Question: Stanley Kirk Burrell (born March 30, 1962), better known by his stage name MC Hammer (or simply Hammer), is an American hip hop recording artist, dancer, record producer and entrepreneur. He had his greatest commercial success and popularity from the late 1980s, until the early 1990s. Remembered for his rapid rise to fame, Hammer is known for hit records (such as "U Can't Touch This" and "2 Legit 2 Quit"), flashy dance movements, choreography and eponymous Hammer pants. A multi-award winner, M.C. Hammer is considered a "forefather/pioneer" and innovator of pop rap (incorporating elements of freestyle music), and is the first hip hop artist to achieve diamond status for an album.

In the mid-1980s while rapping in small venues and after a record deal went sour, Hammer borrowed US$20,000 each from former Oakland A's players Mike Davis and Dwayne Murphy to start a record label business called Bust It Productions. He kept the company going by selling records from his basement and car. Bust It spawned Bustin' Records, the independent label of which Hammer was CEO. Together, the companies had more than 100 employees. Recording singles and selling them out of the trunk of his car, he marketed himself relentlessly. Coupled with his dance abilities, Hammer's style was unique at the time. Now billing himself as "M.C. Hammer", he recorded his debut album, Feel My Power, which was produced between 1986 and 1987 and released independently in 1987 on his Oaktown Records label (Bustin'). It was produced by Felton Pilate (of Con Funk Shun), and sold over 60,000 copies and was being distributed by City Hall Records. In the spring of 1988, a 107.7 KSOL Radio DJ Tony Valera played the track "Let's Get It Started" in his mix-shows--a song in which he declared he was "second to none, from Doug E. Fresh, LL Cool J, or DJ Run"--after which the track began to gain popularity in clubs. (He would continue to call out other East Coast rappers in future projects as well.) Hammer also released a single called "Ring 'Em", and largely on the strength of tireless street marketing by Hammer and his wife, plus continued radio mix-show play, it achieved considerable popularity at dance clubs in the San Francisco Bay Area. Heartened by his rising prospects, Hammer launched into seven-day-a-week rehearsals with the growing troupe of dancers, musicians, and backup vocalists he had hired. It was Hammer's stage show, and his infectious stage presence, that led to his big break in 1988 while performing in an Oakland club. There he impressed a record executive who "didn't know who he was, but knew he was somebody", according to the New Rolling Stone Encyclopedia of Rock & Roll. M.C.Hammer had received several offers from major record labels before (which he initially declined due to his personal success), but after the successful release of this independent album and elaborate live dance show amazed the Capitol Records executive, Hammer agreed to sign a record deal soon after. Hammer took home a US$1,750,000 advance and a multi-album contract. It didn't take long for Capitol to recoup its investment.

Using a quote from the above article, answer the following question: under what record
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Answer: City Hall Records.

Question: David Paradine Frost was born in Tenterden, Kent, on 7 April 1939, the son of a Methodist minister of Huguenot descent, the Rev. Wilfred John "W. J." Paradine Frost, and his wife, Mona (Aldrich); he had two elder sisters. While living in Gillingham, Kent, he was taught in the Bible class of the Sunday school at his father's church (Byron Road Methodist) by David Gilmore Harvey, and subsequently started training as a Methodist local preacher, which he did not complete. Frost attended Barnsole Road Primary School in Gillingham, St Hugh's School, Woodhall Spa, Gillingham Grammar School and finally - while residing in Raunds - Wellingborough Grammar School. Throughout his school years he was an avid football and cricket player, and was offered a contract with Nottingham Forest F.C.

Frost was chosen by writer and producer Ned Sherrin to host the satirical programme That Was the Week That Was, alias TW3 after Frost's flatmate John Bird suggested Sherrin should see his act at The Blue Angel. The series, which ran for less than 18 months during 1962-63, was part of the satire boom in early 1960s Britain and became a popular programme. The involvement of Frost in TW3 led to an intensification of the rivalry with Peter Cook who accused him of stealing material and dubbed Frost "the bubonic plagiarist". The new satirical magazine Private Eye also mocked him at this time. Frost visited the United States during the break between the two series of TW3 in the summer of 1963 and stayed with the producer of the New York production of Beyond The Fringe. Frost was unable to swim, but still jumped into the pool, and nearly drowned until he was saved by Peter Cook. At the memorial service for Cook in 1995, Alan Bennett recalled that rescuing Frost was the one regret Cook frequently expressed. For the first three editions of the second series in 1963, the BBC attempted to limit the team by scheduling repeats of The Third Man television series after the programme, thus preventing overruns. Frost took to reading synopses of the episodes at the end of the programme as a means of sabotage. After the BBC's Director General Hugh Greene instructed that the repeats should be abandoned, TW3 returned to being open-ended. More sombrely, on 23 November 1963, a tribute to the assassinated President John F. Kennedy, an event which had occurred the previous day, formed an entire edition of That Was the Week That Was. An American version of TW3 ran after the original British series had ended. Following a pilot episode on 10 November 1963, the 30-minute US series, also featuring Frost, ran on NBC from 10 January 1964 to May 1965. In 1985, Frost produced and hosted a television special in the same format, That Was the Year That Was, on NBC.

Using a quote from the above article, answer the following question: Was it successful?
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Answer:
The series, which ran for less than 18 months during 1962-63, was part of the satire boom in early 1960s Britain and became a popular programme.