Answer the question at the end by quoting:

Born in eastern Ohio in Martins Ferry, just north and across the Ohio River from Wheeling, West Virginia, Groza's parents were immigrants from Transylvania, part of modern-day Romania. His Hungarian mother Mary and Romanian father John (Ioan) Groza owned and ran Groza's Tavern on Main Street. Lou was the smallest in stature of four boys in an athletic family; his brother Alex became a star basketball player at the University of Kentucky, a member of two national championship teams.
Groza graduated from high school in 1942 and enrolled on an athletic scholarship at Ohio State University in Columbus, where he played as a tackle and placekicker on the Buckeyes' freshman team. Groza played in three games and kicked five field goals, including one from 45 yards (41 m) away. In 1943, he enlisted in the U.S. Army as World War II intensified. He first went for basic training to Abilene, Texas, and then to Brooks General Hospital in San Antonio.  After a stint with the short-lived Army Service Training Program, Groza was sent with the 96th Infantry Division to serve as a surgical technician in Leyte, Okinawa, and other places in the Pacific theater in 1945. The day he landed in the Philippines, Groza saw a soldier shot in the face. He was stationed in a bank of tents about five miles from the front lines and helped doctors tend to the wounded. "I saw a lot of men wounded with severe injuries", he later said. "Lose legs, guts hanging out, stuff like that. It's a tough thing, but you get hardened to it, and you accept it as part of your being there."  While he was in the Army, he received a package from Paul Brown, the Ohio State football coach. It contained footballs and a contract for him to sign to play on a team Brown was coaching in the new All-America Football Conference (AAFC). He signed the contract in May 1945 and agreed to join the team, called the Cleveland Browns, after the war ended in 1946. Groza got $500 a month stipend until the end of the war and a $7,500 annual salary.

what was the highlight of his military service?

Groza was sent with the 96th Infantry Division to serve as a surgical technician in Leyte, Okinawa, and other places in the Pacific theater in 1945.

Some context: Michael John Kells Fleetwood was born in Redruth, second child to John Joseph Kells Fleetwood and Bridget Maureen (nee Brereton) Fleetwood. His elder sister Susan Fleetwood, who died of cancer in 1995, became an actress. In early childhood Fleetwood and his family followed his father, a Royal Air Force fighter pilot, to Egypt. After about six years, they moved to Norway where his father was posted on a NATO deployment.
Fleetwood was a self-taught drummer from his early childhood, after moving from a lacklustre academic performance at school to a love of music encouraged by his family, who bought him his first drum kit. His first years were heavily influenced by Tony Meehan and the Everly Brothers, and during his formative years in London during the late 1960s, Green helped Fleetwood through bouts of "rhythmic dyslexia" during live performances when Fleetwood panicked and lost the beat. He often sang filled pauses along to songs to help keep the beat. Green also instilled in Fleetwood an ability to follow and predict the lead guitarist, enabling him to meet the guitar with the drum rhythm as well as allowing him to know a good guitarist when he saw one - which would in part lead him later in his career to select Lindsey Buckingham.  Bob Brunning recalled from his early involvement with Fleetwood Mac that Fleetwood was "very open to playing with different people as long as he didn't have to change his style. He was, and is, a completely straightforward drummer, and it works with a lot of different styles. I don't s'pose [sic] he's played a traditional drum solo in his life!" Biographer Carroll highlights this ability as integral to the success of Fleetwood Mac, arguing that Fleetwood was not a virtuoso, but his disciplined and in-distractable manner of play allowed him to hold together a band of strong leading personalities without impinging upon their expression.  Caillat, in contrast, cites Fleetwood as "still one of the most amazing drummers I've ever met. He had his rack of tom drums arranged back to front. Most drummers place them from high to low (in pitch) from their left to right, but Mick chose to place his mid, high, low. I think perhaps this helped him develop his unique style. He hit his drums very hard, except for his kick drum. For some reason, when he played his high hat, it distracted him. He would keep perfect beat with his kick, but he played it so softly that we could hear his mouth noises through his kick mic."
is he still performing?
A: 

IN: A choir () (also known as a quire, chorale or chorus) is a musical ensemble of singers. Choral music, in turn, is the music written specifically for such an ensemble to perform. Choirs may perform music from the classical music repertoire, which spans from the Medieval era to the present, or popular music repertoire. Most choirs are led by a conductor, who leads the performances with arm and face gestures.

Composers of the late 18th century became fascinated with the new possibilities of the symphony and other instrumental music, and generally neglected choral music. Mozart's choral works, though not as numerous as his works for other media, stand out as some of his greatest (such as the "Great" Mass in C minor and Requiem in D minor, the latter of which is often considered the greatest Requiem Mass of all time). Haydn became more interested in choral music near the end of his life following his visits to England in the 1790s, when he heard various Handel oratorios performed by large forces; he wrote a series of masses beginning in 1797 and his two great oratorios The Creation and The Seasons. Beethoven wrote only two masses, both intended for liturgical use, although his Missa solemnis is probably suitable only for the grandest ceremonies due to its length, difficulty and large-scale scoring. He also pioneered the use of chorus as part of symphonic texture with his Ninth Symphony and Choral Fantasia.  In the 19th century, sacred music escaped from the church and leaped onto the concert stage, with large sacred works unsuitable for church use, such as Berlioz's Te Deum and Requiem, and Brahms's Ein deutsches Requiem. Rossini's Stabat mater, Schubert's masses, and Verdi's Requiem also exploited the grandeur offered by instrumental accompaniment. Oratorios also continued to be written, clearly influenced by Handel's models. Berlioz's L'enfance du Christ and Mendelssohn's Elijah and St Paul are in the category. Schubert, Mendelssohn, and Brahms also wrote secular cantatas, the best known of which are Brahms's Schicksalslied and Nanie.  A few composers developed a cappella music, especially Bruckner, whose masses and motets startlingly juxtapose Renaissance counterpoint with chromatic harmony. Mendelssohn and Brahms also wrote significant a cappella motets. The amateur chorus (beginning chiefly as a social outlet) began to receive serious consideration as a compositional venue for the part-songs of Schubert, Schumann, Mendelssohn, Brahms, and others. These 'singing clubs' were often for women or men separately, and the music was typically in four-part (hence the name "part-song") and either a cappella or with simple instrumentation. At the same time, the Cecilian movement attempted a restoration of the pure Renaissance style in Catholic churches.

Any particularly notable musics from this style/era?

OUT:
A few composers developed a cappella music,