prompt_front: Answer the question based on the given passages. Only give me the answer and do not output any other words.

Question: When was the American singer, songwriter, record producer, dancer and actress born who's second studio album is Chapter II?

The following are given passages.
Context 1: Passage 1:
Like a Virgin (album)
Like a Virgin is the second studio album by American singer and songwriter Madonna, released on November 12, 1984, by Sire Records  Following the success of her self-titled debut album, Madonna wanted to become the record producer of her next album  However, her label was not ready to give her the artistic freedom and she chose Nile Rodgers instead to produce the album due to his work with David Bowie  Madonna wrote six songs on the record, five of which feature Steve Bray as a co-writer  The album was recorded at Power Station Studio in New York at a quick pace  Rodgers enlisted the help of his former Chic bandmates Bernard Edwards, who was the bassist, and Tony Thompson, who played drums  Jason Corsaro, the record's audio engineer, persuaded Rodgers to use digital recording, a new technique introduced at that time 
The album's photographs were shot by Steven Meisel  Madonna wanted the album title and the cover image to make a provocative link between her own religious name Madonna, as the Catholic title for Jesus' mother Mary, and the Christian concept of the virgin birth  While not a substantial musical departure from Madonna's first album, she felt that the material from Like a Virgin was stronger  After its release, Like a Virgin received mixed reviews from music critics; however, retrospective reviews of the album have been much more positive  Like a Virgin was a commercial success and became Madonna's first number one album on the Billboard 200 and set the record as the first female album in history  to sell over five million copies in the United States  The Recording Industry Association of America (RIAA) later certified it diamond for shipment of ten million units  It also reached number one in Germany, the Netherlands, New Zealand, Spain, Italy and the United Kingdom, and remains one of the best-selling albums of all time with sales of over 21 million copies worldwide Five singles were released from the album, including Madonna's first US number-one "Like a Virgin" and her first UK number-one "Into the Groove", the latter of which was introduced on the 1985 international reissue of the album  To promote the album, she embarked on The Virgin Tour, touring North America only  Like a Virgin has attained significance as a cultural artifact of the 1980s  Madonna proved that she was not a one-hit wonder and was able to provide herself with a permanent footing in the music world  Her songs became a lightning rod for both criticism by conservatives and imitation by the younger female population, especially "Material Girl" and "Like a Virgin"  According to author J  Randy Taraborrelli, "Every important artist has at least one album in his or her career whose critical and commercial success becomes the artist's magic moment; for Madonna, Like a Virgin was just such a defining moment " In 2023, the Library of Congress added the album to the National Recording Registry for preservation in the United States, for being a "culturally, historically, or aesthetically significant" recording 

Background
A former dancer and fixture on the New York club scene, Madonna Ciccone became known to the world simply as Madonna, with the release of her 1983 self-titled debut album Madonna  Fueled by hit songs like "Holiday", "Borderline" and "Lucky Star", the album was one of the best selling of the year and helped Madonna become one of the most exciting new artists of the 1980s  When she started work on her second album, Madonna felt that her first album had succeeded in introducing her "street-smart dance queen" persona, and she wanted to solidify and build upon that concept  According to her, "My work, my dedication—the stubbornness for getting Madonna released—had paid off  Now it was time to solidify my future "For Like a Virgin, Madonna attempted to become one of the primary record producers, feeling the need to control the various aspects of her music  She believed that depending on a particular producer for her album was not something that suited her  Madonna said "I learnt my lesson while creating my debut album, and the way [Reggie, the producer of her debut project] Lucas left me in the water with the project, you can't trust men"—referring to the incident, when due to a certain difference of opinion between producer Reggie Lucas and Madonna, Lucas had left the project half-way  However, Warner Bros  Records was not ready to give her the artistic freedom that she wanted  In J  Randy Taraborrelli's biography of Madonna, she commented,

Warner Bros  Records is a hierarchy of old men and it's a chauvinist environment to be working in because I'm treated like this sexy little girl  I had to prove them wrong, which meant not only proving myself to my fans but to my record company as well  That is something that happens when you're a girl  It wouldn't happen to Prince or Michael Jackson  I had to do everything on my own and it was hard trying to convince people that I was worth a record deal  After that, I had the same problem trying to convince the record company that I had more to offer than a one-shot singer  I had to win this fight 
Ultimately, Nile Rodgers was chosen by Madonna as the producer of the album, with the approval of the Warner Brothers executives  Madonna chose Rodgers mostly because of his work as a member of the 1970s band Chic, and his most recent production work with David Bowie on his 1983 album Let's Dance  She commented, "When I was making the record, I was just so thrilled and happy to be working with Nile Rodgers  I idolized Nile because of the whole Chic thing  I couldn't believe that the record company gave me the money so that I could work with him "For his part, Rodgers recalled that he had first seen Madonna perform at a small club in New York in 1983  In an interview with Time magazine, Rodgers explained: "I went to the club to see another woman sing, but when I got there Madonna was onstage  I loved her stage presence and then we met right after that  I kept thinking to myself, 'Damn, is she a star', but she wasn't at that time  I always wanted to work with her and Like a Virgin seemed like a perfect opportunity "

Recording
The album was recorded at Power Station Studio in New York at a quick pace  Rodgers enlisted the help of his former Chic bandmates Bernard Edwards, who was the bassist, and Tony Thompson, who played the drums; they appeared on several tracks of the album  Rodgers decided to be the guitarist, when Edwards requested him to do so, in exchange for their help  The recording sessions did not start until the afternoon as Rodgers, who attended late-night parties, was not accustomed to work in early mornings  The schedule was also difficult for Madonna, who recalled that she used to "go to the swim club on the Upper West Side and go swimming and walk from there to the recording studio  It was impossible for me to reach there at morning " Rodgers recalled that Madonna was a hard worker and incredibly tenacious  He commented: "I am always amazed by Madonna's incredible judgement when it comes to making pop records  I've never seen anyone do it better, and that's the truth  When we did that album, it was the perfect union, and I knew it from the first day in the studio  The thing between us, man, it was sexual, it was passionate, it was creativity     it was pop "Jason Corsaro, the record's audio engineer, persuaded Rodgers to use digital recording, a new technique at the time which Corsaro believed was going to be the future of recording  To ensure this, Corsaro used a Sony 3324 24-track digital tape recorder and a Sony F1 two-track during the mixing of the tracks  Madonna recorded the lead parts of the songs in a small, wooden, high-ceilinged piano room at the back of Studio C, also known as Power Station's "R&B room"  Corsaro then placed gobos around her while using the top capsule of a stereo AKG C24 tube microphone, with a Schoeps microphone preamplifier and a Pultec equalizer  Once the tracks met with everybody's approval, Robert Sabino added the keyboard parts, playing mostly a Sequential Circuits Prophet-5, as well as some Rhodes piano and acoustic piano, while Rodgers also played a Synclavier  Madonna, although not required, was present every minute of the recording sessions and the mixing process, Corsaro commented: "Nile was there most of the time, but she was there all of the time  She never left" 

Packaging and title
The cover sleeve and images were shot by Steven Meisel, who would become a regular collaborator with Madonna, in a suite at the St  Regis New York  Madonna wanted the album title to make provocative link between her own religious name—Madonna as the Catholic title for Jesus' mother Mary—and the Christian concept of the virgin birth  With the title song alluding to this concept, Madonna wanted the album cover to have mixed messages as well  Author Graham Thompson described that "reclining on a satin sheet, with a bouquet on her lap and wearing a wedding dress, a closer inspection reveals Madonna's image as highly fetishized and sexualized " He added that the heavy make-up, pouting lips, and despoiled hair, along with the tight-fitting bustier and full-length gloves, turned Madonna's image into a figure not of virtue, but of desire  This point, according to Thompson, is further emphasized by the belt she is wearing, the wording on which is just visible as "Boy Toy"  He added: "The image was ambiguous and was based upon the fact that Madonna's appeal at that point of her career was not presenting herself just as an object of desire, but also as a desiring female subject" Stephen Thomas Erlewine from AllMusic commented that the "Steven Meisel-shot cover     was as key to her reinvention as the music of the album itself " William McKeen, author of Rock and roll is here to stay: an anthology, felt that the image was another trigger and testament to the fact that Madonna was the last word on fashion for women and young girls of that era, the epitome of cool  Costume designer Arianne Phillips commented of the Like a Virgin look: "This was one of the most shocking, liberating and influential moments in pop culture/fashion history     Fashion has never been the same " Madonna herself declared: "I have always loved to play cat and mouse with the conventional stereotypes  My Like a Virgin album cover is a classic example  People were thinking who was I pretending to be—the Virgin Mary or the whore? These were the two extreme images of women I had known vividly, and remembered from childhood, and I wanted to play with them  I wanted to see if I can merge them together, Virgin Mary and the whore as one and all  The photo was a statement of independence, if you wanna be a virgin, you are welcome  But if you wanna be a whore, it's your fucking right to be so "

Composition
According to Taraborrelli, "Madonna and Rodgers' collective energy—she wanting to score with a smash second album and he wanting to be the producer to give it to her—drove the production of Like a Virgin with great precision " Madonna also collaborated with her former boyfriend Steve Bray, who co-wrote many of the album's songs  Reflecting on the music composition for the album, Bray noted: "I've always kind of made the rib cage and the skeleton of the songs already—she's there for the last things like the eyebrows and the haircut " The opening track "Material Girl" was written by Peter Brown and Robert Rans  Madonna explained that the concept of the song was similar to her life's situation at that time  According to her, the song was provocative, hence she was attracted to it  "Material Girl" incorporated new wave music and consists of synth arrangements with a robotic voice repeating the hook  The lyrics identify with materialism, with Madonna asking for a rich and affluent life, rather than romance and relationships  Written by Madonna and Steve Bray, "Angel" is the second track on the album  It was one of the first songs developed for the project and, according to Madonna, was inspired by a girl who is saved by, and subsequently falls in love with an angel  "Angel" consists of a three-chord ascending hook, which serves as the verse and chorus  It has vocal harmonies beneath the main chorus and the lyrics repeat the angel-like image of Madonna's savior  The title track "Like a Virgin" was written by Billy Steinberg and Tom Kelly  Steinberg said that the song was inspired by his personal experiences of romance  It was chosen for Madonna by Michael Ostin of Warner Bros  Records, after listening to a demo sung by Kelly  However, Rodgers initially felt that the song did not have a good enough hook and was not suitable for Madonna, but subsequently changed his opinion after the hook was stuck in his mind  He credits Madonna with recognizing the song's potential: "I handed my apology to Madonna and said, 'you know     if it's so catchy that it stayed in my head for four days, it must be something  So let's do it '" "Like a Virgin" is a dance-oriented song, composed of two hooks  Madonna's voice is heard in a high register while a continuous arrangement of drums are heard along the bassline  According to author Rikky Rooksby, the lyrics of the song are ambiguous and consist of hidden innuendo  In sexual terms, the lyrics can be interpreted in different ways for different people In "Over and Over", Madonna sings about determination despite disappointments  The song consists of instrumentation from drums, synths and has a three-chord progression  An emotional moment occurred in the recording studio when Madonna covered the 1978 Rose Royce song "Love Don't Live Here Anymore"  Rodgers recalled: "Madonna had never performed with a live orchestra before  I was very much into doing everything live, so I just said, 'Madonna, you go out there and sing and we will follow you ' At first Madonna was hesitant, but the live setting ended up producing memorable results  She sang and she was overcome with emotions and she started crying, but I left it on the record " The song features Madonna's vocals supported by acoustic guitars and synth strings, with Thompson playing the drum in the second verse  Towards the end, Madonna emotes in the voice of a soul singer "Dress You Up" was the last track to be added to the album as it was submitted late by songwriters Andrea LaRusso and Peggy Stanziale  Although Rodgers rejected it as he felt there was no time to compose a melody and record it for the album, Madonna pushed for the song's inclusion on Like a Virgin, as she particularly liked its lyrics  The song is a drum beat-driven dance track featuring instrumentation of guitars and vocals from a choir  The lyrics are an extended metaphor for fashion and sex, comparing dressing up with passion  "Shoo-Bee-Doo" contains homage to Motown music  Beginning with a slow introduction, the song is in the doo-wop genre and resembles the songs of early Sixties girl groups like The Shirelles or The Crystals  The saxophone breakdown is played by Lenny Pickett  The lyrics discuss relationship problems, and are phrased as clichés in the coda  "Pretender" starts with the chorus and then moves to the verse  It talks about seduction and the insecurity felt by a woman who feels that things are moving too quickly for her with her man  "Stay" is the final track on the album  Using triple-rhythms and double-tracked vocals, the song includes a noise resembling someone slapping a microphone and a spoken sequence which fades away in the end 
"Into the Groove" was added as a bonus track in the 1985 international reissue of Like a Virgin  Madonna's inspiration behind the song was the dance floor, and she wrote it while watching a handsome Puerto Rican man across her balcony  Initially written for her friend Mark Kamins, Madonna later decided to use it in the soundtrack of her 1985 film Desperately Seeking Susan  Unlike the other songs on Like a Virgin, "Into the Groove" was recorded at Sigma Sound Studios, and produced by Madonna and Stephen Bray  Madonna's friend Erika Belle was present during the recording and watched the whole process  In Andrew Morton's Madonna biography, she noted that at one point of the recording, Bray was facing difficulties with the bridge of the song, as the melody thought by him was not syncing with the rest of the composition  Undeterred by his obvious difficulties, Madonna stepped up to the microphone and sang the words "Live out your fantasy here with me"  Bray's problem was solved; Belle remembered the experience as: "[The song] seemed to come out of her, I was awestruck " The song consists of instrumentation from drums, percussion, congas and whistles  Madonna's voice is double-tracked in the chorus  The lyrics are simple, and written as an invitation to dance with the singer, with sexual innuendos and undertones in the meaning 

Promotion
Live performances
Madonna debuted the first single "Like a Virgin" at the first MTV Video Music Awards on September 14, 1984, where she appeared on stage atop a giant wedding cake dressed in a wedding dress, adorned with the infamous "Boy Toy" belt buckle, and veil  The climax of her risqué performance found her masturbating and rolling around on the stage  The performance is noted as one of the iconic performance in MTV's history  On December 13, 1984, Madonna performed "Like a Virgin" on BBC One's program Top of the Pops, wearing punky torn tights, a vivid pink wig, religious accessories and layered mesh tops  It was later voted as the second best Top of the Pops performance of all time  She also appeared at the 1985 Live Aid charity concert, where she performed "Into the Groove" The album was further promoted on her first headlining tour, The Virgin Tour, which only visited cities in the United States and Canada  Early on there were plans to schedule dates in England and Japan due to Madonna's large fan base in both countries  However, the final schedule did not reflect the idea  In the end several more US dates were added and moved to larger concert venues due to overwhelmingly strong ticket sales  Madonna's performance on the tour was described by Taraborrelli as "full of excitement", singing songs from her debut album as well as Like a Virgin, and asking the audience "Will you marry me?" The costumes included colorful new wave jackets for "Holiday" and white wedding gowns similar to the one worn in her "Like a Virgin" music video  Referring to her Detroit roots and contemporary artist Michael Jackson, Madonna sang a verse of "Billie Jean" during "Like a Virgin" The Virgin Tour was a success and collected a total of more than US$5 million  During a 2009 interview with Rolling Stone, interviewer Austin Scaggs asked Madonna regarding her feelings and emotions during the tour, since it was the first time she was playing in arenas  Madonna replied saying,

That whole tour was crazy, because I went from playing CBGB and the Mudd Club to playing sporting arenas  I played a small theater in Seattle, and the girls had flap skirts on and the tights cut off below their knees and lace gloves and rosaries and bows in their hair and big hoop earrings  I was like, 'This is insane!' After Seattle, all of the shows were moved to arenas  I've never done a bus tour  Everyone says they are really fun 

Singles
"Like a Virgin" was released as the lead single from the album in late 1984  It received positive reviews from contemporary critics, who frequently called it one of Madonna's defining songs  It became her first number-one single on the Billboard Hot 100, while reaching the top of the charts in Australia, Canada and Japan and the top-ten of other countries  The song was certified gold by the Recording Industry Association of America (RIAA) on January 10, 1985, for shipping a million copies across United States – the requirement for a gold single prior to 1989  The music video portrayed Madonna sailing down the riverways of Venice in a gondola, as well as roaming around a palace wearing a white wedding dress  With the video, scholars noted Madonna's portrayal of a sexually independent woman, the symbolism of the appearance of a man with lion's mask to that of Saint Mark, and compared the eroticism of the video to the vitality of the city of Venice "Material Girl" was the second single from the album, released in November 1984  Critics have frequently noted "Material Girl" and "Like a Virgin" as the songs that made Madonna an icon  The song was a commercial success, reaching the top-five in Australia, Belgium, Canada, Ireland, Japan and United Kingdom  It reached position two on the Billboard Hot 100 in the United States  The music video was a mimicry of Marilyn Monroe's performance of the song "Diamonds Are a Girl's Best Friend" from the 1953 film Gentlemen Prefer Blondes  The mimicked scenes are interspersed with scenes of a Hollywood producer trying to win the heart of an actress, played by Madonna herself  Discovering that, contrary to her song, the young woman was not impressed by money and expensive gifts, he pretended to be penniless and succeeded in taking her out on a date "Angel" was the third released single from the album, in April 1985  Critics gave mixed review of the song, with one group denoting it as a classic while the others felt it was sub-par compared to the other Madonna singles  "Angel" became Madonna's fifth consecutive top-five single on the Billboard Hot 100 and reached the top of its dance chart "Into the Groove"  was released as a single in Europe, Asia and South America in July 1985  The song was appreciated by contemporary critics as well as authors, who have frequently called it "Madonna's first great single"  "Into the Groove" reached the top of the charts in Australia, Belgium, Ireland, Japan, Netherlands, New Zealand, and the United Kingdom, where it was Madonna's first number-one single  In the United States, the song was only available as the B-side of the 12-inch single of "Angel", therefore it was ineligible to chart on the Billboard Hot 100 at the time  It reached number one on the US Hot Dance Club Play chart where it was listed as a double-sided single with "Angel"  In Australia and Canada, the song also was released as a double-sided single with, "Angel" 
"Dress You Up" was the last single from the album  Critics reacted positively to the dance-pop nature of the track  "Dress You Up" became Madonna's sixth consecutive top-five single in the United States  It also reached the top-ten in Australia, Belgium, Canada, Ireland, New Zealand and the United Kingdom  The music video for the single is taken from the live performance from The Virgin Tour, filmed in Detroit Two further singles were released internationally from the album  "Over and Over" was released in late 1985 exclusively in Italy 
"Love Don't Live Here Anymore" was released in early 1986 exclusively in Japan 

Critical reception
According to Q magazine, Like a Virgin was the album that "propelled [Madonna] into the stratosphere – and rightly so  The songs are smart, funny, sexy and irresistible " Taraborrelli said, "It was Like a Virgin which reflected Madonna as a more versatile and artistic performer and vocals on this album being reflectively sharper in contrast to her early works in the music industry " Michael Paoletta from Billboard commented that the songs on the album sustain a "fevered dance-rock momentum"  In his review for AllMusic, Stephen Thomas Erlewine commented, "Overall, the album adds up to less than the sum of its parts—partially because the singles are so good, but also because on the first album, she stunned with style and a certain joy  Here, the calculation is apparent, and while that's part of Madonna's essence—even something that makes her fun—it throws the record's balance off a little too much for it to be consistent, even if it justifiably made her a star " Debby Miller from Rolling Stone preferred Madonna's debut album over Like a Virgin  In The Village Voice, Robert Christgau was also lukewarm towards the record, writing "[Madonna's] so sure of herself she's asking men and women both to get the hots for the calculating bitch who sells the fantasy even while she bids for the sincerity market where long-term superstars ply their trade  And to make the music less mechanical, she's hired Nile Rodgers, who I won't blame for making it less catchy "Jim Farber from Entertainment Weekly said that "In addition to raising the Madonna/whore ante with songs like the title cut, Virgin cradled the kind of '80s hits ("Dress You Up") built to transcend the Dynasty era " Alfred Soto from Stylus Magazine remembered the first time that he heard the songs from the album and commented, "Lots of critics think something similar occurred when Madonna followed her eponymous debut with Like a Virgin, helmed by Nile Rodgers with all the fixin's—too calculated next to the 'raw passion' of the debut  This is nonsense; it misses how Madonna conflated notions of spontaneity and calculation  Rodgers is the ideal collaborator " Stephen Holden from The New York Times said: "With a tough-cookie voice that's both coy and streetwise, Madonna's singing harks back to the rock-and-roll girl-group tradition that preceded the Beatles  But where girl groups, from the Shirelles to the Ronettes, worshipfully extolled their boyfriends' cars, haircuts and rebel poses, Madonna's point of view is decidedly more self-interested  In matters of love, she is a comparison shopper with a shrewd sense of her own market value  The words 'shiny and new' describe not only the way the love-smitten singer feels in the title song but the sound of the album "Matt Damsker from the Los Angeles Times commented: "Madonna's beating vibrato sometimes makes her sound so robotic in the album " Lou Papineau, while writing for The Providence Journal, said that "In Like a Virgin, Madonna proves she's shallow, but spunky " Sal Cinquemani from Slant Magazine gave a positive review, saying "Though not as innovative as her debut, Like a Virgin stands as one of the most definitive pop artifacts from the indulgent Reagan Era  The mid-tempo ballad 'Shoo-Bee-Doo' and a soulful cover of Rose Royce's 'Love Don't Live Here Anymore' proved Madonna could churn out more than just novelty hits, while the sugary 'Angel' and the irresistible 'Dress You Up' contributed to the singer's record-breaking list of consecutive Top 5 hits (16 in all)  The retro-infused 'Stay' and the percussive 'Over and Over' are the album's hidden gems " Ed Stevenson from People felt that "Madonna does have a sense of humor, though she is buried under so many layers of self-parody it's hard to tell sometimes     She is backed on this by the reliable rhythmic touch of veteran Nile Rodgers, whose contributions have helped her create a tolerable bit of fluff  Hugo Mistry from the Chicago Tribune felt that "Like a Virgin was Madonna's breakthrough, playing off her self-conscious campiness with a series of hot dance tracks, attention-grabbing lyrics and steamy videos "

Commercial performance
Like a Virgin was recorded and finished by September 1984, but the release of the album was held up, much to Madonna's frustration, by the continuing sales of her debut album, which was approaching two million sales in the United States  Like a Virgin debuted at number 70 on the Billboard 200 issued for December 1, 1984  The album reached the top ten of the Billboard 200 on December 8, 1984, and after one month reached the top of the chart on February 9, 1985, where it stayed for three weeks  It also reached a peak of ten on the Top R&B/Hip-Hop Albums chart  After 14 weeks, the album sold 3 5 million copies  By July 1985, Like a Virgin became the first album by a female artist to be certified for sales of five million units in the United States  It was eventually certified ten times platinum (diamond) by the Recording Industry Association of America (RIAA), for shipment of ten million copies of the album  It placed at three on the year-end chart for 1985, with Madonna becoming the top pop artist for the year  After the advent of the Nielsen SoundScan era in 1991, the album sold a further 574,000 copies  It sold additional 882,000 units at the BMG Music Club, which are not counted by the Nielsen SoundScan  In Canada, the album debuted at number 78 on the RPM Albums Chart, on November 10, 1984  It reached a peak of number three, on February 16, 1985  The album was present for a total of 74 weeks on the chart, and was certified diamond by the Canadian Recording Industry Association (CRIA), for shipment of one million copies of the album  Like a Virgin ranked sixth on the RPM Top 100 Albums for 1985  As of June 1986, the album sold more than 750,000 units in Latin America In the United Kingdom, Like a Virgin debuted at number 74 on the UK Albums Chart, on January 12, 1985  However, the album fluctuated on the chart for the next eight months and it was only in September that it finally reached the top of the chart  It spent two alternative weeks at the top (21st Sept and 12th Oct 1985), and a total of 152 weeks on the chart  The album was certified three times platinum by the British Phonographic Industry (BPI) and has sold over a million copies there  In France, the album debuted at number five on the French Albums Chart on October 6, 1985, staying there for eight weeks, then descending down the chart  It was certified two times platinum by the Syndicat National de l'Édition Phonographique (SNEP) for shipment of 600,000 copies  In Australia, the album debuted and peaked at two on the Kent Music Report albums chart, and was certified seven times platinum by the Australian Recording Industry Association (ARIA) for shipment of 490,000 copies of the album  It reached the top of the New Zealand Albums Chart for three consecutive weeks and was certified five times platinum by the Recording Industry Association of New Zealand (RIANZ) for shipment of 75,000 copies  Elsewhere, Like a Virgin reached number one in Germany, the Netherlands and Spain, while peaking within the top five in many other countries, including Austria, Japan, Sweden and Switzerland  It also became Madonna's first number-one album on the European Top 100 Albums, reaching the summit on November 23, 1985, for two weeks, and sold over 2 million copies across Europe at the end of the 1985 year  Like a Virgin has sold more than 21 million copies worldwide and became one of the best-selling albums of all time 

Legacy
After the release of Like a Virgin, Stephen Holden commented in The New York Times: "No phenomenon illustrates more pointedly how pop music history seems to run in cycles than the overnight success of the 24-year-old pop siren known as Madonna  The month before Christmas, Madonna's second album, Like a Virgin sold more than two million copies  Teen-agers were lining up in stores to purchase the album the way their parents had lined up to buy Beatles records in the late 60's " Madonna proved she was not a one-hit wonder with the release of the album which sold 12 million copies worldwide at the time of its release  In 2016, Billboard ranked at number nine in the list of Certified Diamond Albums From Worst to Best  Like a Virgin was ranked fifth in a Billboard poll of albums of the decade—the highest peak by a female performer  In 2023, the Library of Congress added the album to the National Recording Registry for preservation in the United States, for being an "culturally, historically, or aesthetically significant" recording 
Taraborrelli felt that "Like a Virgin is really a portrait of Madonna's uncanny pop instincts empowered by her impatient zeal for creative growth and her innate knack for crafting a good record " He added that the success of the album made it clear what was Madonna's real persona  "She was a street-smart dance queen with the sexy allure of Marilyn Monroe, the coy iciness of Marlene Dietrich and the cutting and protective glibness of a modern Mae West"  Although the album received mixed reviews, Taraborrelli believed that the "mere fact that at the time of its release so many couldn't resist commenting on the record was a testament to the continuous, growing fascination with Madonna     Every important artist has at least one album in his or her career whose critical and commercial success becomes the artist's magic moment; for Madonna, Like a Virgin was just such a defining moment "Chris Smith, author of 101 Albums That Changed Popular Music, believed that it was with Like a Virgin that Madonna was able to steal the spotlight towards herself  She asserted her sexuality as only male rock stars had done before, moving well beyond the limited confines of being a pop artist, to becoming a focal point for nationwide discussions of power relationships in the areas of sex, race, gender, religion, and other divisive social topics  Her songs became a lightning rod for both criticism by conservatives and imitation by the younger female population  Consequence of Sound ranked the album at number two on "The 10 Greatest Sophomore Albums of All Time," calling it the album that "carved out the throne   that would be Madonna's forever: the Queen of Pop "

