Problem: Background: Hartman was born Philip Edward Hartmann (later dropping one "n") on September 24, 1948, in Brantford, Ontario, Canada. He was the fourth of eight children of Doris Marguerite (Wardell) and Rupert Loebig Hartmann, a salesman specializing in building materials. His parents were Catholic and raised their children in that faith. As a child Hartman found affection hard to earn and stated: "I suppose I didn't get what I wanted out of my family life, so I started seeking love and attention elsewhere."
Context: In contrast to his real-life personality, which was described as "a regular guy and, by all accounts, one of show business' most low-key, decent people", Hartman often played seedy, vain or unpleasant characters as well as comedic villains. He noted that his standard character was a "jerky guy", and described his usual roles as "the weasel parade", citing Lionel Hutz, Bill McNeal, Troy McClure and Ted Maltin from Jingle All the Way as examples. Hartman enjoyed playing such roles because he "just want[ed] to be funny, and villains tend to be funny because their foibles are all there to see." He often played supporting roles, rather than the lead part. He said "throughout my career, I've never been a huge star, but I've made steady progress and that's the way I like it," and "It's fun coming in as the second or third lead. If the movie or TV show bombs, you aren't to blame." Hartman was considered a "utility player" on SNL with a "kind of Everyman quality" which enabled him to appear in the majority of sketches, often in very distinct roles. Jan Hooks stated of his work on SNL: "Phil never had an ounce of competition. He was a team player. It was a privilege for him, I believe, to play support and do it very well. He was never insulted, no matter how small the role may have been." He was disciplined in his performances, studying the scripts beforehand. Hooks added: "Phil knew how to listen. And he knew how to look you in the eye, and he knew the power of being able to lay back and let somebody else be funny, and then do the reactions. I think Phil was more of an actor than a comedian." Film critic Pauline Kael declared that "Phil Hartman and Jan Hooks on Saturday Night Live are two of the best comic actors I've ever seen." Writer and acting coach Paul Ryan noted Hartman's work ethic with his impressions. He assembled a collection of video footage of the figure he was preparing to impersonate and watched this continually until he "completely embodied the person". Ryan concluded that "what made [Hartman's impressions] so funny and spot on was Phil's ability to add that perfect touch that only comes from trial and error and practicing in front of audiences and fellow actors." Hartman described this process as "technical." Journalist Lyle V. Harris said Hartman showed a "rare talent for morphing into [...] anybody he wanted to be". Ken Tucker summarized Hartman's comedic style: "He could momentarily fool audiences into thinking he was the straight man, but then he'd cock an eyebrow and give his voice an ironic lilt that delivered a punchline like a fast slider--you barely saw it coming until you started laughing." Hartman claimed that he borrowed his style from actor Bill Murray: "He's been a great influence on me - when he did that smarmy thing in Ghostbusters, then the same sort of thing in Groundhog Day. I tried to imitate it. I couldn't. I wasn't good enough. But I discovered an element of something else, so in a sick kind of way I made myself a career by doing a bad imitation of another comic."
Question: Did he like it that way?
Answer: I've made steady progress and that's the way I like it,

Problem: Background: The Stylistics are a Philadelphia soul group that achieved its greatest chart success in the 1970s. They formed in 1968, consisting of singers Russell Thompkins Jr., Herb Murrell, Airrion Love, James Smith, and James Dunn. All of their US hits were ballads characterized by the falsetto of Russell Thompkins Jr. and the production of Thom Bell. During the early 1970s, the group had twelve consecutive R&B top ten hits, including "Stop, Look, Listen", "
Context: Thom Bell stopped working with the Stylistics in 1974, and the split proved commercially difficult for the group in the U.S. Just as with the Delfonics, the Stylistics were to some extent a vehicle for Bell's own creativity. They struggled to find the right material although their partnership with label owners Hugo & Luigi as producers and arranger Van McCoy started well with "Let's Put It All Together" (#18 pop, No. 8 R&B) and "Heavy Fallin' Out" (#4 R&B, No. 41 pop). Following singles were notably less successful, but as U.S. success began to wane, their popularity in Europe, and especially the United Kingdom, increased. Indeed, the lighter 'pop' sound fashioned by McCoy and Hugo & Luigi gave the group a UK #1 in 1975 with "Can't Give You Anything". Further successes with "Sing Baby Sing", "Na Na Is The Saddest Word", "Funky Weekend" and "Can't Help Falling in Love" consolidated the group's European popularity. They are one of the few U.S. acts to have two chart-topping greatest hits albums in the UK. The Stylistics switched record labels during this period as Avco Records transitioned into H&L Records in 1976. Notwithstanding this, the band began to struggle with increasingly weak material, and although the singles and albums came out as before, by 1978 chart success had vanished. A move to Mercury in 1978 for two albums produced by Teddy Randazzo failed to produce any major success. Russell Thompkins Jr. wrote (in the sleevenotes for the re-issue of the 1976 album, Fabulous) that the group began to feel that the music they were recording was becoming dated and not in keeping with the popular disco sound of the late 1970s. In 1979, they had a small part in the movie Hair, directed by Milos Forman, where they play conservative army officers. They double Nell Carter in singing a tongue-in-cheek song called "White Boys".
Question: What songs of the band became famous internationally?
Answer:
Let's Put It All Together" (#18 pop, No. 8 R&B) and "Heavy Fallin' Out" (#4 R&B, No. 41 pop).