Problem: Background: Brian Douglas Wilson (born June 20, 1942) is an American musician, singer, songwriter, and record producer who co-founded the Beach Boys. After signing with Capitol Records in 1962, Wilson wrote or co-wrote more than two dozen Top 40 hits for the group. In addition to his lifelong struggles with mental illness, Wilson is known for his unorthodox approaches to pop composition and mastery of recording techniques, and he is widely acknowledged as one of the most innovative and significant songwriters of the late 20th century. The Beach Boys were formed by Brian, his brothers Carl and Dennis, their cousin Mike Love, and friend Al Jardine.
Context: Recording sessions for the band's first album took place in Capitol's basement studios in the famous tower building in August 1962, but early on Brian lobbied for a different place to cut Beach Boy tracks. The large rooms were built to record the big orchestras and ensembles of the 1950s, not small rock groups. At Brian's insistence, Capitol agreed to let the Beach Boys pay for their own outside recording sessions, to which Capitol would own all the rights, and in return the band would receive a higher royalty rate on their record sales. Additionally, during the taping of their first LP Brian fought for, and won, the right to be in charge of the production - though this fact was not acknowledged with an album liner notes production credit.  In January 1963, the Beach Boys recorded their first top-ten (cresting at number three in the United States) single, "Surfin' U.S.A.", which began their long run of highly successful recording efforts at Hollywood's United Western Recorders on Sunset Boulevard. It was during the sessions for this single that Brian made the production decision from that point on to use double tracking on the group's vocals, resulting in a deeper and more resonant sound. The Surfin' U.S.A. album was also a big hit in the United States, reaching number two on the national sales charts by early July 1963. The Beach Boys had become a top-rank recording and touring band.  Brian was for the first time officially credited as the Beach Boys' producer on the Surfer Girl album, recorded in June and July 1963 and released that September. This LP reached number seven on the national charts, containing singles that were top 15 hits. Feeling that surfing songs had become limiting, Brian decided to produce a set of largely car-oriented tunes for the Beach Boys' fourth album, Little Deuce Coupe, which was released in October 1963, only three weeks after the Surfer Girl LP. The departure of guitarist David Marks from the band that month meant that Brian was forced to resume touring with the Beach Boys, for a time reducing his availability in the recording studio.  For much of the decade, Brian attempted to establish himself as a record producer by working with various artists. On July 20, 1963, "Surf City", which he co-wrote with Jan Berry of Jan and Dean, was his first composition to reach the top of the US charts. The resulting success pleased Brian, but angered both Murry and Capitol Records. Murry went so far as to order his oldest son to sever any future collaborations with Jan and Dean. Brian's other non-Beach Boy work in this period included tracks by the Castells, Donna Loren, Sharon Marie, the Timers, and the Survivors. The most notable group to which Wilson would attach himself in this era would be the Honeys, which Wilson intended as the female counterpart to the Beach Boys, and as an attempt to compete with Phil Spector-led girl groups such as the Crystals and the Ronettes. He continued juggling between recording with the Beach Boys and producing records for other artists, but with less success at the latter--except for Jan and Dean.
Question: Are there any other interesting aspects about this article?
Answer: For much of the decade, Brian attempted to establish himself as a record producer by working with various artists.

Problem: Background: Leonard Guy Ford Jr. (February 18, 1926 - March 14, 1972) was an American football player from 1944 to 1958. He played college football for the University of Michigan and professional football for the Los Angeles Dons, Cleveland Browns and Green Bay Packers. He was inducted into the Pro Football Hall of Fame in 1976 and the University of Michigan Athletic Hall of Honor in 1996. Ford was an all-city athlete at his high school in Washington, D.C., and attended Morgan State University after graduating in 1944.
Context: Despite his accomplishments in college, Ford was passed over in all 32 rounds of the 1948 NFL Draft during a time when most professional teams did not employ African-Americans. (The following year, George Taliaferro became the first African-American to be selected in an NFL draft.) He was selected, however, by the Los Angeles Dons of the rival All-America Football Conference (AAFC) in the third round of its 1948 draft. He signed with the Dons in April 1948.  Playing as a right end opposite Joe Aguirre, Ford had 31 catches for 598 yards and seven touchdowns in 1948. As was the case at Michigan, Ford also worked on defense and was one of the AAFC's most successful pass-rushers. The Dons, meanwhile, finished the regular season with a 7-7 record, good for third place in the AAFC West. Ford played basketball in the off-season for the New York Renaissance, an all-black professional team in the National Basketball League. He did not play basketball at Michigan, the Big Ten Conference having maintained racial segregation of basketball until 1950.  Ford had 36 catches for 577 yards and one touchdown in 1949, while the Dons fell to 4-8. The AAFC struggled financially during Ford's time with the Dons. Its teams competed with NFL franchises for fans' attention and player talent - the Dons shared a city with the NFL's Los Angeles Rams. By late 1949, team owners came to an agreement under which the Cleveland Browns, San Francisco 49ers and Baltimore Colts joined the NFL and the rest of the league's teams, including the Dons, folded.
Question: Was he a starter player?
Answer: