Problem: Terry Eugene Bollea was born in Augusta, Georgia on August 11, 1953, the son of construction foreman Pietro "Peter" Bollea (December 6, 1913 - December 18, 2001) and homemaker and dance teacher Ruth V. (nee Moody; 1922 - January 1, 2011). He is of French, Italian, Panamanian, and Scottish descent. When he was one and a half years old, his family moved to Port Tampa, Florida. As a boy, he was a pitcher in Little League Baseball.

Hogan remained WWF World Heavyweight Champion for four years (1,474 days). In front of 33 million viewers, however, Hogan finally lost the title to Andre on the February 5 episode of The Main Event after a convoluted scam involving "The Million Dollar Man" Ted DiBiase and Earl Hebner (who assumed the place of his twin brother Dave Hebner, the match's appointed referee). After Andre delivered a belly to belly suplex on Hogan, Hebner counted the pin while Hogan's left shoulder was clearly off the mat. After the match, Andre handed the title over to DiBiase to complete their business deal. As a result, the WWF World Heavyweight Championship was vacated for the first time in its 25-year history because then WWF President Jack Tunney decreed the championship could not be sold from one wrestler to another. At WrestleMania IV, Hogan participated in a tournament for the vacant WWF World Heavyweight Championship to regain it; he and Andre were given a bye into quarter-finals, but their match resulted in a double disqualification. Later that night in the main event, Hogan came to ringside to stop Andre interfering which helped "Macho Man" Randy Savage defeat Ted DiBiase to win the title.  Together, Hogan, Savage, and manager Miss Elizabeth formed a partnership known as The Mega Powers. After Savage became WWF World Heavyweight Champion at WrestleMania IV, they feuded with The Mega Bucks (Andre the Giant and Ted DiBiase) and defeated them at the main event of the first SummerSlam. They then went on to feud with Slick's Twin Towers: Akeem and Big Boss Man.  In mid-1988, Hogan wrestled at house shows in singles competition with his "War Bonnet", a red and yellow gladiator helmet with a fist-shaped crest. This was notably used to give Bad News Brown his first WWF loss at a Madison Square Garden house show before it was discarded altogether. The War Bonnet gimmick was revisited in the WWE's online comedy series Are You Serious? in 2012.  The Mega Powers began to implode due to Savage's burgeoning jealousy of Hogan and his paranoid suspicions that Hogan and Elizabeth were more than friends. At the Royal Rumble in 1989, Hogan eliminated Savage from the Royal Rumble match while eliminating Bad News Brown, which caused tension, only to be eliminated by The Twin Towers himself. In early 1989, the duo broke up while wrestling The Twin Towers on the February 3 episode of The Main Event, when Savage accidentally collided with Miss Elizabeth during the match, and Hogan took her backstage to receive medical attention, temporarily abandoning Savage, who slapped Hogan and left the ring, where Hogan eventually won the match by himself. After the match, Savage attacked Hogan backstage, which started a feud between the two. Their feud culminated in Hogan beating Savage for his second WWF World Heavyweight Championship at WrestleMania V.

what happened in 1988?

Answer with quotes: In mid-1988, Hogan wrestled at house shows in singles competition with his "War Bonnet", a red and yellow gladiator helmet with a fist-shaped crest.

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:

how was he rooted in Romanticism?

Answer:
one in which the music yields brief but explicit, potent, and spoken meaning manifested only latently or programmatically in purely instrumental genres;