Background: Charles "Pete" Conrad Jr. (June 2, 1930 - July 8, 1999), (Captain, USN), was an American NASA astronaut, aeronautical engineer, naval officer and aviator, test pilot, and during the Apollo 12 mission became the third man to walk on the Moon. Conrad was selected in NASA's second astronaut class. He set an eight-day space endurance record along with his Command Pilot Gordon Cooper on his first spaceflight, the Gemini 5 mission. Conrad also commanded the Gemini 11 mission.
Context: Conrad retired from NASA and the Navy in 1973, and went to work for American Television and Communications Company. He started as the Vice President of Operations and Chief Operating Officer. Conrad was in charge of the operation of existing systems and the national development of new cable television systems.  In 1976, he accepted a position with McDonnell Douglas as a Vice President and consultant. In 1978, he became Vice President of marketing and was responsible for the commercial and military sales of Douglas Aircraft Company. After an engine fell off a McDonnell Douglas DC-10, causing it to crash with the loss of all passengers and crew in 1979, Conrad spearheaded McDonnell Douglas's ultimately unsuccessful efforts to allay the fears of the public and policymakers, and save the plane's reputation. In 1980, he was promoted to Senior Vice President of marketing. From 1982 to 1984, Conrad served as the Senior Vice President of marketing and product support. He was appointed Staff Vice President of International Business Development in 1984. During the 1990s he consulted for the Delta Clipper experimental single-stage-to-orbit launch vehicle. He became Vice President of project development in 1993.  On February 14, 1996, Conrad was part of the crew on a record-breaking around-the-world flight in a Learjet owned by cable TV pioneer, Bill Daniels. The flight lasted 49 hours, 26 minutes and 8 seconds. Today the jet is on permanent static display at Denver International Airport's Terminal C.  A month before he died, Conrad appeared on ABC News Nightline and said, "I think the Space Shuttle is worth one billion dollars a launch. I think that it is worth two billion dollars for what it does. I think the Shuttle is worth it for the work it does." In the last interview he gave before his death, Conrad sat down for PBS's Nova series and discussed where he felt the future direction of space travel should go. He considered returning to the Moon "a waste of taxpayer money", but recommended missions to Mars and asteroids.  In 2006, NASA posthumously awarded him the Ambassador of Exploration Award for his work for the agency and science.
Question: How long did he have that position?
Answer: In 1976, he accepted a position with McDonnell Douglas as a Vice President and consultant.

Problem: Background: "Bohemian Rhapsody" is a song by the British rock band Queen. It was written by Freddie Mercury for the band's 1975 album A Night at the Opera. It is a six-minute suite, consisting of several sections without a chorus: an intro, a ballad segment, an operatic passage, a hard rock part and a reflective coda. The song is a more accessible take on the 1970s progressive rock genre.
Context: I'm going to shatter some illusions, it was just one of those pieces I wrote for the album: just writing my batch of songs. In its early stages I almost rejected it, but then it grew. We started deciding on a single about halfway through. There were a few contenders - we were thinking of "The Prophet's Song" at one point - but then "Bohemian Rhapsody" seemed the one. There was a time when the others wanted to chop it around a bit, but I refused. If it was going to be released, it would be in its entirety. We knew it was very risky, but we had so much confidence in that song - I did anyway. I felt, underneath it all, that if it was successful it would earn a lot of respect. People were all going, You're joking, they'll never play it, you'll only hear the first few bars and then they'll fade it out. We had numerous rows. EMI were shocked - a six-minute single? You must be joking! The same in America - oh, you just got away with it in Britain.  When we finished the album, the Night at the Opera album, that was the track on it that we thought we were gonna release as a single in the UK first. And when we released it in Britain we didn't necessarily think it'd be released in America, cause we know even over here, you know, the AM tastes are even more [hesitates] stricter. Anyway we did have thoughts about even in the UK, perhaps editing it down at all, but we listened to it over and over again and there was no way we could edit it. We tried a few ideas, but if you edited it, you always lost some part of the song, so we had to leave it all in. And luckily it took off anyway.  The vocal harmonies was something we wanted to do from the beginning, as we are always keen to do that kind of thing. We wanted to be a group that could do the heaviness of hard rock, but also have harmonies swooping around all over the place. We thought there was some real power and emotion in that combination. The guitar solo was pretty much off the cuff, except I think I had plenty of time to think about that one. I remember playing along with it in the studio for a while when other things were being done. I knew what kind of melody I wanted to play.
Question: How was the record actually received?
Answer:
luckily it took off anyway.