Track listing
All tracks produced by Nile Rodgers, except "Into the Groove" produced by Madonna and Stephen Bray 

Personnel
Credits adapted from the album's liner notes 

Charts
Certifications and sales
See also
Notes
Passage 2:
Chapter II (Ashanti album)
Chapter II is the second studio album by American singer and songwriter Ashanti  It was released by Murder Inc  and Island Def Jam on July 1, 2003 in the United States  Ashanti reteamed with Murder Inc  head Irv Gotti and producer Chink Santana to work on the album  Chapter II features a guest appearance by rapper Ja Rule, Chink Santana, and Gunnz  Critical reception towards the album was generally mixed, with critics commending the album's autobiographical lyrics, and its fun yet light nature, while other critics felt Chapter II lacked creativity and personality and relied too heavily on the formula of her debut album (2002) 
Upon its release, the album debut at number one on the US Billboard 200 chart with first-week sales of 326,000 units  It also reached the top ten in Canada, Switzerland, and the United Kingdom  Chapter II was eventually certified platinum by the Recording Industry Association of America in August 2003 and gained gold status in Japan and the United Kingdom  At the 46th Annual Grammy Awards, it earned Ashanti three nominations for Best Contemporary R&B Album, Best Female R&B Vocal Performance, and Best R&B Song  Chapter II spawned three singles, including the Billboard Hot 100 number two song "Rock wit U (Awww Baby)", the R&B ballad "Rain on Me" and "Breakup 2 Makeup (Remix)" 

Promotion
Murder Inc  selected "Rock wit U (Awww Baby)," which they considered a continuation from her debut single "Foolish" (2002), to be released as the album's first single from Chapter 2  Issued on May 19, 2003, the song became a commercial success stateside and Ashanti's third solo top ten hit  It peaked at number two on the US Billboard Hot 100, while reaching number four on the Billboard Hot R&B/Hip-Hop Songs chart  Internationally, it was a moderate success, reaching the top five in Canada and Japan, the top ten in the United Kingdom, top twenty in Australia, and the top forty in Ireland, New Zealand, and Switzerland The album's second single "Rain on Me", was released on August 11, 2003  It peaked at number seven on the Billboard Hot 100 and number two on the Hot R&B/Hip-Hop Songs chart  Elsewhere, it reached the top twenty in Belgium and the United Kingdom  In 2004, "Rain on Me" earned Ashanti a Grammy Award nomination for Best Female R&B Vocal Performance  In 2004, a remix version of "Breakup 2 Makeup" featuring labelmate Black Child was released as a single  It served as the lead single from Ashanti's remix compilation album Collectables by Ashanti, released in 2005, reaching number 76 on the Hot R&B/Hip-Hop Songs 

Critical reception
Chapter II received mixed reviews from music critics  At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream publications, the album received an average score of 51, based on 11 reviews, indicating "mixed or average" reviews  The New York Times writer Kelefa Sanneh remarked that Chapter II "isn't perfect, but once you edit out the skits (which are, without exception, excruciating), you're left with an album that's graceful, beguiling and above all, light, in the best sense of the word " People magazine noted that "the singer's sophomore CD, though, proves wrong those who thought she would be a one-hit-album wonder  Chapter II, which continues the same hip-hop soul theme as her self-titled debut, is the equivalent of a good beach read: It's easy, breezy listening that doesn't require much brainpower "Billboard wrote that Chapter II "doesn't stray too far from its predecessor" and complimented the autobiographical songs on the album  Ernest Hardy from Rolling Stone found that the "album is filled with the same beat-driven, slickly produced midtempo tracks and ballads that made up her debut [and] the disc's best moments have a decidedly old-school feel to them [   ] Still, dullard schoolgirl insights into love and heartache dominate the album; add some boring between-song skits about 'haters,' and Chapter II wears thin long before its halfway mark " While he complimented Ashanti for her writing credits on the album, Entertainment Weekly journalist Tom Sinclair felt that "Chapter II is too mired in tired R&B conventions to achieve true magnificence "Allmusic editor Stephen Thomas Erlewine found that "the songs have about as much personality as Ashanti's voice, but that actually is a point in its favor, since it keeps everything on an even keel and makes Gotti and Santana's stylish production the star  They are the secret ingredients that make Chapter II good romantic mood music for the summer " Alexa Camp from Slant Magazine wrote that "the album's got some great tunes, but they'd be better suited for someone like Mary J  Blige, whom Shany & Co  bite off " Robert Christgau gave Chapter II a "C" rating in his review for The Village Voice, calling it a "pathologically modest follow-up " PopMatters from Maurice Bottomley assured that "Chapter 2 is not going to feature as any scribe's R&B album of the year "

Commercial performance
In the United States, Chapter II debuted at number one on the Billboard 200 with first-week sales of 326,000 units sold  While it became Ashanti's second chart topper, it was a considerable decline from her previous effort Ashanti, which had opened to sales of 502,500 units in April 2002  In total, it remained on the Billboard 200 chart for 30 consecutive weeks  In addition, it reached the top position on Billboard's Top R&B/Hip Hop Albums chart, where it stayed at the top spot for two consecutive weeks  On August 14, 2003, The album was certified platinum by the Recording Industry Association of America (RIAA)  Towards the end of 2003, Billboard ranked the album at number 54 and 27 respectively on its Billboard 200 and Top R&B/Hip-Hop Albums year end chart lists  By January 2005, Chapter II had sold 1 5 million copies, according to Nielsen SoundScan Elsewhere, Chapter II reached the top five on the Canadian and UK Singles Chart  It was certified gold by the British Phonographic Industry (BPI), indicating sales in excess of 100,000 copies, and also went gold in Japan  In Switzerland, it reached the top ten, debuting and peaking at number nine on the Swiss Albums Chart, making it Ashanti's highest-charting album to date  Chapter II also entered the top 20 in Australia and Germany  To date, the album has sold 3 million copies worldwide 

Track listing
Samples
"Intro (Medley)" contains samples of Ashanti tracks "Foolish", "Happy", "Down 4 U" (with Ja Rule, Charli Baltimore & Vita), "Baby" and "Mesmerize" (with Ja Rule) 
"Breakup 2 Makeup" contains a sample of "I'm Gonna Love You Just a Little More Baby" by Barry White 
"Rain on Me" contains a sample of "Look of Love" by Isaac Hayes 
"Then Ya Gone" contains samples of "Ain't I Been Good to You" by The Isley Brothers, and "One Day" by UGK 
"Feel So Good" contains a sample of "Playing Your Game, Baby" by Barry White 
"The Story of 2" contains a sample of "Dream Maker" by Rick James 
"Sweet Baby" contains a sample of "I'm Glad You're Mine" by Al Green 
"U Say I Say" contains a sample of "Never Enough" by Groove Theory 
"I Found Lovin'" is a cover of the same-titled song by Fatback Band 

Personnel
Charts
Certifications
See also
List of Billboard 200 number-one albums of 2003
List of Billboard number-one R&B albums of 2003
Passage 3:
Chapter II (Benga album)
Chapter II is the third studio album by British record producer Benga  The album was released on 6 May 2013 through Sony Music  It entered the UK Albums Chart at number 93 

Background and development
The album was produced from late 2011 to 2013  On 30 November 2011, Benga and Youngman performed at 1Xtra Live  They premiered "Running" live from Bristol  The first official single from the album was "I Will Never Change", released in March 2012  In June 2012, Benga and P Money performed a live version of "High Speed" on BBC Radio 1Xtra in Maida Vale Studios  Benga himself provided vocoded vocals  Several singles released throughout 2012 were omitted from the album: "Icon", "Pour Your Love", "We're Coming Out" and "Open Your Eyes"  However, "Pour Your Love" (released on 24 August 2012) is the only song so far to chart in the United Kingdom, charting at number 189 in the UK Singles Chart 
A series of three heavier songs advertised as "club singles" were released throughout December 2012: "We're Coming Out", "Open Your Eyes" and "To Hell and Back"  The latter is the only one to feature on the album  The album's initial release date was set to be 22 April 2013, but it was delayed by two weeks  Benga supported Example on his 2013 arena tour around the United Kingdom, with Youngman providing vocals for his "Benga Live" sets  Several songs from the album were performed on tour, including "Choose 1"; "Smile"; "Getting 42"; "To Hell and Back"; "I Will Never Change"; and "Forefather", which got its live debut at the Manchester Arena on March 1 with a live PA from Kano  "Smile" features uncredited vocals from Charli XCX 

Singles
"I Will Never Change" is the album's lead single  It was released on 16 March 2012  The track was the first to be written on the album, and its upload on UKF has over one and a half million YouTube views  The official video premiered on Benga's Vevo on 5 April 2013 at a total length of two minutes and one second  The video features the song's waveform being created in stop motion out of 960 differently sized vinyls 
"To Hell and Back" is the second single from the album  It was released on 17 December 2012  On Example's 2013 arena tour, P Money performed a live PA which doesn't feature on the studio version of the track 
"Forefather" with Kano is the third single from the album  It was released on 7 March 2013 and entered the UK Singles Chart at number 123  The official video premiered on Benga's Vevo on 10 March 2013 at a total length of three minutes and thirty-eight seconds  The video compares Benga and Kano's lifestyles in 2003, 2008 and 2013: showing that although their success has changed their surroundings, their music is still "sounding like some old-school KA"  It is the only explicit track on the album 

Track listing
Personnel
Credits adapted from Chapter II album liner notes 
Adegbenga "Benga" Adejumo – mixing, engineering, producer (all tracks), vocals (11)
Autumn Rowe - vocals (8)
Ayo Simpson - engineering (14)
Charlotte Emma "Charli XCX" Aitchison - vocals (2)
Daniel "Danny C" Caim - vocal recording (11)
Daniel Ledinsky - backing vocals (14)
Jack Tarrant - mixing, engineering (8, 14)
Kane "Kano" Robinson - vocals (4)
Michael "Mikey J" Asante - vocal recording, vocal mixing (4)
Paris "P Money" Moore-Williams - vocals (11)
Rowan "Route 94" Jones - co-producer (2)
Rudie Edwards - vocals (14)
Sam Frank - vocals, saxophone (10)
Simon "Youngman" Smith - vocals (6, 13)
Stuart Hawkes - mastering (all tracks)

Chart performance
Weekly charts
Release history
Passage 4:
Rock wit U (Awww Baby)
"Rock wit U (Awww Baby)" is a song by American R&B singer Ashanti  Written by her along with Irv Gotti and Chink Santana for her second studio album, Chapter II (2003), and produced by Gotti and Santana, the song was released by Murder Inc  on May 19, 2003, as the lead single from Chapter II, peaked at number two on the US Billboard Hot 100 for one week and became her first international hit from her second album, reaching number 7 in the UK and number 19 in Australia 

Music video
Directed by Paul Hunter and filmed in Miami in early May 2003, the music video for "Rock wit U (Awww Baby)" features Ashanti at a beach with her boyfriend while they flirt in bed together and driving down the road in a Jeep  In some scenes, the boyfriend watches Ashanti dance for him in the house and behind some trees at night  There is also a scene where she rides on an elephant in the water  The video was nominated at the 2003 MTV Video Music Awards for Best R&B Video 

Samples
The song was sampled for British rapper Aitch's single "Baby"  The single was released on 10 March 2022  It debuted on the UK Official Singles Top 100 on 18 March 2022, placing at number 2 

Track listings
Notes

^[a]  denotes additional producer

Credits and personnel
Credits lifted from the liner notes of Chapter II 

Charts
Certifications
Release history
Passage 5:
Guillotine IV (The Final Chapter)
"Guillotine IV (The Final Chapter)" is the second single from Falling in Reverse's third album Just Like You  It is the fourth and final installment of the Guillotine series that was started by Ronnie Radke when he was the frontman of Escape the Fate  Ronnie Radke sang the first song, "The Guillotine", from Escape the Fate's Dying Is Your Latest Fashion; and Craig Mabbit sang "This War Is Ours (The Guillotine II)" and "The Aftermath (The Guillotine III)" from Escape the Fate's This War Is Ours and their self-titled album, respectively 

Personnel
Falling in ReverseRonnie Radke – lead vocals
Jacky Vincent – lead guitar, backing vocals
Derek Jones – rhythm guitar, backing vocals
Ryan Seaman – drums, percussion, backing vocalsAdditionalCharles Kallaghan Massabo – bass
Passage 6:
Capítulo II: Brinca
Capítulo II: Brinca (English: Chapter II: Jump) is the second studio album by Mexican-American recording artist DJ Kane  It was released on September 13, 2005 by EMI Latin 

