Problem: Robert Charles Benchley (September 15, 1889 - November 21, 1945) was an American humorist best known for his work as a newspaper columnist and film actor. From his beginnings at The Harvard Lampoon while attending Harvard University, through his many years writing essays and articles for Vanity Fair and The New Yorker and his acclaimed short films, Benchley's style of humor brought him respect and success during his life, from his peers at the Algonquin Round Table in New York City to contemporaries in the burgeoning film industry. Benchley is best remembered for his contributions to The New Yorker, where his essays, whether topical or absurdist, influenced many modern humorists. He also made a name for himself in Hollywood, when his short film How to Sleep was a popular success and won Best Short Subject at the 1935 Academy Awards, and through his many memorable appearances in films such as Alfred Hitchcock's Foreign Correspondent (1940) and Nice Girl?

Although Benchley was known for misleading and fictional autobiographical statements about himself (at one point asserting that he wrote A Tale of Two Cities before being buried at Westminster Abbey), he actually was the great-grandchild of the founder of Benchley, Texas, Henry Wetherby Benchley, who was jailed for his help with the Underground Railroad. Robert Benchley was born on September 15, 1889, in Worcester, Massachusetts, the son of Maria Jane (Moran) and Charles Henry Benchley.  Robert's older brother, Edmund, was rushed to the Spanish-American War days after graduation from West Point (1898), and was killed almost immediately. The Benchley family were attending a public Fourth of July picnic when a bicycle messenger brought the notification telegram. In unthinking, stunned reaction, Maria Benchley cried out "Why couldn't it have been Robert?!", while the latter, who was nine years old, was standing by her side. Mrs. Benchley apologized profusely and tried hard to atone for the remark. Edmund's death had considerable effects on Robert's life, particularly in the form of Edmund's fiancee Lillian Duryea, a wealthy heiress. It is believed that Edmund's death in battle seeded pacifist leanings in Robert Benchley's writings. The period, however, was full of strong literary reactions to the Great War, and Benchley was aware of, for instance, the anti-war writings of A.A. Milne.  Robert Benchley met Gertrude Darling in high school in Worcester. They became engaged during his senior year at Harvard, and they married in June 1914. Their first child, Nathaniel Benchley, was born a year later. A second son, Robert Benchley, Jr., was born in 1919. Nathaniel became a writer himself, and penned a biography of his father in 1955. He was a well-respected fiction and children's book author. Nathaniel had talented sons as well: Peter Benchley was best known for the book Jaws (which inspired the film of the same name), and Nat Benchley wrote and performed in an acclaimed one-man production based on Robert's life.

What are examples of statements he made about himself?

Answer with quotes: at one point asserting that he wrote A Tale of Two Cities before being buried at Westminster Abbey

Question:
Charles Michael "Chuck" Schuldiner (May 13, 1967 - December 13, 2001) was an American singer, songwriter, and guitarist. He founded the pioneering band Death in 1983. Schuldiner is often referred to as "The Godfather of death metal", and his obituary in the January 5, 2002 issue of UK's Kerrang! magazine said that "Chuck Schuldiner was one of the most significant figures in the history of metal."
Schuldiner formed Death as Mantas in 1983 when he was just 16 years old. Original members were Schuldiner (guitar), Rick Rozz (guitar) and Kam Lee (drums and vocals). In January 1986, Schuldiner moved to Toronto and temporarily joined the Canadian band Slaughter. However, he quickly returned to continue the formation of Death.  Death underwent many lineup changes. With Chris Reifert, Schuldiner eventually released the first Death album, titled Scream Bloody Gore, in 1987. He continued with 1988's Leprosy with the line-up of former Mantas guitarist Rick Rozz and rhythm section Terry Butler on bass and Bill Andrews on drums, and 1990's Spiritual Healing, where guitarist James Murphy had replaced the fired Rozz in 1989.  After Spiritual Healing, Schuldiner stopped working with full-time band members, preferring to work with studio and live venue musicians, due to bad relationships with Death's previous rhythm section and guitarists. This earned Schuldiner something of a 'perfectionist' reputation in the metal community. Schuldiner had also fired his manager Eric Greif but settled and re-hired him before the recording of his next, influential release.  Death's breakthrough album, Human saw the band evolving to a more technical and progressive style, in which Schuldiner displayed his guitar skills more than ever. He continued in this style (and continued the success of the band) with 1993's Individual Thought Patterns, 1995's Symbolic, and finally The Sound of Perseverance in 1998. Throughout his career, Schuldiner was not afraid to take on controversial lyrical subjects, taking an anti-drug stance on "Living Monstrosity" and writing about abortion in "Altering the Future".  He put Death on hold after this to continue Control Denied, which he had been putting together prior to the release of The Sound of Perseverance, and released The Fragile Art of Existence in 1999. Control Denied also had other players from the latest Death album but featured a melodic metal vocalist. Schuldiner also played guitar in the "supergroup" Voodoocult on the album Jesus Killing Machine in 1994 and played a guest solo on Naphobia's 1995 release, Of Hell on the track "As Ancients Evolve" as a favor to the band's bassist at the time who was a friend of Schuldiner's. Schuldiner was also asked to be one of the many guest vocalists on Dave Grohl's 2001 Probot. Grohl, Napalm Death, Ozzy Osbourne, and Anthrax all increased efforts to raise funds for Schuldiner's medical bills with Grohl trying to involve Schuldiner on an album he was working on. In a 1999 interview Schuldiner spoke about why he didn't sing on the album The Fragile Art of Existence "...these vocals are all I ever wanted to do in Death but couldn't. I've had this dream of recording like that for years, and it seems like a dream come true. Tim Aymar is an amazing singer and this is the main difference. I think people will be surprised at the violence and strength of the album. Many people are expecting something like Iron Maiden, but, despite being one of my favorite bands, I didn't want to make an Iron Maiden-like album. I wanted to make an unpredictable album, just like I did in Death, I guess. I don't like to make predictable albums."
Answer this question using a quote from the text above:

How well did the singles do on the charts?

Answer: