Problem: Background: Born Marilyn Ann Briggs in Providence, Rhode Island, Chambers was raised in Westport, Connecticut, in a middle-class household. It is often reported that she was born in Westport; however, in a 2007 interview Chambers confirmed she was born in Providence but grew up in Westport. Her father was in advertising and her mother was a nurse. She was the youngest of three children, including a brother, Martin Briggs (keyboardist for 1960s Boston band The Remains), and a sister, Jann Smith.
Context: Chambers dreamed of having a career in mainstream films and believed her celebrity as the star of Behind the Green Door and the Ivory Snow girl would be a stepping stone to other endeavors. "The paradox was that, as a result of Green Door, Hollywood blackballed me," she said later. "[Green Door] became a very high-grossing film...But, to a lot of people, it was still a dirty movie; for me to do anything else, as an actress, was totally out of the question. I became known as a porno star, and that type of labeling really hurt me. It hurt my chances of doing anything else".  Throughout the 1970s she was up for roles in several Hollywood films. Her biggest opportunity came in 1976 when it was announced in Variety that she was to star alongside Rip Torn in City Blues, a film about a young hooker defended by a seedy lawyer. The film was to be directed by Nicholas Ray. Ray had never seen Behind the Green Door or even screen-tested Chambers. Instead the two met and Ray was impressed. "I have a camera in my head," he said, adding that Chambers would "eventually be able to handle anything that the young Katie Hepburn or Bette Davis could." However, the project never came to fruition, in large part due to Ray's alcohol and drug abuse.  Chambers claimed that Jack Nicholson and Art Garfunkel brought her in to talk about a role in the 1978 film Goin' South, then asked her for cocaine and grilled her about whether her orgasms in Behind the Green Door were real; she was angered to the point where she stormed out of the interview. She was going to be cast in the film Hardcore, opposite George C. Scott, but the casting director took one look at her and said she was too wholesome to be cast as a porn queen. "The Hardcore people wanted a woman with orange hair who chews gum, swings a big purse, and wears stiletto heels. That's such a cliche," Chambers said years later. Season Hubley was cast instead.
Question: What type of films did she appear in?
Answer: I became known as a porno star, and that type of labeling really hurt me. It hurt my chances of doing anything else".

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: In what why was his music significant?
Answer:
Webern's earliest works consist primarily of lieder, the genre that most belies his roots in Romanticism, specifically German Romanticism;