Answer the question at the end by quoting:

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."

What did they do instead?

The company stumbled through the steps of a hat and cane routine ("Side By Side") and

Answer the question at the end by quoting:

Simon was born in Washington, D.C., the son of Dorothy Simon (nee Ligeti), a homemaker, and Bernard Simon, a former journalist and then public relations director for B'nai B'rith for 20 years. In March 1977, when Simon was still in high school, Simon's father was one of a group of over 140 people held hostage (and later released) in Washington, D.C. by former national secretary of the Nation of Islam Hamaas Abdul Khaalis in the Hanafi Siege. Simon was raised in a Jewish family with roots that originated in Eastern Europe and Hungary (his maternal grandfather had changed his surname from "Leibowitz" to "Ligeti"). He has a brother, Gary Simon, and a sister, Linda Evans, who died in 1990.
Upon leaving college, Simon worked as a police reporter at The Baltimore Sun from 1982 to 1995. He spent most of his career covering the crime beat. A colleague has said that Simon loved journalism and felt it was "God's work". Simon says that he was initially altruistic and was inspired to enter journalism by the Washington Post's coverage of Watergate but became increasingly pragmatic as he gained experience. Later in his career he aimed to tell the best possible story without "cheating it". Simon was a union captain when the writing staff went on strike in 1987 over benefit cuts. He remained angry after the strike ended and began to feel uncomfortable in the writing room. He searched for a reason to justify a leave of absence and settled on the idea of writing a novel. "I got out of journalism because some sons of bitches bought my newspaper and it stopped being fun," says Simon. In an interview in Reason in 2004, Simon said that since leaving the newspaper business he has become more cynical about the power of journalism. "One of the sad things about contemporary journalism is that it actually matters very little. The world now is almost inured to the power of journalism. The best journalism would manage to outrage people. And people are less and less inclined to outrage," said Simon. "I've become increasingly cynical about the ability of daily journalism to effect any kind of meaningful change. I was pretty dubious about it when I was a journalist, but now I think it's remarkably ineffectual." In 1988, disillusioned, Simon took a year's leave to go into the Baltimore Police Department Homicide Unit to write a book.

did he have any troubles during the Baltimore sun?

". Simon says that he was initially altruistic and was inspired to enter journalism by the Washington Post's coverage of Watergate but became increasingly pragmatic as he gained experience.

Answer the question at the end by quoting:

William Miller Edwards (June 21, 1905 - June 12, 1987) was an American football player and coach. He served as the head football coach at Western Reserve University, Vanderbilt University and Wittenberg University in a career lasting more than 30 years, compiling a win-loss-tie record of 168-45-8. Edwards also coached the Detroit Lions of the National Football League (NFL) from 1941 to 1942, tallying a 4-9-1 record, and served as an assistant coach for the NFL's Cleveland Browns in the late 1940s. Raised near Massillon, Ohio, Edwards was the son of an immigrant from Wales who worked in the area's coal mines.
Having built a strong record at Western Reserve, Edwards was in the running for head coaching roles at a number of larger universities and professional teams. He met with officials at Marquette University and was considered a candidate for coaching duties at Colorado University and for the National Football League's Detroit Lions. After visiting with Lions owner Fred Mandel, Edwards ultimately was hired in February 1941 to succeed George Clark. Both Edwards and Dugan Miller signed two-year contracts. Edwards was given a $10,000 annual salary ($166,380 in 2017 dollars), more than double the $4,420 he was paid at Western Reserve. Edwards's stint as the Lions coach was unsuccessful. He guided the team to a 4-6-1 record in 1941, and Mandel fired him after three straight losses to begin the 1942 season as the team's roster was depleted by players' service in World War II. Detroit went on to lose all the rest of its games after John Karcis was named his replacement. Edwards enlisted in the U.S. Navy later in 1942 as America's involvement in the war intensified. While in the military, he served at St. Mary's Pre-Flight, a training program in California, and coached the Air Devils football team there. He also served at a base in Pensacola, Florida. Edwards was discharged in 1946, and spent a year in the sporting goods business in Cleveland, Ohio before reuniting with Brown, who had become the first coach of the Cleveland Browns in the All-America Football Conference (AAFC). Edwards took a position as a tackle coach and remained with the team for two seasons. He coached tackles including Ernie Blandin, Lou Rymkus and future Pro Football Hall of Fame member Lou Groza. The Browns won the AAFC championship in both of Edwards's years as an assistant; the team won all of its games in 1948, turning in professional football's first perfect season.

How was he involved in the military?
he served at St. Mary's Pre-Flight,