Question:
Jean-Philippe Rameau (French: [Zafilip Ramo]; (1683-09-25)25 September 1683 - (1764-09-12)12 September 1764) was one of the most important French composers and music theorists of the 18th century. He replaced Jean-Baptiste Lully as the dominant composer of French opera and is also considered the leading French composer for the harpsichord of his time, alongside Francois Couperin. Little is known about Rameau's early years, and it was not until the 1720s that he won fame as a major theorist of music with his Treatise on Harmony (1722) and also in the following years as a composer of masterpieces for the harpsichord, which circulated throughout Europe.
Unlike Lully, who collaborated with Philippe Quinault on almost all his operas, Rameau rarely worked with the same librettist twice. He was highly demanding and bad-tempered, unable to maintain longstanding partnerships with his librettists, with the exception of Louis de Cahusac, who collaborated with him on several operas, including Les fetes de l'Hymen et de l'Amour (1747), Zais (1748), Nais (1749), Zoroastre (1749; revised 1756), La naissance d'Osiris (1754), and Anacreon (the first of Rameau's operas by that name, 1754). He is also credited with writing the libretto of Rameau's final work, Les Boreades (c. 1763).  Many Rameau specialists have regretted that the collaboration with Houdar de la Motte never took place, and that the Samson project with Voltaire came to nothing because the librettists Rameau did work with were second-rate. He made his acquaintance of most of them at La Poupliniere's salon, at the Societe du Caveau, or at the house of the Comte de Livry, all meeting places for leading cultural figures of the day.  Not one of his librettists managed to produce a libretto on the same artistic level as Rameau's music: the plots were often overly complex or unconvincing. But this was standard for the genre, and is probably part of its charm. The versification, too, was mediocre, and Rameau often had to have the libretto modified and rewrite the music after the premiere because of the ensuing criticism. This is why we have two versions of Castor et Pollux (1737 and 1754) and three of Dardanus (1739, 1744, and 1760).
Answer this question using a quote from the text above:

What else did he do with them?

Answer:
He made his acquaintance of most of them at La Poupliniere's salon,

Answer the question at the end by quoting:

Michael Anthony Orlando Cassavitis (born April 3, 1944), known professionally as Tony Orlando, is an American singer, songwriter, producer, music executive, and actor, best known as the lead singer of the group Tony Orlando and Dawn in the 1970s. Orlando formed the doowop group The Five Gents in 1959 at the age of 15, with whom he recorded demos, and got the attention of music publisher and producer Don Kirshner. Kirshner hired him to songwrite at 1650 Broadway, Manhattan as part New York's thriving Brill Building songwriting community, along with other songwriters Carole King, Neil Sedaka, Toni Wine, Barry Mann, Cynthia Weil, Bobby Darin, Connie Francis, and Tom and Jerry, who didn't make it in the office until they later changed their name to Simon and Garfunkel. Orlando was also hired to sing on songwriter demos, and singles released with Orlando as a solo artist began to hit the charts in the US and the UK beginning in 1961 with "Halfway to Paradise" and "Bless You" when he was 16.
Orlando was tempted back to a recording career when he was asked to record a demo record of "Candida", with backup singers including Toni Wine (who wrote the song) and Linda November. Concerned about a possible conflict of interest with his April-Blackwood duties, Orlando sang under the condition that his name not be associated with the project, so it was released under the simple name of "Dawn", the middle name of the daughter of Bell records executive Steve Wax.  The song became a hit, and Dawn, with Wine and November again singing backup, recorded another song, "Knock Three Times", which itself became a #1 hit. Orlando then wanted to go on tour, and asked two other session singers, Telma Hopkins and Joyce Vincent Wilson to join for the tour. Orlando then discovered that there were six touring groups using that name, so Dawn became "Dawn featuring Tony Orlando", which changed to Tony Orlando and Dawn in 1973.  The new group recorded more hits, including "Tie a Yellow Ribbon Round the Ole Oak Tree" (1973) and "He Don't Love You (Like I Love You)" (1975), a cover of the Jerry Butler hit, "He Will Break Your Heart". With a successful recording career, Orlando then set his sights on television. As described in The San Francisco Chronicle, "Tony Orlando and Dawn burst out of television sets during the Ford administration, a sunny antidote to the dark cynicism that followed Watergate. He represented simple, traditional values, a conservative return to pure entertainment. He drew a happy face in the "O" of his autograph. It was not terribly cool, but America loved him." The Tony Orlando and Dawn Show on CBS became a hit, a summer replacement for the Sonny & Cher show, and ran for four seasons from 1973 to 1976. It welcomed the biggest names in show business each week as Orlando's guests, including his boyhood idols, Jackie Gleason and Jerry Lewis.  At the 1976 Republican National Convention in Kansas City, Missouri, Orlando danced to the tune of "Tie a Yellow Ribbon" with then First Lady Betty Ford. The media stated that it was to divert attention as Nancy Reagan entered the Kemper Arena convention hall. However, in Orlando's book Halfway to Paradise, he states that Mrs. Reagan was asked what her favorite song was, which happened to be "Tie a Yellow Ribbon", so it was chosen as her entrance song. Ronald Reagan unsuccessfully challenged Gerald Ford, for the presidential nomination that year but came back in 1980 to claim the presidency itself. Ray Barnhart, a Reagan co-manager from Texas, criticized Mrs. Ford for having "danced a jig" with Orlando. Barbara Staff, another Texas co-chairman, called Betty Ford's behavior "a low, cheap shot". It was later confirmed that the Ford campaign slipped the song to the band when Nancy Reagan entered the hall.  On October 12, 2015, with Telma Hopkins and Joyce Vincent Wilson present, Pacific Pioneer Broadcasters honored Orlando with their Art Gilmore Career Achievement Award at a celebrity luncheon.

was Knock Knock a hit as well?
which itself became a #1 hit.