Track listing
Passage 7:
Ashanti (singer)
Ashanti Shequoiya Douglas (born October 13, 1980) is an American singer, songwriter and actress  She was first discovered as a teenager and later signed to Murder Inc  Records in 2002  That year, she was featured on Fat Joe's "What's Luv?" and Ja Rule's "Always on Time", both of which became two of the biggest hit songs of 2002  She became the first female artist to occupy the top two positions on the U S  Billboard Hot 100 chart simultaneously with "Foolish" and "What's Luv?" at numbers one and two, respectively 
In 2002, Ashanti released her eponymous debut album, which sold over 505,000 copies throughout the U S  in its first week of release  The album earned her many awards, including eight Billboard Music Awards, two American Music Awards, and a Grammy Award in 2003 for Best Contemporary R&B Album  The album has since been certified triple platinum in the United States and sold six million copies worldwide by the end of 2003  The lead single for the album, "Foolish", was a critical and commercial success; it reached number one on the Billboard Hot 100  With "Foolish", she became the second artist (after The Beatles) to have their first three chart entries in the top ten of the Billboard Hot 100 simultaneously  Ashanti wrote and provided background vocals for Jennifer Lopez's "Ain't It Funny (Murder Remix)", which also reached number one on the Billboard Hot 100 In 2003, Ashanti released her second album, Chapter II, which debuted at number one on the Billboard 200, with first-week sales of 326,000 copies in the U S  The album went platinum, selling over 1 5 million copies in the U S  since its release  The album's singles, "Rock wit U (Awww Baby)" and "Rain on Me", were both commercial successes, peaking at number two and number seven on the Billboard Hot 100 chart, respectively  Chapter II was nominated for a Grammy Award for Best Contemporary R&B Album, and "Rock wit U (Awww Baby)" and "Rain on Me" were each nominated in the categories of Best R&B Song and Best Female R&B Vocal Performance  In November 2003, Ashanti released a Christmas album titled Ashanti's Christmas, which was a modest commercial success 
In 2004, Ashanti released her third studio album, Concrete Rose, the title of which took on Tupac Shakur's pseudonym "The Rose That Grew from Concrete"  The album debuted at number seven in the U S , with first-week sales of 254,000 copies, and became her third platinum-certified album  The first single, "Only U", reached number thirteen on the Billboard Hot 100 and became her biggest hit in the United Kingdom, peaking at number two  A second single, the ballad "Don't Let Them", garnered little chart success after Def Jam refused to fund a music video due to Irv Gotti's legal troubles during his money laundering trial  Her subsequent albums include The Declaration (2008) and Braveheart (2014), the latter of which was released independently, on Ashanti's record label, Written Entertainment 
Aside from music, Ashanti has also acted in various productions  In 2005, she made her feature film debut in Coach Carter alongside Samuel L  Jackson  She also starred as Dorothy Gale in the made-for-television film The Muppets' Wizard of Oz, which attracted nearly 8 million viewers when it premiered  She has since appeared in the films John Tucker Must Die (2006) and Resident Evil: Extinction (2007)  Throughout her career, Ashanti has sold nearly 15 million records worldwide 

Early life
Ashanti Douglas was born on October 13, 1980 in Glen Cove, New York  Her mother, Tina Douglas, is African-American and a former dance teacher, her father, Ken-Kaide Thomas Douglas, is also African-American and a former singer  She is the oldest of her parents' children, with a younger sister named Kenashia "Shia" Douglas  Ashanti's mother named her after the Ashanti Empire in Ghana; in this nation, women had power and influence, and Tina wanted Ashanti to follow that model  Her grandfather, James, was a civil rights activist who was associated with Martin Luther King Jr  in the 1960s Ashanti's mother discovered her full singing potential when she overheard Ashanti singing Mary J  Blige's "Reminisce" at age 12 (after the song was released on Ashanti's birthday)  While attending high school, she began to write songs  As a teenager, she performed in a local talent show and at several small festivals  She got her first taste of acting as a child extra in Spike Lee's Malcolm X (1992) and in Ted Demme's Who's the Man?  She also had a couple of minor appearances in music videos, such as KRS-One's "MC's Act Like They Don't Know" as well as 8-Off's "Ghetto Girl" Ashanti struggled to find success as a singer after being courted by several record labels, including Bad Boy and Jive  Despite this, she continued to perform in and around New York and began hanging out at the Murder Inc  recording studio, hoping for a big break 

Career
2001–2003: Ashanti, Chapter II and Ashanti's Christmas
Ashanti was first noticed by Irv Gotti because of her vocal skills  He asked her to pen hooks for his rap artists and to perform with them in duets  Ashanti provided the melodic response to their call  Ashanti was first featured as a background vocalist on rapper Big Pun's song "How We Roll"  In the same year, Ashanti was featured on fellow labelmate Cadillac Tah's singles "Pov City Anthem" and "Just Like a Thug"  She also appeared on the 2001 The Fast and the Furious soundtrack as a featured artist on Vita's 2001 hip hop remake of Madonna's "Justify My Love" and on the solo track "When a Man Does Wrong"  She was then featured on Fat Joe's "What's Luv?" and Ja Rule's "Always on Time"  "What's Luv?" and "Always on Time" were released simultaneously and became two of the biggest hit songs of 2002  Ashanti became the first female to occupy the top two positions on the U S  Billboard Hot 100 chart simultaneously when "Always on Time" and "What's Luv?" were at numbers one and two, respectively 
Following the success of her collaborations with Ja Rule and Fat Joe, Ashanti released her debut single, "Foolish", which contains a sample of the 1983 song "Stay with Me" by DeBarge (also used by The Notorious B I G  in his 1995 single "One More Chance", and by Big L in "MVP")  This is her biggest success to date, spending ten weeks atop the Billboard Hot 100  She became the second artist (after The Beatles) to have their first three chart entries in the top ten of the Hot 100 simultaneously  Ashanti's self-titled debut album, Ashanti, was released on Irv Gotti's Murder Inc  record label in April 2002  It debuted at number one on the U S  Billboard 200 albums chart  The album has been certified triple platinum in the United States and sold six million copies worldwide  Ashanti wrote the album's twelve tracks, most of which were written on the spot in the studio  Ashanti's follow-up singles, "Happy" and "Baby", were not as successful as her debut single but peaked inside the top ten and top twenty in the U S , respectively  Ashanti's debut album earned her many awards, including eight Billboard Music Awards, two American Music Awards, and a Grammy Award in 2003 for Best Contemporary R&B Album  Ashanti was the first artist to win Best Contemporary R&B Album before the category was last awarded in 2011  She was nominated as Best New Artist and "Foolish" was nominated in the Best Female R&B Vocal Performance category  She also received a Comet Award and two Soul Train Music Awards that same year 
Ashanti became the subject of controversy when it was announced that she would receive the Soul Train Aretha Franklin Award for "Entertainer of the Year", a high school student took offense and started an online petition against her, explaining to The Seattle Times that she was too new to deserve the award  Nearly 30,000 people agreed with him, signing the petition  Many said that established artists such as Mary J  Blige and Missy "Misdemeanor" Elliott or critically acclaimed singers like Alicia Keys and India Arie were more deserving of an award that carries the name of a musical legend  Despite the petition, the Soul Train committee and Don Cornelius stuck by their decision  Ashanti was applauded by her musical peers as she entered the Pasadena Civic Auditorium to accept her award and she was supported onstage by Patti LaBelle, who stated "she's a baby and we have to support our babies "Just before the release of her second album, Ashanti headlined VH1 Divas Duets alongside Whitney Houston, Chaka Khan, Beyoncé and Lisa Marie Presley  During the concert, she performed duets with the Isley Brothers and Stevie Wonder, and participated in the all-star finale performance of Wonder's "Higher Ground "In July 2003, Ashanti released her second album, Chapter II, which debuted at number one on the Billboard 200, with first-week sales of 326,000 copies in the U S  The album went platinum, selling over 1 5  a million copies in the U S  Chapter II's first single, "Rock wit U (Awww Baby)", became a hit, peaking at number two on the Billboard Hot 100  Its video, which showed Ashanti in a bikini frolicking on a beach and riding an elephant, was nominated for two 2003 MTV Video Music Awards  A remix of the song contains interpolations of Michael Jackson's "Rock with You"  The second single, "Rain on Me", reached the number seven spot on the Hot 100 and number two on the Hot 100 R&B Songs chart  Chapter II was nominated for a 2004 Grammy Award for Best Contemporary R&B Album, and "Rock wit U (Awww Baby)" and "Rain on Me" were nominated in the categories of Best R&B Song and Best Female R&B Vocal Performance, respectively  In the "Rain on Me," mini-movie music video—directed by Hype Williams and co-starring Larenz Tate—Ashanti portrays a troubled young woman in an abusive relationship  She received a Lifetime Channel Achievement Award for her message speaking out against domestic violence  That same year, she began dating rapper Nelly In November 2003, Ashanti released a Christmas album titled Ashanti's Christmas  It contained 10 Christmas songs and was a modest commercial success and sold just around 100,000 units in the U S  The album peaked at No  160 in the Billboard charts 

2004–2007: Concrete Rose, Collectibles by Ashanti and acting
Before Concrete Rose was released, Ashanti did some major promotion for her single "Only U", when she premiered it at the 2004 Vibe Music Awards  She featured on "Wonderful"—with Ja Rule and R  Kelly—that year, which peaked at number five in the U S  and at number one in the UK  In December 2004, Ashanti released her third studio album, Concrete Rose, the title of which took on Tupac Shakur's pseudonym "The Rose That Grew from Concrete"  The album debuted at number seven in the U S , with first-week sales of 254,000 copies, and eventually became her third platinum-certified album  The first single, "Only U", reached number thirteen on the Billboard Hot 100 and became her biggest hit in the United Kingdom, peaking at number two  A second single, the ballad "Don't Let Them", garnered little chart success after Def Jam refused to fund a music video due to Irv Gotti's legal troubles during his money laundering trial  The single was released only in the U S , where it failed to chart, and the UK, where it reached the lower end of the top forty  After the release of Concrete Rose, Ashanti released the DVD Ashanti: The Making of a Star, which was available only for a limited time  The deluxe DVD includes an exclusive photo and video shoot footage, music from the albums Ashanti, Chapter II and Concrete Rose, special concert footage, unreleased childhood school performances, and behind-the-scenes interviews with family, friends, and fans 
In 2005, Ashanti focused more on her acting career, making her feature film acting debut in the film Coach Carter alongside Samuel L  Jackson, as well as starring as Dorothy Gale in the made-for-television film The Muppets' Wizard of Oz, which pulled in nearly 8 million viewers when it premiered  She sang "When I'm with You" for the film which was nominated for a Primetime Emmy in the Outstanding Music and Lyrics category  In Coach Carter, she played a pregnant teenager named Kyra who has to decide whether or not to abort her unborn child  The movie opened at number-one at the U S  box office, eventually grossing $67  million domestically  Later in 2005, Ashanti was invited to Oprah Winfrey's Legends Ball, which honored some of the most influential and legendary African American women of the twentieth century in the fields of art, entertainment, and civil rights  In December 2005, Ashanti released a remix album of Concrete Rose titled Collectables by Ashanti  The album was an opportunity for her to fulfill her contract with Def Jam (and have the option of working with another label)  It did not fare well on the charts 
In 2006, she starred in the teen comedy John Tucker Must Die, which opened and peaked at number three at the U S  box office (competing with Pirates of the Caribbean: Dead Man's Chest and Miami Vice) and grossed $68,818,076 worldwide  In 2007, she played a supporting role in the action film Resident Evil: Extinction (2007) 

2008–2010: The Declaration, departure from The Inc  and The Wiz
Her fourth studio album, The Declaration, was released on June 3, 2008,  and sold 86,000 units its first week of release, which were the lowest first-week sales for any of Ashanti's studio albums  In mid-2007, MTV News reported that the first single from The Declaration was "Switch", which was produced by Shy Carter and released digitally in the United States on July 24, 2007  It was later reported that "Switch" may not be included on the album's track listing, and that the first single would be "Hey Baby (After the Club)" it was released to radio and digital outlets on October 16  The song, which does not appear on the U S  editions of the album, peaked at number eighty-seven on the Billboard Hot R&B/Hip-Hop Songs chart  "The Way That I Love You", was released to radio and digital outlets in January 2008, and was referred to as the "first single" in press material and media reports  It reached number two on the Hot R&B/Hip-Hop Songs chart and number thirty-seven on the Billboard Hot 100, becoming Ashanti's first song to reach the top forty since "Only U" in 2004  "Body On Me" was recorded not only for Ashanti's The Declaration, but also for Nelly's fifth studio album Brass Knuckles  The track is produced by Akon and Giorgio Tuinfort  It went to number one on Billboard's Hot Videoclip Tracks chart in its first week, becoming the first number-one single from Nelly's album "Good Good" was released to urban radio stations on July 16, 2008  The song contains elements of Elton John's 1974 single "Bennie and the Jets", and has the same melody arrangement as Michael Jackson's "The Girl Is Mine"  In July 2008, Ashanti was named an ambassador of tourism for Nassau County, Long Island 
In May 2009, Irv Gotti announced that he was officially releasing Ashanti from The Inc  Records, stating that "The relationship has run its course  The chemistry of what's needed — we're in two totally different places  You're talking to somebody that took her and shaped and molded her and put her out there for the world, and it blew up  We [hold the record] for the [fastest] selling debut by a female R&B artist — 503 [thousand]  We did it! My views and philosophies and her views and philosophies are not meeting up " Gotti also admitted that he and Ashanti have not spoken to each other in a long time  A representative for Ashanti did not respond  On September 24, 2009, Ashanti announced her fifth studio album would be released from her new label, Written Entertainment 
Ashanti headlined the cast of The Wiz in the New York City Center Encores! Summer Stars staging from June 12 to July 5, 2009  Ashanti's role as Dorothy has since received mixed reviews from critics as most praised her vocals but was less pleased with her acting ability  BET and Entertainment Weekly both praised the singer's performance as The New York Post and New York Times gave lukewarm reviews  Though the first night was sold out, some of the other shows were unable to follow its success  On October 27, 2008, Ashanti took part in The Yellow Brick Road Not Taken, a one night only concert to celebrate the fifth anniversary of Wicked, featuring songs written by Stephen Schwartz, that were cut from the show 

