input: As the Old Deluder Satan Act and other Massachusetts School Laws attest, early education even under state control in Massachusetts had a clear religious intent. However, by the time of Mann's leadership in education, various developments (including a vibrant populist Protestant faith and increased religious diversity) fostered a secular school system with a religiously passive stance. While Mann affirmed that "our Public Schools are not Theological Seminaries" and that they were "debarred by law from inculcating the peculiar and distinctive doctrines of any one religious denomination amongst us ... or all that is essential to religion or to salvation," he assured those who objected to this secular nature that "our system earnestly inculcates all Christian morals; it founds its morals on the basis of religion; it welcomes the religion of the Bible; and, in receiving the Bible, it allows it to do what it is allowed to do in no other system--to speak for itself. But here it stops, not because it claims to have compassed all truth; but because it disclaims to act as an umpire between hostile religious opinions." Mann stated that this position resulted in a near-universal use of the Bible in the schools of Massachusetts and that this served as an argument against the assertion by some that Christianity was excluded from his schools, or that they were anti-Christian. Mann also once stated that "it may not be easy theoretically, to draw the line between those views of religious truth and of Christian faith which is common to all, and may, therefore, with propriety be inculcated in schools, and those which, being peculiar to individual sects, are therefore by law excluded; still it is believed that no practical difficulty occurs in the conduct of our schools in this regard." Rather than sanctioning a particular church as was often the norm in many states, the Legislature proscribed books "calculated to favor the tenets of any particular set of Christians.

Answer this question "Was Mann well known to a lot of people?"
output:

input: Inspired by a 1979 news story about Elmore City, Oklahoma, a town which had finally lifted an 80-year-old ban on dancing, Pitchford wrote the screenplay for the motion picture Footloose (1984). He collaborated on the nine-song score with Kenny Loggins, Eric Carmen, Jim Steinman, Sammy Hagar and others. The film, directed by Herbert Ross, opened at #1 and was, at the time, the highest-grossing February release in film history. When the soundtrack album hit #1 on the Billboard album charts, it deposed Michael Jackson's Thriller and held that position for 10 weeks. It went on top charts all over the world, eventually selling more than 17 million albums. Kenny Loggins's single of the title song hit #1 on March 31, 1984, and stayed there for three weeks. Five weeks later (May 26, 1984) Deniece Williams's "Let's Hear It for the Boy" went to #1, as well. Four more songs from the soundtrack charted in the Top 40; "Almost Paradise," which reached #7, was co-written with Eric Carmen, and was performed by Mike Reno of Loverboy and Ann Wilson of Heart; "Dancing in the Sheets," which reached #17, was co-written with Bill Wolfer, and was performed by Shalamar; "I'm Free (Heaven Helps the Man)," which reached #22 and, like the film's title track, was co-written with, and performed by, Kenny Loggins; and "Holding Out for a Hero," which reached #34, was co-written with Jim Steinman, and was performed by Bonnie Tyler. "Footloose" was nominated for a Golden Globe as Best Song; and "Footloose" and "Let's Hear It for the Boy" (co-written with Tom Snow) both received Academy Awards nominations (1985). Pitchford received two Grammy nominations: Best Soundtrack Album for a Motion Picture, Television or Other Visual Media, and Best R&B Song "Dancing in the Sheets." Paramount Pictures's remake of Footloose, which was again based on Pitchford's original screenplay and featured six of his songs, was released in October 2011. Blake Shelton had a hit with his re-recording of the title song. Next Pitchford wrote the screenplay of, and collaborated on the authorship and composition of all the songs for, the 1989 musical film Sing.

Answer this question "Did he have any influencers?"
output: He collaborated on the nine-song score with Kenny Loggins, Eric Carmen, Jim Steinman, Sammy Hagar and others.

input: Turner was replaced by bassist and vocalist John Wetton, formerly of Family, King Crimson, Roxy Music, Uriah Heep and UK. Number the Brave was released in April 1981 and featured Wetton's lead vocals on just one song, although during album sessions he had offered songs such as "Here Comes the Feeling" that would eventually sell millions when released on Asia's 1982 debut album. Wetton did not continue with Wishbone Ash beyond the album sessions and rejoined Asia. Wetton was replaced on the Number the Brave tour by the former Uriah Heep bassist Trevor Bolder. Also joining the band was female backing vocalist, Claire Hamill, who had sung on both the Just Testing and Number the Brave albums. In 1982, after Hamill's departure, the band experimented with heavy metal on the Twin Barrels Burning album. It became the highest charting Wishbone Ash album in years (UK #22). Bolder left the group to rejoin Uriah Heep in 1983, to be replaced by bassist/vocalist Mervyn Spence (ex-Trapeze). The group continued with a heavy metal side on 1985's Raw to the Bone, which became the first Wishbone Ash album not to make the charts. Not long after, Wisefield left after serving as guitarist in the band for eleven years, going on to a varied career that would include work with Tina Turner, Joe Cocker, Roger Chapman, Jeff Wayne and the Queen musical We Will Rock You. He was replaced by Jamie Crompton, who in turn was succeeded briefly by Phil Palmer. Early in 1986, Mervyn Spence quit as well, to be replaced by ex-Kinks bassist Andy Pyle.

Answer this question "Did the band release any albums with the new lineups?"
output:
In 1982, after Hamill's departure, the band experimented with heavy metal on the Twin Barrels Burning album.