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Heitor Villa-Lobos (Portuguese: [ej,toR ,vila 'lobus]; March 5, 1887 - November 17, 1959) was a Brazilian composer, described as "the single most significant creative figure in 20th-century Brazilian art music". Villa-Lobos has become the best-known South American composer of all time. A prolific composer, he wrote numerous orchestral, chamber, instrumental and vocal works, totaling over 2000 works by his death in 1959. His music was influenced by both Brazilian folk music and by stylistic elements from the European classical tradition, as exemplified by his Bachianas Brasileiras (Brazilian Bachian-pieces).
Heitor Villa-Lobos was born in Rio de Janeiro. His father, Raul, was a civil servant, an educated man of Spanish extraction, a librarian, and an amateur astronomer and musician. In Villa-Lobos's early childhood, Brazil underwent a period of social revolution and modernisation, abolishing slavery in 1888 and overthrowing the Empire of Brazil in 1889. The changes in Brazil were reflected in its musical life: previously European music had been the dominant influence, and the courses at the Conservatorio de Musica were grounded in traditional counterpoint and harmony. Villa-Lobos underwent very little of this formal training. After a few abortive harmony lessons, he learnt music by illicit observation from the top of the stairs of the regular musical evenings at his house arranged by his father. He learned to play cello, guitar and clarinet. When his father died suddenly in 1899 he earned a living for his family by playing in cinema and theatre orchestras in Rio.  Around 1905 Villa-Lobos started explorations of Brazil's "dark interior", absorbing the native Brazilian musical culture. Serious doubt has been cast on some of Villa-Lobos's tales of the decade or so he spent on these expeditions, and about his capture and near escape from cannibals, with some believing them to be fabrications or wildly embellished romanticism. After this period, he gave up any idea of conventional training and instead absorbed the musical influences of Brazil's indigenous cultures, themselves based on Portuguese and African, as well as American Indian elements. His earliest compositions were the result of improvisations on the guitar from this period.  Villa-Lobos played with many local Brazilian street-music bands; he was also influenced by the cinema and Ernesto Nazareth's improvised tangos and polkas. For a time Villa-Lobos became a cellist in a Rio opera company, and his early compositions include attempts at Grand Opera. Encouraged by Arthur Napoleao, a pianist and music publisher, he decided to compose seriously.

where did he go to school





Answer the question at the end by quoting:

Hakeem Olajuwon was born to Salim and Abike Olajuwon, working class Yoruba owners of a cement business in Lagos. He was the third of eight children. He credits his parents with instilling virtues of hard work and discipline into him and his siblings; "They taught us to be honest, work hard, respect our elders, and believe in ourselves". Olajuwon has expressed displeasure at his childhood in Nigeria being characterized as backward. "
"The best footwork I've ever seen from a big man"  --Pete Newell  Olajuwon established himself as an unusually skilled offensive player for a big man, perfecting a set of fakes and spin moves that became known as his trademark Dream Shake. Executed with uncanny speed and power, they are still regarded as the pinnacle of "big man" footwork. Shaquille O'Neal stated: "Hakeem has five moves, then four countermoves - that gives him 20 moves." Olajuwon himself traced the move back to the soccer-playing days of his youth. "The Dream Shake was actually one of my soccer moves which I translated to basketball. It would accomplish one of three things: one, to misdirect the opponent and make him go the opposite way; two, to freeze the opponent and leave him devastated in his tracks; three, to shake off the opponent and giving him no chance to contest the shot." The Dream Shake was very difficult to defend, much like Kareem Abdul-Jabbar's sky-hook.  One notable Dream Shake happened in Game 2 of the 1995 Western Conference Finals against the Spurs. With David Robinson guarding him, Olajuwon performed a cross-over, drove to the basket and faked a layup. Robinson, an excellent defender, kept up with Olajuwon and remained planted. Olajuwon spun counterclockwise and faked a jump shot. Robinson, who was voted the 1995 NBA MVP, fell for the fake and jumped to block the shot. With Robinson in the air, Olajuwon performed an up-and-under move and made an easy layup.  Olajuwon has referred to basketball as a science, and described his signature move in vivid detail: "When the point guard throws me the ball, I jump to get the ball. But this jump is the set-up for the second move, the baseline move. I call it the 'touch landing.' The defender is waiting for me to come down because I jumped but I'm gone before I land. Defenders say 'Wow, he's quick,' but they don't know that where I'm going is predetermined. He's basing it on quickness, but the jump is to set him up. Before I come down, I make my move. When you jump, you turn as you land. Boom! The defender can't react because he's waiting for you to come down to defend you. Now, the first time when you showed that quickness, he has to react to that quickness, so you can fake baseline and go the other way with your jump hook. All this is part of the Dream Shake. The Dream Shake is you dribble and then you jump; now you don't have a pivot foot. When I dribble I move it so when I come here, I jump. By jumping, I don't have a pivot foot now. I dribble so now I can use either foot. I can go this way or this way. So he's frozen, he doesn't know which way I'm going to go. That is the shake. You put him in the mix and you jump stop and now you have choice of pivot foot. He doesn't know where you're gonna turn and when."

Did it always work against his opponents?
The Dream Shake was very difficult to defend, much like Kareem Abdul-Jabbar's sky-hook.