2011–2014: Hiatus and Braveheart
After a four-year hiatus, Ashanti released the song "Never Too Far Away", which was featured in Morgan Creek's film Dream House starring Daniel Craig, Rachel Weisz with Naomi Watts  The lead single from her fifth studio album, "The Woman You Love" featuring American rapper Busta Rhymes, was released online on December 15, 2011  Ashanti teamed up with Meek Mill and French Montana for the second single "No One Greater", which was produced by 7 Aurelius, Irv Gotti and Chink Santana  In April 2013, she released another single called "Never Should Have", which later won "Best Independent R&B/Soul Performance" at the 2013 Soul Train Awards  A music video for the track was also released In November 2012, it was reported that she had landed her first series regular role in the seventh season of Army Wives, playing Latasha Montclair  The series was canceled on September 24, 2013  In the fall of 2013, she appeared in a guest spot on Law & Order: Special Victims Unit alongside Clay Aiken and Taylor Hicks  She also starred in the Lifetime film Christmas in the City which premiered on December 7, 2013 In August 2013, Ashanti announced her plans to once again work with Ja Rule, who'd been released from prison in July of that year following a six-year sentence stemming from a gun charge  On January 8, 2014, she revealed the official cover art and release date for Braveheart, her fifth album, which was released on March 4, 2014  In January 2014, Ashanti shot the video for the official first single from Braveheart titled "I Got It" featuring Rick Ross  The video was shot in Miami, Florida, and was directed by Eif Rivera  In July, Ashanti announced that the second official single from BraveHeart would be "Early in the Morning" featuring French Montana  Upon release, the album garnered favorable reviews, with music critics describing Braveheart's sound as an "evolution of R&B" and praising the themes of empowerment but criticizing the romantic clichés and lack of interesting moments on the album  On the charts, Braveheart opened at number ten in the U S  Billboard 200, becoming Ashanti's fifth consecutive top-ten album, as well as her first Independent Albums chart-topper  It also debuted in the top thirty of the UK R&B Albums Chart and top-forty of the UK Indie Albums Chart 

2015–present: Current activities and upcoming seventh studio album
In 2015, she announced that she had worked on new music for her seventh album, with an unknown release date  Ashanti collaborated with Michelle Obama for her #Let'sMove campaign to spread awareness of drinking water with her new video and song "Let's Go" released in 2015  In 2016, she collaborated on the song "Seven Day Love" included in the album "Inzombia" by Canadian singer Belly  She has also worked with numerous artists, including Sia, Alicia Keys, John Legend, Queen Latifah, Usher and Kelly Clarkson to interpret the songs of the Broadway musical "Hamilton" for the compilation "The Hamilton Mixtape" In 2017, Ashanti announced her seventh studio album, revealing it would be released in 2018  She denied this in June 2018, confirming the future release of an album in collaboration with rapper Ja Rule  Between 2017 and 2018 she returned to the music scene with several collaborations including the single "Say Less" with Ty Dolla Sign, the track "The Road" by Machel Montano, and the song "Start This Shit Off Right" with Mack Maine, from the album "Tha Carter V" by Lil Wayne Ashanti released the collaboration "Pretty Little Thing" with Afro B in August 2019  She also featured on the soundtrack of the film Stuck, which she produced  In November, Ashanti guest-starred as herself in two episodes of the third season of The CW's Dynasty reboot: "Mother, I'm At La Mirage" and "Something Desperate" In January 2021, Ashanti released her single "2:35 (I Want You)" On March 10, 2022, Ashanti's single "Rock wit U (Awww Baby)" was heavily sampled for British rapper Aitch's single "Baby" In October 2022, Ashanti was featured on Diddy’s “Gotta Move On” remix which also features Bryson Tiller and Yung Miami 

Artistry
Ashanti has a lyric soprano voice type  Critics have referred to her voice as "pretty" and her soprano as "sultry" and "sweet but slight"  Jason Birchmeier of AllMusic noted her reputation for using her "swooning voice" in duets with Big Pun, Fat Joe, and Ja Rule  As a young girl, Ashanti was influenced by Ella Fitzgerald, Whitney Houston, Michael Jackson, Prince, and Tupac Shakur, but she cites Mary J  Blige as the main reason she wanted to pursue a singing career  Further musical influences include Janet Jackson, Mariah Carey, Madonna, Smokey Robinson, Donna Summer, and Blue Magic 

Philanthropy
In 2003, Ashanti partnered with LidRock and the San Francisco-based Family Violence Prevention Fund (FVPF) to raise awareness about the issue of domestic violence during National Domestic Violence Awareness Month and to distribute the "Rain on Me" mini-movie using LidRock's unique platform  Proceeds from the $5 mini-disc went towards helping to stop domestic violence  Ashanti also recorded a public service announcement that appeared in more than 4,000 film screens and reached millions of people  Ashanti also gives back by raising money for sickle cell research and she is active in helping the Make-A-Wish Foundation stating, "I'll go and do just about anything for them " In 2005, Ashanti helped by recording public service announcement and raising money for the Southeast Asia tsunami disaster  Later that year, she helped raise money for the Hurricane Katrina victims and storm evacuees In 2008, Ashanti, along with others celebrities, taped a PSA to help stop violence and discrimination towards the LGBT community in response to the death of Lawrence King, an eighth-grader at E O  Green Junior High School, who was shot because of his sexual orientation and gender expression  That same year, she launched a special on-line campaign called "I Declare Me   " with Wal-Mart  The campaign's core is a very personal focus on the self-definition and empowerment of women across the United States, with its home base at Ashanti's official website  The campaign creates a safe and inclusive on-line space to for women to share testimonies on the site  Participants are able to openly declare their own breakthroughs, revelations, struggles and victories in every life area they choose: career, birth, death, relationships, and personal situations  "I Declare Me   " also invites women to a virtual discussion with Ashanti on such issues as voter registration, teen obesity, and other concerns facing women today 
In September 2009, Ashanti, along with other artists such as Mariah Carey, Beyoncé, Mary J  Blige, Rihanna, Fergie, Sheryl Crow, Miley Cyrus, Melissa Etheridge, Natasha Bedingfield, Keyshia Cole, Ciara, Leona Lewis, LeAnn Rimes and Carrie Underwood, teamed up for the song "Just Stand Up!"  The charity tune for cancer was conceived by Antonio "L A " Reid, who produced it with longtime creative colleague Babyface  All 15 singers (along with Nicole Scherzinger) shared the stage to perform the song live on September 5, 2008, during the "Stand Up to Cancer" television special, which aired simultaneously on ABC, NBC and CBS, and helped raise $100 million for cancer research  As a result of SU2C fund raising endeavors, the SU2C scientific advisory committee, overseen by the American Association for Cancer Research, was able to award 73 6 million dollars towards novel, groundbreaking cancer research in 2009 In November 2009, Ashanti joined the crew of ABC's Extreme Makeover: Home Edition  In the episode, which aired on January 24, 2010, the singer assisted in the rebuilding of the Powell Family home in Buffalo, New York   The efforts from the show expanded significantly to include not just the family home but the entire neighborhood surrounding it  In 2013, Ashanti featured on the 19-track compilation album Songs for a Healthier America, a collaborative project by the Partnership for a Healthier America, whose honorary chair is Michelle Obama, and Hip Hop Public Health  Her song "Just Believe" also featured Artie Green, Gerry Gunn, Robbie Nova and Chauncey Hawkins  Additionally, she is affiliated with the Jumpstart reading program, the Tupperware Brand and the Boys and Girls Club of America 

Personal life
On January 1, 2003, Ashanti met rapper Nelly at a press conference for the 2003 Grammy Awards, and the two later began dating  They ended their relationship after a decade together  In 2023, they reunited and got back together 

Discography
Studio albumsAshanti (2002)
Chapter II (2003)
Ashanti's Christmas (2003)
Concrete Rose (2004)
The Declaration (2008)
Braveheart (2014)

Filmography
Film
Television
Theater
See also
List of awards and nominations received by Ashanti
Context 3: Passage 1:
Richie Ginther
Paul Richard "Richie" Ginther (Hollywood, California, August 5, 1930 – September 20, 1989 in France) was a racecar driver from the United States  During a varied career, the 1965 Mexican Grand Prix saw Ginther take Honda's first Grand Prix victory, a victory which would also prove to be Ginther's only win in Formula One  Ginther competed in 54 World Championship Formula One Grand Prix races and numerous other non-Championship F1 events 

Early career
Richie Ginther was born in Hollywood but his family moved to Ohio for his father's work before moving back to California and to Santa Monica, the same Californian town as future Formula One World Champion Phil Hill, and it was through Hill, a friend of Ginther's older brother, George, that he first began to race  After finishing school in 1948, Ginther followed in his father's footsteps and went to work for Douglas Aircraft, initially in the tool and die shop  In his spare time he helped Hill to repair, maintain and race his collection of old cars and hot rods, as Hill's racing career began to gather pace  Ginther made his race debut at Pebble Beach in 1951, driving a Ford-engined MG T-type sports car However, Ginther's career was put on hold shortly after, when he was drafted for two years of national service during the Korean War  During this time he received training and experience working in aircraft and engine mechanics, skills which he would later put to good use during his driving career  On emergence from the military, Hill requested that Ginther join him, principally as a riding mechanic, in driving a privately entered 4 1-liter Ferrari in the 1953 Carrera Panamericana  The pair ran high in the rankings until Hill lost control, crashed, and wrote off the car  Both Ginther and Hill were unharmed and returned in 1954 to take second place, beaten only by the works Ferrari of Umberto Maglioli 
Nineteen fifty-four was also the year that Ginther returned to race driving himself, mostly in a self-prepared Austin-Healey  His results were impressive enough that the following year VW and Porsche dealer John von Neumann hired him to drive a Porsche in domestic competitions  When von Neumann started dealing in Ferrari cars in 1956, Ginther also got the chance to drive these  In between working in von Neumann's Ferrari dealership — including trips to the Ferrari factory in Italy to sort customer problems — Ginther began to build an impressive racing reputation on the West Coast  This, and his choice of Ferrari mounts, brought him to the attention of the East Coast Ferrari franchise-holder, three-time 24 Hours of Le Mans-winner, Luigi Chinetti  Aside from importing Ferrari road cars, Chinetti also operated a successful race team, soon to metamorphose into Ferrari's official motorsport presence in North America: NART  Ginther first raced for Chinetti in 1957 and with him made his first appearances in international-level events, first in the 12 Hours of Sebring and then driving a two-liter Ferrari 500 TR in the 1957 Le Mans race 
Also in 1957, Ginther was signed to drive the Aston Martin of Joe Lubin and over the next three years would continue to compete in many sports car racing events in both Aston and Ferrari machinery, with great success  That June, he won a 15-lap GT race at the new Lime Rock Park, and won the opening race of the national championship in his Ferrari  In early-1958, he piloted a two-liter Ferrari to victory at the County Fairgrounds in Pomona, California, averaging 83 8 mph (134 9 km/h), and won in a three-liter GT in a five-lap qualifying preliminary for the SCCA Pacific Coast Championship  By the end of the year Ginther had captured the Pacific Coast Sports Car Championship outright  He triumphed by a wide margin at Pomona at the opening sports car race of 1959, in a von Neumann 4 1-liter Ferrari, and in June 1959, won in a three-liter Ferrari TR in the first Hourglass road races in San Diego, California  Throughout this period he continued to mix his race driving with a steady job at von Neumann's dealership, and by late 1959 the strain was beginning to show 

Formula One
Ferrari
Ginther made his F1 debut at the 1960 Monaco Grand Prix driving for Ferrari, which he stayed with through 1961  In the September 1960 Italian Grand Prix in Monza, he placed second to Hill  Ginther led from the start until the 25th lap when Hill passed him and led until the finish Following the 1960 season the Ferrari team gave up 1000 cc in engine size  The 2500 cc engine,
permitted the previous year, was replaced by a 1 5-liter rear-engine model, with 110 less horsepower  However, the newer engine was superior in both "profiling" and handling  The conservative Enzo Ferrari was the last major Formula 1 race car manufacturer to make the transition to cars with engines in the rear 
In 1961, Ginther was the No  3 Ferrari driver, behind No  1 Wolfgang Von Trips and No  2 Hill  Giancarlo Baghetti occasionally piloted a fourth car  The team manager was Romulo Tavoni On May 14, 1961, Ginther finished second to Stirling Moss at the 1961 Monaco Grand Prix, 3 6 seconds behind, a few hundred feet  He was driving a new rear-engine Ferrari with a 120-degree V-6 which had a lower center of gravity  Ginther had qualified second, just ahead of Hill, with an average speed of 70 7 mph (113 8 km/h), and a qualifying time of 1:39 3  He eclipsed the previous course record of 1:39 6, before Moss took pole position the day after In August 1961, Ginther and Baghetti were teammates at the Pescara Grand Prix, a world auto manufacturers' championship event  Their Ferrari was leading on the 10th lap when it stopped on a straight stretch with a flat tire  Ginther averaged more than 133 mph (214 km/h) on the 6 2-mile (10 0 km) Autodromo Nazionale Monza in September 1961, to lead the first day of qualifying for the 1961 Italian Grand Prix  Von Trips qualified first with Ginther taking the third starting position after Ricardo Rodriguez  Ginther retired in the race  Von Trips died in a spectacular crash on the second lap, which also killed eleven spectators, when his Ferrari climbed a 5-foot-high (1 5 m) earth embankment  
It brushed a wire fence employed to restrain a portion of the crowd and struck the spectators  Some who were injured eventually succumbed and brought the total to 15 deaths  The Ferrari team ceased competition until January 1, 1962, as a mark of respect to Von Trips 

