Some context: James "Jimmy" William Buffett (born December 25, 1946) is an American musician, songwriter, author, actor, and businessman. He is best known for his music, which often portrays an "island escapism" lifestyle. Together with his Coral Reefer Band, Buffett has recorded hit songs including "Margaritaville" (ranked 234th on the Recording Industry Association of America's list of "Songs of the Century") and "Come Monday". He has a devoted base of fans known as "Parrotheads".
Buffett wrote the soundtrack for, and co-produced and played a role in, the 2006 film Hoot, directed by Wil Shriner and based on the book by Carl Hiaasen, which focused on issues important to Buffett, such as conservation. The film was not a critical or commercial success. Among his other film music credits are the theme song to the short-lived 1993 CBS television series Johnny Bago; "Turning Around" for the 1985 film Summer Rental starring John Candy; "I Don't Know (Spicoli's Theme)" for the film Fast Times at Ridgemont High; "Hello, Texas" for the 1980 John Travolta film Urban Cowboy; and "If I Have To Eat Someone (It Might As Well Be You)" for the animated film FernGully: The Last Rainforest, which was sung in the film by rap artist Tone Loc.  In addition, Buffett has made several cameo appearances, including in Repo Man, Hook, Cobb, Hoot, Congo, and From the Earth to the Moon. He also made cameo appearances as himself in Rancho Deluxe (for which he also wrote the music) and in FM. He made a guest appearance in the season two of Hawaii Five-0 on CBS in 2011. Buffett reportedly was offered a cameo role in Pirates of the Caribbean: The Curse of the Black Pearl, but declined the offer. In 1997, Buffett collaborated with novelist Herman Wouk on a musical production based on Wouk's 1965 novel Don't Stop the Carnival. In the South Park episode "Tonsil Trouble", an animated version of Buffett (but not voiced by Buffett) was seen singing "AIDSburger in Paradise" and "CureBurger in Paradise". Jimmy has also appeared on the Sesame Street special, Elmopalooza, singing "Caribbean Amphibian" with the popular Muppet, Kermit the Frog. Buffett appeared in an episode of Hawaii Five-0 in November 2011. He played a helicopter pilot named Frank Bama, a character from his novel Where Is Joe Merchant?. Another character mentioned that he preferred "margaritas"; Buffett's character replied, "Can't argue with you there." He reprised the role with a brief cameo visiting McGarret on the March 30, 2018 episode "E Ho'oko Kuleana".  Buffett made a cameo in the 2015 film Jurassic World, where he is seen holding two margaritas while the dinosaurs are set loose in the park.  In 2017, Buffett was the musical guest on the NCIS: New Orleans episode "Rogue Nation", playing the song "I Will Play for Gumbo" in Dwayne Pride's (Scott Bakula) newly rebuilt bar.
Did Buffett want to be a tv star?
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Some context: 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.
Are there other people that were composers and conductors?
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