Question: 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.

After recording for Fantasy for nearly a decade, Tjader signed with better-known Verve Records, founded by Norman Granz but owned then by MGM. With the luxury of larger budgets and seasoned recording producer Creed Taylor in the control booth, Tjader cut a varied string of albums. During the Verve years Tjader worked with Donald Byrd, Lalo Schifrin, Anita O'Day, Willie Bobo, Armando Peraza, a young Chick Corea, Clare Fischer, Jimmy Heath, Kenny Burrell, and others. Tjader recorded with big band orchestras for the first time, and even made an album based on Asian scales and rhythms. His biggest success was the album Soul Sauce (1964). Its title track, a Dizzy Gillespie cover Tjader had been toying with for over a decade, was a radio hit (hitting the top 20 on New York's influential pop music station WMCA in May 1965), and landed the album on Billboard's Top 50 Albums of 1965. Titled "Guachi Guaro" (a nonsensical phrase in Spanish), Tjader transformed the Gillespie/Chano Pozo composition into something new. (The name "Soul Sauce" came from Taylor's suggestion for a catchier title and Bobo's observation that Tjader's version was spicier than the original.) The song's identifiable sound is a combination of the call-outs made by Bobo ("Salsa ahi na ma ... sabor, sabor!") and Tjader's crisp vibes work. The album sold over 100,000 copies and popularized the word salsa in describing Latin dance music. The 1960s were Tjader's most prolific period. With the backing of a major record label, he could afford to stretch out and expand his repertoire. The most obvious deviation from his Latin jazz sound was Several Shades of Jade (1963) and the follow-up Breeze From the East (1963). Both albums attempted to combine jazz and Asian music, much as Tjader and others had done with Afro-Cuban. The result was dismissed by the critics, chided as little more than the dated exotica that had come and gone in the prior decade. Other experiments were not so easily dismissed. Tjader teamed up with New Yorker Eddie Palmieri in 1966 to produce El Sonido Nuevo ("The New Sound"). A companion LP was recorded for Palmieri's contract label, Tico, titled Bamboleate. While Tjader's prior work was often dismissed as "Latin lounge", here the duo created a darker, more sinister sound. Cal Tjader Plays The Contemporary Music Of Mexico And Brazil (1962), released during the bossa nova craze, actually bucked the trend, instead using more traditional arrangements from the two countries' past. In the late 1960s Tjader, along with guitarist Gabor Szabo and Gary McFarland, helped to found the short-lived Skye record label. Tjader's work of this period is characterized by Solar Heat (1968) and Tjader Plugs In (1968-69), precursors to acid jazz.

Using a quote from the above article, answer the following question: Why was the label shortlived?
HHHHHH
Answer:

Question: Dangerfield was born in Babylon, in Suffolk County, Long Island, New York. He was the son of Jewish parents, Dorothy "Dotty" (Teitelbaum) and the vaudevillian performer Phil Roy (Phillip Cohen). His mother was born in Hungary. Dangerfield's father was rarely home; Rodney would normally see him only twice a year.

On Sunday, March 5, 1967, The Ed Sullivan Show needed a last-minute replacement for another act, and Dangerfield became the surprise hit of the show. Dangerfield began headlining shows in Las Vegas and continued making frequent appearances on The Ed Sullivan Show. He also became a regular on The Dean Martin Show and appeared on The Tonight Show a total of 35 times. One of his quips as a standup comedian was, "I walked into a bar the other day and ordered a drink. The bartender says, 'I can't serve you.' I said, 'Why not? I'm over 21!' He said, 'You're just too ugly.' I said as always, 'Boy I tell you, I get no respect around here'." The "no respect" phrase would come to define his act in the years that followed. In 1969, Rodney Dangerfield teamed up with longtime friend Anthony Bevacqua to build the Dangerfield's comedy club in New York City, a venue he could now perform in on a regular basis without having to constantly travel. The club became a huge success, and has been in continuous operation for nearly 50 years. Dangerfield's was the venue for several HBO shows which helped popularize many stand-up comics, including Jerry Seinfeld, Jim Carrey, Tim Allen, Roseanne Barr, Robert Townsend, Jeff Foxworthy, Sam Kinison, Bill Hicks, Rita Rudner, Andrew Dice Clay, Louie Anderson, Dom Irrera and Bob Saget. His 1980 comedy album, No Respect, won a Grammy Award. One of his TV specials featured a musical number, "Rappin' Rodney", which would appear on his 1983 follow-up album, Rappin' Rodney. In December 1983, the "Rappin' Rodney" single became one of the first Hot 100 rap records, and the associated video was an early MTV hit. The video featured cameo appearances by Don Novello (aka Father Guido Sarducci) as a last rites priest munching on Rodney's last meal of fast food in a styrofoam container and Pat Benatar as a masked executioner pulling a hangman's knot. The two appear in a dream sequence where Dangerfield is condemned to die and doesn't get any respect, even in Heaven, as the gates close without his being permitted to enter.

Using a quote from the above article, answer the following question: Did he invite other comedians to the club?
HHHHHH
Answer:
Dangerfield's was the venue for several HBO shows which helped popularize many stand-up comics, including Jerry Seinfeld,