Some context: Murray Bookchin (January 14, 1921 - July 30, 2006) was an American social theorist, author, orator, historian, and political philosopher. A pioneer in the ecology movement, Bookchin formulated and developed the theory of social ecology within anarchist, libertarian socialist, and ecological thought. He was the author of two dozen books covering topics in politics, philosophy, history, urban affairs, and ecology. Among the most important were Our Synthetic Environment (1962), Post-Scarcity Anarchism (1971) and The Ecology of Freedom (1982).
Bookchin was critical of class-centered analysis of Marxism and simplistic anti-state forms of libertarianism and liberalism and wished to present what he saw as a more complex view of societies. In The Ecology of Freedom: The Emergence and Dissolution of Hierarchy, he says that: My use of the word hierarchy in the subtitle of this work is meant to be provocative. There is a strong theoretical need to contrast hierarchy with the more widespread use of the words class and State; careless use of these terms can produce a dangerous simplification of social reality. To use the words hierarchy, class, and State interchangeably, as many social theorists do, is insidious and obscurantist. This practice, in the name of a "classless" or "libertarian" society, could easily conceal the existence of hierarchical relationships and a hierarchical sensibility, both of which-even in the absence of economic exploitation or political coercion-would serve to perpetuate unfreedom. Bookchin also points to an accumulation of hierarchical systems throughout history that has occurred up to contemporary societies which tends to determine the human collective and individual psyche: The objective history of the social structure becomes internalized as a subjective history of the psychic structure. Heinous as my view may be to modern Freudians, it is not the discipline of work but the discipline of rule that demands the repression of internal nature. This repression then extends outward to external nature as a mere object of rule and later of exploitation. This mentality permeates our individual psyches in a cumulative form up to the present day-not merely as capitalism but as the vast history of hierarchical society from its inception.
in what way would it produce a dangerous simplification?
A: My use of the word hierarchy in the subtitle of this work is meant to be provocative.

Question: Irving Grant Thalberg (May 30, 1899 - September 14, 1936) was an American film producer during the early years of motion pictures. He was called "The Boy Wonder" for his youth and ability to select scripts, choose actors, gather production staff, and make profitable films, including Grand Hotel, China Seas, Camille, Mutiny on the Bounty, and The Good Earth. His films carved out an international market, "projecting a seductive image of American life brimming with vitality and rooted in democracy and personal freedom," states biographer Roland Flamini.

He found work as an office secretary at Universal Pictures' New York office, and later became personal secretary to the studio's founder and president, Carl Laemmle. Among Thalberg's duties were transcribing and editing notes that Laemmle had written during screenings of his films. He earned $25 weekly, becoming adept at making insightful observations, which impressed Laemmle. Laemmle took Thalberg to see his Los Angeles production facility, where he spent a month watching how movie production worked. Before returning to New York, Laemmle told Thalberg to remain and "keep an eye on things for me." Two months later, Laemmle returned to California, partly to see how well Thalberg was able to handle the responsibilities he was given. Thalberg gave him suggestions, which impressed Laemmle by his ability to understand and explain problems. Thalberg suggested, "The first thing you should do is establish a new job of studio manager and give him the responsibility of watching day-to-day operations." Laemmle immediately agreed, "All right. You're it." In shock, Thalberg replied, "I'm what?" Laemmle told him to take charge of the Los Angeles studio, which he did in early 1919. At age 20, Thalberg became responsible for immediately overseeing the nine ongoing film productions and nearly thirty scenarios then under development. In describing the rationale for this early appointment as studio manager, film historian David Thomson writes that his new job "owed nothing to nepotism, private wealth, or experience in the film industry." He reasons that despite "Thalberg's youth, modest education, and frail appearance . . . it is clear that he had the charm, insight, and ability, or the appearance of it, to captivate the film world." Thalberg was one among the majority of Hollywood film industry workers who migrated from the East Coast, primarily from New York. Some film actors, such as Conrad Nagel, did not like the 5-day train trip or the sudden warmth of the California climate. Neither did Marion Davies, who was not used to such "big wide spaces." Samuel Marx, a close friend of Thalberg's from New York, recalled how easily Thalberg adapted to Southern California, often standing outside his doorway during moments of contemplation to enjoy the scenery. "We were all young," said comedian Buster Keaton. "The air in California was like wine. Our business was also young--and growing like nothing ever seen before."

Using a quote from the above article, answer the following question: What did he do at universal?
HHHHHH
Answer: Thalberg's duties were transcribing and editing notes that Laemmle had written during screenings of his films.

Some context: Clyde Austin "The Glide" Drexler (born June 22, 1962) is an American retired professional basketball player. During his career, he was a ten-time All-Star, and named one of the 50 Greatest Players in NBA History. Drexler won an Olympic gold medal in 1992 as part of the 1992 United States men's Olympic basketball team ("The Dream Team") and an NBA Championship in 1995 with the Houston Rockets. He is a two-time Naismith Memorial Basketball Hall of Fame inductee (being inducted 2004 for his individual career, and in 2010 as a member of the "Dream Team")
Drexler and Young, along with Larry Micheaux and new recruit Hakeem Olajuwon (known then as Akeem Olajuwon), comprised the "Phi Slama Jama" basketball fraternity that gained national attention for its acrobatic, above-the-rim play. New players were "initiated" into the fraternity by having to stand underneath the basket as Drexler drove in from halfcourt and threw down a tomahawk slam over them. Houston made the first of Drexler's two straight Final Four appearances in 1982, where they lost to eventual champions North Carolina. He averaged 15.2 points and 10.5 rebounds (second in the Southwest Conference) per game as a small forward as Houston finished 25-8. The 1982-83 campaign saw Houston return to the Final Four ranked No. 1. They were matched up against No. 2 Louisville and the "Doctors of Dunk" in the semifinals, which Houston won 94-81 following a brilliant dunking display by both sides, including a double-pump slam by Drexler that Sports Illustrated writer Curry Kirkpatrick called "your basic play of the century". He finished with 21 points, seven rebounds and six assists, but in the championship game against North Carolina State, Drexler failed to make an impact after picking up four fouls before halftime, and scored only four points on one-of-five shooting and two free throws in NC State's upset victory. Drexler declared for the NBA draft as a junior, leaving Houston with career averages of 14.4 points, 3.3 assists and 9.9 rebounds in three seasons. In addition to being named the Southwestern Conference Player of the Year and a first-team All American his final season, he remains the only player in school history with combined totals of at least 1,000 career points, 900 rebounds and 300 assists, in addition to being Houston's all-time steals leader with 268.
Did he play with anybody famous?
A:
Larry Micheaux and new recruit Hakeem Olajuwon (known then as Akeem Olajuwon),