Question: Paterno was born December 21, 1926, in Brooklyn, New York, the son of Florence de LaSalle Cafiero, a homemaker, and Angelo Lafayette Paterno, a law clerk. His family was of Italian ancestry. He spoke throughout his life with a marked Brooklyn accent. In 1944, Paterno graduated from Brooklyn Preparatory School.

Paterno was a long-time advocate for some type of college football playoff system. The question was posed to him frequently over the years, as only one of his five undefeated teams was voted national champion.  Paterno believed that scholarship college athletes should receive a modest stipend, so that they have some spending money. As justification, Paterno pointed out that many scholarship athletes came from poor families and that other students had time to hold down a part-time job, whereas busy practice and conditioning schedules prevented college athletes from working during the school year.  Paterno initially preferred not to play true freshmen, but later in his career he did play redshirts in order to refrain from being at a competitive disadvantage. Some Penn State recruits, like recruits at many other schools, now graduate from high school a semester early so that they can enroll in college during the spring semester and participate in spring practice. Several team members from the recruiting class of 2005, including Justin King, Anthony Scirrotto, and Derrick Williams, received considerable playing time as true freshmen during the 2005-2006 season.  In 2010, Paterno and former Chicago Bears head coach Mike Ditka suggested that concussions and other injuries in the NFL and college football might be reduced if face masks were eliminated.  Penn State's football players were twice recognized for outstanding academic performance by the New America Foundation's Academic Bowl Championship Series while under the leadership of Paterno. The team was ranked number one out of the top 25 ranked BCS teams in 2009 and 2011. The criteria in the rankings include the graduation rate of the team as compared to the rest of university, the difference between the graduation rate of African-American players and the rest of the squad as well as the same statistics for the rest of the students at Penn State, and the graduation rate differences between the African American players and students.

Using a quote from the above article, answer the following question: what issues did Joe have with college football?
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Answer: Paterno believed that scholarship college athletes should receive a modest stipend,


Question: Barton Fink is a 1991 American period film written, produced, directed and edited by the Coen brothers. Set in 1941, it stars John Turturro in the title role as a young New York City playwright who is hired to write scripts for a film studio in Hollywood, and John Goodman as Charlie, the insurance salesman who lives next door at the run-down Hotel Earle. The Coens wrote the screenplay for Barton Fink in three weeks while experiencing difficulty during the writing of Miller's Crossing. They began filming the former soon after Miller's Crossing was finished.

In 1989, filmmakers Joel and Ethan Coen began writing the script for a film eventually released as Miller's Crossing. The many threads of the story became complicated, and after four months they found themselves lost in the process. Although biographers and critics later referred to it as writer's block, the Coen brothers rejected this description. "It's not really the case that we were suffering from writer's block," Joel said in a 1991 interview, "but our working speed had slowed, and we were eager to get a certain distance from Miller's Crossing." They went from Los Angeles to New York and began work on a different project.  In three weeks, the Coens wrote a script with a title role written specifically for actor John Turturro, with whom they'd been working on Miller's Crossing. The new film, Barton Fink, was set in a large, seemingly-abandoned hotel. This setting, which they named the Hotel Earle, was a driving force behind the story and mood of the new project. While filming their 1984 film Blood Simple in Austin, Texas, the Coens had seen a hotel which made a significant impression: "We thought, 'Wow, Motel Hell.' You know, being condemned to live in the weirdest hotel in the world."  The writing process for Barton Fink was smooth, they said, suggesting that the relief of being away from Miller's Crossing may have been a catalyst. They also felt satisfied with the overall shape of the story, which helped them move quickly through the composition. "Certain films come entirely in one's head; we just sort of burped out Barton Fink." While writing, the Coens created a second leading role with another actor in mind: John Goodman, who had appeared in their 1987 comedy Raising Arizona. His new character, Charlie, was Barton's next-door neighbor in the cavernous hotel. Even before writing, the Coens knew how the story would end, and wrote Charlie's final speech at the start of the writing process.  The script served its diversionary purpose, and the Coens put it aside: "Barton Fink sort of washed out our brain and we were able to go back and finish Miller's Crossing." Once production of the first film was finished, the Coens began to recruit staff to film Barton Fink. Turturro looked forward to playing the lead role, and spent a month with the Coens in Los Angeles to coordinate views on the project: "I felt I could bring something more human to Barton. Joel and Ethan allowed me a certain contribution. I tried to go a little further than they expected."  As they designed detailed storyboards for Barton Fink, the Coens began looking for a new cinematographer, since their associate Barry Sonnenfeld - who had filmed their first three films - was occupied with his own directorial debut, The Addams Family. The Coens had been impressed with the work of English cinematographer Roger Deakins, particularly the interior scenes of the 1988 film Stormy Monday. After screening other films he had worked on (including Sid and Nancy and Pascali's Island), they sent a script to Deakins and invited him to join the project. His agent advised against working with the Coens, but Deakins met with them at a cafe in Notting Hill and they soon began working together on Barton Fink.

Using a quote from the above article, answer the following question: how did they feel about that?
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Answer:
"but our working speed had slowed, and we were eager to get a certain distance from Miller's Crossing."