Problem: Background: The Royal Philharmonic Orchestra (RPO), based in London, was formed by Sir Thomas Beecham in 1946. In its early days the orchestra secured profitable recording contracts and important engagements including the Glyndebourne Festival Opera and the concerts of the Royal Philharmonic Society. After Beecham's death in 1961 the orchestra's fortunes declined steeply; it battled for survival until the mid-1960s, when its future was secured after an Arts Council report recommended that it should receive public subsidy; a further crisis arose in the same era when it seemed that the orchestra's right to call itself "Royal" could be withdrawn. Since Beecham's death the RPO has had seven chief conductors, including Rudolf Kempe, Antal Dorati, Andre Previn and Vladimir Ashkenazy, and most recently Charles Dutoit.
Context: In 1932 the conductor Sir Thomas Beecham had founded the London Philharmonic Orchestra (LPO), which, with the backing of rich supporters, he ran until 1940, when finances dried up in wartime. Beecham left to conduct in Australia and then the US; the orchestra continued without him after reorganising itself as a self-governing body. On Beecham's return to England in September 1944 the LPO welcomed him back, and in October they gave a concert together that drew superlatives from the critics. Over the next months Beecham and the orchestra gave further concerts with considerable success, but the LPO players, now their own employers, declined to give him the unfettered control he had exercised in the 1930s. If he were to become chief conductor again it would be as a paid employee of the orchestra. Beecham responded, "I emphatically refuse to be wagged by any orchestra ... I am going to found one more great orchestra to round off my career." In 1945 he conducted the first concert of Walter Legge's new Philharmonia Orchestra, but was not disposed to accept a salaried position from Legge, his former assistant, any more than from his former players in the LPO. His new orchestra to rival the Philharmonia would, he told Legge, be launched in "the most auspicious circumstances and eclat". In 1946 Beecham reached an agreement with the Royal Philharmonic Society: his new orchestra would replace the LPO at all the Society's concerts. He thus gained the right to name the new ensemble the "Royal Philharmonic Orchestra", an arrangement approved by George VI. Beecham arranged with the Glyndebourne Festival that the RPO should be the resident orchestra at Glyndebourne seasons. He secured backing, including that of record companies in the US as well as Britain, with whom lucrative recording contracts were negotiated. The music critic Lyndon Jenkins writes: Naturally, it quickly became known that he was planning another orchestra, at which the cry "He'll never get the players!" went up just as it had done in 1932. Beecham was unmoved: "I always get the players," he retorted. "Among other considerations, they are so good they refuse to play under anybody but me".
Question: What happened next?
Answer: In 1946 Beecham reached an agreement with the Royal Philharmonic Society: his new orchestra would replace the LPO at all the Society's concerts.

Problem: Background: Carl Dean Switzer (August 8, 1927 - January 21, 1959) was an American singer, child actor, breeder and guide. Switzer began his career as a child actor in the mid-1930s appearing in the Our Gang short subjects series as Alfalfa, one of the series' most popular and best-remembered characters. After leaving the series in 1940, Switzer struggled to find substantial roles owing to typecasting. As an adult, he appeared mainly in bit parts and B-movies.
Context: Switzer's tenure on Our Gang ended in 1940, when he was twelve. His first role after leaving the series was as co-star in the 1941 comedy Reg'lar Fellers. The next year, he had a supporting role in Mrs. Wiggs of the Cabbage Patch. Switzer continued to appear in films in various supporting roles, including in Johnny Doughboy (1942), Going My Way (1944), and The Great Mike (1944). Switzer had an uncredited role as Auggie in the 1943 film The Human Comedy. Switzer's last starring roles were in a brief series of imitation Bowery Boys movies. He reprised his "Alfalfa" character, complete with comically sour vocals, in PRC's Gas House Kids comedies in 1946 and 1947. By this time Switzer was downplaying his earlier Our Gang work. In his 1946 resume, he referred to the films generically as "M-G-M short product." Switzer had small parts in both the 1946 Christmas film It's a Wonderful Life as Mary Hatch's (Donna Reed) date at a high school dance in the film's beginning and again in the 1948 film On Our Merry Way as the mayor's son, a trumpet player in a fixed musical talent contest. In the 1954 musical film White Christmas, his photo was used to depict "Freckle-Faced Haynes," an army buddy of lead characters Wallace and Davis (played by Bing Crosby and Danny Kaye) who was also the brother of the female leads the Haynes Sisters (played by Rosemary Clooney and Vera-Ellen). In the 1950s, Switzer turned to television. Between 1952 and 1955, he made six appearances on The Roy Rogers Show. He also guest-starred in an episode of the American science fiction anthology series Science Fiction Theatre and The George Burns and Gracie Allen Show. In 1953 and 1954, Switzer co-starred in three William A. Wellman-directed films: Island in the Sky and The High and the Mighty, both starring John Wayne, and Track of the Cat, starring Robert Mitchum. In 1956, he co-starred in The Bowery Boys film Dig That Uranium followed by a bit part as a Hebrew slave in Cecil B. DeMille's The Ten Commandments. Switzer's final film role was in the film drama The Defiant Ones. Besides acting, Switzer bred and trained hunting dogs and guided hunting expeditions. Among his notable clients were Roy Rogers and Dale Evans (Switzer's son's godparents), James Stewart, and Henry Fonda.
Question: What was significant about his adult years?
Answer:
Between 1952 and 1955, he made six appearances on The Roy Rogers Show.