Problem: Michael Bloomberg was born at St. Elizabeth's Hospital, in the Brighton neighborhood of Boston, on February 14, 1942. Bloomberg's family is Jewish. Bloomberg's father, William Henry Bloomberg (1906-1963), was born in Chelsea, Massachusetts and worked as an accountant for a dairy company. He was the son of Alexander "Elick" Bloomberg, an immigrant from Russia.

On September 13, 2013, Bloomberg announced that he would not endorse any of then current candidates to succeed him. On his radio show, he stated, "I don't want to do anything that complicates it for the next mayor. And that's one of the reasons I've decided I'm just not going to make an endorsement in the race." He added, "I want to make sure that person is ready to succeed, to take what we've done and build on that."  Prior to the announcement in an interview in New York magazine, Bloomberg praised The New York Times for its endorsement of Christine Quinn and Joe Lhota as their favorite candidates in the Democratic and Republican primaries. Quinn came in third in the Democratic primary and Lhota won the Republican primary.  Earlier in the month, Bloomberg was chastised in the press for his remarks regarding Democratic mayoral candidate Bill de Blasio's campaign methods. Bloomberg said initially in the New York magazine interview that he considered de Blasio's campaign "racist" and when asked about his comment, Bloomberg explained what he meant by his remark.  Well, no, no, I mean he's making an appeal using his family to gain support. I think it's pretty obvious to anyone watching what he's been doing. I do not think he himself is racist. It's comparable to me pointing out I'm Jewish in attracting the Jewish vote. You tailor messages to your audiences and address issues you think your audience cares about.  On January 1, 2014, de Blasio became New York City's new mayor, succeeding Bloomberg.

Did he ever make televised appearances speaking about his endorsements?

Answer with quotes: 

Background: Blanc was born in San Francisco, California to Russian-Jewish parents Frederick and Eva Blank, the younger of two children. He grew up in the neighborhood of Western Addition in San Francisco, and later in Portland, Oregon, where he attended Lincoln High School. Growing up, he had a fondness for voices and dialect which he began voicing at the age of 10. He claimed that he changed the spelling of his name when he was 16, from "Blank" to "Blanc", because a teacher told him that he would amount to nothing and be like his name, a "blank".
Context: In the 1970s, Blanc gave a series of college lectures across the US and appeared in commercials for American Express. He also collaborated on a special with the Boston-based Shriners Burns Institute called Ounce of Prevention, which became a 30-minute TV special.  Throughout the 1980s, Blanc performed his Looney Tunes characters for bridging sequences in various compilation films of Golden-Age-era Warner Bros. cartoons, such as The Looney Looney Looney Bugs Bunny Movie, Bugs Bunny's 3rd Movie: 1001 Rabbit Tales, Daffy Duck's Fantastic Island, and Daffy Duck's Quackbusters. His final performance of his "Looney Tunes" roles was in Bugs Bunny's Wild World of Sports (1989). After spending most of two seasons voicing the diminutive robot Twiki in Buck Rogers in the 25th Century, Blanc's last original character was Heathcliff, in the early 1980s.  In the 1983 live-action film Strange Brew, Blanc voiced the father of Bob and Doug MacKenzie, at the request of comedian Rick Moranis.  In the 1988 live-action/animated movie Who Framed Roger Rabbit, Blanc reprised several of his classic "Looney Tunes" roles (Bugs, Daffy, Porky, Tweety, and Sylvester), but left Yosemite Sam to Joe Alaskey (who later became one of Blanc's regular replacements until his death in 2016). As Disney produced the film, the company had to obtain permission from Warner Bros. and other studios in order to feature the non-Disney characters in the movie. The film was also one of very few Disney projects Blanc was involved in. Blanc died just a year after the film's release. His final recording session was for Jetsons: The Movie (1990).
Question: Did Mel continue in comedy later in his career ?
Answer: Throughout the 1980s, Blanc performed his Looney Tunes characters for bridging sequences in various compilation films of Golden-Age-era Warner Bros. cartoons,

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 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 using a quote from the text above:

what was Juvenilia?

Answer:
Many juvenilia remained unknown until the work and findings of the Moldenhauers in the 1960s,