Problem: Background: Edward Joseph Drake (16 August 1912 - 30 May 1995) was an English football player and manager. As a player, he first played for Southampton but made his name playing for Arsenal in the 1930s, winning two league titles and an FA Cup, as well as five caps for England. Drake is Arsenal's joint fifth highest goalscorer of all time. He also holds the record for the most goals scored in a top flight game in English football, with seven against Aston Villa in December 1935.
Context: Without much ado he was appointed manager of First Division Chelsea in June 1952. This is so due to the rivalry between the Gunners and the Blues being non existent at the time. Upon Drake's arrival at Chelsea, he made a series of sweeping changes, doing much to rid the club of its previous amateurish, music hall image. He discarded the club's Chelsea pensioner crest and with it the Pensioners nickname, and insisted a new one be adopted. From these changes came the Lion Rampant Regardant crest and the Blues nickname. He introduced scouting reports and a new, tougher, training regime based on ballwork, a rare practice in English football at the time. The club's previous policy of signing unreliable big-name players was abandoned; Drake instead used his knowledge of the lower divisions and the amateur game to recruit little-known, but more reliable players. These included John McNichol, Frank Blunstone, Derek Saunders, Jim Lewis and Peter Sillett Within three years, in the 1954-55 season, Drake had led Chelsea to their first league championship triumph. In doing so, he became the first person to win the league title both as player and manager. However, Drake never came close to repeating the success. The championship-winning side was gradually broken up, to be replaced by the crop of youngsters emerging from the club's youth team, such as Jimmy Greaves, Peter Brabrook and Bobby Tambling, for whom Drake was an aloof figure. Thereafter performances and results were very erratic, leaving the club stranded in mid-table; an FA Cup loss to Fourth Division side Crewe Alexandra weakened his position at the club and a few months later, Drake was sacked early into the 1961-62 season. After leaving Chelsea, he became reserve team manager at Fulham. During 1970 Drake went on to have a six-month stint as assistant manager at Barcelona. He later returned to Fulham where he became a chief scout, director and life president of the Cottagers. Drake passed away at the age of 82 on 30 May 1995.
Question: What other changes did he implement?
Answer: He introduced scouting reports and a new, tougher, training regime based on ballwork, a rare practice in English football at the time.

Problem: Background: Toru Takemitsu (Wu Man Che , Takemitsu Toru, October 8, 1930 - February 20, 1996) pronounced [takemitsW to:rW] was a Japanese composer and writer on aesthetics and music theory. Largely self-taught, Takemitsu possessed consummate skill in the subtle manipulation of instrumental and orchestral timbre. He is famed for combining elements of oriental and occidental philosophy to create a sound uniquely his own, and for fusing opposites together such as sound with silence and tradition with innovation. He composed several hundred independent works of music, scored more than ninety films and published twenty books.
Context: In 1948, Takemitsu conceived the idea of electronic music technology, or in his own words, to "bring noise into tempered musical tones inside a busy small tube." During the 1950s, Takemitsu had learned that in 1948 "a French [engineer] Pierre Schaeffer invented the method(s) of musique concrete based on the same idea as mine. I was pleased with this coincidence." In 1951, Takemitsu was a founding member of the anti-academic Jikken Kobo (Shi Yan Gong Fang , "experimental workshop"): an artistic group established for multidisciplinary collaboration on mixed-media projects, who sought to avoid Japanese artistic tradition. The performances and works undertaken by the group introduced several contemporary Western composers to Japanese audiences. During this period he wrote Saegirarenai Kyusoku I ("Uninterrupted Rest I", 1952: a piano work, without a regular rhythmic pulse or barlines); and by 1955 Takemitsu had begun to use electronic tape-recording techniques in such works as Relief Statique (1955) and Vocalism A*I (1956). Takemitsu also studied in the early 1950s with the composer Fumio Hayasaka, perhaps best known for the scores he wrote for films by Kenji Mizoguchi and Akira Kurosawa, the latter of whom Takemitsu would collaborate with decades later. In the late 1950s chance brought Takemitsu international attention: his Requiem for string orchestra (1957 listen ), written as an homage to Hayasaka, was heard by Igor Stravinsky in 1958 during his visit to Japan. (The NHK had organised opportunities for Stravinsky to listen to some of the latest Japanese music; when Takemitsu's work was put on by mistake, Stravinsky insisted on hearing it to the end.) At a press conference later, Stravinsky expressed his admiration for the work, praising its "sincerity" and "passionate" writing. Stravinsky subsequently invited Takemitsu to lunch; and for Takemitsu this was an "unforgettable" experience. After Stravinsky returned to the U.S., Takemitsu soon received a commission for a new work from the Koussevitsky Foundation which, he assumed, had come as a suggestion from Stravinsky to Aaron Copland. For this he composed Dorian Horizon, (1966), which was premiered by the San Francisco Symphony Orchestra, conducted by Copland.
Question: what else did he produce?
Answer:
by 1955 Takemitsu had begun to use electronic tape-recording techniques in such works as Relief Statique (1955) and Vocalism A*I (1956).