Problem: Background: The Clark Sisters are an American gospel vocal group consisting of five sisters: Jacky Clark Chisholm (b. 1948), Denise Clark Bradford (b. 1953), Elbernita "Twinkie" Clark-Terrell (b. 1954), Dorinda Clark-Cole (b. 1957), and Karen Clark Sheard (b. 1960). The Clark Sisters are the daughters of gospel musician and choral director Mattie Moss Clark. They are credited for helping to bring gospel music to the mainstream and are considered as pioneers of contemporary gospel.
Context: After a four-year gap between releases, the sisters continued as a foursome, signing with Rejoice Records, a division of Word. This new deal yielded the Grammy-nominated Heart & Soul (1986) featuring the mainstream single "Time Out". This project made a top 5 debut on Billboard's Gospel Charts and garnered the group a coveted Dove Award. It featured the original versions of "Jesus Is A Love Song", "Balm in Gilead", and "Pray for the USA", which has been re-recorded several times. The music took on a more contemporary sound with programmed drums and synthesizers. Also included on this album were "Smile, God Loves You", "Time Out", "I Am Blessed", and the funky "He'll Turn Your Scars Into Stars."  In 1988, The Clark Sisters released their Billboard chart-topping and critically acclaimed album Conqueror. It featured a bolder, more intense sound, with synthesizers, drum machines and more funk-oriented beats. Conqueror quickly became a fan favorite with hits like "The Darkest Hour Is Just Before The Day" and the original studio version of "Jesus Forevermore".  In 1989, The Clark Sisters released their highly anticipated live album, Bringing it Back Home, recorded in their home town of Detroit. It was the last recording from The Clark Sisters on Word Records' Rejoice imprint and the last group album with Twinkie just before the launch of her solo career. The album included both previous hits and new material. It featured guest appearances from gospel icon Rance Allen and backing choir vocals from The Michigan State Choir directed by Dr. Mattie Moss Clark.  In 1994, the Clark Sisters released their last studio album before breaking grounds into their successful solo careers. Their last studio album of the decade, Miracle, was the first album The Clark Sisters recorded without the songwriting and vocals of Twinkie Clark. Produced by BeBe Winans & Michael J. Powell, this disc features a very pop version of the Clark Sisters classic "Expect A Miracle" (now titled "Miracle") and a remake of the classic "Jesus Is The Best Thing". Dorinda made her songwriting debut on a Clark Sisters recording with "Work To Do". That album, although it fared well in sales, did not match the success of previous albums due to the Clark Sisters not being able to tour and promote the project, due to the illness of their mother, Dr. Mattie Moss Clark, who died in September 1994 from diabetes complications.
Question: did sthey have other successes?
Answer: top 5 debut on Billboard's Gospel Charts and garnered the group a coveted Dove Award.

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 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.
Question: What else is he known for?
Answer:
Webern's symphony with the hr-Sinfonieorchester is still far more within the spirit of the late Romantic performance tradition