Problem: Miranda was born in New York City and raised in the neighborhood of Inwood, the son of Luz Towns, a clinical psychologist, and Luis A. Miranda, Jr., a Democratic Party consultant who advised New York City mayor Ed Koch. Miranda has one older sister, Luz, who is the Chief Financial Officer of the MirRam Group. During childhood and his teens, he spent at least one month each year with his grandparents in Vega Alta, Puerto Rico. He is of mostly Puerto Rican descent.

Miranda co-wrote the music and lyrics for Bring It On: The Musical with Tom Kitt and Amanda Green. Bring It On premiered at the Alliance Theatre in Atlanta, Georgia in January 2011. The musical began a US national tour on October 30, 2011 in Los Angeles, California. It then played a limited engagement on Broadway at the St. James Theatre, beginning previews on July 12, and officially opening on August 1, 2012. It closed on December 30, 2012. It was nominated for Tony Awards in the categories of Best Musical and Best Choreography. In 2011, Miranda appeared on the TV series Modern Family in the episode "Good Cop Bad Dog". He appeared as Charley in an Encores! staged concert of Merrily We Roll Along at New York City Center in February 2012. Later that year, he appeared in a small role in The Odd Life of Timothy Green as Reggie and played the recurring role Ruben Marcado on the 2013 NBC drama Do No Harm. In 2013, Miranda appeared in the episode "Bedtime Stories" (Season 9, Episode 11) on the CBS sitcom How I Met Your Mother. Later that year, he submitted a six-song demo package to Walt Disney Animation Studios; in spring 2014, the studio hired him to help write the songs for its 2016 animated feature film, Moana. In 2014, he performed with comedy duo The Skivvies, and participated in This American Life at the Brooklyn Academy of Music on June 7, 2014 and broadcast on the radio on June 20, 2014, writing the music and lyrics for, and playing The Narrator in, the one-act 21 Chump Street: The Musical. Also in 2014, Miranda appeared in the Encores! revival of Tick, Tick... Boom! under the artistic direction of Jeanine Tesori. The show was directed by Oliver Butler. Miranda won a 2014 Emmy Award for co-composing (with Tom Kitt) the song "Bigger!", the opening number at the 67th Tony Awards in 2013.

What was Bring It On?

Answer with quotes: for Bring It On: The Musical

Background: Nigel Ernest James Mansell, (; born 8 August 1953) is a British former racing driver who won both the Formula One World Championship (1992) and the CART Indy Car World Series (1993). Mansell was the reigning F1 champion when he moved over to CART, becoming the first person to win the CART title in his debut season, and making him the only person to hold both the World Drivers' Championship and the American open-wheel National Championship simultaneously. His career in Formula One spanned 15 seasons, with his final two full seasons of top-level racing being spent in the CART series. Mansell is the second most successful British Formula One driver of all time in terms of race wins with 31 victories, and is seventh overall on the Formula One race winners list behind Michael Schumacher, Lewis Hamilton, Alain Prost, Sebastian Vettel, Ayrton Senna and Fernando Alonso.
Context: In 1994, after the CART season ended, Mansell returned to F1 and re-joined the Williams team. Since he had left it in 1993, the team had undergone some significant changes. Damon Hill had been promoted from test driver and was running full-time in one Renault. Prost, Mansell's replacement, won the 1993 Drivers' Championship and then retired after the season. This allowed Williams and Ayrton Senna to finally work out an agreement, and the team received a new sponsor in Rothmans International for a season in which they were expected to remain as champions. However, the car proved unreliable and tricky to handle early in the season; leading Senna to retire from the opening rounds despite claiming pole. In the third race at Imola tragedy struck as Senna was killed in a crash on the Tamburello curve. Mansell took over the car Senna was brought in to drive toward the end of the 1994 campaign. Mansell was paid approximately PS900,000 per race, compared to his teammate Hill being paid PS300,000 for the entire season. Mansell's return was helped by Bernie Ecclestone helping unravel his contracts in the United States. It was important for F1 to have a world champion driving that season and with worldwide TV viewing figures starting to decline, they needed Mansell. The 40-year-old was not as quick as Damon Hill in race trim but signs that his speeds were coming back were evident in Japan during a fantastic battle with the Ferrari of Jean Alesi. Mansell took his final Grand Prix victory in Adelaide, the last race of the season, having out-qualified the two title contenders at the time, Damon Hill and Michael Schumacher, in the process (helped out by the second qualifying session being held on a wet track, with the times from the first session making up the grid). The plan initially was for Mansell to protect Hill from Schumacher, but both drivers passed him at the start and eventually collided (causing the retirement of both), handing Schumacher his first world title. Williams had an option on Mansell's services for 1995 which Mansell was convinced they would take. Williams however, opted for youth over experience and hired David Coulthard.
Question: What were they evident of since he wasn't doing as well?
Answer: evident in Japan during a fantastic battle with the Ferrari of Jean Alesi.

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 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.
Answer this question using a quote from the text above:

Did anyone else have a style similar to his?

Answer:
Boulez's "complete" recording of Webern's music