Answer the question at the end by quoting:

Charlton is related to several professional footballers on his mother's side of the family: his uncles were Jack Milburn (Leeds United and Bradford City), George Milburn (Leeds United and Chesterfield), Jim Milburn (Leeds United and Bradford City) and Stan Milburn (Chesterfield, Leicester City and Rochdale), and legendary Newcastle United and England footballer Jackie Milburn, was his mother's cousin. However, Charlton credits much of the early development of his career to his grandfather Tanner and his mother Cissie. His elder brother, Jack, initially worked as a miner before applying to the police, only to also become a professional footballer with Leeds United. His other brother, Tommy, plays walking football for the Mature Millers club in Rotherham.
He played in qualifiers for the 1962 World Cup in Chile against Luxembourg and Portugal and was named in the squad for the finals themselves. His goal in the 3-1 group win over Argentina was his 25th for England in just 38 appearances, and he was still only 24 years old, but his individual success could not be replicated by that of the team, which was eliminated in the quarter final by Brazil, who went on to win the tournament.  By now, England were coached by Alf Ramsey who had managed to gain sole control of the recruitment and team selection procedure from the committee-based call-up system which had lasted up to the previous World Cup. Ramsey had already cleared out some of the older players who had been reliant on the loyalty of the committee for their continued selection - it was well known that decorum on the pitch at club level had been just as big a factor in playing for England as ability and form. Luckily for Charlton, he had all three. A hat-trick in the 8-1 rout of Switzerland in June 1963 took Charlton's England goal tally to 30, equalling the record jointly held by Tom Finney and Nat Lofthouse and Charlton's 31st goal against Wales in October the same year gave him the record alone.  Charlton's role was developing from traditional inside-forward to what today would be termed an attacking midfield player, with Ramsey planning to build the team for the 1966 World Cup around him. When England beat the USA 10-0 in a friendly on 27 May 1964, he scored one goal, his 33rd at senior level for England.  His goals became a little less frequent, and indeed Jimmy Greaves, playing purely as a striker, would overtake Charlton's England tally in October 1964. Nevertheless, he was still scoring and creating freely and as the tournament was about to start, he was expected to become one of its stars and galvanise his established reputation as one of the world's best footballers.

Are there any other interesting aspects about this article?

Jimmy Greaves, playing purely as a striker, would overtake Charlton's England tally in October 1964.

Some context: Tristano was born in Chicago on March 19, 1919. His mother, Rose Tristano (nee Malano), was also born in Chicago. His father, Michael Joseph Tristano, was born in Italy and moved to the United States as a child. Lennie was the second of four brothers.
Tristano is regarded as one of the first to teach jazz, particularly improvisation, in a structured way. He taught musicians irrespective of their instrument and structured lessons to meet the needs of each individual. Lessons were typically 15-20 minutes in length. He did not teach the reading of music or the characteristics of different styles of jazz, instead challenging students in ways that would allow them to find and express their own musical feelings, or style.  Foundational elements for a student's learning were having a concept of (principally diatonic) scales as music and a basis for harmony. One of the teaching tools often used by Tristano, including for scales, was the metronome. The student set the metronome at or near its slowest setting initially, and gradually increased its speed, allowing a sense of time to develop, along with confidence in placing each note.  Tristano encouraged his students to learn the melodies of jazz standards by singing them, then playing them, before working on playing them in all keys. He also often had his students learn to sing and play the improvised solos of some of the best-known names in jazz, including Parker and Young. Some students first sang solos from a recording slowed to half the normal speed; eventually they learned to sing and play them at normal speed. Tristano stressed that the student was not learning to imitate the artist, but should use the experience to gain insight into the musical feeling conveyed. Such activities stressed the value of ear training, and the idea of feeling being fundamental to musical expression. All of this preceded having the opportunity to improvise during lessons.
who did he teach?
A: He taught musicians irrespective of their instrument and structured lessons to meet the needs of each individual.

IN: James Whale (22 July 1889 - 29 May 1957) was an English film director, theater director and actor. He is best remembered for his four classic horror films: Frankenstein (1931), The Old Dark House (1932), The Invisible Man (1933) and Bride of Frankenstein (1935). Whale also directed films in other genres, including what is considered the definitive film version of the musical Show Boat (1936). He became increasingly disenchanted with his association with horror, but many of his non-horror films have fallen into obscurity.

After the armistice he returned to Birmingham and tried to find work as a cartoonist. He sold two cartoons to the Bystander in 1919 but was unable to secure a permanent position. Later that year he embarked on a professional stage career. Under the tutelage of actor-manager Nigel Playfair, he worked as an actor, set designer and builder, "stage director" (akin to a stage manager) and director. In 1922, while with Playfair, he met Doris Zinkeisen. They were considered a couple for some two years, despite Whale's living as an openly gay man. They were reportedly engaged in 1924, but by 1925 the engagement was off.  In 1928 Whale was offered the opportunity to direct two private performances of R.C. Sherriff's then-unknown play Journey's End for the Incorporated Stage Society, a theatre society that mounted private Sunday performances of plays. Set over a four-day period in March 1918 in the trenches at Saint-Quentin, France, Journey's End gives a glimpse into the experiences of the officers of a British infantry company in World War I. The key conflict is between Capt. Stanhope, the company commander, and Lt. Raleigh, the brother of Stanhope's fiancee. Whale offered the part of Stanhope to the then barely known Laurence Olivier. Olivier initially declined the role, but after meeting the playwright agreed to take it on. Maurice Evans was cast as Raleigh. The play was well received and transferred to the Savoy Theatre in London's West End, opening on 21 January 1929. A young Colin Clive was now in the lead role, Olivier having accepted an offer to take the lead in a production of Beau Geste. The play was a tremendous success, with critics uniform and effusive in their praise and with audiences sometimes sitting in stunned silence following its conclusion only to burst into thunderous ovations. As Whale biographer James Curtis wrote, the play "managed to coalesce, at the right time and in the right manner, the impressions of a whole generation of men who were in the war and who had found it impossible, through words or deeds, to adequately express to their friends and families what the trenches had been like". After three weeks at the Savoy, Journey's End transferred to the Prince of Wales Theatre, where it ran for the next two years.  With the success of Journey's End at home, Broadway producer Gilbert Miller acquired the rights to mount a New York production with an all-British cast headed by Colin Keith-Johnston as Stanhope and Derek Williams as Raleigh. Whale also directed this version, which premiered at Henry Miller's Theatre on 22 March 1929. The play ran for over a year and cemented its reputation as the greatest play about World War I.

How did the public take his directorng?

OUT:
The play was a tremendous success, with critics uniform and effusive in their praise and with audiences sometimes sitting in stunned silence following its conclusion