Some context: Irving Grant Thalberg (May 30, 1899 - September 14, 1936) was an American film producer during the early years of motion pictures. He was called "The Boy Wonder" for his youth and ability to select scripts, choose actors, gather production staff, and make profitable films, including Grand Hotel, China Seas, Camille, Mutiny on the Bounty, and The Good Earth. His films carved out an international market, "projecting a seductive image of American life brimming with vitality and rooted in democracy and personal freedom," states biographer Roland Flamini.
He found work as an office secretary at Universal Pictures' New York office, and later became personal secretary to the studio's founder and president, Carl Laemmle. Among Thalberg's duties were transcribing and editing notes that Laemmle had written during screenings of his films. He earned $25 weekly, becoming adept at making insightful observations, which impressed Laemmle. Laemmle took Thalberg to see his Los Angeles production facility, where he spent a month watching how movie production worked. Before returning to New York, Laemmle told Thalberg to remain and "keep an eye on things for me." Two months later, Laemmle returned to California, partly to see how well Thalberg was able to handle the responsibilities he was given. Thalberg gave him suggestions, which impressed Laemmle by his ability to understand and explain problems. Thalberg suggested, "The first thing you should do is establish a new job of studio manager and give him the responsibility of watching day-to-day operations." Laemmle immediately agreed, "All right. You're it." In shock, Thalberg replied, "I'm what?" Laemmle told him to take charge of the Los Angeles studio, which he did in early 1919. At age 20, Thalberg became responsible for immediately overseeing the nine ongoing film productions and nearly thirty scenarios then under development. In describing the rationale for this early appointment as studio manager, film historian David Thomson writes that his new job "owed nothing to nepotism, private wealth, or experience in the film industry." He reasons that despite "Thalberg's youth, modest education, and frail appearance . . . it is clear that he had the charm, insight, and ability, or the appearance of it, to captivate the film world." Thalberg was one among the majority of Hollywood film industry workers who migrated from the East Coast, primarily from New York. Some film actors, such as Conrad Nagel, did not like the 5-day train trip or the sudden warmth of the California climate. Neither did Marion Davies, who was not used to such "big wide spaces." Samuel Marx, a close friend of Thalberg's from New York, recalled how easily Thalberg adapted to Southern California, often standing outside his doorway during moments of contemplation to enjoy the scenery. "We were all young," said comedian Buster Keaton. "The air in California was like wine. Our business was also young--and growing like nothing ever seen before."
Was he successful at the job?
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Some context: Paul Vaughn Butterfield (December 17, 1942 - May 4, 1987) was an American blues harmonica player and singer. After early training as a classical flautist, he developed an interest in blues harmonica. He explored the blues scene in his native Chicago, where he met Muddy Waters and other blues greats, who provided encouragement and opportunities for him to join in jam sessions. He soon began performing with fellow blues enthusiasts Nick Gravenites and Elvin Bishop.
After the breakup of the Butterfield Blues Band and no longer under contract with Elektra, Butterfield retreated to Woodstock, New York, where he eventually formed his next band, Paul Butterfield's Better Days, with drummer Chris Parker, guitarist Amos Garrett, singer Geoff Muldaur, pianist Ronnie Barron and bassist Billy Rich. In 1972-1973, the group recorded the albums Paul Butterfield's Better Days and It All Comes Back, released by Albert Grossman's Bearsville Records. The albums reflected the influence of the participants and explored more roots- and folk-based styles. Although without an easily defined commercial style, both reached the album chart. The band did not last to record a third studio album, but its album Live at Winterland Ballroom, recorded in 1973, was released in 1999. Butterfield next pursued a solo career and appeared as a sideman in several different musical settings. In 1975, he again joined Muddy Waters to record Waters's last album for Chess Records, The Muddy Waters Woodstock Album. The album was recorded at Levon Helm's Woodstock studio with Garth Hudson and members of Waters's touring band. In 1976, Butterfield performed at the Band's final concert, "The Last Waltz", accompanying the Band on the song "Mystery Train" and backing Muddy Waters on "Mannish Boy". Butterfield kept up his association with former members of the Band, touring and recording with Levon Helm and the RCO All Stars in 1977 and touring with Rick Danko in 1979. A 1984 live performance with Danko and Richard Manuel was recorded and released as Live at the Lonestar in 2011. As a solo act with backing musicians, Butterfield continued to tour and recorded the misguided and overproduced Put It in Your Ear in 1976 and North South in 1981, with strings, synthesizers, and pale funk arrangements. In 1986, he released his final studio album, The Legendary Paul Butterfield Rides Again, which again was a poor attempt at a comeback with an updated rock sound. On April 15, 1987, he participated in the concert "B.B. King & Friends", with Eric Clapton, Etta James, Albert King, Stevie Ray Vaughan, and others.
what years did he form better days
A:
In 1972-1973, the group recorded the albums Paul Butterfield's Better Days and It All Comes Back,