BRM and Honda
In 1962, Ginther switched to the British-based BRM team to race alongside Graham Hill  The highlight of his time at BRM was finishing equal-second (with Hill) in the 1963 World Championship  Ginther scored more points than his British teammate over the whole season, but only a driver's six best scores were counted towards the championship 
His reputation as a solid "team player" and excellent test and development driver earned him an invitation to join the works Honda F1 team for 1965, for whom he scored his one and only GP win, at the 1965 Mexican Grand Prix  The win was also Honda's first in Formula 1  Ginther averaged 151 7 kilometres per hour (94 3 mph) over the curving 5 kilometres (3 1 mi) track in the 65 lap Mexico City event  His speed eclipsed the previous course record of 150 185 km/h (93 321 mph) established by Dan Gurney in 1964  It was the first time Honda had entered the Mexican Grand Prix  Honda reentered international competition in the 1966 Italian Grand Prix  The team was three years old and had encountered difficulty in the preparation of a larger engine  Ginther led in Italy before his car crashed into a retaining wall and he broke his collarbone  He signed with the Eagle F1 team in 1967 and raced in the Race of Champions  His last race entered was the Monaco Grand Prix, but he failed to qualify 
Ginther won one race, achieved 14 podiums, and scored a total of 107 championship points 
He appeared in an uncredited role in the 1966 film Grand Prix as John Hogarth, a driver in the Japanese funded "Yamura" team  He also acted as one of the technical racing advisors for the movie 
While making an attempt to qualify for the 1967 Indianapolis 500, Ginther broke a fuel line in his American Eagle Indy Car   A mix of ethanol and gasoline, was sprayed down his back   This experience, along with the recent fiery death of close friend Lorenzo Bandini, along with other factors, led to his sudden retirement He participated in a rally with sixty-five other competitors, including actor James Garner, in June 1969  The California Sports Car Club event was three hours cross country from Los Angeles to Huntington Beach  It benefited students from the Braille Institute 
Ginther managed a Porsche 911S with two American drivers during the 39th 24 hours of Le Mans, in June 1971 

Death
Ginther died of a heart attack while on vacation with his family in France, in Touzac, near Bordeaux, on September 20, 1989 

Awards
He was inducted into the Motorsports Hall of Fame of America in 2008 

Biography
In 2020, to mark what would have been Ginther's 90th birthday, a biography was released about Richie's life and career by Richard Jenkins, published by Performance Publishing  "Richie Ginther: Motor Racing's Free Thinker" won the RAC Motoring Book of the Year Award for its depth of research and previously unpublished information

Racing record
Formula One World Championship results
(key) (Races in italics indicate fastest lap)

Non-Championship Formula One results
(key)

Complete British Saloon Car Championship results
(key) (Races in bold indicate pole position; races in italics indicate fastest lap )

† Events with 2 races staged for the different classes 

Footnotes
Passage 2:
Bobby Santos III
Robert Santos III (born October 3, 1985) is an American professional racing driver from Franklin, Massachusetts  He graduated in 2004 from Tri-County Regional Vocational Technical High School  Santos, nicknamed "Bobby New England", is the grandson of Bobby Santos, a former modified racer   His sister, Erica Santos, is also a racecar driver  He is the cousin of former University of New Hampshire quarterback Ricky Santos 

Early career
Before stock cars, Santos was a successful midget racer  He raced in the Northeastern Midget Association, USAC, PRA Big Car, and ISMA   He had the most wins of any driver in the USAC National Midget Tour in 2006, collecting five wins, including a win at O'Reilly Raceway Park on the Night Before the 500  He was signed to Bill Davis Racing 

ARCA career
In 2006, Santos made his stock car debut at Iowa Speedway for Bill Davis Racing in the #02 Dodge  He started 10th and finished 6th   Bobby returned to ARCA in 2007 for Bill Davis, now in a Toyota Camry  He won Toyota's first stock car pole at USA International Speedway in Lakeland, Florida   While leading the race, he was involved in an incident with a lapped car and did not finish  He returned at Nashville Superspeedway, but had a mid-pack run  At Kansas Speedway, Bobby started second, but a blown engine relegated him to another DNF   Santos broke his dry spell at Kentucky Speedway when he started fourth and finished third, behind Erik Darnell and Erin Crocker   Santos placed third in the next race at Kentucky, as well   The third-generation racer won a pole at Pocono Raceway in early August and qualified fifth at Talladega Superspeedway, but was unable to back up either with a strong finish 

NASCAR career
In 2007, Santos made his NASCAR Busch Series debut at Richmond International Raceway for the new Riley D'Hondt Motorsports team  He qualified seventh in his #91 Toyota but faded back to a thirtieth-place finish after running in the top 10 at the beginning of the race  He also qualified fourth for the Camping World 200 at New Hampshire Motor Speedway and was running in the top 10 before being hit by a lapped car  He ran two additional races for RDHM but did not finish better than 30th 
Santos has also participated in the Whelen Modified Tour, collecting his first two wins at Thompson International Speedway in October 2007, and the Ice Breaker, also at Thompson International Speedway, in April 2010  He parlayed his season-opening Icebreaker win into the 2010 Whelen Modified Tour championship, collecting a total of four wins and four poles on the season Santos ran the 2011 Nationwide Series opener for Jimmy Means in what was a back-up JR Motorsports car after wrecking the 52 in practice; the Earnhardt family has a long friendship with the independent owner and former driver  Santos finished 17th after vowing to run the race in its entirety 

Current career
After his stint in stock car racing, Santos returned to his roots, racing the full NASCAR Whelen Modified Tour for Bob Garbarino's Mystic Missile Racing team and a limited schedule in all three USAC divisions  Santos also made select appearances in the NEMA ranks in 2009   Santos' post-NASCAR career has been highlighted by wins in many of the nation's largest midget races, including the Turkey Night Grand Prix and Copper World Classic  He also won the 2020 Little 500 USAC Sprint car race at Anderson Speedway He will drive part-time in the NASCAR Nationwide Series in 2012 for Tommy Baldwin Racing and will continue to compete on the NASCAR Whelen Modified Tour behind the wheel of the Tinio Corporation No  44 
Santos registered back-to-back Musket 250 wins in 2019 and 2020 

Motorsports career results
NASCAR
(key) (Bold – Pole position awarded by qualifying time  Italics – Pole position earned by points standings or practice time  * – Most laps led )

Nationwide Series
Camping World Truck Series
1 Ineligible for series points

Whelen Modified Tour
ARCA Re/Max Series
(key) (Bold – Pole position awarded by qualifying time  Italics – Pole position earned by points standings or practice time  * – Most laps led )

Superstar Racing Experience
(key) * – Most laps led  1 – Heat 1 winner  2 – Heat 2 winner 

* Season still in progress
Passage 3:
1971 Canadian Grand Prix
The 1971 Canadian Grand Prix was a Formula One motor race held at Mosport Park on September 19, 1971  It was race 10 of 11 in both the 1971 World Championship of Drivers and the 1971 International Cup for Formula One Manufacturers  
During a Formula Ford preliminary race, one of the twenty drivers of the field spun at Turn 1 involving four other competitors and a group of marshals  Four of them suffered severe injuries and were taken to hospital  One lap later, Wayne Kelly, a 37‐year‐old driver from Ottawa, was killed instantly when he crashed into a stationary ambulance parked on the outside of Turn 1 whose crew was helping the injured marshals and competitors  
The events of the Formula Ford race meant that the Grand Prix was delayed, and when it did start, it was raining and thick fog had arrived  Jackie Stewart took the win after the race was stopped after 64 laps of the scheduled 80 due to the weather  American Mark Donohue finished third on his F1 debut 
This was the first ever Formula One race to be red flagged 

Qualifying
Qualifying classification
Race
Classification
Championship standings after the race

Note: Only the top five positions are included for both sets of standings 
Passage 4:
Peter Ryan (racing driver)
Peter Barry Ryan (June 10, 1940 in Philadelphia, Pennsylvania, United States – July 2, 1962 in Paris, France) was an American-born Canadian racecar driver from Mont-Tremblant, Quebec  He had a short Formula One career  He participated in one Grand Prix, the 1961 United States Grand Prix at Watkins Glen, finishing ninth  He scored no championship points  However, he became the first Canadian ever to take part in a Formula One Grand Prix 

Career
Ryan first came to prominence as a skier, winning the National Ski Association's junior downhill championship at Mount Rose, Nevada, in 1957  "Immediately after Ryan's victory, Americans protested that Canadians could not win an American championship " The protest was disallowed  His Olympic prospects were such that a dispute arose as to which country he should represent  The Americans asserted that he: "was born in the United States as were his father, the late Joseph P  Ryan, and his mother " Ryan expressed a preference for the Canadian team: "But while he would like to ski for Canada, he wouldn't care to give up his American citizenship " "An outstanding skier, Ryan shifted to auto racing in 1959 after a ski crackup in which both his legs were broken "On April 25, 1959, Denise McCluggage, writing in Competition Press, reported: "Peter Ryan of the Mont Tremblant Ryans bought Bernie Vihl's beautifully kept old 550 Porsche in which to take up racing-sports car racing that is  Peter at 19, is an old hand at ski racing being a downhill expert " Ryan's successes came in sports cars racing in Canada, the US and Nassau  On October 1, 1960, Ryan co-drove with Roger Penske in a Porsche RS60 to win the six-hour Sundown Grand Prix at Harewood, in Ontario, Canada  The next week Ryan was entered in the 230-mile Formula Libre road race at Watkins Glen, New York  In qualifying he was "the surprise of the day, taking the fifth position over England's Roy Salvadori " Ahead of him were Stirling Moss, Jack Brabham, Joakim Bonnier and Olivier Gendebien  He was driving Bill Sadler's Formula Libre special, known as "Formula Ferocious," a rear-engined single-seater device, when his motor blew on lap 56 
At Sebring on March 25, 1961, Ryan, teamed with Frances Bradley and Ludwig Heimrath, finished eighth overall in the Florida International 12-Hour Grand Prix of Endurance, driving a Porsche RS  In June 1961 Ryan withdrew from a race at Mosport  He "was expected to give Moss his stiffest competition, but did not compete  He withdrew at the last minute  Ryan, a member of the Sports Car Club of America, feared he would lose his amateur status in the United States if he entered the race 
The S C C A  ordered its members not to compete in the Canadian race because prize money was being given " In July 1961 Peter Ryan (Comstock Sadler-Chevrolet) was leading the Meadowdale Grand Prix when Roger Penske (Maserati birdcage Telar Special): "banged into him from the rear on the 18th lap " Ryan clung on to the lead, but after spinning recovered to finish second  On August 6, 1961, Ryan won the Vanderbilt Cup for Formula Junior cars at Bridgehampton, New York, driving a Lotus 20, averaging 87 95 miles an hour Ryan was the winner of the inaugural Canadian Grand Prix, in a Lotus Monte Carlo-Climax, held at Mosport on September 30, 1961, when it was a non-Championship sports car race  Second that day was Pedro Rodriguez (Ferrari V12) and third Stirling Moss (Lotus Monte Carlo)  The win at Mosport led to an invitation from Colin Chapman to drive a Lotus in the 1961 United States Grand Prix 
In the first 3-hr Daytona Continental GT and sports car race at Daytona on February 11, 1962, Ryan finished 15th overall, sharing a Ferrari 3 0-litre with Ricardo Rodriguez  The previous day he had finished fifth in the Lurani Trophy Race for Formula Junior cars, driving a Lotus 20  At Sebring on March 24, 1962, Ryan, teamed with John Fulp, finished thirteenth overall in the Florida International 12-Hour Grand Prix of Endurance, driving a Ferrari 248 SP for the North American Racing Team An offer of a factory-Lotus Formula Junior drive in Europe for 1962 did not materialise: "The young Canadian-American, bitterly disappointed, has gone to England to see what arrangements can be made for the coming season " "Placed under a three-year contract by Team Lotus he was lent to the Ian Walker Racing Team for the 1962 season,  " On May 27, 1962, Ryan was teamed with Paul Hawkins in an Ian Walker Racing Team Lotus 23 at the Nurburgring 1,000 km sports car race  The car suffered from overheating and was unplaced  At Monaco on June 2, 1962, Ryan won a heat race in an FJ Lotus, finishing eleventh in the final  Denis Jenkinson commented: "The driving of Ryan, the Canadian, and Spence, both in Ian Walker Lotus-Juniors, was very impressive,  " At Mallory Park, England, on June 11, 1962, Ryan drove an FJ Lotus: "The Formula Junior event saw Peter Ryan adding to his growing reputation in Europe by tailing Peter Arundell's works Lotus for the whole race, then nipping through on lap 28 to win by a second "Ryan made his Le Mans debut on June 23 and 24, 1962, partnered by John 'Buck' Fulp, driving the #18 NART Ferrari 250 TRI/61  The car completed 150 laps and 15 hours when it was crashed by Ryan  "Poor Peter Ryan put his Ferrari in the sandbank at Mulsanne and dug for ages before giving up,  "Ryan's last race was in the Coupe Internationale des Juniors Formula Junior race at Rheims, on July 2, 1962  "First of the heats, run at 10 a m  round an almost deserted circuit, began as a terrific scrap between Peter Ryan's Ian Walker Lotus, Bill Moss's Gemini, Gardner's Brabham with Love's Cooper and Arundell's Lotus lurking just behind  This struggle continued until the 5th lap, when Ryan's Lotus and Bill Moss's Gemini touched as they left the very fast right-hand bend past Gueux  Both cars left the road at high speed and were totally wrecked; Bill Moss escaped with minor injuries but Ryan was taken to hospital seriously hurt " He succumbed to his injuries in a Paris hospital where he was taken following the accident 
Peter Garnier, writing in Autocar, said of Peter Ryan: "During his all too-brief-spell on British and Continental circuits, he had proved himself to be extremely skilful and fast, with just that touch of fire which can often indicate the makings of a great driver "Peter Ryan was inducted into the Canadian Motorsport Hall of Fame as one of the initial inductees in 1993 

