Problem: Background: George Jacob Gershwin (; September 26, 1898 - July 11, 1937) was an American composer and pianist. Gershwin's compositions spanned both popular and classical genres, and his most popular melodies are widely known. Among his best-known works are the orchestral compositions Rhapsody in Blue (1924) and An American in Paris (1928), as well as the contemporary opera Porgy and Bess (1935).
Context: On September 26, 1898, George was born as second son to Morris and Rose Bruskin Gershwine in their second-floor apartment on Brooklyn's Snediker Avenue. His birth certificate identifies him as Jacob Gershwine, with the surname pronounced 'Gersh-vin' in the Russian and Yiddish immigrant community. He had just one given name, contrary to the American practice of giving children both a first and middle name. He was named after his grandfather, a one time Russian army mechanic. He soon became known as George, and changed the spelling of his surname to 'Gershwin' about the time he became a professional musician; other family members followed suit. After Ira and George, another boy Arthur Gershwin (1900-1981), and a girl Frances Gershwin (1906-1999) were born into the family. The family lived in many different residences, as their father changed dwellings with each new enterprise in which he became involved. Mostly, they grew up around the Yiddish Theater District. George and Ira frequented the local Yiddish theaters, with George occasionally appearing onstage as an extra. George lived a usual childhood existence for children of New York tenements: running around with his boyhood friends, roller skating and misbehaving in the streets. Remarkably, until 1908, he cared nothing for music, when as a ten year old he was intrigued upon hearing his friend Maxie Rosenzweig's, violin recital. The sound, and the way his friend played, captured him. At around the same time, George's parents had bought a piano, for lessons, for his older brother Ira, but to his parents' surprise, and Ira's relief, it was George who spent more time playing it. Although his younger sister Frances was the first in the family to make a living through her musical talents, she married young and devoted herself to being a mother and housewife, thus surrendering any serious time to musical endeavors. Having given up her performing career, she settled upon painting as a creative outlet, which had also been a hobby George briefly pursued. Arthur Gershwin followed in the paths of George and Ira, also becoming a composer of songs, musicals, and short piano works. With a degree of frustration, George tried various piano teachers for some two (circa. 1911) before finally being introduced to Charles Hambitzer by Jack Miller (circa. 1913), the pianist in the Beethoven Symphony Orchestra. Until his death in 1918, Hambitzer remained Gershwin's musical mentor and taught him conventional piano technique, introduced him to music of the European classical tradition, and encouraged him to attend orchestral concerts. Following such concerts, young Gershwin would essentially try to play, on the piano at home, the music he had heard from recall, and without sheet music. As a matter of course, Gershwin later studied with the classical composer Rubin Goldmark and avant-garde composer-theorist Henry Cowell, thus formalizing his classical music training.
Question: What side of his family is Russian
Answer: He was named after his grandfather, a one time Russian army mechanic.

Problem: Background: Arnold Jacob Auerbach was one of the four children of Marie and Hyman Auerbach. Hyman was a Russian-Jewish immigrant from Minsk, Russia, and Marie Auerbach, nee Thompson, was American-born. Auerbach Sr. had left Russia when he was 13, and the couple owned a delicatessen store and later went into the dry-cleaning business. Little Arnold spent his whole childhood in Williamsburg, Brooklyn, playing basketball.
Context: Prior to the 1950-51 NBA season, Walter Brown, owner of the Boston Celtics, was desperate to turn around his struggling and financially strapped franchise, which was reeling from a 22-46 record. Brown, in characteristic candor, said to a gathering of local Boston sportswriters, "Boys, I don't know anything about basketball. Who would you recommend I hire as coach?" The group vociferously answered that he get the recently available Auerbach, and Brown complied. In the 1950 NBA draft, Auerbach made some notable moves. First, he famously snubbed Hall-of-Fame New England point guard Bob Cousy in the 1950 NBA draft, infuriating the Boston crowd. He argued that the flashy Cousy lacked the poise necessary to make his team, taunting him as a "local yokel". Second, he drafted African-American Chuck Cooper, the first black player to be drafted by an NBA club. With that, Auerbach effectively broke down the color barrier in professional basketball. In that year, the core of the Celtics consisted of Hall-of-Fame center Ed Macauley, Auerbach's old favorite McKinney, and an unlikely addition, Cousy. Cousy had refused to report to the club that had drafted him (ironically, the Blackhawks, Auerbach's old club), and because his next team (the Chicago Stags) folded, he ended up with the Celtics. With Auerbach's fast-break tactics, the Celtics achieved a 39-30 record but lost in the 1951 NBA Playoffs to the New York Knicks. However, the relationship between Auerbach and Cousy improved when the coach saw that the "Houdini of the Hardwood"--as the spectacular dribbler and flashy passer Cousy was lovingly called--became the first great playmaker of the fledgling NBA. In the following 1951-52 NBA season, Auerbach made a remarkable draft pick of future Hall-of-Fame guard Bill Sharman. With the high-scoring Macauley, elite passer Cousy, and new prodigy Sharman, Auerbach had a core that provided high-octane fast-break basketball. Other notable players who joined the Celtics were forwards Frank Ramsey and Jim Loscutoff. In the next years until 1956, the Celtics would make the playoffs every year, but never won the title. In fact, the Celtics often choked in the playoffs, going a mere 10-17 in the postseason from 1951 through 1956. As Cousy put it: "We would get tired in the end and could not get the ball." As a result, Auerbach sought a defensive big man who could both get easy rebounds, initiate fast breaks, and close out games.
Question: What was believed to be the reason they never won?
Answer:
In fact, the Celtics often choked in the playoffs,