Question:
Armstrong was born in the Chelsea district of New York City, the oldest of John and Emily (Smith) Armstrong's three children. His father began working at a young age at the American branch of the Oxford University Press, which published bibles and standard classical works, eventually advancing to the position of vice president. His parents first met at the North Presbyterian Church, located at 31st Street and Ninth Avenue.
The United States entered into World War I in April 1917, and later that year Armstrong was commissioned as a Captain in the U.S. Army Signal Corps, and assigned to a laboratory in Paris, France to help develop radio communication for the Allied war effort. He returned to the United States in the fall of 1919, after being promoted to the rank of Major. (During both world wars, Armstrong gave the U.S. military free use of his patents.)  During this period Armstrong's most significant accomplishment was the development of a "supersonic heterodyne" -- soon shortened to "superheterodyne" -- radio receiver circuit. This circuit made radio receivers more sensitive and selective and is still extensively used today. The key feature of the superheterodyne approach is the mixing of the incoming radio signal with a locally generated, different frequency signal within a radio set. This circuit is typically referred to as the mixer. The end result is a fixed, unchanging intermediate frequency, or I.F. signal which is more easily amplified and detected by subsequent circuit stages that follow the mixer. In 1919, Armstrong filed an application for a U.S. patent of the superheterodyne circuit which was issued the next year. This patent was subsequently sold to Westinghouse. The patent would be challenged, however, triggering yet another patent office interference hearing. Armstrong ultimately lost this patent battle; although the outcome was less controversial than that involving the regeneration proceedings.  The challenger was Lucien Levy of France who had also worked developing Allied radio communication during World War I. He had been awarded French patents in 1917 and 1918 that covered some of the same basic ideas used in Armstrong's superheterodyne receiver. AT&T, which was interested in radio development at this time, primarily for point-to-point extensions of its wired telephone exchanges, purchased the U.S. rights to Levy's patent and contested Armstrong's grant. The subsequent court reviews continued until 1928, when the District of Columbia Court of Appeals disallowed all nine claims of Armstrong's patent, assigning priority for seven of the claims to Levy, and one each to Ernst Alexanderson of General Electric and Burton W. Kendall of Bell Laboratories.  Although most early radio receivers used regeneration Armstrong approached RCA's David Sarnoff, whom he had known since giving a demonstration of his regeneration receiver in 1913, about the corporation offering superheterodynes as a superior offering to the general public. (The ongoing patent dispute was not a hindrance, because extensive cross-licensing agreements signed in 1920 and 1921 between RCA, Westinghouse and AT&T meant that Armstrong could freely use the Levy patent.) Superheterodyne sets were initially thought to be prohibitively complicated and expensive as the initial designs required multiple tuning knobs and used nine vacuum-tubes. However, in conjunction with RCA engineers, Armstrong developed a simpler, less costly design. RCA introduced its superheterodyne Radiola sets in the U.S. market in early 1924, and they were an immediate success, dramatically increasing the corporation's profits. These sets were considered so valuable that RCA would not license the superheterodyne to other U.S. manufacturing companies until 1930.
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What time period did this take place?

Answer:
He returned to the United States in the fall of 1919,


Question:
"Hound Dog" is a twelve-bar blues song written by Jerry Leiber and Mike Stoller. Recorded originally by Willie Mae "Big Mama" Thornton on August 13, 1952, in Los Angeles and released by Peacock Records in late February 1953, "Hound Dog" was Thornton's only hit record, selling over 500,000 copies, spending 14 weeks in the R&B charts, including seven weeks at number one. Thornton's recording of "Hound Dog" is listed as one of the Rock and Roll Hall of Fame's "500 Songs That Shaped Rock and Roll", and was inducted into the Grammy Hall of Fame in February 2013. "Hound Dog" has been recorded more than 250 times. The best-known version is the July 1956 recording by Elvis Presley, which is ranked number 19 on Rolling Stone magazine's list of the 500 Greatest Songs of All Time; it is also one of the best-selling singles of all time.
Two records were released that were neither cover versions of nor answers to Thornton's release, yet used a similar melody without any attribution to Leiber and Stoller. The first was Smiley Lewis's "Play Girl", credited to D. Bartholomew and released by the Imperial Records label (Imperial 45-5234) by the end of March 1953. Described as a "stomping uptempo boogie rocker", it began: "You ain't nothin' but a Play Girl / Staying out all night long". In April 1955, female impersonator Jesse "Big 'Tiny'" Kennedy recorded "Country Boy" accompanied by His Orchestra that was released by RCA's Groove Records (Groove 4G-0106) by May 21. While credited solely to Kennedy, this song has a similar melody to "Hound Dog": "'Country Boy' has a deceptively slouching flip on the 'Hound Dog' motif - this time with Tiny proclaiming proudly that he 'ain't nothing but a country boy'".  In the early 1970s Robert Loers, owner of Dutch label Redita Records, found a song with the same melody as "Hound Dog" called "(You Ain't Nuttin' But a) Juicehead" on an anonymous acetate at Select-o-Hits, the Memphis distributorship owned by Sam Phillips' brother, Tom, where Sun artifacts were stored.  When Juice Head first appeared on a Redita Records LP [in 1974], it was credited to Rosco Gordon. But it's not Rosco. It simply is not him. Really. Even Rosco confirmed that. It might not even be a Memphis Recording Service demo. Just substitute the words "Hound Dog" for "Juice Head" and what have you got? Of course the inspiration for this song came from Big Mama Thornton's "Hound Dog" or perhaps even from Rufus Thomas' "Bear Cat". But the song's other parent is Eddie Vinson's slowed down "Juicehead Blues" which harks to the previous decade...If indeed this originated from Sam Phillips' studio, it was nothing that Phillips needed to touch because it was another lawsuit waiting to happen."  Philip H. Ennis sees "Two Hound Dogs", which was recorded on May 10, 1955, by Bill Haley & His Comets (Decca 29552), as a response to Thornton's recording. While not an answer record in the traditional sense, the lyric characterized "Rhythm" and "Blues" as the titular "Two Hound Dogs," an apparent testament to the stature of "Hound Dog."
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What is significant about this passage?

Answer:
In the early 1970s Robert Loers, owner of Dutch label Redita Records, found a song with the same melody as "Hound Dog" called "(