Some context: Patsy Cline (born Virginia Patterson Hensley; September 8, 1932 - March 5, 1963) was an American country music singer and part of the Nashville sound during the late 1950s and early 1960s. She successfully "crossed over" to pop music and was one of the most influential, successful, and acclaimed vocalists of the 20th century. She died at age 30 in the crash of a private airplane. Cline was known for her rich tone, emotionally expressive and bold contralto voice, and her role as a country music pioneer.
Patsy Cline was born Virginia Patterson Hensley on September 8, 1932 in Winchester, Virginia, in the city's Memorial Hospital. She was the eldest child of seamstress Hilda Virginia (nee Patterson, 1916-1998) and blacksmith Samuel Lawrence Hensley (1889-1956). She had a brother Samuel Jr. (1939-2004) and a sister Sylvia. The family moved often before finally settling in Winchester, Virginia when Patsy was 16. Sam Hensley deserted his family in 1947, but the children's home was reportedly happy nonetheless. When Patsy was 13, she was hospitalized with a throat infection and rheumatic fever. She later said, "The fever affected my throat and when I recovered I had this booming voice like Kate Smith." Cline enrolled at John Handley High School but never attended classes. To help her mother support their family, she worked as a soda jerk at Gaunt's Drug Store and a waitress at the Triangle Diner. She watched performers through the window at the local radio station, and she asked WINC (AM) disc jockey Jimmy McCoy if she could sing on his show. Her performance in 1947 was well received and she was asked back. This led to appearances at local nightclubs wearing fringed Western outfits that her mother made from Patsy's designs. Cline performed in variety and talent shows in the Winchester and Tri-State areas, and she gained a large following through the shows and local radio appearances. Jimmy Dean was already a country star in 1954, and she became a regular with him on Connie B. Gay's Town and Country Jamboree radio show on WAVA (AM) in Arlington County, Virginia.
What was the outcome of her singing on the show?
A: Her performance in 1947 was well received and she was asked back. This led to appearances at local nightclubs

Question: "Hey Jude" is a song by the English rock band the Beatles, written by Paul McCartney and credited to Lennon-McCartney. The ballad evolved from "Hey Jules", a song McCartney wrote to comfort John Lennon's son, Julian, during his parents' divorce. "Hey Jude" begins with a verse-bridge structure incorporating McCartney's vocal performance and piano accompaniment; further instrumentation is added as the song progresses. After the fourth verse, the song shifts to a fade-out coda that lasts for more than four minutes. "

Having earmarked the song for release as a single, the Beatles recorded "Hey Jude" during the sessions for their self-titled double album, commonly known as "the White Album". The sessions were marked by an element of discord within the group for the first time, partly as a result of Ono's constant presence at Lennon's side, and also reflective of the four band members' divergence following their communal trip to Rishikesh in the spring of 1968 to study Transcendental Meditation. Author Peter Doggett describes the completed version of "Hey Jude" as a song that "glowed with optimism after a summer that had burned with anxiety and rage within the group". The Beatles first taped 25 takes of the song at EMI's Abbey Road Studios in London over two nights, 29 and 30 July 1968, with George Martin as their producer. These dates served as rehearsals, however, since they planned to record the master track at Trident Studios to utilise their eight-track recording machine (Abbey Road was still limited to four-tracks). A take from 29 July, which author and critic Kenneth Womack describes as a "jovial" session, was issued on the Anthology 3 compilation in 1996. The 30 July rehearsals were filmed for a short documentary titled Music! However, the film shows only three of the Beatles performing "Hey Jude", as George Harrison remained in the studio control room, with Martin and EMI recording engineer Ken Scott. Author Simon Leng views this as indicative of how Harrison was increasingly allowed little room to develop ideas on McCartney compositions, whereas he was free to create empathetic guitar parts for Lennon's songs of the period. During the rehearsals that day, Harrison and McCartney had a heated disagreement over the lead guitar part for the song. Harrison's idea was to play a guitar phrase as a response to each line of the vocal, which did not fit with McCartney's conception of the song's arrangement, and he vetoed it. In a 1994 interview, McCartney said, "looking back on it, I think, Okay. Well, it was bossy, but it was ballsy of me, because I could have bowed to the pressure." Ron Richards, a record producer who worked for Martin at both Parlophone and AIR Studios, said McCartney was "oblivious to anyone else's feelings in the studio", and that he was driven to making the best possible record, at almost any cost.

Using a quote from the above article, answer the following question: What came of the argument?
HHHHHH
Answer: guitar phrase as a response to each line of the vocal, which did not fit with McCartney's conception of the song's arrangement, and he vetoed it.

Some context: Kenneth William Kavanaugh (November 23, 1916 - January 25, 2007) was an American football player, coach, and scout. He played professionally in the National Football League (NFL) for the Chicago Bears as an end from 1940 to 1950, except for three seasons during which he served in World War II. He led the league in receiving touchdowns twice, and is a member of the NFL 1940s All-Decade Team. He is the Bears' all-time leader in receiving touchdowns, with 50.
After the war, he continued his career with the Bears. In 1945 he had 543 yards and six touchdowns, and in 1946 had 337 yards and five touchdowns. Three of his touchdowns in 1946 came in a 27-21 win over the Los Angeles Rams in week seven. The Bears defeated the New York Giants 24-14 in the 1946 NFL Championship Game, which gave Kavanaugh his third league championship with the team. The first touchdown of the game was a 21-yard pass from Luckman to Kavanaugh. After the season, he was named to the United Press All-NFL first team. Kavanaugh had his most productive season statistically in 1947. He had career highs with 32 receptions, 881 yards, and 13 touchdowns. He set a Bears record by recording a receiving touchdown in seven straight games, a streak that began with a three-touchdown game against the Boston Yanks in week six. His 13 receiving touchdowns led the league, and he earned his second straight first-team All-NFL selection from the United Press. Kavanaugh was named to his third straight All-NFL first team in 1948, and he again led the league in receiving touchdowns in 1949, with nine. His most productive single-game yardage performance came in his final season, in 1950 against the Yanks, as he caught eight passes for 177 yards and a touchdown. Kavanaugh spent a total of eight seasons in Chicago. He spent the majority of his career catching passes from quarterbacks Sid Luckman and Johnny Lujack. He remains the Bears' career leader in touchdown receptions, with 50. He also holds franchise records for highest career and single season yards-per-reception. His 13 touchdown receptions in 1947 is a single season Bears record he shares with Dick Gordon, who tied it in 1970. In 1969, Kavanaugh was voted by sportswriters to the NFL 1940s All-Decade Team. The Professional Football Researchers Association named Kavanaugh to the PRFA Hall of Very Good Class of 2009
Did he do well with the bears?
A:
In 1945 he had 543 yards and six touchdowns, and in 1946 had 337 yards and five touchdowns.