input: Bell entered Penn in the fall of 1914 as an English major and joined Phi Kappa Sigma. In a rare occurrence for a sophomore, he became the starting quarterback for Penn's coach George H. Brooke. On the team, he also was as a defender, punter, and punt returner. After the team's 3-0 start, Bell temporarily shared possession of his quarterbacking duties until he subsequently reclaimed them later in the season, as Penn finished with a record of 3-5-2.  Prior to Penn's 1916 season, his mother died while he was en route to her bedside. Nevertheless, he started the first game for the Quakers under new coach Bob Folwell, but mixed results left him platooned for the rest of the season. Penn finished with a record of 7-2-1. However, the Quakers secured an invitation to the 1917 Rose Bowl against the Oregon Ducks. Although the best offensive gain for Penn during their 20-14 loss to Oregon was a 20-yard run by Bell, he was replaced late in the game at quarterback after throwing an interception.  In the 1917 season, Bell led Penn to a 9-2 record. Afterwards, he registered with a Mobile Hospital Unit of the US Army for World War I and was deployed to France in May 1918. As a result of his unit participating in hazardous duty, it received a congratulatory letter for bravery from General John J. Pershing, and Bell was promoted to first sergeant. After the war, Bell returned to the United States in March 1919. He returned to Penn as captain of the team in the fall and again performed erratically. The Quakers finished 1919 with a 6-2-1 record. Academically, his aversion to attending classes forced him to withdraw from Penn without a degree in early 1920. His collegiate days ended with his having been a borderline All-American, but this period of his life had proven that he "possessed the qualities of a leader."

Answer this question "what did he do when he returned to penn?"
output: He returned to Penn as captain of the team in the fall and again performed erratically.

input: Having built a strong record at Western Reserve, Edwards was in the running for head coaching roles at a number of larger universities and professional teams. He met with officials at Marquette University and was considered a candidate for coaching duties at Colorado University and for the National Football League's Detroit Lions. After visiting with Lions owner Fred Mandel, Edwards ultimately was hired in February 1941 to succeed George Clark. Both Edwards and Dugan Miller signed two-year contracts. Edwards was given a $10,000 annual salary ($166,380 in 2017 dollars), more than double the $4,420 he was paid at Western Reserve.  Edwards's stint as the Lions coach was unsuccessful. He guided the team to a 4-6-1 record in 1941, and Mandel fired him after three straight losses to begin the 1942 season as the team's roster was depleted by players' service in World War II. Detroit went on to lose all the rest of its games after John Karcis was named his replacement.  Edwards enlisted in the U.S. Navy later in 1942 as America's involvement in the war intensified. While in the military, he served at St. Mary's Pre-Flight, a training program in California, and coached the Air Devils football team there. He also served at a base in Pensacola, Florida. Edwards was discharged in 1946, and spent a year in the sporting goods business in Cleveland, Ohio before reuniting with Brown, who had become the first coach of the Cleveland Browns in the All-America Football Conference (AAFC). Edwards took a position as a tackle coach and remained with the team for two seasons. He coached tackles including Ernie Blandin, Lou Rymkus and future Pro Football Hall of Fame member Lou Groza. The Browns won the AAFC championship in both of Edwards's years as an assistant; the team won all of its games in 1948, turning in professional football's first perfect season.

Answer this question "How long did he coach the Ditroit Lions?"
output: signed two-year contracts.

input: Webern published little of his early work in particular; like Brahms, though perhaps for not entirely the same reasons, Webern was characteristically meticulous and revised extensively. Many juvenilia remained unknown until the work and findings of the Moldenhauers in the 1960s, effectively obscuring and undermining formative facets of Webern's musical identity, highly significant even more so in the case of an innovator whose music was crucially marked by rapid stylistic shifts. Thus when Boulez first oversaw a project to record "all" of Webern's music, not including the juvenilia, the results fit on three rather than six CDs.  Webern's earliest works consist primarily of lieder, the genre that most belies his roots in Romanticism, specifically German Romanticism; one in which the music yields brief but explicit, potent, and spoken meaning manifested only latently or programmatically in purely instrumental genres; one marked by significant intimacy and lyricism; and one which often associates nature, especially landscapes, with themes of homesickness, solace, wistful yearning, distance, utopia, and belonging. Robert Schumann's "Mondnacht" is an iconic example; Eichendorff, whose lyric poetry inspired it, is not far removed from the poets (e.g., Richard Dehmel, Gustav Falke, Theodor Storm) whose work inspired Webern and his contemporaries Alban Berg, Max Reger, Arnold Schoenberg, Richard Strauss, Hugo Wolf, and Alexander Zemlinsky. Wolf's Morike-Lieder were especially influential on Webern's efforts from this period. But well beyond these lieder alone, all of Webern's music may be said to possess such concerns and qualities, as is evident from his sketches, albeit in an increasingly symbolic, abstract, spare, introverted, and idealized manner.  Other works include the orchestral tone poem Im Sommerwind (1904) and the Langsamer Satz (1905) for string quartet.  Webern's first piece after completing his studies with Schoenberg was the Passacaglia for orchestra (1908). Harmonically, it is a step forward into a more advanced language, and the orchestration is somewhat more distinctive than his earlier orchestral work. However, it bears little relation to the fully mature works he is best known for today. One element that is typical is the form itself: the passacaglia is a form which dates back to the 17th century, and a distinguishing feature of Webern's later work was to be the use of traditional compositional techniques (especially canons) and forms (the Symphony, the Concerto, the String Trio, and String Quartet, and the piano and orchestral Variations) in a modern harmonic and melodic language.

Answer this question "how was he rooted in Romanticism?"
output:
one in which the music yields brief but explicit, potent, and spoken meaning manifested only latently or programmatically in purely instrumental genres;