Answer the question at the end by quoting:

Leonard Guy Ford Jr. (February 18, 1926 - March 14, 1972) was an American football player from 1944 to 1958. He played college football for the University of Michigan and professional football for the Los Angeles Dons, Cleveland Browns and Green Bay Packers. He was inducted into the Pro Football Hall of Fame in 1976 and the University of Michigan Athletic Hall of Honor in 1996. Ford was an all-city athlete at his high school in Washington, D.C., and attended Morgan State University after graduating in 1944.
Despite his accomplishments in college, Ford was passed over in all 32 rounds of the 1948 NFL Draft during a time when most professional teams did not employ African-Americans. (The following year, George Taliaferro became the first African-American to be selected in an NFL draft.) He was selected, however, by the Los Angeles Dons of the rival All-America Football Conference (AAFC) in the third round of its 1948 draft. He signed with the Dons in April 1948.  Playing as a right end opposite Joe Aguirre, Ford had 31 catches for 598 yards and seven touchdowns in 1948. As was the case at Michigan, Ford also worked on defense and was one of the AAFC's most successful pass-rushers. The Dons, meanwhile, finished the regular season with a 7-7 record, good for third place in the AAFC West. Ford played basketball in the off-season for the New York Renaissance, an all-black professional team in the National Basketball League. He did not play basketball at Michigan, the Big Ten Conference having maintained racial segregation of basketball until 1950.  Ford had 36 catches for 577 yards and one touchdown in 1949, while the Dons fell to 4-8. The AAFC struggled financially during Ford's time with the Dons. Its teams competed with NFL franchises for fans' attention and player talent - the Dons shared a city with the NFL's Los Angeles Rams. By late 1949, team owners came to an agreement under which the Cleveland Browns, San Francisco 49ers and Baltimore Colts joined the NFL and the rest of the league's teams, including the Dons, folded.

Was he a starter player?





Answer the question at the end by quoting:

Parliament-Funkadelic (abbreviated as P-Funk) is an American funk music collective of rotating musicians headed by George Clinton, primarily consisting of the individual bands Parliament and Funkadelic, both active since the 1960s. Their distinctive funk style drew on psychedelic culture, outlandish fashion, science-fiction, and surreal humor; it would have an influential effect on subsequent funk, post-punk, hip-hop, and post-disco artists of the 1980s and 1990s, while their collective mythology would help pioneer Afrofuturism. The collective's origins date back to the doo-wop group the Parliaments, formed by Clinton in the late 1950s in Plainfield, New Jersey. Under the influence of late-1960s artists such as Jimi Hendrix, Sly Stone, and Frank Zappa, Clinton later relocated to Detroit and began the sister groups Parliament and Funkadelic, with the former playing an eclectic and more commercial form of funk, and the latter incorporating more influence from psychedelic rock.
By the late 1960s Clinton had assembled a touring band to back up the Parliaments, the first stable lineup of which included Billy Bass Nelson (bass), Eddie Hazel (lead guitarist), Tawl Ross (guitarist), Tiki Fulwood (drums), and Mickey Atkins (keyboards). After a contractual dispute in which Clinton temporarily lost the rights to the name "The Parliaments," Clinton brought the backing musicians forward. When the band relocated to Detroit, their guitar-based, raw funk sound, with its heavy psychedelic rock influences, inspired "Billy Bass" Nelson, who coined the name "Funkadelic". Clinton signed Funkadelic to Westbound Records, and the five Parliaments singers were credited as "guests" while the five musicians were listed as the main group members. The debut album Funkadelic was released in 1970.  Meanwhile, Clinton regained the rights to the name "The Parliaments" and initiated another new entity, now known as Parliament, with the same five singers and five musicians but this time as a smoother R&B-based funk ensemble that Clinton positioned as a counterpoint to the more rock-oriented Funkadelic. Parliament recorded Osmium for Invictus Records in 1970, and after a hiatus in which Clinton focused on Funkadelic, Parliament was signed to Casablanca Records and released its debut for that label Up for the Down Stroke in 1974. The two bands began to tour together under the collective name "Parliament-Funkadelic."  By this time the original ten-member lineup of Parliament-Funkadelic had begun to splinter, but many others joined for various album releases by either band, leading to a collective with a fluid and rapidly expanding membership. Notable members to join during this period include keyboardist Bernie Worrell, bassist Bootsy Collins, guitarist Garry Shider, and The Horny Horns.  In the 1975-1979 period, both Parliament and Funkadelic achieved several high-charting albums and singles on both the R&B and Pop charts. Many members of the collective began to branch out into side bands and solo projects under George Clinton's tutelage, including Bootsy's Rubber Band, Parlet, and The Brides of Funkenstein, while longtime members like Eddie Hazel recorded solo albums with songwriting and studio help from the collective. The Parliament albums of this period had become concept albums with themes from science fiction and afro-futurism, elaborate political and sociological themes, and an evolving storyline with recurring fictional characters. Parliament-Funkadelic stage shows (particularly the P-Funk Earth Tour of 1976) were expanded to include imagery from science fiction and a stage prop known as the Mothership. These concepts came to be known as the P-Funk mythology.  By the late 1970s the Parliament-Funkadelic collective became over-extended and several key members departed acrimoniously over disagreements with Clinton and his management style. Original Parliaments members Fuzzy Haskins, Calvin Simon, and Grady Thomas departed in 1977 after becoming disillusioned with the influx of new members, and later recorded an album under the name Funkadelic. Other members departed and formed new funk bands that detached themselves from P-Funk and even criticized the collective, such as Quazar (formed by guitarist Glenn Goins) and Mutiny (formed by drummer Jerome Brailey). Due to financial difficulties and the collapse of Casablanca Records (Parliament's label), Clinton dissolved Parliament and Funkadelic as separate entities. Many members of the collective continued to work for Clinton, first on his solo albums and later as Parliament-Funkadelic or the P-Funk All Stars.

what is the most important fact in this article?
By the late 1970s the Parliament-Funkadelic collective became over-extended and several key members departed acrimoniously