Question:
Tiaina Baul Seau Jr. (; SAY-ow; January 19, 1969 - May 2, 2012), better known as Junior Seau, was a linebacker in the National Football League (NFL). Known for his passionate play, he was a 10-time All-Pro, 12-time Pro Bowl selection, and named to the NFL 1990s All-Decade Team.
After three years as a Trojan, Seau entered the NFL draft after his junior season and was chosen in the first round of the 1990 NFL Draft by Bobby Beathard's San Diego Chargers as the fifth overall draft selection. Seau quickly became one of the most popular players on the Chargers, receiving the nickname "Tasmanian Devil", after the wild antics of the cartoon character. He became the face of the Chargers franchise and a San Diego sports icon. Seau started 15 of the 16 games he played in during his rookie season, and was named an alternate to the 1991 Pro Bowl after recording 85 tackles. In 1991, he picked up 129 tackles and seven sacks and was named to the 1992 Pro Bowl, the first of 12 consecutive Pro Bowls for Seau. He was also voted NFL's Defensive MVP by the Newspaper Enterprise Association AFC Defensive Player of the Year by United Press International, as well as the NFL Alumni Linebacker of the Year and the NFLPA AFC Linebacker of the Year. He started no fewer than 13 games for the Chargers over each of the ensuing 11 seasons, registering a career high with 155 tackles in 1994. That year, Seau was named NFL Defensive Player of the Year by United Press International, and he led his team to a championship appearance in Super Bowl XXIX. In one of the greatest games in his career, he recorded 16 tackles in the 1994 AFC Championship Game while playing with a pinched nerve in his neck in a 17-13 victory over the Pittsburgh Steelers. In 2002, his final year with the Chargers, he logged a then-career low 83 tackles and missed his final Pro Bowl with an ankle injury.
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What did he accomplish during his time with the Chargers?

Answer:
Seau started 15 of the 16 games he played in during his rookie season, and was named an alternate to the 1991 Pro Bowl after recording 85 tackles.

Question:
Clifford Bundy Stearns Sr. (born April 16, 1941) was the U.S. Representative for Florida's 6th congressional district from 1989 to 2013. He is a member of the Republican Party. On August 14, 2012, Stearns lost to veterinarian Ted Yoho in a four-way Republican primary by about 1 percent of the vote.
Stearns led the congressional effort involving the meningitis outbreak. As of November 14, 2012, the Centers for Disease Control and Prevention (CDC) has confirmed 32 deaths and that 438 people have been sickened across 19 states. An investigation determined that the New England Compounding Center(NECC) was the source of the contaminated product. As Chairman of the House Energy and Commerce Committee's Subcommittee on Oversight and Investigations, Stearns held a hearing on this outbreak. During the hearing, Stearns stated the outbreak was preventable had the U.S. Food and Drug Administration (FDA) acted. The FDA knew of severe quality control violations at NEC as early as 2002, and in 2006 the FDA threatened NECC if it did not comply with regulations. During the hearing, FDA Commissioner Dr. Margaret Hamburg testified that the FDA lacked the authority to close down NECC. Stearns noted that the FDA had authority to close NECC, but simply failed to protect the American people. Dr. Scott Gottlieb, deputy commissioner of the FDA from 2005-07 and Mr. SheldonBradshaw, FDA's chief counsel during that same period, disagreed strongly with Hamburg. In a Wall Street Journal op-ed on November 13, 2012, they stated unequivocally that FDA did have enough authority and could have acted but chose not to because of FDA's desire to regulate "the full scope of the practice of pharmacy." They further stated that NECC's illegal actions, which FDA was aware of, that "put the NECC firmly in violation of FDA rules-if the agency had chosen to enforce existing provisions."
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how did they threaten the NECC?

Answer:
FDA Commissioner Dr. Margaret Hamburg testified that the FDA lacked the authority to close down NECC.

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 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.
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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;