Answer the question at the end by quoting:

Namath was born and raised in Beaver Falls, Pennsylvania (30 miles (50 km) northwest of Pittsburgh), and grew up in its Lower End neighborhood. He is the son of Catholic parents, Rose (nee Juhasz) and Janos "John" Andrew Namath, a steelworker. His parents were of Hungarian descent. His Hungarian-born grandfather, Andras "Andrew" Nemeth, known as "A.J." to his family and friends, came to Ellis Island on the steamer Pannonia in 1911, and worked in the coal and steel industries of the greater Pittsburgh area.
Despite suffering a nagging knee injury in the fourth game of his senior year at Alabama, Namath limped through the undefeated regular season to the Orange Bowl. He was a first-round draft selection by both the NFL and the upstart AFL. The two competing leagues were at the height of their bidding war, and held their respective drafts on the same day: November 28, 1964. The cartilage damage to Namath's right knee later designated him class 4-F for the military draft, a deferment from service during the Vietnam War.  The St. Louis Cardinals selected Namath 12th overall in the NFL Draft, while the Jets selected him with the first overall pick of the AFL draft. When meeting with executives of the Cardinals, Namath's salary request was $200,000 and a new Lincoln Continental. While initially appalled at Namath's requests, the Cardinals told Namath they would agree to his requests, but only if he would sign before the Orange Bowl, which would've made Namath ineligible to play in the game. The day after the Orange Bowl, Namath elected to sign with the Jets, which were under the direction of owner Sonny Werblin, for a salary of US$427,000 over three years (a pro football record at the time). Offensive tackle Sherman Plunkett came up with the nickname "Broadway Joe" in 1965, following Namath's appearance on the cover of Sports Illustrated in July.  In Namath's rookie season the 1965 Jets were winless in their first six games with him splitting time with second-year quarterback Mike Taliaferro. With Namath starting full-time they won five of the last eight of a fourteen-game season and Namath was named the AFL Rookie of the year. He became the first professional quarterback to pass for 4,000 yards in a season when he threw for 4,007 yards in (1967), a record broken by Dan Fouts in a 16-game season in 1979 (4,082). Although Namath was plagued with knee injuries through much of his career and underwent four pioneering knee operations by Dr. James A. Nicholas, he was an AFL All-Star in 1965, 1967, 1968, and 1969. On some occasions, Namath had to have his knee drained at halftime so he could finish a game. Later in life, long after he left football, he underwent knee replacement surgery on both legs.  In the 1968 AFL title game, Namath threw three touchdown passes to lead New York to a 27-23 win over the defending AFL champion Oakland Raiders. His performance in the 1968 season earned him the Hickok Belt as top professional athlete of the year. He was an AFC-NFC Pro Bowler in 1972, is a member of the Jets' and the American Football League's All-Time Team, and was elected to the Hall of Fame in 1985.

What teams did he play for?

Namath's rookie season the 1965 Jets



Answer the question at the end by quoting:

Oklahoma! is the first musical written by the team of composer Richard Rodgers and librettist Oscar Hammerstein II. The musical is based on Lynn Riggs' 1931 play, Green Grow the Lilacs. Set in Oklahoma Territory outside the town of Claremore in 1906, it tells the story of farm girl Laurey Williams and her courtship by two rival suitors, cowboy Curly McLain and the sinister and frightening farmhand Jud Fry. A secondary romance concerns cowboy Will Parker and his flirtatious fiancee, Ado Annie.
The original production of Oklahoma! was an unprecedented critical and popular success. John Anderson of the New York Journal American pronounced the musical "a beautiful and delightful show, fresh and imaginative, as enchanting to the eye as Richard Rodgers's music is to the ear. It has, at a rough estimate, practically everything". In the New York Herald Tribune, Howard Barnes wrote, "Songs, dances, and a story have been triumphantly blended.... The Richard Rodgers score is one of his best, and that is saying plenty. Oscar Hammerstein 2nd has written a dramatically imaginative libretto and a string of catchy lyrics; Agnes de Mille has worked small miracles in devising original dances to fit the story and the tunes, while Rouben Mamoulian has directed an excellent company with great taste and craftsmanship." Louis Kronenberger of PM opined that "Mr. Hammerstein's lyrics have less crispness and wit than Lorenz Hart's at their best, but the songs in Oklahoma! call for less sophisticated words, and Mr. Hammerstein has found very likeable ones."  In the New York Daily News, Burns Mantle declared that "Oklahoma! really is different - beautifully different. With the songs that Richard Rodgers has fitted to a collection of unusually atmospheric and intelligible lyrics by Oscar Hammerstein 2nd, Oklahoma! seems to me to be the most thoroughly and attractively American musical comedy since Edna Ferber's Show Boat". New York World-Telegram critic Burton Rascoe particularly emphasized the groundbreaking choreography, stating that "Richard Rodgers has written for the show one of the finest musical scores any musical play ever had. Next to Mr. Rodgers, however, must stand the amazing Agnes de Mille, whose choreography, carried out to perfection by her ballet [corps], is actually the biggest hit of the show. The "Out of My Dreams" and "All Er Nuthin'" dances are such supreme aesthetic delights.... They are spinetingling, out of this world." In The New York Sun, Ward Morehouse commented that "Oklahoma! is charming and leisurely. And tunely. And certainly not topical," as other shows had been in the early years of World War II. "It reveals Mr. Rodgers, shorn only for the moment of Larry Hart, in good form indeed. And nobody in last night's audience seemed to have a better time than Mr. Hart himself, who applauded the proceedings from a seat in Row B." Lorenz Hart himself "pushed his way through the crowd at the after-show party in Sardi's restaurant and threw his arms around his ex-partner, grinning from ear to ear. He told Rodgers he had never had a better evening at the theater in his life."  The only negative review of the musical appeared in the New York Post: The critic wrote that "it all seemed just a trifle too cute", stating that the score consisted of "a flock of Mr. Rodgers's songs that are pleasant enough, but still manage to sound quite a bit alike ... without much variety in the presentation." She concluded that the show was "very picturesque in a studied fashion, reminding us that life on a farm is apt to become a little tiresome."

Did it have any other positive reviews?
but the songs in Oklahoma! call for less sophisticated words, and Mr. Hammerstein has found very likeable ones."