Background: Edward Joseph Drake (16 August 1912 - 30 May 1995) was an English football player and manager. As a player, he first played for Southampton but made his name playing for Arsenal in the 1930s, winning two league titles and an FA Cup, as well as five caps for England. Drake is Arsenal's joint fifth highest goalscorer of all time. He also holds the record for the most goals scored in a top flight game in English football, with seven against Aston Villa in December 1935.
Context: Without much ado he was appointed manager of First Division Chelsea in June 1952. This is so due to the rivalry between the Gunners and the Blues being non existent at the time. Upon Drake's arrival at Chelsea, he made a series of sweeping changes, doing much to rid the club of its previous amateurish, music hall image. He discarded the club's Chelsea pensioner crest and with it the Pensioners nickname, and insisted a new one be adopted. From these changes came the Lion Rampant Regardant crest and the Blues nickname. He introduced scouting reports and a new, tougher, training regime based on ballwork, a rare practice in English football at the time. The club's previous policy of signing unreliable big-name players was abandoned; Drake instead used his knowledge of the lower divisions and the amateur game to recruit little-known, but more reliable players. These included John McNichol, Frank Blunstone, Derek Saunders, Jim Lewis and Peter Sillett  Within three years, in the 1954-55 season, Drake had led Chelsea to their first league championship triumph. In doing so, he became the first person to win the league title both as player and manager. However, Drake never came close to repeating the success. The championship-winning side was gradually broken up, to be replaced by the crop of youngsters emerging from the club's youth team, such as Jimmy Greaves, Peter Brabrook and Bobby Tambling, for whom Drake was an aloof figure. Thereafter performances and results were very erratic, leaving the club stranded in mid-table; an FA Cup loss to Fourth Division side Crewe Alexandra weakened his position at the club and a few months later, Drake was sacked early into the 1961-62 season.  After leaving Chelsea, he became reserve team manager at Fulham. During 1970 Drake went on to have a six-month stint as assistant manager at Barcelona. He later returned to Fulham where he became a chief scout, director and life president of the Cottagers. Drake passed away at the age of 82 on 30 May 1995.
Question: What did he do as manager?
Answer: he made a series of sweeping changes, doing much to rid the club of its previous amateurish, music hall image.

Background: Chicago is an American rock band formed in 1967 in Chicago, Illinois as The Chicago Transit Authority before shortening the name in 1970. The self-described "rock and roll band with horns" began as a politically charged, sometimes experimental, rock band and later moved to a predominantly softer sound, generating several hit ballads. The group had a steady stream of hits throughout the 1970s and 1980s. Since at least 2008, Billboard has shown Chicago to be the "greatest of all time" American band in singles chart success, and since 2015, the "greatest of all time" American band in album chart success as well.
Context: Upon being renamed from Chicago Transit Authority to Chicago, the band sported a new logo. Its inspiration was found in the design of the Coca-Cola logo, in the attitude of the city of Chicago itself, and in the desire to visually transcend the individual identities of the band's members. It was designed by the Art Director of Columbia/CBS Records, John Berg, with each album's graphic art work being done by Nick Fasciano. Berg said, "The Chicago logo...was fashioned for me by Nick Fasciano from my sketch."  The logo would serve as the band's chief visual icon from Chicago II, onward. In various artistic forms and visual similes, it has been the subject of every subsequent album cover, except the fifteenth album, Greatest Hits, Volume II. For example, it appeared as an American flag on III, a piece of wood on V, a U.S. dollar bill on VI, a leather relief on VII, an embroidered patch on VIII, a chocolate bar on X, a map on XI, a building on 13, a fingerprint on XIV, a computer silicon chip on 16, a parcel on 17, a mosaic on 18, and an aquarelle on 19. Chicago IX's incarnation was a caricature of the band itself, in the shape of the logo.  The album cover series has endured as a cataloged work of art in its own right, described by Paul Nini of the American Institute of Graphic Arts as a "real landmark in record cover design". In 2013, the iconic status of Chicago's album art was featured in a New York art museum exhibit, which centered upon ninety-five album covers completely selected from John Berg's career portfolio of hundreds. Having overseen the design of approximately fourteen Chicago album covers across more than twenty years, Berg stated that this artistic success resulted from the combination of Chicago's "unique situation" and his position in "the best possible job at the best possible time to have that job, at the center of the graphic universe". Berg won the 1976 Grammy Award for Best Album Package for Chicago X, one of four Grammy Awards he won in his lifetime.  The book titled Type and Image: The Language of Graphic Design described the logo as "a warm vernacular form, executed in thick script letters with Victorian swashes in the tradition of sports teams and orange crate labels." The book mentions the cultural and material background of the city of Chicago as inspiration for the logo; for example, describing the leather embossing of Chicago VII as representative of the great fire and the stockades. The author connects the album art to the atmosphere of the band's namesake city, quoting the band's original manager, James William Guercio: "The printed word can never aspire to document a truly musical experience, so if you must call them something, speak of the city where all save one were born; where all of them were schooled and bred, and where all of this incredible music went down barely noticed; call them CHICAGO."
Question: why did they change their names
Answer:
"The printed word can never aspire to document a truly musical experience, so if you must call them something, speak of the city where all save one were born;