Some context: Sgt. Pepper's Lonely Hearts Club Band is the eighth studio album by English rock band the Beatles. Released on 26 May 1967 in the United Kingdom and 2 June 1967 in the United States, it was an immediate commercial and critical success, spending 27 weeks at the top of the UK albums chart and 15 weeks at number one in the US. On release, the album was lauded by the vast majority of critics for its innovations in music production, songwriting and graphic design, for bridging a cultural divide between popular music and high art, and for providing a musical representation of its generation and the contemporary counterculture.
In November 1966, during a return flight to London from Kenya, where he had been on holiday with Beatles tour manager Mal Evans, McCartney had an idea for a song that eventually formed the impetus of the Sgt. Pepper concept. His idea involved an Edwardian-era military band, for which Evans invented a name in the style of contemporary San Francisco-based groups such as Big Brother and the Holding Company and Quicksilver Messenger Service. In February 1967, McCartney suggested that the Beatles should record an entire album that would represent a performance by the fictional band. This alter ego group would give them the freedom to experiment musically. He explained: "I thought, let's not be ourselves. Let's develop alter egos." Martin remembered:  "Sergeant Pepper" itself didn't appear until halfway through making the album. It was Paul's song, just an ordinary rock number ... but when we had finished it, Paul said, "Why don't we make the album as though the Pepper band really existed, as though Sergeant Pepper was making the record? We'll dub in effects and things." I loved the idea, and from that moment on it was as though Pepper had a life of its own.  In 1966, the American musician and bandleader Brian Wilson's growing interest in the aesthetics of recording and his admiration for both record producer Phil Spector's Wall of Sound and the Beatles' album Rubber Soul resulted in the Beach Boys' Pet Sounds LP, which demonstrated his production expertise and his mastery of composition and arrangement. The author Thomas MacFarlane credits the release with influencing many musicians of the time, with McCartney in particular singing its praises and drawing inspiration to "expand the focus of the Beatles' work with sounds and textures not usually associated with popular music". McCartney thought that his constant playing of the album made it difficult for Lennon to "escape the influence", adding: "It's very cleverly done ... so we were inspired by it and nicked a few ideas." Martin stated: "Without Pet Sounds, Sgt. Pepper never would have happened ... Pepper was an attempt to equal Pet Sounds."  Freak Out! by the Mothers of Invention has also been cited as having influenced Sgt. Pepper. According to the author Philip Norman, during the Sgt. Pepper recording sessions McCartney repeatedly stated: "This is our Freak Out!" The music journalist Chet Flippo states that McCartney was inspired to record a concept album after hearing Freak Out!, considered the first rock concept album.
What inspired the album Sgt. Pepper's Lonely Hearts Club Band?
A: during a return flight to London from Kenya, where he had been on holiday with Beatles tour manager Mal Evans,

Question: Allen was born in San Francisco, California, to George Allen and Margaret Theresa ("Molly") Allen (nee Darragh; later Mrs. Edward Pidgeon), who were both of Irish Catholic extraction. She made her first appearance on stage at age three and was given her first role on the radio by Eddie Cantor. She was educated at the Star of the Sea Convent School and during that time became a talented dancer.

In the early 1930s, Burns and Allen made several short films, preserving several of their classic vaudeville routines on celluloid. They also made two films with W. C. Fields--International House (1933) and Six of a Kind (1934). In 1937, Burns and Allen starred with Fred Astaire in A Damsel in Distress, a musical with an original score by George Gershwin, which introduced the song "A Foggy Day". It was Astaire's first RKO film without dancing partner Ginger Rogers.  Astaire's co-star Joan Fontaine was not a dancer, and he was reluctant to dance on screen alone. He also felt the script needed more comic relief to enhance the overall appeal of the film. Burns and Allen had each worked in vaudeville as dancers ("hoofers") before forming their act, and when word of the project reached them, they called Astaire and he asked them to audition.  Burns contacted an act he had once seen that performed a dance using brooms. For the next several weeks, he and Allen worked at home to learn the complicated routine for their audition. When they presented the "Whisk Broom Dance" to Astaire, he was so taken by it, that he had them teach it to him and it was added to the film. Their talents were further highlighted as they matched Astaire step by step in the demanding "Funhouse Dance". Throughout the picture, Burns and Allen amazed audiences and critics as they "effortlessly" kept pace with the most famous dancer in films, as many did not know either of them could dance.

Using a quote from the above article, answer the following question: What position did they run for in 1940?
HHHHHH
Answer: 

Some context: Elton Ewart "Tad" Wieman (October 4, 1896 - December 26, 1971) was an American football collegiate player, coach and athletic director. He played football for the University of Michigan from 1915 to 1917 and 1920 under head coach Fielding H. Yost. He was a coach and administrator at Michigan from 1921 to 1929, including two years as the school's head football coach. He later served as a football coach at the University of Minnesota (1930-1931), Princeton University (1932-1942), and Columbia University (1944-1945), and as an athletic director at the University of Maine (1946-1951) and University of Denver (1951-1962).
Wieman was born in Tulare County, California, and raised in Los Angeles. His father, William H. Wieman, was a native of Missouri and a Presbyterian minister. Wieman was the seventh of eight children born to William and his wife Alma. At the time of the 1900 United States Census, the family lived in Orosi, California. By 1910, the family had moved to Los Angeles.  At Los Angeles High School, Wieman followed in the footsteps of four older brothers, Henry, "Ink," Drury and "Tabby" Wieman. All had been excellent athletes in football, track, baseball and basketball. "Tad" played at "breakaway" in rugby football for Los Angeles High and was heralded as the best athlete in a family regarded as "the greatest athletic one in the history of Southern California athletics." Wieman had been expected to follow his older brothers who had all enrolled at Occidental College, but he broke the family tradition when he decided to attend the University of Michigan. When Wieman announced his decision to attend Michigan, the Los Angeles Times called it "a calamity of almost national importance." The Times reported at length on Wieman's decision, noting:  "The fifth of the Wieman tribe has upset the most ancient tradition of Occidental College. The mighty Tad, terror of all Rugbyites last year, while playing for Los Angeles High, last Sunday quietly folded his tent like the Arab and stole away. ... Tad promised to be the greatest of them all. ... What Occidental will do without the great Tad nobody knows."  The expectations for Wieman were so high that Coach Featherstone of Los Angeles High, who reportedly urged Wieman to go to Michigan, said, "Tad Wieman will be one of the greatest athletes this country has ever seen before his college course is over."
what college did he go to?
A:
to attend the University of Michigan.