Question: The Veterans Committee was the popular name of the National Baseball Hall of Fame Committee to Consider Managers, Umpires, Executives and Long-Retired Players; a former voting committee of the U.S. Baseball Hall of Fame that provided an opportunity for Hall of Fame enshrinement to all individuals who are eligible for induction but ineligible for consideration by the Baseball Writers' Association of America (BBWAA). The term "Veterans Committee" (was composed of four committees of baseball veterans) is taken from the body's former official name: National Baseball Hall of Fame Committee on Baseball Veterans (1953). In July 2010, the Veterans Committee name was changed by the Hall of Fame Board of Directors and its name was no longer officially used by the Hall of Fame, which called three new 16-member voting committees by era: the Expansion Era Committee (1973-present), the Golden Era Committee (1947-1972), and the Pre-Integration Era Committee (1876-1946) - each, "The Committee" (the term "Veterans Committee" is still being used by some sports media). The three committees met on a rotating cycle once every three years to elect candidates from each era to the Hall of Fame that have been "identified" by a BBWAA-appointed "Screening Committee" named the "Historical Overview Committee" (10-12 representatives; BBWAA members).

(Last Veterans Committee election; for the Class of 2010) With the 2007 rules changes, the composite ballot was split into two separate ballots--one for managers and umpires and the other for executives. Also, the voting membership of the Committee, which previously included all living members of the Hall, was reduced to include just a handful of those members, plus additional executives and sportswriters. Voting for both the managers/umpires and executives ballots, which now takes place prior to inductions in even-numbered years, began with the 2008 class of inductees, when two managers and three executives were elected. To be eligible, managers and umpires must be retired for at least five years, or for at least six months if they are age 65 or older, while executives must be either retired or at least age 65. A Historical Overview Committee of sportswriters appointed by the BBWAA's Board of Directors met to develop a ballot of ten managers and umpires. The managers/umpires list was then submitted to a panel composed of Hall of Fame members, executives and veteran media members for a final vote. A separate ballot of ten executives was developed by a panel including executives, players and writers, which was the same committee which finally voted in that area. The final ballots were released in November 2009. Each panel member was allowed to vote for up to four individuals on each ballot, and each candidate who received 75% of the vote from either panel was elected; therefore, a maximum of five inductions were possible from each ballot. Voting was conducted at baseball's winter meetings in Indianapolis on December 6, 2009, with the results announced the next day; as was the case with the 2008 class of inductees, the Committee met to discuss the candidates, although the previous three elections had been conducted by mail.

Using a quote from the above article, answer the following question: why was it changed?
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Question: Pitchford was born in Honolulu, where he attended Catholic schools, graduating in 1968 from Saint Louis High School. He began his performance career as an actor and a singer with the Honolulu Community Theatre (now Diamond Head Theatre), the Honolulu Symphony Orchestra and the Honolulu Theatre for Youth, among others. While studying at Yale University, Pitchford performed with numerous campus drama groups, but his focus gradually turned off-campus, where he worked with the Wooster Square Revival, an experimental theatre company that offered acting opportunities to recovering addicts and alcoholics. In 1969, Pitchford returned to Honolulu as an assistant to authors Faye Hammel and Sylvan Levey in updating the popular guidebook Hawai'i on $5 and $10 A Day, and researching Trans World Airlines' Budget Guide to Hawai'i, the first of a series of guidebooks that would eventually turn into the popular series TWA Getaway Guides.

As a result of performing his early songwriting efforts in cabarets around Manhattan, he was invited to write with such composers as Stephen Schwartz, Alan Menken and Rupert Holmes. In 1979, he collaborated with recording artist and cabaret performer Peter Allen to write new songs for Allen's one-man Broadway revue, Up In One. With composer Michael Gore, Pitchford collaborated on three songs for Alan Parker's 1980 motion picture Fame; these were "Red Light," a disco hit for singer Linda Clifford; the symphonic/rock finale "I Sing the Body Electric;" and the title song "Fame," which became a multi-platinum, international best seller for Irene Cara. That song earned Gore and Pitchford an Oscar, a Golden Globe, and a Grammy nomination for Song of the Year (1981). They also received a Grammy nomination for Best Soundtrack Album for a Motion Picture, Television or Other Visual Media. When Pitchford was signed by Warner Brothers Publishing (1981) he began collaborating with a variety of songwriters. Among the first songs whose lyrics he wrote in collaboration with composer Tom Snow was "Don't Call It Love," which was first recorded by Kim Carnes on her 1981 album Mistaken Identity; the selection charted in the U.S. country singles top-ten for Dolly Parton in 1985 and was named the BMI Country Song of the Year. For the ill-fated 1981 movie The Legend of the Lone Ranger, Pitchford wrote a narrative ballad, "The Man In the Mask." This was spoken (throughout the movie) and sung (at its beginning and end) by Merle Haggard. "You Should Hear How She Talks About You," another Snow/Pitchford composition, was a Top 5 hit for Melissa Manchester for which she won the Grammy Award for Best Female Pop Vocal Performance in 1983. That same year, Pitchford, Kenny Loggins and Steve Perry wrote and composed "Don't Fight It," a Top 20 hit that was Grammy-nominated in the Best Pop Vocal Duo category. With musical director Michael Miller, he wrote the theme song for the weekly dance-music show Solid Gold (1980-88).

Using a quote from the above article, answer the following question: did he write songs for any other movies?
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Red Light,