Complete Formula One results
(key)
Passage 5:
Bob Drake (racing driver)
Phil Robert "Bob" Drake (December 14, 1919 – April 18, 1990) was an American racecar driver  He participated in one Formula One Grand Prix, on November 20, 1960  He scored no championship points  Drake was the last driver to race the famous Maserati 250F in a Formula One World Championship Grand Prix, the 1960 United States Grand Prix  The 250F was a 2 5 litre front-engined Grand Prix car that was considered obsolete in 1961 due to new engine rules 
Aside from being a race car driver, he was a naval diver, restaurateur, and stunt performer 

Complete Formula One World Championship results
(key)
Passage 6:
2010 Canadian Grand Prix
The 2010 Canadian Grand Prix (formally the Formula 1 Grand Prix du Canada 2010) was the eighth round of the 2010 Formula One season  It was held in Montreal, Quebec, Canada at the Circuit Gilles Villeneuve on 13 June 2010  This was the first Grand Prix to be held on the North American continent since the 2008 Canadian Grand Prix  The race was won by McLaren driver Lewis Hamilton, his second Canadian Grand Prix victory, ahead of teammate Jenson Button and Ferrari driver Fernando Alonso 
This was McLaren's last 1-2 finish until the 2021 Italian Grand Prix and the last  one-two finish between British drivers until the 2022 São Paulo Grand Prix 

Report
Background
After dominating the previous three races, it was widely expected that the Montreal circuit would not play to the Red Bull's strengths, with intense media speculation that the controversial crash between Sebastian Vettel and Mark Webber whilst fighting for the lead of the Turkish Grand Prix would only worsen the team's chances  However, while neither driver was prepared to accept full responsibility for causing the accident, both expressed a desire to forget about it and move on None of the teams planned to introduce major updates for the race, though several brought customised packages specifically for the high-speed, low-downforce circuit  Those who had developed an "F-duct" system for the previous race were still running it in the trial phase 

Free Practice
The Friday sessions passed without incident save for minor off-track excursions by several drivers and a spin by Pedro de la Rosa at l'Epingle  Lucas di Grassi was the only driver who failed to set a time in the first session after stopping on the circuit  While reigning World Champion Jenson Button set the fastest time of the first session, Hispania Racing improved dramatically, beating both the Virgins, while Karun Chandhok also beat the Lotus of Jarno Trulli  The session also showed the progress of the new teams as a whole, with Heikki Kovalainen finishing the session just over a second adrift of Jaime Alguersuari; the difference between the new and established teams had been as great as three seconds in the first race of the season  Kovalainen would go on to repeat his feat in the second session, finishing just over half a second behind Alguersuari and a full second ahead of Chandhok, the next-fastest driver 
The biggest story of the day was the extreme tyre degradation the drivers experienced while running on the super-soft compound  Several sections of the circuit had been resurfaced since Formula One's previous visit in 2008, with the net result being that they offered comparatively little grip compared to other circuits  Hirohide Hamashima, Bridgestone's director of motosport tyre development, commented that the problem was a result of the tyres being unable to reach their optimum operating temperature  With several teams expecting rain at some point during the weekend, the lack of grip and unpredictable conditions made setting the car up exceptionally difficult  Sebastian Vettel was the fastest driver in the session, narrowly outclassing the Ferrari of Fernando Alonso and Mercedes' Nico Rosberg  Despite setting the fastest times of the first session, the McLarens both struggled, with Lewis Hamilton finishing seventh and Button only managing eleventh 
McLaren bounded back in time for the third session, with Hamilton comfortably setting the fastest time of both the session and the weekend, ahead of Webber, Alonso and Schumacher  Hamilton was sighted clipping the concrete walls lining the circuit as one point, as did Felipe Massa, but both were able to continue without damage  Pedro de la Rosa very nearly came unstuck at the same point, but Karun Chandhok was less fortunate, his Hispania F110 stopping on the circuit early on  Nico Rosberg was sidelined with a clutch problem for most of the session  The only other incident was Lucas di Grassi losing control under braking at l'Epingle and coming to rest in the gravel trap shortly after he recorded the fastest speed – 324 km/h (201 mph) – through the speed trap 

Qualifying
To compound the problems associated with heavy graining, overnight rain washed away whatever rubber had been laid down on the circuit during the Friday practice sessions, further reducing grip  With ambient temperatures being no higher than on Friday and the forecast predicting more of the same for the race, Bridgestone projected that a one-stop strategy in the race would be impossible with the harder prime compound losing up to seven seconds over half race distance, and the super-soft option tyres losing over sixteen seconds in the same window  With the rules dictating that drivers must start the race on the tyres they set their best qualifying time on, tyre selection for qualifying was therefore crucial 
On Saturday afternoon, qualifying started without rain on the track  The first qualifying session had no surprises when both drivers from HRT, Virgin Racing and Lotus failed to make the cut, they were joined by BMW Sauber pilot Kamui Kobayashi  The second qualifying session saw Michael Schumacher miss the cut as the only surprise elimination  With two more cars setting faster times, Schumacher started the race from thirteenth  Barrichello was the fastest of this group followed by Hülkenberg, Schumacher, Petrov, Buemi, Alguersuari and de la Rosa 

At the third and final session all eyes were on Lewis Hamilton as he had set the fastest time in both qualifying sessions  But it was Mark Webber who grabbed the lead early on  The teams were running different tyres, making the results unpredictable  On the very last lap, Hamilton snatched the pole from Webber who could not answer  With Hamilton ending Red Bull's run of pole positions after seven races, Webber was set to start second right in front of his teammate Sebastian Vettel  Fernando Alonso was fourth, Jenson Button fifth followed by Vitantonio Liuzzi, who qualified at a career-best sixth; Felipe Massa, Robert Kubica, Adrian Sutil and Nico Rosberg completed the top ten 
On the cool down lap, Hamilton was instructed by his team to slow down and stop on the circuit because the team realised he would not have enough fuel left in his tank for a sample to be taken by the FIA  Hamilton turned his car off and let it continue rolling down the back straight of the circuit  He undid his belts and sat higher up in the cockpit of his car, relaxed until his McLaren nearly came to a stop  Hamilton then got out and started to push his still rolling car down the back straight  A group of circuit marshalls finally came to help him and he was picked up by the course car and taken to the press conference  The FIA later handed Hamilton a reprimand and fined the McLaren team $10,000 for not completing the cool down lap in the given time, with Hamilton retaining his pole position 

Race
The race was the first of the season in which all twenty-four cars started on the grid; prior to the Montreal race, at least one car—usually from Virgin, Lotus or Hispania—was forced to start from the pit lane with a mechanical issue of some kind  Mark Webber was demoted from second place on the grid to seventh after Red Bull found iron filings in a sample of oil taken from the gearbox used in Webber's car during qualifying  This finding, which suggested damage to the internals of the gearbox and necessitated a gearbox change under parc ferme conditions, resulted in the five-place grid penalty 
The opening lap saw drama unfold before the field had even cleared the start gantry  While Lewis Hamilton won the drag race to the first corner, in the middle of the pack, Vitaly Petrov jumped the start and was forced onto the grassy verge as he attempted to go around the outside  This resulted in a spin that forced Pedro de la Rosa to take evasive action; Petrov earned two drive-through penalties in the space of one hundred metres for his efforts and spent the rest of the race fighting with the new teams  Felipe Massa and Vitantonio Liuzzi made contact three times in one corner, with the Italian getting spun around in the process and sliding down the order  As Hamilton, Vettel and Alonso established the running order, Kamui Kobayashi and Nico Hülkenberg tangled on the run into the final corners  While the Williams driver cut the chicane to avoid further contact, Kobayashi was not as lucky and he became the Wall of Champions' 2010 victim  He retired a lap later with accident damage  After avoiding the spinning Petrov at the start, Kobayashi's Sauber teammate Pedro de la Rosa joined him on the sidelines shortly thereafter and gave the team the unenviable record of eleven retirements from sixteen starts 

The predicted early round of stops passed without incident, although Red Bull elected to run their drivers on separate strategies; Mark Webber ran the harder prime compound back-to-back with a finish on the softer options, while Vettel ran the options in his middle stint and picked up the primes for the run to the finish  Every other driver except Robert Kubica had qualified on and subsequently started the race with the softer options  The tyre lottery produced an unlikely winner with Toro Rosso's Sébastien Buemi inheriting the lead for a lap before his stop, the first time a Toro Rosso had led a race since Sébastien Bourdais led three laps at the 2008 Japanese Grand Prix  Elsewhere in the field, Hülkenberg proved to be his own worst enemy when he over-extended himself under brakes while attempting to pass Nico Rosberg at l'Epingle and damaging his front wing in the process  He was then flagged for speeding in the pit lane when he pitted to replace the wing, robbing himself of a potential points place as he was forced to serve a drive-through penalty 
An accident between Michael Schumacher and Robert Kubica was narrowly avoided as Schumacher emerged from the first of his scheduled stops  Schumacher refused to yield on the approach to the fourth corner and the two took a short trip across the grassy verge  The altercation damaged Kubica's undertray while the incident was investigated by the stewards  It was the first of many incidents involving Schumacher, with the Mercedes driver later tangling with Adrian Sutil and Felipe Massa  Massa's race was marked by a perpetual battle with the Force India drivers including several near-misses in the second corner, the scene of his first-lap tangle with Liuzzi  Massa would later force his way past Sutil as the two closed in on the Lotus of Heikki Kovalainen, the cars running three-abreast into turn six  His late altercation with former Ferrari teammate Schumacher required him to pit for a replacement front wing and, like Hülkenberg before him, the Brazilian driver was cited for speeding in the pit lane  Twenty seconds were added to his time after the race as punishment 

Webber's tyre strategy initially paid off but, as the race wore on, his tyres began to deteriorate rapidly  Hamilton, running second at the time, quickly reduced the Australian's lead and caught him with twenty laps to go, dragging the Ferrari of Alonso through in the process  Webber eventually pitted, emerging behind teammate Vettel in fifth place as Vettel struggled with an unspecified but serious problem that he had to nurse to the finish; the team later clarified this as being related to the gearbox  As Hamilton settled back into the lead, reigning World Champion Jenson Button took Alonso by surprise, passing him around the back half of the circuit and positioning McLaren for their second consecutive one-two finish  Button briefly attempted a run at his teammate, narrowing Hamilton's lead to just two seconds with ten laps to go, but Hamilton responded with a fast lap that dissuaded Button from making further attempts  The top five—Hamilton, Button, Alonso, Vettel and Webber—would remain in place until the very end with Vettel stopping on the circuit just after he crossed the finish line at the end of the race  Nico Rosberg fended off a late surge from Kubica to claim sixth while Buemi finished eighth and a lap down  Liuzzi and Sutil both found their way past Schumacher on the final lap—in Sutil's case this was in the final corner—as the Mercedes driver struggled with tyres that were almost completely out of grip and leaving the seven-time World Champion scoreless in what BBC commentator Martin Brundle later described as the German's "worst weekend of his career"  Kovalainen was the best of the new teams, two laps down and fighting off Petrov for the final phase of the race, while Karun Chandhok and Lucas di Grassi were the final cars home, four and five laps down respectively 

The race was notably short of attrition compared to previous races at the Circuit Gilles Villeneuve, which have seen the safety car deployed so often that teams factor an accident into their strategies  However, the 2010 race was so short of retirements that it boasted the greatest number of finishers in the season to date with nineteen classified drivers  In addition to the dual retirements for BMW Sauber, Bruno Senna was once again the victim of a gearbox problem while Jarno Trulli stopped in the pit entry on lap forty-seven with terminal brake problems  Timo Glock retired due to a steering rack leak that crippled his VR-01 on lap fifty-five 
The final result meant that Hamilton leapfrogged both Button and Webber in the championship standings with six points covering the top three drivers  With McLaren claiming the lead of the constructors' championship from Red Bull in Turkey, their maximum points score in Montreal placed them a further twenty points clear of the Austrian team  The race was also the first time since the 1991 United States Grand Prix that three former drivers' champions stood on the podium and the last 1–2 finish for the McLaren team until the 2021 Italian Grand Prix  The race was also the last time until the 2022 São Paulo Grand Prix where British drivers finished first and second on the podium 

Classification
Qualifying
Notes:

1 ^  – Mark Webber was demoted five places on the grid after the gearbox in his car was changed pre-race 
2



ground_truth: October 13, 1980

prompt_front: Answer the question based on the given passages. Only give me the answer and do not output any other words.

Question: Santa Bring My Baby Back was released on which fourth Elvis studio album in 1957?

