Some context: Gilbert Ray Hodges, ne Hodge (April 4, 1924 - April 2, 1972) was an American Major League Baseball (MLB) first baseman and manager who played most of his 18-year career for the Brooklyn and Los Angeles Dodgers. He was inducted into the New York Mets Hall of Fame in 1982. Hodges is generally considered to be the best defensive first baseman in the 1950s. He was an All-Star for eight seasons and a Gold Glove Award winner for three consecutive seasons.
After 11 games with the Mets in 1963, during which he batted .227 with no homers and was plagued by injuries, he was traded to the Washington Senators in late May for outfielder Jimmy Piersall so that he could replace Mickey Vernon as Washington's manager. Hodges immediately announced his retirement from playing in order to clearly focus on his new position. The Giants' Willie Mays had passed him weeks earlier on April 19 to become the NL's home run leader among right-handed hitters; Hodges' last game had been on May 5 in a doubleheader hosting the Giants (who had moved to San Francisco in 1958).  Hodges managed the Senators through 1967, and although they improved in each season they never achieved a winning record. One of the most notable incidents in his career occurred in the summer of 1965, when pitcher Ryne Duren - reaching the end of his career and sinking into alcoholism - walked onto a bridge with intentions of suicide; his manager talked him away from the edge.  In 1968 Hodges was brought back to New York to manage the perennially woeful Mets, and while the team only posted a 73-89 record it was nonetheless the best mark in their seven years of existence up to that point. In 1969, he led the "Miracle Mets" to the World Series championship, defeating the heavily favored Baltimore Orioles; after losing Game 1, they came back for four straight victories, including two by 2-1 scores. Finishing higher than ninth place for the first time, the Mets became not only the first expansion team to win a World Series, but also the first team ever to win the Fall Classic after finishing at least 15 games under .500 the previous year. Hodges was named The Sporting News' Manager of the Year, in skillfully platooning his players, utilizing everyone in the dugout, keeping everyone fresh. Hodges continued as manager through the 1971 season. He died before the opening of the 1972 season and was succeeded by Yogi Berra.  In the second game of doubleheader on July 30, 1969, the Houston Astros, after scoring 11 runs in the ninth inning of the first game, were in the midst of a 10-run third inning, hitting a number of line drives to left field. When the Mets' star left fielder Cleon Jones failed to hustle after a ball hit to the outfield, Hodges removed him from the game, but rather than simply signal from the dugout for Jones to come out, or delegate the job to one of his coaches, Hodges left the dugout and slowly, deliberately, walked all the way out to left field to remove Jones, and walked him back to the dugout, which was a resounding message to the whole team. Jones reportedly never again had to be reminded to hustle. Ralph Kiner retold that story dozens of times during Mets broadcasts, both as a tribute to Hodges, and as an illustration of his quiet but disciplined character.
Did anything notable happen while he was a manager?
A: In 1969, he led the "Miracle Mets" to the World Series championship,

Some context: Blonde on Blonde is the seventh studio album by American singer-songwriter Bob Dylan, released in mid 1966, on Columbia Records. Recording sessions began in New York in October 1965 with numerous backing musicians, including members of Dylan's live backing band, the Hawks. Though sessions continued until January 1966, they yielded only one track that made it onto the final album--"One of Us Must Know (
Recognizing Dylan's dissatisfaction with the progress of the recordings, producer Bob Johnston suggested that they move the sessions to Nashville. Johnston lived there and had extensive experience working with Nashville session musicians. He recalled how Dylan manager Albert Grossman, was hostile to the idea: "Grossman came up to me and said 'If you ever mention Nashville to Dylan again, you're gone.' I said, 'What do you mean?' He said, 'You heard me. We got a thing going here'". Despite Grossman's opposition, Dylan agreed to Johnston's suggestion, and preparations were made to record the album at Columbia's A Studio on Nashville's Music Row in February 1966.  In addition to Kooper and Robertson, who accompanied Dylan from New York, Johnston recruited harmonica player, guitarist and bassist Charlie McCoy, guitarist Wayne Moss, guitarist and bassist Joe South, and drummer Kenny Buttrey. At Dylan's request, Johnston removed the baffles--partitions separating the musicians so that there was "an ambience fit for an ensemble". Buttrey credited the distinctive sound of the album to Johnston's re-arrangement of the studio, "as if we were on a tight stage, as opposed to playing in a big hall where you're ninety miles apart". Dylan had a piano installed in his Nashville hotel room which Kooper would play to help Dylan write lyrics. Kooper would then teach the tunes to the musicians before Dylan arrived for the sessions.  On the first Nashville session, on February 14, Dylan successfully recorded "Visions of Johanna", which he had attempted several times in New York. Also recorded was a take of "4th Time Around" which made it onto the album and a take of "Leopard-Skin Pill-Box Hat" which did not.  On February 15 the session began at 6 p.m. but Dylan simply sat in the studio working on his lyrics while the musicians played cards, napped and chatted. Finally, at 4 a.m., Dylan called the musicians in and outlined the structure of the song. Dylan counted off and the musicians fell in, as he attempted his epic composition "Sad Eyed Lady of the Lowlands". Kenny Buttrey recalled, "If you notice that record, that thing after like the second chorus starts building and building like crazy, and everybody's just peaking it up 'cause we thought, Man, this is it ... This is gonna be the last chorus and we've gotta put everything into it we can. And he played another harmonica solo and went back down to another verse and the dynamics had to drop back down to a verse kind of feel ... After about ten minutes of this thing we're cracking up at each other, at what we were doing. I mean, we peaked five minutes ago. Where do we go from here?" The finished song clocked in at 11 minutes, 23 seconds, and would occupy the entire fourth side of the album.  The next session began similarly--Dylan spent the afternoon writing lyrics, and the session continued into the early hours of February 17, when the musicians began to record "Stuck Inside of Mobile with the Memphis Blues Again". After several musical revisions and false starts, the fourteenth take was the version selected for the album.
What did they do when thhey go to e nashville?
A:
Dylan successfully recorded "Visions of Johanna", which he had attempted several times in New York.