Problem: Background: David Monroe Shoup (30 December 1904 - 13 January 1983) was a decorated general of the United States Marine Corps who was awarded the Medal of Honor in World War II, became the 22nd Commandant of the Marine Corps, and, after retiring, became one of the most prominent critics of the Vietnam War. Born in Indiana to an impoverished family, Shoup joined the military for financial reasons. Rising through the ranks in the interwar era, he was twice deployed to China during the Chinese Civil War. He served in Iceland at the beginning of U.S. involvement in World War II, and as a staff officer during the Pacific War.
Context: David Monroe Shoup was born on 30 December 1904 in Battle Ground, Indiana. His family lived on a farm in Ash Grove, but moved to Covington to live on a new farm in 1916. At age 12 he was enrolled in Covington High School, a competitive high school with an advanced curriculum. Shoup was an excellent student, maintaining high marks in French, English, physics, and history. Additionally, he was involved in several extracurricular activities, including basketball, and was class president in his senior year. He graduated in 1921. He later affectionately referred to his impoverished upbringing as that of an "Indiana plowboy." Regarded by friends as very sociable, he met Zola De Haven in his freshman year and later said he had been instantly attracted to her. They were both very competitive in academics and athletics, and the two dated throughout high school; they were married in 1931.  After high school, Shoup attended DePauw University where he was one of 100 awarded the Edward Rector Scholarship, giving him full tuition. Majoring in mathematics, he joined the Delta Upsilon fraternity and maintained high marks, narrowly failing the selection criteria for Phi Beta Kappa Society. He was on the track and field and rifle teams, and also competed in the wrestling and football teams. He won the Indiana and Kentucky Amateur Athletic Union marathon in 1925. He waited tables, washed dishes and worked in a cement factory to help pay his expenses. Lack of funds compelled him to take a year off after his junior year to teach school, and his expenses were further strained when he contracted a severe case of pneumonia and incurred hospital bills. He opted to enroll in the Reserve Officers Training Corps (ROTC) to offset his living expenses, and later recalled that this was the only reason he joined the military. He graduated from DePauw in 1926.  From an early age, Shoup was molded by the progressive ideas of Indiana politicians, sympathizing with rural progressives fighting against the interests of big businesses. He developed an anti-imperialist attitude, and his skepticism about American foreign policy, influenced by his small-town background, made him an outspoken opponent of the unnecessary use of military force. He felt the use of troops for economic or imperialist consideration was wrong, a viewpoint he would carry for his entire career.
Question: Is there anything else interesting?
Answer: He opted to enroll in the Reserve Officers Training Corps (ROTC) to offset his living expenses, and later recalled that this was the only reason he joined the military.

Problem: Background: 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.
Context: 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.
Question: What event occurred in 1899?
Answer:
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.