Some context: Bourke's father, Frank, was serving in the RAAF and on leave in Melbourne when he played a solitary game for Richmond in 1943. A tall (193 cm) and lean (85 kg) full forward with an excellent reputation in country football, Frank returned to the city after the war and resume his playing career with Richmond. In the opening weeks of the 1946 season Frank kicked five or more goals six times in the first seven matches to lead the VFL goalkicking table. Injury curtailed further progress.
Just months after his playing retirement, Bourke was controversially pitched into the coaching position at Punt Road. The Tigers had decided to sack Tony Jewell, a premiership teammate of Bourke, just twelve months after he coached Richmond to the 1980 premiership. Although few doubted that Bourke was coaching material, the nature of his appointment and his lack of coaching experience at any level were significant hurdles to overcome. However, in 1982 Bourke took the Tigers to only their third minor premiership since the war and impressed critics with a brilliant tactical display in the semi final against Carlton. Bourke made a series of positional changes at the beginning of the game and ordered his men to slow down the Carlton play-on game, giving away fifteen-metre penalties as necessary. The Tigers won easily, and Bourke became one of only a handful of coaches to make the Grand Final in his first season.  The dream debut of a premiership was not to be. In the 1982 VFL Grand Final, Richmond led by 11 points at half time, only for Carlton to kick five unanswered goals in the third quarter and run away with the premiership by 18 points.  During the off-season, the Tigers suffered an exodus of disgruntled star players that rocked the club and lost nine of the first eleven games in 1983. Media speculation about the security of Bourke's position began in earnest, and few believed the club when Richmond denied that there was an ongoing crisis. Although the team improved in the second half of the season, further player departures were mooted if Bourke remained as coach. It seemed that his hard-training style was not appreciated by all of his charges. Reluctantly, Bourke tendered his resignation at the end of the season, well aware that he would probably have been sacked had he not done so. His winning rate over the two seasons was a very reasonable 56.5%
What else did he achieve as coach?
A: His winning rate over the two seasons was a very reasonable 56.5%

Some context: David Howell Evans was born at the Barking Maternity Hospital, in the county of Essex in England, on 8 August 1961. He is the second child of Welsh parents Garvin and Gwenda Evans, who originated in Llanelli, a coastal town in South Wales. Garvin was an engineer who worked for the local electricity board, and then took a job with the electronics company Plessey. The Edge has an elder brother Richard (often called Dik) and a younger sister called Gillian.
As a guitar player, The Edge has a sound typified by a low-key playing style, a chiming, shimmering sound (thanks in part to the sound of Vox AC30s) that he achieves with extensive use of delay effects and reverb. The repeat delay is often set to a dotted eighth note, and the feedback gain is adjusted until a note played repeats two or three times.  In 1987's The Joshua Tree, The Edge often contributes just a few simple lead lines given depth and richness by an ever-present delay. For example, the introduction to "Where the Streets Have No Name" is simply a repeated six-note arpeggio, broadened by a modulated delay effect. The Edge has said that he views musical notes as "expensive", in that he prefers to play as few notes as possible. He said in 1982 of his style,  I like a nice ringing sound on guitar, and most of my chords I find two strings and make them ring the same note, so it's almost like a 12-string sound. So for E I might play a B, E, E and B and make it ring. It works very well with the Gibson Explorer. It's funny because the bass end of the Explorer was so awful that I used to stay away from the low strings, and a lot of the chords I played were very trebly, on the first four, or even three strings. I discovered that through using this one area of the fretboard I was developing a very stylized way of doing something that someone else would play in a normal way.  His first guitar was an old acoustic guitar that his mother bought him at a local flea market for a few pounds; he was nine at the time. He and his brother Dik Evans both experimented with this instrument. He said in 1982 of this early experimentation, "I suppose the first link in the chain was a visit to the local jumble sale where I purchased a guitar for a pound. That was my first instrument. It was an acoustic guitar and me and my elder brother Dik both played it, plonking away, all very rudimentary stuff, open chords and all that." The Edge has stated that many of his guitar parts are based around guitar effects. This is especially true from the Achtung Baby era onwards, although much of the band's 1980s material made heavy use of echos.
Was he liked by many?
A: