Problem: Background: A marching band is a group in which instrumental musicians perform while marching, often for entertainment or competition. Instrumentation typically includes brass, woodwind, and percussion instruments. Most marching bands wear a uniform, often of a military style, that includes an associated school or organization's colors, name or symbol. Most high school marching bands, and some college marching bands, are accompanied by a color guard, a group of performers who add a visual interpretation to the music through the use of props, most often flags and rifles.
Context: Traditional Style bands, also known as Show Bands, are marching bands geared primarily towards crowd entertainment and perform on football fields. Typically, they perform a routine before the game, another at halftime, and sometimes after the game as well. Competitive show bands perform only one show that is continually refined throughout a season, while bands that focus on entertainment rather than competition usually perform a unique show for each game. These shows normally consists of three to five musical pieces accompanied by formations rooted in origin from Patterns in Motion, a book penned by band director William C. "Bill" Moffit, bandmaster of Purdue University All-American Marching Band and University of Houston Spirit of Houston.  A recognizable style of show band is the one fielded by historically black colleges and universities (HBCUs). HBCU bands utilize the traditional "ankle-knee" high step and music selections are largely based on R&B, hip-hop, and contemporary popular music. In addition to traditional drill formations, HBCU bands feature heavily choreographed dance routines as part of their performances. Many of these bands may have a twirler line and/or a dancer line, but not necessarily flag twirlers. One of the most notable depictions of HBCU bands is the film Drumline. HBCU bands are a significant part of African-American musical culture and HBCU bands often surpass their associated football teams in popularity, a phenomenon that is uncommon among collegiate and high school marching bands. In 1989, as part of the celebrations for the bicentennial of the French Revolution, the Florida A&M University Marching 100, one of the most prolific HBCU bands in the country, was selected as the official representative of the United States in the bicentennial parade.  Another style of show band is that used by many of the Big Ten Conference marching bands, a semi-military and semi-corps style. These bands perform a show that is designed to entertain the audience, but feature more traditional symphonic styles of music (marches, film scores, jazz, or older pop music) as well as some contemporary music. Big Ten style show bands have been influential in creating some of the earliest marching band innovations, and the style is used in high schools throughout much of the United States.  Most show bands of either type include the traditional military band instrumentation of woodwinds, brass, and battery percussion. Some also include the front ensemble keyboard percussion, and may also incorporate the use of a color guard for flag, and rifle routines as well as a dance line.
Question: What are they for
Answer: Competitive show bands perform only one show that is continually refined throughout a season,

Problem: Background: William Roy "Link" Lyman (November 30, 1898 - December 28, 1972), also sometimes known as Roy Lyman, was an American football player and coach. Lyman was born in Nebraska and raised in Kansas. He played college football for the Nebraska Cornhuskers football team in 1918, 1919, and 1921. He played professional football as a tackle in the National Football League (NFL) for the Canton/Cleveland Bulldogs (1922-1925), the Frankford Yellow Jackets (1925), and the Chicago Bears (1926-1928, 1930-1932, and 1933-1934).
Context: In September 1922, Lyman left Lincoln, Nebraska, to play professional football for the Canton Bulldogs. The Bulldogs were coached by Guy Chamberlin, an All-American out of Nebraska, who invited Lyman to join the team. With Lyman and Pete Henry as its star tackles, the 1922 Canton Bulldogs compiled a 10-0-2 record, shut out nine of twelve opponents, outscored all opponents 184 to 15, and won the NFL championship.  Lyman returned to the Bulldogs the following year. The 1923 team had another undefeated season (11-0-1), shut out eight of twelve opponents, outscored all opponents by a combined total of 246 to 19, and won its second consecutive NFL championship. After the season, Lyman was selected as a first-team All-Pro player by the Canton Daily News and a second-team All-Pro by Collyer's Eye magazine.  In August 1924, Cleveland jeweler Samuel Deutsch bought the Canton Bulldogs and moved the team to Cleveland where they became the Cleveland Bulldogs during the 1924 NFL season. The Bulldogs compiled a 7-1-1 record, outscored opponents by a total of 229 to 60, and won their third consecutive NFL championship. After the 1924 season, Lyman was selected as a first-team All-Pro by Collyer's Eye and a second-team All-Pro by the Green Bay Press-Gazette.  In July 1925, Lyman and four of his teammates (Pete Henry, Rudy Comstock, Ben Jones, and Harry Robb) bought the team for $3,500 and moved it back to Canton. Lyman played seven games for the 1925 Bulldogs and then finished the season playing four games for the Frankford Yellow Jackets. Lyman was reunited with Guy Chamberlain who was then Frankford's head coach. After the 1925 season, Lyman was selected as a first-team All-Pro on the team selected by NFL Commissioner Joseph Carr; he was also selected as a second-team All-Pro by Collyer's Eye.
Question: What position did he play for the Bulldogs?
Answer:
With Lyman and Pete Henry as its star tackles,