input: On October 23, 1999, Harrison Ford was involved in the crash of a Bell 206L4 LongRanger helicopter (N36R). The NTSB accident report states that Ford was piloting the aircraft over the Lake Piru riverbed near Santa Clarita, California, on a routine training flight. While making his second attempt at an autorotation with powered recovery, Ford allowed the aircraft's altitude to drop to 150-200 feet before beginning power-up. The aircraft was unable to recover power before hitting the ground. The aircraft landed hard and began skidding forward in the loose gravel before one of its skids struck a partially embedded log, flipping the aircraft onto its side. Neither Ford nor the instructor pilot suffered any injuries, though the helicopter was seriously damaged. When asked about the incident by fellow pilot James Lipton in an interview on the TV show Inside the Actor's Studio, Ford replied, "I broke it."  On March 5, 2015, Ford's plane, believed to be a Ryan PT-22 Recruit, made an emergency landing on the Penmar Golf Course in Venice, California. Ford had radioed in to report that the plane had experienced engine failure. He was taken to Ronald Reagan UCLA Medical Center, where he was reported to be in fair to moderate condition. Ford suffered a broken pelvis and broken ankle during the accident, as well as other injuries.  On February 13, 2017, Ford landed an Aviat Husky at John Wayne Airport on the taxiway left of runway 20L. A Boeing 737 was holding short of the runway on the taxiway when Ford overflew them.

Answer this question "Was Ford hurt in the incident?"
output: Neither Ford nor the instructor pilot suffered any injuries,

Problem: Background: Tara Ann VanDerveer (born June 26, 1953) is an American basketball coach who has been the head women's basketball coach at Stanford University since 1985. Designated the Setsuko Ishiyama Director of Women's Basketball, VanDerveer led the Stanford Cardinal to two NCAA Women's Division I Basketball Championships: in 1990 and 1992. She stepped away from the Stanford program for a year to serve as the U.S. national team head coach at the 1996 Olympic Games. VanDerveer is the 1990 Naismith National Coach of the Year and a ten-time Pac-12 Coach of the Year.
Context: After completing college, VanDerveer took a year off, with a plan to return to law school. When she ran out of money she returned home. When her parents realized she was doing little beyond playing chess and sleeping, they urged her to help with her sister Marie's basketball team. Her sister was five years younger, and by the time Marie reached high school, the school had basketball teams for girls. The experience was exasperating in some ways, as the girls did not take it seriously, but VanDerveer realized coaching was something she loved.  VanDerveer sent out resumes to twenty schools, looking for a graduate assistant job, which is an unpaid position. She only got two responses, one of which was for Ohio State, where the athletic director had remembered her from Indiana. To prepare herself, she attended a coaching clinic taught by Knight. When she had attended his practices, she had stayed out of sight, but enrolled in a class, she followed her parents advice and sat up front. One of the coaches asked if she was lost. Knight embarrassed her with one of his questions, but she didn't stop attending, although she moved back a few rows. She was hired as an assistant coach to the varsity and the head coach of the JV.  In her first year, she coached the JV team to an 8-0 season. That caught the attention of Marianne Stanley at Old Dominion, who offered her an assistant coaching position. VanDerveer wanted to finish her master's degree, so accepted a paid position at Ohio State, at a salary less than a quarter of the Old Dominion offer.
Question: what was her greatest accomplishment?
Answer: In her first year, she coached the JV team to an 8-0 season.

Question: Anton Friedrich Wilhelm (von) Webern (German: ['anton 've:ban] ( listen); 3 December 1883 - 15 September 1945) was an Austrian composer and conductor. Along with his mentor Arnold Schoenberg and his colleague Alban Berg, Webern was in the core of those in the circle of the Second Viennese School, including Ernst Krenek and Theodor W. Adorno. As an exponent of atonality and twelve-tone technique, Webern exerted influence on contemporaries Luigi Dallapiccola, Krenek, and even Schoenberg himself.

Webern insisted on lyricism, nuance, rubato, sensitivity, and both emotional and intellectual understanding in performance of music; this is evidenced by anecdotes, correspondence, extant recordings of Schubert's Deutsche Tanze (arr. Webern) and Berg's Violin Concerto under his direction, many such detailed markings in his scores, and finally by his compositional process as both publicly stated and later revealed in the musical and extramusical metaphors and associations everywhere throughout his sketches. As both a composer and conductor he was one of many (e.g., Wilhelm Furtwangler, Dimitri Mitropoulos, Hermann Scherchen) in a contemporaneous tradition of conscientiously and non-literally handling notated musical figures, phrases, and even entire scores so as to maximize expressivity in performance and to cultivate audience engagement and understanding.  This aspect of Webern's work had been typically missed in his immediate post-war reception, however, even as it may radically affect the music's reception. For example, Boulez's "complete" recording of Webern's music yielded more to this aesthetic the second time after largely missing it the first; but Eliahu Inbal's rendition of Webern's symphony with the hr-Sinfonieorchester is still far more within the spirit of the late Romantic performance tradition (which Webern seemingly intended for his music), nearly slowing to half-tempo for the whole of first movement and taking care to delineate and shape each melodic strand and expressive gesture throughout the entirety of the work.  Gunter Wand's 1966 recording of the Cantata No. 1 (1938-40), op. 29, with the Symphonieorchester des Bayerischen Rundfunks et al., may likewise be contrasted with both of Boulez's renditions.

Using a quote from the above article, answer the following question: Did anyone else have a style similar to his?
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Answer:
Boulez's "complete" recording of Webern's music