Question:
Douglas Clare Fischer (October 22, 1928 - January 26, 2012) was an American keyboardist, composer, arranger, and bandleader. After graduating from Michigan State University (from which, five decades later, he would receive an honorary doctorate), he became the pianist and arranger for the vocal group the Hi-Lo's in the late 1950s. Fischer went on to work with Donald Byrd and Dizzy Gillespie, and became known for his Latin and bossa nova recordings in the 1960s. He composed the Latin jazz standard "Morning", and the jazz standard "Pensativa".
Fischer next lived in Detroit, Michigan, whereupon, after first hearing the vocal quartet The Hi-Lo's in a live performance, he promptly offered his services. Over the next five years, Fischer recorded several albums with the group, serving as pianist and, on occasion, arranger. In addition, he contributed several vocal arrangements, making his debut in that capacity; it was these arrangements that Herbie Hancock would later point to as a major influence:  [T]hat's when I really learned some much farther-out voicings - like the harmonies I used on Speak Like a Child - just being able to do that. I really got that from Clare Fischer's arrangements for the Hi-Lo's. Clare Fischer was a major influence on my harmonic concept... I heard some of his last records, and he was still doing amazing harmonic stuff. And, of course, he was a wonderful pianist, too. But it was those vocal harmonies that were the first thing I heard. I was in awe of him.  When Fischer moved to Hollywood in 1958, he went to East L.A. to play and learn more about Latin-Jazz. He started in a charanga group with Modesto Duran as leader and played with many different groups. On November 2, 1959, he made a particularly fruitful connection within this genre when he appeared with the Hi-lo's at the First Annual Los Angeles Jazz Festival on the same bill with the already popular Latin jazz group led by vibraphonist Cal Tjader. Both his playing and arranging made an immediate impression on Tjader, who went on to employ Fischer in both capacities on several recordings over the next three years; the two would reunite in the mid-seventies, leading eventually to the formation of Fischer's own Latin jazz unit, Salsa Picante.  In 1961, Fischer became interested in Brazilian music through the recordings of Elizete Cardoso and Joao Gilberto. This discovery, coupled with his introduction to the music of Mexican composer Mario Ruiz Armengol, led to Fischer's subsequent collaboration with Cal Tjader, a 1962 LP devoted jointly to Armengol's music and that of assorted contemporary Brazilian composers. Over the following year, Fischer collaborated on two Bossa Nova-themed LPs with saxophonist Bud Shank, and arranged another for pianist George Shearing.  While with The Hi-Lo's, Fischer arranged a record by trumpeter Donald Byrd, which, by virtue of Fischer's use of strings and harps, imbued well-known standards with an unaccustomed, melancholic quality. Although it would be twenty-five years before the album was finally released, September Afternoon paid immediate dividends when Byrd played a copy for Dizzy Gillespie. In turn, Gillespie hired Fischer to write arrangements for a small ensemble featuring brass and woodwinds for his own album, A Portrait of Duke Ellington, which was well received. In 1960 albums for vibraphonist Cal Tjader and pianist George Shearing followed, as did an eight-year career of writing music for commercials, as well as the signing of Fischer's first record contract.
Answer this question using a quote from the text above:

How many albums did they release?

Answer:
did an eight-year career


Question:
Daniel Irvin Rather, Jr.  was born on October 31, 1931, in Wharton County, Texas, the son of Daniel Irvin Rather, Sr., a ditch digger, and the former Byrl Veda Page. The Rathers moved to Houston, where Dan attended Love Elementary School and Hamilton Middle School. He graduated in 1950 from John H. Reagan High School in Houston. In 1953, he earned a bachelor's degree in journalism from Sam Houston State University where he was editor of the school newspaper, The Houstonian.
On October 4, 1986, while walking along Park Avenue to his apartment in Manhattan, Rather was attacked and punched from behind by a man who demanded to know "Kenneth, what is the frequency?" while a second assailant chased and beat him. As the assailant pummeled and kicked Rather, he kept repeating the question. In describing the incident, Rather said, "I got mugged. Who understands these things? I didn't and I don't now. I didn't make a lot of it at the time and I don't now. I wish I knew who did it and why, but I have no idea." Until the crime was resolved years later, Rather's description of the bizarre crime led some to doubt the veracity of his account, although the doorman and building supervisor who rescued Rather fully confirmed his version of events.  The assault remained unsolved for some time, and was referenced multiple times in popular culture. The phrase "What's the frequency, Kenneth?" became a popular-culture reference over the years, such as in a scene in the graphic novel Like a Velvet Glove Cast in Iron by cartoonist Daniel Clowes. In 1994, the band R.E.M. released the song "What's the Frequency, Kenneth?" on their album Monster. Rather later sang with R.E.M. during a sound check prior to a gig at New York's Madison Square Garden, which was shown the following night on the Late Show with David Letterman before their performance of "Crush with Eyeliner".  In 1997, a TV critic writing in the New York Daily News solved the mystery, publishing a photo of the alleged assailant, William Tager, who received a 12 1/2 -to-25-year prison sentence for killing NBC stagehand Campbell Montgomery outside The Today Show studio in 1994. Rather confirmed the story: "There's no doubt in my mind that this is the person." New York District Attorney Robert M. Morgenthau said, "William Tager's identity as the man who attacked Mr. Rather was established in the course of an investigation by my office." Tager claimed he thought television networks were beaming signals into his brain. When he murdered the stagehand, Tager was trying to force his way into an NBC studio with a weapon, in order to find out the frequency the networks were using to attack him, so that he could block it. Tager was paroled in October 2010 and is believed to be living in New York City.
Answer this question using a quote from the text above:

Was there any response from Tager on the incident?

Answer:
Tager claimed he thought television networks were beaming signals into his brain.