Question: Ann Margaret Veneman (born June 29, 1949) was the Executive Director of UNICEF from 2005 to 2010. Her appointment was announced on January 18, 2005 by UN Secretary-General Kofi Annan. Previously, Veneman was the United States Secretary of Agriculture, the first, and as of 2018 the only, woman to hold that position. Veneman served as USDA Secretary from January 20, 2001 to January 20, 2005, leaving to become the fifth executive director of UNICEF.

Veneman has received several awards and distinctions throughout her career. In 2009 Veneman was named to the Forbes 100 Most Powerful Women list, ranking 46th.  In 2009 she received the Award of Distinction from the University of California Davis College of Agricultural and Environmental Sciences. Veneman is an Honorary Member of Rotary International (2008), received Sesame Workshop's Leadership Award for Children (2006), and a Humanitarian Award from the United Nations Association of New York (2006). In 2004 Veneman was honored with an Honorary Membership with the U.S. State Department's U.S.-Afghan Women's Council and an Honorary Membership with Sigma Alpha Sorority, the national professional agriculture sorority. She was also awarded the Main Street Partnership John Chaffee Award for Distinguished Public Service, the American PVO Partners Award for Service to People in Need, and the Grape & Wine Public Policy Leadership Award. Additional awards include the Richard E. Lyng Award for Public Service (2005), the UC Berkeley Goldman School of Public Policy Alumni of the Year Award (2003), the California State Fair's Agriculturalist of the Year Award (2003), and the National 4-H Alumni Recognition Award. In 2002, Veneman received the California Council for International Trade Golden State Award, the Dutch American Heritage Award, Junior Statesman Foundation Statesman of the Year Award and the United Fresh Fruit & Vegetable Distinguished Service Award. In 2001 Veneman received the Outstanding Woman in International Trade Award, the UC Davis Outstanding Alumna of the Year Award and the Food Research and Action Center Award. In 1995 she received a Cal Aggie Alumni Citation for Excellence and the Kiwanis Club of Greater Modesto National Farm-City Week Award.  Veneman is currently a board member of Malaria No More, a New York-based nonprofit that was launched at the 2006 White House Summit with the goal of ending all deaths caused by malaria. Veneman is also co-chair of Mothers Day Every Day, along with former U.S. President Bill Clinton's Health and Human Services Secretary Donna Shalala. The "campaign was launched by CARE and the White Ribbon Alliance supporting access of basic health care and maternal services for women around the world." Veneman also serves as a board member of the Close Up Foundation, a civic education organization, and has served previously on a number of advisory councils and committees, particularly those involving higher education.  In 2002, Veneman was diagnosed with breast cancer and received successful treatment. Veneman is also a second cousin of Star Wars creator George Lucas.

Using a quote from the above article, answer the following question: Did she do anything else
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Answer: received Sesame Workshop's Leadership Award for Children (2006),


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.

Using a quote from the above article, answer the following question: Did she have a lot of success?
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Answer:
Fischer's first record contract.