Problem: Background: Lewis Robert "Hack" Wilson (April 26, 1900 - November 23, 1948) was an American Major League Baseball player who played 12 seasons for the New York Giants, Chicago Cubs, Brooklyn Dodgers and Philadelphia Phillies. Despite his diminutive stature, he was one of the most accomplished power hitters in the game during the late 1920s and early 1930s. His 1930 season with the Cubs is widely considered one of the most memorable individual single-season hitting performances in baseball history. Highlights included 56 home runs, the National League record for 68 years; and 191 runs batted in, a mark yet to be surpassed. "
Context: Lewis Robert Wilson was born April 26, 1900, in the Pennsylvania steel mill town of Ellwood City, north of Pittsburgh. His mother, Jennie Kaughn, 16, was an unemployed drifter from Philadelphia; his father, Robert Wilson, 24, was a steel worker. His parents never married; both were heavy drinkers, and in 1907 his mother died of appendicitis at the age of 24.  In 1916 Lewis left school to take a job at a locomotive factory, swinging a sledge hammer for four dollars a week. Although only five feet six inches tall, he weighed 195 pounds with an 18-inch neck, and feet that fit into size-five-and-one-half shoes. Sportswriter Shirley Povich later observed that he was "built along the lines of a beer keg, and was not wholly unfamiliar with its contents." While his unusual physique was considered an oddity at the time, his large head, tiny feet, short legs and broad, flat face are now recognized as hallmarks of the Fetal Alcohol Syndrome.  In 1921 Wilson moved to Martinsburg, West Virginia, to join the Martinsburg Mountaineers of the Class "D" Blue Ridge League. After breaking his leg while sliding into home plate during his first professional game, he was moved from the catcher's position to the outfield. In 1922 he met Virginia Riddleburger, a 34-year-old office clerk; they married the following year. In 1923, playing for the "B" division Portsmouth Truckers, he led the Virginia League in hitting with a .388 batting average. Late in the season, New York Giants manager John McGraw purchased his contract from Portsmouth for $10,500.
Question: is there any other interesting fact in the article that you liked?
Answer: Although only five feet six inches tall, he weighed 195 pounds with an 18-inch neck, and feet that fit into size-five-and-one-half shoes.

Background: Orchestral Manoeuvres in the Dark (OMD) are an English electronic music band formed in Wirral, Merseyside in 1978. Spawned by earlier group The Id, the outfit is composed of co-founders Andy McCluskey (vocals, bass guitar) and Paul Humphreys (keyboards, vocals), along with Martin Cooper (various instruments) and Stuart Kershaw (drums); McCluskey is the only constant member. OMD released their debut single, "Electricity", in 1979, and gained popularity throughout Europe with the 1980 anti-war song "Enola Gay".
Context: The eponymous first album (1980) showcased the band's live set at the time, and was basically recorded by the Humphreys/McCluskey duo, although included some guest drums from Id drummer Malcolm Holmes, and saxophone from Wirral musician Martin Cooper. It had a simple, raw, poppy, melodic synth-pop sound. Dindisc arranged for the song "Messages" to be re-recorded (produced by Gong bassist Mike Howlett) and released as a single (right) - this gave the band their first hit. Dave Hughes, a founder member of Dalek I Love You who joined OMD in early 1980, is featured in the "Messages" video.  A tour followed, Winston the tape recorder was augmented with live drums from Malcolm Holmes, and Dalek I Love You's Dave Hughes on synths. Hughes then left OMD in November 1980, replaced by Martin Cooper.  The second album Organisation (a reference to the band which preceded Kraftwerk, founded by Kraftwerk's original members Florian Schneider-Esleben and Ralf Hutter) followed later that year, recorded as a three-piece with Humphreys, McCluskey and Holmes. It was again produced by Howlett, and had a rather moodier, dark feel. The album spawned the hit single "Enola Gay", named after the plane that dropped an atomic bomb on Hiroshima. The song was intended to be included on the debut album, but was left out at the final selection. The tour for this album had a 4-piece band line-up, with saxophonist Martin Cooper (another Dalek I Love You alumnus) recruited for keyboard duties. In early 1981, Record Mirror named OMD as the fourth-best band of 1980; NME and Sounds both named the group as one of the 10 best new acts of that year.  Howlett then presided over the recording of a further hit single, "Souvenir", co-written by Cooper & Humphreys. It ushered in a lush choral electronic sound. The song also became OMD's biggest UK hit to date. In November 1981, their most commercially successful album was released in the UK and Europe - Architecture & Morality. The group went into the studio with Richard Mainwaring producing. Cooper then temporarily dropped out and was replaced by Mike Douglas, but this change was reversed by the time the album was released and a tour embarked upon. The album's sound saw OMD's original synth-pop sound augmented by the Mellotron, an instrument previously associated with prog rock bands. They used it to add very atmospheric swatches of string, choir and other sounds to their palette. Two more hit singles "Joan of Arc" and "Maid of Orleans" (which became the biggest-selling single of 1982 in Germany) were taken from the album. "Joan of Arc" and "Maid of Orleans" were originally both titled "Joan of Arc"; the name of the latter single was changed at the insistence of the publishers and to avoid confusion. It became "Joan of Arc (Maid of Orleans)" and later simply "Maid of Orleans".  In 1983 the band lost commercial momentum somewhat, with the release of their more experimental Dazzle Ships album, which mixed melancholy synth ballads and uptempo synth-pop with musique concrete and short wave radio tape collages. It was recorded by the 4-piece Humphreys/Holmes/Cooper/McCluskey line-up, and produced by Rhett Davies. Its relative commercial failure caused a crisis of confidence for Humphreys and McCluskey and brought about a deliberate move towards the mainstream.
Question: What was the classic line up?
Answer:
The eponymous first album (1980) showcased the band's live set at the time, and was basically recorded by the Humphreys/McCluskey duo,