Problem: Background: George Michael Cohan (July 3, 1878 - November 5, 1942), known professionally as George M. Cohan, was an American entertainer, playwright, composer, lyricist, actor, singer, dancer and producer. Cohan began his career as a child, performing with his parents and sister in a vaudeville act known as "The Four Cohans." Beginning with Little Johnny Jones in 1904, he wrote, composed, produced, and appeared in more than three dozen Broadway musicals. Cohan published more than 300 songs during his lifetime, including the standards "Over There", "Give My Regards to Broadway", "The Yankee Doodle Boy" and "You're a Grand Old Flag".
Context: Cohan appeared in 1930 in a revival of his tribute to vaudeville and his father, The Song and Dance Man. In 1932, Cohan starred in a dual role as a cold, corrupt politician and his charming, idealistic campaign double in the Hollywood musical film The Phantom President. The film co-starred Claudette Colbert and Jimmy Durante, with songs by Rodgers and Hart, and was released by Paramount Pictures. He appeared in some earlier silent films but he disliked Hollywood production methods and only made one other sound film, Gambling (1934), based on his own 1929 play and shot in New York City. A critic called Gambling a "stodgy adaptation of a definitely dated play directed in obsolete theatrical technique." It is considered a lost film.  Cohan earned acclaim as a serious actor in Eugene O'Neill's only comedy, Ah, Wilderness! (1933), and in the role of a song-and-dance President Franklin D. Roosevelt in Rodgers and Hart's musical I'd Rather Be Right (1937). The same year, he reunited with Harris to produce a play called Fulton of Oak Falls, starring Cohan. His final play, The Return of the Vagabond (1940), featured a young Celeste Holm in the cast.  In 1940, Judy Garland played the title role in a film version of his 1922 musical Little Nellie Kelly. Cohan's mystery play Seven Keys to Baldpate was first filmed in 1916 and has been remade seven times, most recently as House of Long Shadows (1983), starring Vincent Price. In 1942, a musical biopic of Cohan, Yankee Doodle Dandy, was released, and James Cagney's performance in the title role earned the Best Actor Academy Award. The film was privately screened for Cohan as he battled the last stages of abdominal cancer; Cohan's comment on Cagney's performance was, "My God, what an act to follow!" Cohan's 1920 play The Meanest Man in the World was filmed in 1943 with Jack Benny.
Question: What was the song and dance man
Answer: his father,

Problem: Background: Roberto Mangabeira Unger (; born 24 March 1947) is a philosopher and politician. He has developed his views and positions across many fields, including social, political, and economic theory. In legal theory, he is best known by his work in the 1970s and 80s while at Harvard Law School as part of the Critical Legal Studies movement, which is held to have helped disrupt the methodological consensus in American law schools. His political activity helped the transition to democracy in Brazil in the aftermath of the military regime, and culminated with his appointment as Brazil's Minister of Strategic Affairs in 2007 and again in 2015.
Context: The beginning of Unger's academic career began with the books Knowledge and Politics and Law in Modern Society, published in 1975 and 1976 respectively. These works led to the co-founding of Critical Legal Studies (CLS) with Duncan Kennedy and Morton Horwitz. The movement stirred up controversy in legal schools across America as it challenged standard legal scholarship and made radical proposals for legal education. By the early 1980s, the CLS movement touched off a heated internal debate at Harvard, pitting the CLS scholars against the older, more traditional scholars.  Throughout much of the 1980s, Unger worked on his magnum opus, Politics: A Work In Constructive Social Theory, a three volume work that assessed classical social theory and developed a political, social, and economic alternative. The series is based on the premise of society as an artifact, and rejects the necessity of certain institutional arrangements. Published in 1987, Politics was foremost a critique of contemporary social theory and politics; it developed a theory of structural and ideological change, and gave an alternative account of world history. By first attacking the idea that there is a necessary progression from one set of institutional arrangements to another, e.g. feudalism to capitalism, it then built an anti-necessitarian theory of social change, theorizing the transition from one set of institutional arrangements to another.  Unger devoted much of the following decades to further elaborating on the insights developed in Politics by working out the political and social alternatives. What Should Legal Analysis Become? (Verso, 1996) developed tools to reimagine the organization of social life. Democracy Realized: The Progressive Alternative (Verso, 1998) and What Should the Left Propose? (Verso, 2005) put forth alternative institutional proposals.
Question: Did he finish his magnum opus?
Answer: a three volume work that assessed classical social theory and developed a political, social, and economic alternative. The series is based on the premise of society as an artifact,

Problem: Background: Thomas Stephen Szasz ( SAHSS; Hungarian: Szasz Tamas Istvan [sa:s]; 15 April 1920 - 8 September 2012) was a Hungarian-American academic, psychiatrist and psychoanalyst. He served for most of his career as professor of psychiatry at the State University of New York Upstate Medical University in Syracuse, New York.
Context: If we accept that "mental illness" is a euphemism for behaviors that are disapproved of, then the state has no right to force psychiatric "treatment" on these individuals. Similarly, the state should not be able to interfere in mental health practices between consenting adults (for example, by legally controlling the supply of psychotropic drugs or psychiatric medication). The medicalization of government produces a "therapeutic state", designating someone as, for example, "insane" or as a "drug addict".  In Ceremonial Chemistry (1973), he argued that the same persecution that targeted witches, Jews, gypsies, and homosexuals now targets "drug addicts" and "insane" people. Szasz argued that all these categories of people were taken as scapegoats of the community in ritual ceremonies. To underscore this continuation of religion through medicine, he even takes as example obesity: instead of concentrating on junk food (ill-nutrition), physicians denounced hypernutrition. According to Szasz, despite their scientific appearance, the diets imposed were a moral substitute to the former fasts, and the social injunction not to be overweight is to be considered as a moral order, not as a scientific advice as it claims to be. As with those thought bad (insane people), and those who took the wrong drugs (drug addicts), medicine created a category for those who had the wrong weight (obesity).  Szasz argued that psychiatrics were created in the 17th century to study and control those who erred from the medical norms of social behavior; a new specialization, drogophobia, was created in the 20th century to study and control those who erred from the medical norms of drug consumption; and then, in the 1960s, another specialization, bariatrics, was created to deal with those who erred from the medical norms concerning the weight the body should have. Thus, he underscores that in 1970, the American Society of Bariatric Physicians (from the Greek baros baros, for "weight") had 30 members, and already 450 two years later.
Question: What is interesting about this article?
Answer:
he argued that the same persecution that targeted witches, Jews, gypsies, and homosexuals now targets "drug addicts" and "insane" people.