input: After he had been coaching at Dundee for 18 months, the club's local rivals Dundee United offered McLean the position of manager to replace the retiring Jerry Kerr in December 1971. He accepted the offer and began his managerial career at the age of 34. McLean immediately started a co-ordinated youth policy which was to produce many fine young players over the two decades which followed. In the short term, he used his knowledge of the Scottish scene to buy experienced players who would allow him to re-shape both the squad and the style of play in line with his approach to coaching.  Initially, the club's league form was average, remaining mostly mid-table for the next few years. McLean's first hint of the success he would later achieve was leading the club to its first Scottish Cup final in 1974 and, despite defeat, it proved an important psychological step in McLean's and the club's development. The success of the Cup run was built upon the following season with a finish of fourth place, the club's best finish in the First Division before league restructuring.  As McLean's youth policy began to bear fruit, the first of a number of talented young players began to emerge. McLean decided that his team should mount a challenge for the League championship in 1978-79, something of which the club, who had long lived in the shadow of McLean's former employers and rivals Dundee, had never previously proved capable of but after a poor finish in the first season of the new Premier Division, United started to prove that they were serious contenders for domestic honours.  In December 1979, McLean guided his team to triumph in the League Cup and retained it a year later. At the same time as the club was enjoying a high standing Scottish football, McLean was gradually building the club's reputation in Europe, with wins over sides like Barcelona, AS Monaco, Borussia Monchengladbach, PSV Eindhoven, Anderlecht and Werder Bremen.

Answer this question "Are there any other interesting aspects about this article?"
output: McLean immediately started a co-ordinated youth policy

input: Katie White started her music career as a school-time hobby in an all-female punk trio TKO--short for Technical Knock Out--with two friends from Lowton School, Marion Grethe Seaman and Emma Lally. The band had minimal success, once sharing the same stage as the bands Steps and Atomic Kitten. While De Martino was in Manchester, the pair bumped into each other and discovered they had a mutual love of Portishead. De Martino relocated to Islington Mill Studios (the Mill) in the Salford, Greater Manchester area. The pair, along with friend Simon Templeman, went on to form the Portishead-influenced trio Dear Eskiimo, who signed to Mercury Records. However, due to a change of directors and managers, the management style of the record label caused them to split. The experience left White and De Martino with a distrust of the music industry.  White was a bartender at the Mill while De Martino produced tracks for various artists therein. The pair developed their sound from influences of performers at the Mill, and were inspired to form their own group, "The Ting Tings". "Ting Ting" was the name of a Chinese colleague of White at a shop, who told her that it sounded like the pronunciation of "bandstand" in Mandarin (Ting ). The band researched the name and found it to also mean the "sound of innovation on an open mind".  Having created three songs, the band's first gig was a free-beer invite all at the Mill in their rented dwelling called "the Engine House". Subsequent gigs were funded on donations, and after their third gig they were name-checked on XFM. The Islington Mill gigs ended up as some of the most sought-after tickets on the Manchester party scene with various A&R reps and record producers, such as Rick Rubin, asking for tickets.

Answer this question "Where did they play their gigs?"
output: in their rented dwelling

input: The follow-up, The Mind Is a Terrible Thing to Taste was supported by a tour from 1989 to 1990. Due to the complex nature of the album's drumming, a second drummer, Martin Atkins (formerly of Public Image Ltd. and Killing Joke), was used. In addition to Atkins, a ten piece touring line-up was formed, consisting of Chris Connelly (keyboards and vocals), Skinny Puppy vocalist Nivek Ogre (vocals and keyboards), Joe Kelly (vocals and backing vocals) and guitarists Mike Scaccia, Terry Roberts, and William Tucker, with Jourgensen, Barker and Rieflin serving as the group's core members. This tour was documented on In Case You Didn't Feel Like Showing Up. Two singles, "Burning Inside" (for which a video was made) and "So What" were released from the album.  Throughout the late 1980s Jourgensen and Barker expanded their ideas beyond Ministry into a seemingly endless parade of side projects and collaborations. Many of these bore Ministry's signature sound and the duo's "Hypo Luxa/Hermes Pan" production imprint. Foremost of these was Ministry's alter ego, the Revolting Cocks. "RevCo", as it is often referred to, essentially became the same band as it had originally featured Belgian musicians Richard 23 (of Front 242) and Luc Van Acker. Jourgensen and Barker also formed Lard with Dead Kennedys lead singer Jello Biafra, Acid Horse with Cabaret Voltaire, 1000 Homo DJs (which featured Nine Inch Nails' Trent Reznor doing vocals on a cover of Black Sabbath's "Supernaut"), PTP with Chris Connelly and Pailhead with Ian MacKaye of Minor Threat and Fugazi.  Barker released his own material as Lead into Gold and Jourgensen produced and played electric guitar on the Skinny Puppy 1989 album Rabies. Atkins and Rieflin also formed the band Pigface, which featured Barker on several tracks, as well. The smaller of these projects were later collected on the CD Side Trax (Rykodisc Records, 2004), and the RevCo discography was remastered and reissued.

Answer this question "What did they follow up?"
output:
album's