Question:
Michael Lutrell "Pinball" Clemons  (born January 15, 1965) is an American-Canadian sports executive who serves as vice-chairman for the Toronto Argonauts of the Canadian Football League (CFL). Clemons played with the Argos for twelve seasons, and twice served as their head coach. His no. 31 jersey is one of only four that have been retired by the Argos.
Upon ending his playing career, Clemons became interim head coach of the Toronto Argonauts in 2000, replacing John Huard, who resigned after compiling a 1-6-1 record. When offered the head coaching job by team general manager J. I. Albrecht, Clemons was reluctant to accept it, wanting to spend more time with his family. According to Clemons, "it was an awkward situation. After saying no, they said do us the favour of going home and discussing it with your family. The burden was that this team, this organization, had given our family so much that Canada was going to be our home. The Argos had everything to do with my family becoming a part of this country. Because of all I had been given I decided it was my time to reciprocate." As interim head coach, Clemons coached the Argos to 6 wins out of their remaining 8 games. He had the interim tag removed from his title at the end of the season. In November, 2001, he was promoted to President of the Argonauts and relinquished his role as head coach in the process to Gary Etcheverry.  When Etcheverry was fired as head coach on September 17, 2002, Clemons returned as head coach on an interim basis for the remainder of the 2002 CFL season. Clemons was officially given the head coaching job again on December 17, 2002, while also relinquishing his role as team president. He remained the head coach until 2007. Clemons was nominated for the Annis Stukus Trophy every year from 2002 to 2007, coming up short each time.  In the 2004 CFL season, Clemons was the first black head coach to ever appear in a Grey Cup game. He became the first black head coach to win a Grey Cup championship during that same Grey Cup game, while also being the second black coach to ever guide his team to a pro football championship in North America. (Darren Arbet of the San Jose SaberCats was the first to do so in 2002 with an ArenaBowl XVI victory.) Clemons downplayed this milestone achievement, saying, "To tell you the truth, I don't know what it means to the first Black coach in the (Grey) Cup and to win it. I know that I can't do anything by myself, and on my own strength I'm very little good. Anything I accomplish has to be with the aid of individuals, and this team became like a family and is a family, it had very little to do with the colour of my skin".  Clemons has the second most head coaching wins in Argonauts history with 67. (Bob O'Billovich is first with 89.) Clemons' record is 67-54-1 in the regular season over parts of seven seasons, with a 6-5 playoff record (including 1-0 in his lone Grey Cup appearance). As a coach, his nickname was often shortened to "Pinner" by his players. After retiring as head coach, he was vice chairman with Toronto in 2008.
Answer this question using a quote from the text above:

What was his record as coach?

Answer:
Clemons' record is 67-54-1 in the regular season over parts of seven seasons, with a 6-5 playoff record (including 1-0 in his lone Grey Cup appearance).

Answer the question at the end by quoting:

Stan Kenton was born on December 15, 1911 in Wichita, Kansas; he also had two sisters (Beulah and Erma Mae) born three and eight years after him. His parents, Floyd and Stella Kenton, had moved the family back to Colorado, then, finally in 1924 to the Greater Los Angeles Area, settling in suburban Bell, California. Kenton attended Bell High School; his high school yearbook picture has the prophetic notation "Old Man Jazz". Kenton started learning piano as a teen from a local pianist and organist.
When composer/arranger Pete Rugolo joined the Stan Kenton Orchestra as staff arranger in late 1945 he brought with him his love of jazz, Stravinsky and Bartok. Given free rein by Kenton, he experimented constantly, creating a sound that was at the same time innovative and popular. Although Kenton himself was already creating somewhat experimental scores prior to Rugolo's tenure, it was Rugolo who brought to the band the extra-jazz influences and the ultra-experimental approach that were to dominate the band through much of its existence.  During his first six months on the staff Rugolo tried to copy Kenton's sound. But on encouragement from the leader, he explored his own voice. By incorporating compositional techniques borrowed from the modern classical music he had studied, with the dramatic excitement of the Kenton sound, Rugolo helped catapult the Kenton band into one of its most fertile and creative periods.  After a string of mostly arrangements, Rugolo turned out three originals that Kenton featured on the band's first album in 1946: (Artistry in Rhythm): "Artistry in Percussion", "Safranski" and "Artistry in Bolero". Added to this mix came "Machito", "Rhythm Incorporated", "Monotony" and "Interlude" in early 1947 (though some were not recorded until later in the year). These compositions, along with June Christy's voice, came to define the Artistry in Rhythm band.  It was during this period that Cuban rhythms started infiltrating the Kenton sound. Rugolo's 1946 composition "Machito", named after the great Cuban band leader that had impressed Kenton, was a regular on concerts in 1947 and 1948. During the subsequent Progressive Jazz era the Cuban sound would become more profound, an influence that was to remain with Kenton until his death.  The Artistry in Rhythm outfit was a powerful band, with outstanding soloists, but with one foot firmly in the tradition. By early 1947, the Stan Kenton Orchestra had reached its highest point of financial and popular success. They played in the best theaters and ballrooms in America, they had hit records ... and the schedule was killing Kenton. Dances at the many ballrooms were typically four hours a night. Theater dates generally involved playing mini concerts between each showing of the movie, sometimes five or six a day, stretching from morning to late night. Most days not on location were spent in buses or cars, racing from town to town. Days off from performing were rare. And for Kenton they just allowed for more record signing, radio station interviews, and pushing the Capitol brand. He was beat. Following an April performance in Tuscaloosa, he broke up the band.

Did kenton handle rhythm in a special way?