and distorting sound through the EMS VCS 3 synthesiser. It also featured complex lyrics from Sinfield, including a coded song about the break-up of the Beatles, with almost the entire second side taken up by a predominantly instrumental chamber suite describing a medieval battle and its outcome. Released in December 1970, Lizard reached No. 29 in the UK and No. 113 in the US. Described retrospectively as an "acquired taste"., Lizard was certainly not to the taste of the more rhythm-and-blues-oriented Haskell and McCulloch, both of whom found the music difficult to relate to. As a result, Haskell quit the band acrimoniously after refusing to sing live with distortion and electronic effects. McCulloch also departed, leaving Fripp and Sinfield to recruit new members once more.
Was that album successful?
A:
Lizard reached No. 29 in the UK and No. 113 in the US.