Question:
Daryl Hall and John Oates, often referred to as Hall & Oates, are an American musical duo. Daryl Hall is generally the lead vocalist; John Oates primarily plays electric guitar and provides backing vocals. The two write most of the songs they perform, separately or in collaboration. They achieved their greatest fame from the late 1970s to the mid-1980s with a fusion of rock and roll and rhythm and blues.
Their next album, H2O, a very polished, synth-heavy effort, became the duo's most successful album, with US sales eventually approaching four million copies. H2O reached #3 on the Billboard album chart (where it held for 15 weeks) and spawned three Top 10 singles. "Maneater", the biggest hit of their career, reached Number 1 on December 18, 1982 and stayed there for four weeks. The soulful ballad "One on One" and a cover of Mike Oldfield's "Family Man" reached Number 7 and Number 6 in March and June 1983, respectively. According to John Oates, they recorded approximately 20 songs for the album, of which 9 didn't make the final cut. He went on to say they usually would have 5 or 6 tracks left over per album. "One On One," with its clever mixed-metaphorical references to romance and basketball, was used in NBA commercials of the period. The commercial featured numerous players, including Hall of Famer James Worthy performing a 360-degree slow-motion lay-up during the saxophone solo. For the H2O album, Hall and Oates made some permanent changes to their current band. Drummer Mickey Curry, who had appeared on some Private Eyes tracks, including the title song, replaced Jerry Marotta full-time. Bassist Tom "T-Bone" Wolk, who had mimed John Siegler's bass line in the "Private Eyes" video, replaced Siegler full-time. These two joined the band's holdovers--lead guitar player G.E. Smith, and saxophonist Charlie "Mr. Casual" DeChant. De Chant and Wolk continued to perform with the duo until Wolk's death in early 2010, while Curry returned for the Do It for Love sessions.
Answer this question using a quote from the text above:

What recognition did it receive

Answer:
H2O reached #3 on the Billboard album chart (where it held for 15 weeks) and spawned three Top 10 singles.

input: 20th Century Fox announced on April 1, 2006 that the film would be released worldwide on July 27, 2007. The film was released a day earlier in Australia and the United Kingdom. Little information about the plot was released in the weeks building up to the film's release. Groening did not feel that "people look in the TV section of the newspaper and think, 'I'll watch this week's Simpsons because I like the plot.' You just tune in and see what happens." Fox held a competition among 16 Springfields across the United States to host the American premiere. Each Springfield produced a film, explaining why their town should host the premiere, with the results being decided via a vote on the USA Today website. Springfield, Minnesota dropped out on May 31, 2007. The winner was announced on July 10 to be Springfield, Vermont. The town beat Springfield, Illinois by 15,367 votes to 14,634. Each of the other 14 entrants held their own smaller screenings of the film on July 26. Springfield, Vermont hosted the world premiere of the film on July 21 with a yellow carpet instead of the traditional red. The film was rated PG-13 by the Motion Picture Association of America for "irreverent humor throughout". The production staff had expected this rating. However, the British Board of Film Classification passed the film as a PG with no cuts made. A BBFC spokeswoman said regarding Bart's brief nude scene, "natural nudity with no sexual content is acceptable in PG films".

Answer this question "what was it with the cuts?"
output: The film was rated PG-13 by the Motion Picture Association of America

Answer the question at the end by quoting:

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.

What else is he known for?
Webern's symphony with the hr-Sinfonieorchester is still far more within the spirit of the late Romantic performance tradition