Question:
Art Donovan, born June 5, 1924, was the son of Arthur Donovan, Sr., a boxing referee, and the grandson of Professor Mike Donovan, the world middleweight boxing champion in the 1870s. Art attended Mount Saint Michael Academy in the Bronx. He received a scholarship to the University of Notre Dame in 1942 but left after one semester to join the United States Marine Corps, enlisting in April 1943. He served four years, to include service in the Pacific Theatre during World War II.
He published an autobiography, Fatso, in 1987. He was noted as a jovial and humorous person during his playing career and capitalized on that with television and speaking appearances after retiring as a player. He owned and managed a country club near Baltimore. Donovan also appeared ten times on the Late Show with David Letterman, telling humorous stories about his old playing days and about other "old school" footballers he played with and against. He relayed a story that he played without a helmet and in fact is shown on football cards without a helmet. Letterman wore Donovan's No. 70 Colts jersey in the famous Super Bowl XLI commercial with Oprah Winfrey and Jay Leno.  Donovan guest-starred in the Nickelodeon show The Adventures of Pete & Pete in the episode "Space, Geeks, and Johnny Unitas". He also appeared as a guest commentator at the WWF King of the Ring tournament in 1994. Donovan's appearance at the 1994 King of the Ring event would become infamous among wrestling fans for being seemingly uninformed about the product as well as generally befuddled behavior such as repeatedly asking how much certain wrestlers weighed. He was joined by Gorilla Monsoon on play-by-play, who inadvertently referred to Donovan several times as "Art O'Donnell", and Randy Savage.  He was co-host of the popular 1990s program Braase, Donovan, Davis and Fans on WJZ-TV in Baltimore with Colt teammate Ordell Braase. The trio talked more about Art Donovan's fabled stories than contemporary NFL football, but the show held high ratings in its time slot. He was also a pitchman for the Maryland State Lottery and ESPN.
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What year did he release his autobiography?

Answer:
in 1987.


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.
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What was notable about his music style?

Answer:
extramusical metaphors and associations everywhere throughout his sketches.