Some context: Callen Radcliffe "Cal" Tjader, Jr. ( CHAY-d@r; July 16, 1925 - May 5, 1982) was an American Latin jazz musician, known as the most successful non-Latino Latin musician. He explored other jazz idioms, even as he continued to perform the music of Cuba, the Caribbean, and Latin America for the rest of his life. Tjader played the vibraphone primarily. He was accomplished on the drums, bongos, congas, timpani, and the piano.
Tjader soon quit Shearing after a gig at the San Francisco jazz club the Blackhawk. In April 1954, he formed the Cal Tjader Modern Mambo Quintet. The members were brothers Manuel and Carlos Duran on piano and bass respectively, Bayardo "Benny" Velarde on timbales, bongos, and congas, and Edgard Rosales on congas (Luis Miranda replaced Rosales after the first year). Back in San Francisco and recording for Fantasy Records, the group produced several albums in rapid succession, including Mambo with Tjader. The Mambo craze reached its pitch in the late 1950s, a boon to Tjader's career. Unlike the exotica of Martin Denny and Les Baxter, music billed as "impressions of" Oceania (and other locales), Tjader's bands featured seasoned Cuban players and top-notch jazz talent conversant in both idioms. He cut several notable straight-ahead jazz albums for Fantasy using various group names, most notably the Cal Tjader Quartet (composed of bassist Gene Wright, drummer Al Torre, and pianist Vince Guaraldi). Tjader is sometimes lumped in as part of the West Coast (or "cool") jazz sound, although his rhythms and tempos (both Latin and bebop) had little in common with the work of Los Angeles jazzmen Gerry Mulligan, Chet Baker, or Art Pepper. Tjader and his band opened the second Monterey Jazz Festival in 1959 with an acclaimed "preview" concert. The first festival had suffered financially. Tjader is credited with bringing in big ticket sales for the second and saving the landmark festival before it had even really started. The Modern Mambo Quintet disbanded within a couple of years. Tjader formed several more small-combo bands, playing regularly at such San Francisco jazz clubs as the Blackhawk.
What was a title of one of the albums?
A:

Question: Thomas was born in the rural community of Cayce, Mississippi, the son of a sharecropper. He moved with his family to Memphis, Tennessee, around 1920. His mother was a "church woman". Thomas made his debut as a performer at the age of six, playing a frog in a school theatrical production.

Thomas continued to record and toured internationally, billing himself as "The World's Oldest Teenager" and describing himself as "the funkiest man alive". He "drew upon his vaudeville background to put [his songs] over on stage with fancy footwork that displayed remarkable agility for a man well into his fifties", and usually performed "while clothed in a wardrobe of hot pants, boots and capes, all in wild colors." He continued as a DJ at WDIA until 1974, and worked for a period at WLOK before returning to WDIA in the mid 1980s to co-host a blues show. He appeared regularly on television and recorded albums for various labels. Thomas performed regularly at the Porretta Soul Festival in Italy; the outdoor amphitheater in which he performed was later renamed Rufus Thomas Park. He played an important part in the Stax reunion of 1988, and appeared in Jim Jarmusch's 1989 film Mystery Train, Robert Altman's 1999 film Cookie's Fortune, and D. A. Pennebaker's documentary Only the Strong Survive. Thomas released an album of straight-ahead blues, That Woman is Poison!, with Alligator Records in 1990, featuring saxophonist Noble "Thin Man" Watts. In 1996, he and William Bell headlined at the Olympics in Atlanta, Georgia. In 1997, he released an album, Rufus Live!, on Ecko Records. In 1998, he hosted two New Year's Eve shows on Beale Street. In 1997, to commemorate his 80th birthday, the City of Memphis renamed a road off Beale Street, close to the old Palace Theater, as Rufus Thomas Boulevard. He received a Pioneer Award from the Rhythm and Blues Foundation in 1992, and a lifetime achievement award from ASCAP in 1997. He was inducted into the Blues Hall of Fame in 2001.

Using a quote from the above article, answer the following question: What did he do in 1974?
HHHHHH
Answer: worked for a period at WLOK

Some context: Fred McFeely Rogers (March 20, 1928 - February 27, 2003) was an American television personality, musician, puppeteer, writer, producer, and Presbyterian minister. Rogers was famous for creating, hosting and composing the theme music for the educational preschool television series Mister Rogers' Neighborhood (1968-2001), which featured his kind-hearted grandfatherly personality, and direct connection to his audiences. Originally trained and ordained as a minister, Rogers was displeased with the way television addressed children at the time, and made an effort to change this when he began to write for and perform on local Pittsburgh-area shows dedicated to youth. Rogers developed his own show on WQED in 1968, and it was distributed nationwide by Eastern Educational Television Network.
During the controversy surrounding the introduction of the household VCR, Rogers was involved in supporting the manufacturers of VCRs in court. His 1979 testimony, in the case Sony Corp. of America v. Universal City Studios, Inc., noted that he did not object to home recordings of his television programs, for instance, by families in order to watch them together at a later time. This testimony contrasted with the views of others in the television industry who objected to home recordings or believed that devices to facilitate it should be taxed or regulated. When the case reached the Supreme Court in 1983, the majority decision considered the testimony of Rogers when it held that the Betamax video recorder did not infringe copyright. The Court stated that his views were a notable piece of evidence "that many [television] producers are willing to allow private time-shifting to continue" and even quoted his testimony in a footnote: Some public stations, as well as commercial stations, program the Neighborhood at hours when some children cannot use it ... I have always felt that with the advent of all of this new technology that allows people to tape the Neighborhood off-the-air, and I'm speaking for the Neighborhood because that's what I produce, that they then become much more active in the programming of their family's television life. Very frankly, I am opposed to people being programmed by others. My whole approach in broadcasting has always been "You are an important person just the way you are. You can make healthy decisions." Maybe I'm going on too long, but I just feel that anything that allows a person to be more active in the control of his or her life, in a healthy way, is important.
what was the case outcome?
A:
When the case reached the Supreme Court in 1983, the majority decision considered the testimony of Rogers when it held that the Betamax video recorder did not infringe copyright.