Question: Jim McLean was born into a working-class family in Larkhall, Lanarkshire on 2 August 1937, the second of three sons of Tom and Annie McLean, and grew up in the nearby village of Ashgill. His maternal grandfather William Yuille had been a professional footballer, playing for Rangers before the First World War. Tom McLean, a baker, had been a promising junior footballer before joining the Plymouth Brethren when he married. The three brothers, Willie, Jim and Tommy, who all went on to become professional football players and managers, had a strict religious upbringing.

After he had been coaching at Dundee for 18 months, the club's local rivals Dundee United offered McLean the position of manager to replace the retiring Jerry Kerr in December 1971. He accepted the offer and began his managerial career at the age of 34. McLean immediately started a co-ordinated youth policy which was to produce many fine young players over the two decades which followed. In the short term, he used his knowledge of the Scottish scene to buy experienced players who would allow him to re-shape both the squad and the style of play in line with his approach to coaching. Initially, the club's league form was average, remaining mostly mid-table for the next few years. McLean's first hint of the success he would later achieve was leading the club to its first Scottish Cup final in 1974 and, despite defeat, it proved an important psychological step in McLean's and the club's development. The success of the Cup run was built upon the following season with a finish of fourth place, the club's best finish in the First Division before league restructuring. As McLean's youth policy began to bear fruit, the first of a number of talented young players began to emerge. McLean decided that his team should mount a challenge for the League championship in 1978-79, something of which the club, who had long lived in the shadow of McLean's former employers and rivals Dundee, had never previously proved capable of but after a poor finish in the first season of the new Premier Division, United started to prove that they were serious contenders for domestic honours. In December 1979, McLean guided his team to triumph in the League Cup and retained it a year later. At the same time as the club was enjoying a high standing Scottish football, McLean was gradually building the club's reputation in Europe, with wins over sides like Barcelona, AS Monaco, Borussia Monchengladbach, PSV Eindhoven, Anderlecht and Werder Bremen.

Using a quote from the above article, answer the following question: How did his team do
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Answer: McLean immediately started a co-ordinated youth policy which was to produce many fine young players over the two decades which followed.

Problem: Samuel Dale Brownback (born September 12, 1956) is an American lawyer, politician, diplomat and the current United States Ambassador-at-Large for International Religious Freedom since 2018. Brownback previously served as the 46th Governor of Kansas, as a U.S. Senator from Kansas, as a member of the U.S. House of Representatives, and as the Secretary of Agriculture of Kansas. A member of the Republican Party, he was elected to the U.S. House of Representatives during the Republican Revolution of 1994, representing Kansas's 2nd congressional district for a single term, before running in a 1996 special election for the U.S. Senate seat previously held by Bob Dole. He won the special election and the following two regular elections, serving until 2011.

Brownback signed three anti-abortion bills in 2011. In April 2011, he signed a bill banning abortion after 21 weeks, and a bill requiring that a doctor get a parent's notarized signature before providing an abortion to a minor. In May 2011, Brownback approved a bill prohibiting insurance companies from offering abortion coverage as part of general health plans unless the procedure is necessary to save a woman's life. The law also prohibits any health-insurance exchange in Kansas established under the federal Affordable Care Act from offering coverage for abortions other than to save a woman's life. A Kansas budget passed with Brownback's approval in 2011 blocked Planned Parenthood of Kansas and Mid-Missouri from receiving family planning funds from the state. The funding amounted to about $330,000 a year. A judge has blocked the budget provision, ordered Kansas to begin funding the organization again, and agreed with Planned Parenthood that it was being unfairly targeted. In response, the state filed an appeal seeking to overturn the judge's decision. Brownback has defended anti-abortion laws in Kansas, including the Planned Parenthood defunding. "You can't know for sure what all comes out of that afterwards, but it was the will of the Legislature and the people of the state of Kansas", Brownback said. In May 2012, Brownback signed the Health Care Rights of Conscience Act, which "will allow pharmacists to refuse to provide drugs they believe might cause an abortion". In April 2013, Brownback signed a bill that blocked tax breaks for abortion providers, banned sex-selection abortions and declared that life begins at fertilization. The law notes that any rights suggested by the language are limited by U.S. Supreme Court decisions. On April 7, 2015, Brownback signed The Unborn Child Protection From Dismemberment Abortion Act, which bans the most common technique used for second-trimester abortions. This made Kansas the first state to do so.

Did he face any opposition?

Answer with quotes: A judge has blocked the budget provision, ordered Kansas to begin funding the organization again, and agreed with Planned Parenthood that it was being unfairly targeted.

Problem: Michael Bennett (April 8, 1943 - July 2, 1987) was an American musical theatre director, writer, choreographer, and dancer. He won seven Tony Awards for his choreography and direction of Broadway shows and was nominated for an additional eleven. Bennett choreographed Promises, Promises, Follies and Company. In 1976, he won the Tony Award for Best Direction of a Musical and the Tony Award for Best Choreography for the musical A Chorus Line.

Unlike his more famous contemporary Bob Fosse, Bennett was not known for a particular choreographic style. Instead, Bennett's choreography was motivated by the form of the musical involved, or the distinct characters interpreted. In Act 2 of Company, Bennett defied the usual choreographic expectations by deliberately taking the polish off the standard Broadway production number. The company stumbled through the steps of a hat and cane routine ("Side By Side") and thus revealed to the audience the physical limitations of the characters' singing and dancing. Bennett made the audience aware that this group had been flung together to perform, and that they were in over their heads. He intended the number to be not about the routine, but rather the characters behind it. The song "One" from A Chorus Line functions in a different way. The various phases of construction/rehearsal of the number are shown, and because the show is about professional dancers, the last performance of the song-and-dance routine has all the gloss and polish expected of Broadway production values. Bennett's choreography also reveals the cost of the number to the people behind it. Bennett was influenced by the work of Jerome Robbins. "What Michael Bennett perceived early in Robbins' work was totality, all the sums of a given piece adding to a unified whole". In Dreamgirls, Bennett's musical staging was described as a "mesmerizing sense of movement": The most thrilling breakthrough of the extraordinary show is that whereas in A Chorus Line Michael Bennett choreographed the cast, in Dreamgirls he has choreographed the set.... Bennett's use of [the plexiglass towers that dominated the set] was revolutionary. The towers moved to create constantly changing perspectives and space, like an automated ballet.... They energized the action, driving it forcefully along. It's why there were no set-piece dance routines in the show: Dance and movement were organic to the entire action. But Bennett had made the mechanical set his dancers."

and what else?

Answer with quotes:
and thus revealed to the audience the physical limitations of the characters' singing and dancing.