Problem: Robert Joseph Cousy (born August 9, 1928) is an American retired professional basketball player. Cousy played point guard with the Boston Celtics from 1950 to 1963 and briefly with the Cincinnati Royals in the 1969-70 season. Making his high school varsity squad as a junior, he went on to earn a scholarship to the College of the Holy Cross, where he led the Crusaders to berths in the 1948 NCAA Tournament and 1950 NCAA Tournament and was named an NCAA All-American for 3 seasons. Cousy was initially drafted by the Tri-Cities Blackhawks as the third overall pick in the first round of the 1950 NBA draft, but after he refused to report, he was picked up by Boston.

After retiring as a player, Cousy published his autobiography Basketball Is My Life in 1963, and in the same year became coach at Boston College. In the 1965 ECAC Holiday Basketball Festival at Madison Square Garden, Providence defeated Boston College 91-86 in the title game, when the Friars were led by Tourney MVP and All-American Jimmy Walker. Providence was coached by Joe Mullaney, who was Cousy's teammate at Holy Cross when the two men were players there in 1947. In his six seasons there, he had a record of 117 wins and 38 losses and was named New England Coach of the Year for 1968 and 1969. Cousy led the Eagles to three NIT appearances, including a berth in the 1969 NIT Championship and two National Collegiate Athletic Association tournaments, including the 1967 Eastern Regional Finals.  Cousy grew bored with college basketball and returned to the NBA as coach of the Cincinnati Royals, team of fellow Hall-of-Fame point guard Oscar Robertson. He later said about this engagement, "I did it for the money. I was made an offer I couldn't refuse." In 1970, the 41-year-old Cousy even made a late-season comeback as a player to boost ticket sales. Despite his meager output of 5 points in 34 minutes of playing time in seven games, ticket sales jumped by 77 percent. He continued as coach of the team after it moved from Cincinnati to Kansas City/Omaha, but stepped down as the Kings' coach early in the 1973-74 NBA season with a 141-209 record.  In later life, Cousy was Commissioner of the American Soccer League from 1974 to 1979. He has been a color analyst on Celtics telecasts since the 1980s." In addition, Cousy had a role in the basketball film Blue Chips in 1993, in which he played a college athletic director. Today he is a marketing consultant for the Celtics, and occasionally makes broadcast appearances with Mike Gorman and ex-Celtic teammate Tom Heinsohn.

What was his record as a coach there?

Answer with quotes: he had a record of 117 wins and 38 losses

Question:
Clarence White (born Clarence Joseph LeBlanc; June 7, 1944 - July 14, 1973), was an American bluegrass and country guitarist and singer. He is best known as a member of the bluegrass ensemble the Kentucky Colonels and the rock band the Byrds, as well as for being a pioneer of the musical genre of country rock during the late 1960s. White also worked extensively as a session musician, appearing on recordings by the Everly Brothers, Joe Cocker, Ricky Nelson, Pat Boone, the Monkees, Randy Newman, Gene Clark, Linda Ronstadt, Arlo Guthrie, and Jackson Browne amongst others. Together with frequent collaborator Gene Parsons, he invented the B-Bender, a guitar accessory that enables a player to mechanically bend the B-string up a whole tone and emulate the sound of a pedal steel guitar.
During 1964, White began to look beyond bluegrass music towards rock 'n' roll as an avenue for artistic expression. Although he was influenced by Country guitarists like Doc Watson, Don Reno and Joe Maphis, he also idolized the playing of jazz guitarist Django Reinhardt, rock 'n' roller Chuck Berry, and studio musician James Burton. White even anticipated the viability of a folk/rock hybrid when, in the summer of 1964, he was approached by Jim Dickson to record a version of the then-unreleased Bob Dylan song "Mr. Tambourine Man" with electric instruments. However, despite White's enthusiasm for the project, he was unable to convince his bandmates in the Kentucky Colonels of the experiment's validity and ultimately, the song was instead recorded by Dickson's proteges, the Byrds.  By the time the original line-up of the Kentucky Colonels folded in late 1965, White had become a respected and well-known guitarist. Abandoning bluegrass temporarily, he switched from his Martin D-28 acoustic guitar to an electric Fender Telecaster, with the intention of becoming a studio musician like his hero James Burton. Transitioning to electric guitar required White to modify his right hand playing technique, switch from open chording to fretting the whole guitar neck with his left hand, and practice using the tone and volume controls. However, he soon mastered the intricacies of the instrument and, between 1965 and 1968, he undertook session work for artists including Ricky Nelson, the Monkees, and the Gosdin Brothers.  As 1965 turned into 1966, White met Gene Parsons and Gib Guilbeau at a recording session for the Gosdin Brothers and shortly after, he began to perform live with the duo in local California clubs, as well as doing regular session work on their records, which were released under the moniker of Cajun Gib and Gene. 1966 also saw White begin playing with a country group called Trio, which featured drummer Bart Haney and former Kentucky Colonel, Roger Bush, on bass. In autumn of that year, as a result of his friendship with Gilbeau, Parsons and the Gosdin Brothers, White was asked to provide lead guitar to ex-Byrd Gene Clark's debut solo album, Gene Clark with the Gosdin Brothers. White also briefly joined Clark's touring band shortly thereafter.  During the Clark album sessions, White reconnected with mandolin player and bassist Chris Hillman, who he had known during the early 1960s as a member of the bluegrass combo the Hillmen. Hillman was currently a member of the Byrds and in December 1966, he invited White to contribute countrified lead guitar playing to his songs "Time Between" and "The Girl with no Name", which both appeared on the Byrds' Younger Than Yesterday album. The country-oriented nature of the songs was something of a stylistic departure for the group and can be seen as an early indicator of the experimentation with country music that would color the Byrds' subsequent work. White also contributed guitar to the band's follow-up album, The Notorious Byrd Brothers, and to their seminal 1968 country rock release, Sweetheart of the Rodeo.
Answer this question using a quote from the text above:

Any other songs during this time?

Answer:
Telecaster,