Background: Slavoj Zizek ( ( listen) SLAH-voy ZHIZH-ek; Slovene: ['slavoj 'ZiZek]; born 21 March 1949) is a Slovenian continental philosopher. He is a senior researcher at the Institute for Sociology and Philosophy at the University of Ljubljana, Global Distinguished Professor of German at New York University, and international director of the Birkbeck Institute for the Humanities of the University of London. He works in subjects including continental philosophy, political theory, cultural studies, psychoanalysis, film criticism, Marxism, Hegelianism and theology. In 1989, Zizek published his first English text, The Sublime Object of Ideology, in which he departed from traditional Marxist theory to develop a materialist conception of ideology that drew heavily on Lacanian psychoanalysis and Hegelian idealism.
Context: Zizek argues: The state is a system of regulatory institutions that shape our behavior. Its power is purely symbolic and has no normative force outside of collective behavior. In this way, the term the law signifies society's basic principles, which enable interaction by prohibiting certain acts. Political decisions have become depoliticized and accepted as natural conclusions. For example, controversial policy decisions (such as reductions in social welfare spending) are presented as apparently "objective" necessities. Although governments make claims about increased citizen participation and democracy, the important decisions are still made in the interests of capital. The two-party system dominant in the United States and elsewhere produces a similar illusion. It is still necessary to engage in particular conflicts - such as labor disputes - but the trick is to relate these individual events to the larger struggle. Particular demands, if executed well, might serve as metaphorical condensation for the system and its injustices. The real political conflict is between an ordered structure of society and those without a place in it. In stark contrast to the intellectual tenets of the European "universalist Left" in general, and those Jurgen Habermas defined as postnational in particular, pro-sovereignty and pro-independence processes opened in Europe are good. The postmodern subject is cynical toward official institutions, yet at the same time believes in conspiracies. When we lost our shared belief in a single power, we constructed another of the Other in order to escape the unbearable freedom that we faced. It is not enough to merely know that you are being lied to, particularly when continuing to live a normal life under capitalism. For example, that despite people being aware of ideology, they may continue to act as automata, mistakenly believing that they are thereby expressing their radical freedom. Although one may possess a self-awareness, just because one understands what one is doing does not mean that one is doing the right thing. Religion is not an enemy but rather one of the fields of struggle. Atheism is good. Religious fundamentalists are, in a way, no different from "godless Stalinist Communists." They both value divine will and salvation over moral or ethical action.
Question: what is the most important fact in this article?
Answer: controversial policy decisions (such as reductions in social welfare spending) are presented as apparently "objective" necessities.

Background: Patricia Sue Summitt (nee Head; June 14, 1952 - June 28, 2016) was an American women's college basketball head coach who accrued 1,098 career wins, the most in college basketball history upon her retirement. She served as the head coach of the University of Tennessee Lady Vols basketball team from 1974 to 2012, before retiring at age 59 because of a diagnosis of early-onset Alzheimer's disease. She won eight NCAA championships (a NCAA women's record when she retired) and the third most all time. Summitt won a silver medal at the 1976 Summer Olympics in Montreal as a member of the United States women's national basketball team.
Context: Summitt was born Patricia Sue Head on June 14, 1952 in Clarksville, Tennessee, the daughter of Richard and Hazel Albright Head. In her early years, she was known as Trish. She had four siblings: older brothers Tommy, Charles, and Kenneth, and a younger sister, Linda. She married Ross Barnes Summitt II in 1980 from whom she filed for divorce in 2007. They have one son, Ross Tyler Summitt, born in 1990. When Summitt was in high school, her family moved to nearby Henrietta, so she could play basketball in Cheatham County because Clarksville did not have a girls team. From there, Summitt went to University of Tennessee at Martin where she was a member of Chi Omega Sorority and won All-American honors, playing for UT-Martin's first women's basketball coach, Nadine Gearin. In 1970, with the passage of Title IX still two years away, there were no athletic scholarships for women. Each of Summitt's brothers had gotten an athletic scholarship, but her parents had to pay her way to college. She later co-captained the United States women's national basketball team as a player at the inaugural women's tournament in the 1976 Summer Olympics, winning the silver medal. Eight years later in 1984, she coached the U.S. women's team to an Olympic gold medal, becoming the first U.S. Olympian to win a basketball medal and coach a medal-winning team. Tyler Summitt, who played as a walk-on for the Tennessee men's basketball team, graduated from Tennessee in May 2012, was hired as an assistant coach by the Marquette University women's team effective with the 2012-13 season. In what ESPN.com columnist Gene Wojciechowski called "a bittersweet irony", Tyler's hiring by Marquette was announced on the same day his mother announced her retirement.
Question: Did she play any sports growing up?
Answer: basketball

Background: Sylvia Jane Hutton (nee Kirby, born December 9, 1956), known simply by her first name Sylvia during the 1980s, is an American country music and country pop singer and songwriter. Some original source books have her birth name as Sylvia Kirby Allen; however, Allen was her first husband's last name. She consequently used only her first name. There was also a point in time that she used Sylvia Rutledge.
Context: The release of her fourth album, Surprise, spurred her second foray into the Adult Contemporary charts, but neither its sound, nor her newly shorn locks courtesy Francesco Scavullo, were well received in country music. Surprise was the last of Sylvia's first four albums to be produced by Tom Collins, who also produced Mandrell, Charley Pride, and Ronnie Milsap. They have been described by critics as too slick for country music. Her following album, One Step Closer, produced by The Judds' producer Brent Maher, had a more guitar-driven feel to it as opposed to her previously more orchestrated affairs. It was followed up by Sylvia's last top 40 country hit, "Nothin' Ventured, Nothin' Gained", from the unreleased album Knockin Around. The shelving of this album marked the end of Sylvia's tenure with RCA Records. The label did release a Greatest Hits compilation and a single from it titled "Straight from my Heart" (written with Jimmy Fortune of The Statler Brothers). The record received little promotion from RCA and the single charted in the low 60s. In the late 1980s, RCA began streamlining its roster of country-pop artists and the casualties included Sylvia, Dolly Parton, Louise Mandrell, Deborah Allen, Juice Newton, John Denver and Kenny Rogers. Over an eight-year period, Sylvia crisscrossed America many times with her popular concert performances (over 200 per year), and she was a frequent guest on network television talk shows and specials -- from The Today Show and Good Morning, America to Dick Clark's American Bandstand and the Country Music Awards. Her decision to stop touring and recording at the end of the 1980s was not fueled by the grueling schedule, as some might guess, but by her desire to bring more of herself to the music, she turned her energies to songwriting.
Question: Are there any other interesting aspects about this article?
Answer:
Her following album, One Step Closer, produced by The Judds' producer Brent Maher, had a more guitar-driven feel to it as opposed to her previously