The following are given passages.
Context 2: Passage 1:
Elvis' Christmas Album
Elvis' Christmas Album (also reissued as It's Christmas Time) is the third studio album and first Christmas album by  American singer and musician Elvis Presley on RCA Victor, LOC -1035, a deluxe limited edition, released October 15, 1957, and recorded at Radio Recorders in Hollywood  It has been reissued in numerous different formats since its first release  It spent four weeks at No  1 on the Billboard Top Pop Albums chart, and was the first of two Christmas-themed albums Presley would record, the other being Elvis Sings the Wonderful World of Christmas, released in 1971  The publication Music Vendor listed Elvis' Christmas Album on their singles charts for two weeks in December 1957 – January 1958, with a peak position of No  49 
According to the Recording Industry Association of America (RIAA), Elvis' Christmas Album along with its reissues has shipped at least 17 million copies in the United States  It is the first Presley title to attain Diamond certification by the RIAA, and is also the best-selling Christmas album of all time in the United States  With total sales of more 20 million copies worldwide, it remains the world's best-selling Christmas album and one of the best-selling albums of all time 

Content
The original 1957 LP consisted of six popular Christmas songs, two traditional Christmas carols and four gospel songs which had been previously released on the EP Peace in the Valley, catalogue EPA 4054, issued March 1957, peaking at No  3 on the Pop albums chart and at No  39 on the singles chart  The two album sides are divided into a program of secular Christmas songs on side one, with two traditional Christmas carols and the gospel numbers on side two  These included two spirituals by innovator Thomas A  Dorsey, "Peace in the Valley" and "Take My Hand, Precious Lord"  Coincidentally, A Jolly Christmas from Frank Sinatra, released the previous month, was also divided into secular and traditional sides 
While most of the songs selected were traditional Christmas fare, such as "White Christmas" and "Silent Night", two new songs by regular suppliers of material for Presley were commissioned  One was "Santa Bring My Baby Back (to Me)" and the other (selected by Presley to open the album), was a blues-based rock and roll number, "Santa Claus Is Back in Town", written by Jerry Leiber and Mike Stoller  This writer/producer team was responsible for some of 1950s rhythm and blues and rock and roll's most finely-honed satire in their work with the Coasters, as well as penning "Hound Dog" for Willie Mae Thornton and providing Presley with some of his biggest hits, including "Jailhouse Rock" and "Don't" 
Presley asked the pair to come up with another Christmas song during sessions for the album; within a few minutes, they had the song written and ready for recording  Originally titled "Christmas Blues", this slyly risqué number is given a full-throated treatment by Presley who, aided by the gritty ensemble playing from his band, was determined to ensure that this Christmas album would not be easily ignored  Much of the remaining program was performed in a more traditional manner appropriate to the solemnity of Christmas, although Presley's innate sense of occasion shone through on his left-of-center reading of Ernest Tubb's 1949 hit, "Blue Christmas" 
"Silent Night" and "O Little Town of Bethlehem" were arranged by Presley himself 
The Bing Crosby holiday perennial "White Christmas", which appeared every year on the Billboard charts from 1942 to 1962, became the center of controversy upon the album's release, with calls by the song's composer Irving Berlin to have the song, and the entire album, banned from radio airplay  After hearing Presley's version of his song, which Berlin saw as a "profane parody of his cherished yuletide standard", he ordered his staff in New York to telephone radio stations across the United States, demanding the song be discontinued from radio play  While most US radio stations ignored Berlin's request, at least one disc jockey was fired for playing a song from the album, and most Canadian stations refused to play the album The controversy was, ironically, fueled by Presley's performance of the song in a style mirroring the version by Clyde McPhatter's group, The Drifters, which had been a Top 10 hit on the R&B singles chart in 1954 and 1955  Unlike Presley's recording, however, their version attracted virtually no adverse reaction, and certainly no reported opposition from Berlin  Part of the reason that The Drifters' version of "White Christmas" was less controversial was that this version was played only on black radio stations  Presley's version brought greater attention to The Drifters' version which gained prominence with its inclusion in the 1990 movie Home Alone 

Packaging
Original 1957 copies of Elvis' Christmas Album (LOC-1035) were issued with a red booklet-like album cover (as shown above) featuring promotional photos from Presley's third movie Jailhouse Rock  Even rarer than the cover and record itself is a gold foil price tag-shaped "gift giving" sticker attached to the shrink wrap, reading "TO __________, FROM _____________, ELVIS SINGS", followed by a list of the tracks  Original copies with the gold sticker intact on the shrink wrap have proven to be among the most valuable of Presley's albums  Adding to its already high value are limited red vinyl albums and album covers with gold print down the spine 
Record labels for all original 1957 pressings are black with all-silver print, the famous RCA Victor "His Master's Voice" dog logo at the top of the label, and "LONG 331⁄3 PLAY" at the bottom 

45 RPM releases
The other new composition on the album, "Santa, Bring My Baby Back to Me" was paired with "Santa Claus Is Back in Town", and issued as the UK single concurrently with the album's release  The single reached number seven on the UK Singles Chart in November 1957 No singles were issued in the US until 1964, when "Blue Christmas" was paired with "Wooden Heart", and reached No  1 on the Billboard Christmas Singles chart; however, a pairing of "Blue Christmas" b/w "White Christmas" became a Top 20 UK hit in late 1964  "Santa Claus Is Back In Town"/"Blue Christmas" was a 1965 single release for the US market, and reached No  4 on the Billboard Christmas Singles chart  "Blue Christmas" would re-enter the Christmas or Holiday Singles chart several times in the years that follow Two different EPs, Elvis Sings Christmas Songs, EPA 4108 in December 1957, and Christmas with Elvis, EPA 4340 in December 1958, divided the eight Christmas numbers between them  The former topped the newly established Billboard EP Chart, while the latter failed to chart 

Reissues
First reissue on RCA Victor
Elvis' Christmas Album was reissued two years after its first release in October 1959 while Presley was on duty in Germany  The deluxe fold-out cover was replaced with a regular cover with a close-up of Elvis as he posed against an outdoor, snowy backdrop  The album continued to reach the album charts each year until 1962, eventually selling more than three million copies in the U S 

Second reissue on RCA Camden
In 1971, Elvis recorded a new Christmas album, Elvis Sings the Wonderful World of Christmas; The original Elvis' Christmas Album went out of print, but continued interest in the album prompted RCA to reissue a revised and truncated version on its budget label RCA Camden in November 1970  This reissue replaced the four gospel tracks from the Peace in the Valley EP with the 1966 holiday single "If Every Day Was Like Christmas", along with the 1970 non-seasonal B-side "Mama Liked the Roses", issued as the flip to Elvis's top ten single "The Wonder of You" and originating from Presley's acclaimed 1969 Memphis sessions; neither track had been available on LP format previously  With ten tracks and a shorter running time, it fit the standard for RCA's budget Camden label issues at the time  The religious and secular Christmas songs were also mixed  The initial cover of this revised version echoed that of the 1958 reissue, except a more recent photograph with Elvis wearing a blue racing jacket with two white stripes on the left was used from the set of the 1967 movie Speedway  The album was also released in the UK with an album cover that featured Elvis's face from the 1970 Camden release in a circle in the middle surrounded in white with the title and the song selections in red  The four Peace in the Valley tracks were reissued the next year on the RCA Camden compilation You'll Never Walk Alone 

Third reissue on Pickwick
During the mid-1970s, RCA leased the rights to some of its Camden recordings to the budget reissue label Pickwick Records  Pickwick reissued the 10-track Camden Christmas album in 1975 with yet another cover design, Elvis's photo from the RCA Camden version surrounded by red ribbons with holly underneath and a dark blue background  Following Presley's unexpected death in August 1977, the Pickwick LP was advertised and sold on television by mail order to enormous sales, later certified by the RIAA as selling in excess of ten million copies  Demand for Presley's recordings skyrocketed after his death and RCA eventually reclaimed the reissue rights to its Camden titles from Pickwick  The Christmas Album was reissued in the 1980s on LP and compact disc as an RCA Special Products release on the RCA Camden label and on CD in Canada in the RCA Camden Classics series  This reissue, with its Pickwick cover art but carrying RCA logos, remained in print throughout the 1990s; the track listing was unchanged from the original 1970 RCA Camden LP release 

Other reissues
In 1976, the album was reissued on cassette with the title Blue Christmas; this reissue also had an alternate track listing  In 1985, the album was reissued again but with a new title, It's Christmas Time; shortly after, RCA reissued the original 1957 version of the album with a recreation of its original cover art and gatefold sleeve on LP an CD  In 1995, RCA/BMG Special Products again reissued the Camden/Pickwick compilation retitled Elvis Christmas with new cover art  By the second decade of the 21st Century, It's Christmas Time had become the second biggest selling album in the series, earning a 4× Platinum certification on March 8, 2018, prompting the original 1957 version to be available once again in the 2016 60 CD boxed set containing all of Presley's original RCA albums, Elvis Presley – The RCA Album Collection 
In the January 5, 2019 issue of Billboard, It's Christmas Time appeared for the first time inside the top 40 albums of the Billboard 200 charts, placing at number 25 
All of the above tracks are also available on several other RCA compilations of Presley's Christmas recordings, including Christmas Peace from 2003 and Elvis Christmas (a different, expanded version of the 1995 issue) from 2006  All of the tracks are also available on the 1992 RCA boxed set The King of Rock 'n' Roll: The Complete 50's Masters  In late 2007, Speaker's Corner Records from Germany reissued the album on a high-quality heavy vinyl pressing; this reissue also featured a reproduction of the original album cover and RCA Victor label from 1957  In addition, in 2010, a DVD was released in a series from Sony Music called The Yule Log DVD, in which the music from Elvis' Christmas Album (but without "I'll Be Home for Christmas") is featured with three different holiday visuals (one of them the yule log of the series' title)  The original LP cover is featured on the DVD menu 

Track listing
Camden / Pickwick edition
Notes

^a  signifies arranged by

Personnel
The Blue Moon BoysElvis Presley – lead vocals, acoustic rhythm guitar
Scotty Moore – electric lead guitar
Bill Black – bass
D  J  Fontana – drumsThe JordanairesNeal Matthews - backing vocals
Hugh Jarrett - backing vocals
Gordon Stoker – backing vocals, piano (tracks B3-B5)
Hoyt Hawkins – backing vocals, organ (track B6)Additional Personnel
Dudley Brooks – piano (tracks A1-B2, B6)
Millie Kirkham - backing vocals (tracks A1-B2)

Charts
Certifications
See also
List of best-selling albums
List of Billboard number-one albums of 1957
List of Billboard 200 number-one albums of 1958

Notes
Passage 2:
Today (Elvis Presley album)
Today is the twenty-second studio album by American singer Elvis Presley, released on May 7, 1975 by RCA Records  The album featured the country and pop music sound typical of Elvis during the 1970s, as well as a new rock and roll song, "T-R-O-U-B-L-E", which was released as its first single and went Top 40 in the US  "Bringing It Back" was its second single in the US  The album also features covers of songs by Perry Como, Tom Jones, The Pointer Sisters, Billy Swan, Faye Adams, The Statler Brothers and Charlie Rich 

Content
The Today sessions were held in RCA's Studio C, Hollywood, Los Angeles, California, March 10–12, 1975, and marked the last time Presley would record in a studio  He last recorded at Studio C, Hollywood in 1972 where he recorded the gold records "Burning Love" and "Separate Ways"  At this time, Elvis was 40 years old  He was accompanied by his then-current girlfriend, Sheila Ryan  In the 2005 Follow That Dream reissue of the album, Presley can be heard saying "step up here Sheila, let me sing to ya baby" on Take 1 of Don McLean's "And I Love You So"  He continued to make "And I Love You So" and "Fairytale" a part of his live concerts until his death  On stage, he often referred to "Fairytale" as the story of his life 
"Green, Green Grass of Home" was released as a single in the UK, where it went Top 30, and also received US airplay  Presley was a big fan of Tom Jones' version of the song; while travelling, he would repeatedly have his friends call the local radio stations to request it 

Reissues
In 2005 Today was reissued on the Follow That Dream label in a special edition that contained the original album tracks along with a selection of alternate takes 

Track listing
Original release
Follow That Dream re-issue
2015 reissue
Disc 1
Same as Follow That Dream 2005 issue

Disc 2
All tracks previously unissued

Personnel
Passage 3:
A Date with Elvis (The Cramps album)
A Date with Elvis is the third full-length studio album by the American rock band the Cramps, released in the UK on Big Beat Records in 1986  The title was appropriated from A Date with Elvis (1959), the eighth album by Elvis Presley  The album was recorded in fall 1985 and engineered by Steve McMillan and Mark Ettel at Ocean Way Studios in Hollywood, California  The album was first released in the US in 1990 by Enigma Records, with the bonus tracks "Blue Moon Baby," "Georgia Lee Brown," "Give Me a Woman," and "Get Off the Road " The Cramps reissued the album (with bonus tracks) on their own Vengeance Records in 2001  The original album was reissued in the UK by Big Beat in 2013 on orange vinyl, and subsequently reissued again by Vengeance Records in the US, UK and Canada in 2014  It was The Cramps’ most commercially successful album release, reaching the US Billboard Top 100 and UK Top 40 
The album was dedicated to Ricky Nelson, whose version of the song "Lonesome Town" (covered by the Cramps on their first EP Gravest Hits and later included on compilation album    Off the Bone) was a US hit single in 1958  It is also significant in that it is the only Cramps album to feature vocals by guitarist Poison Ivy, on "Kizmiaz" (as well as on the B-side "Get Off the Road" included on the 1990 reissue) 

Critical reception
Robert Palmer, in The New York Times, praised the album and called it the band's best   He wrote: "After a decade together, the Cramps have learned to focus and intensify their inventive revisions of rock-and-roll tradition and their playfully anarchic spirit " The A to X of Alternative Music called it the band's "most effective distillation of psychedelia, punk and rock'n'roll "

Track listing
Charts
Personnel
The Cramps
Lux Interior – vocals
Poison Ivy Rorschach – guitars, bass, vocals on "Kizmiaz" and "Get Off the Road"
Nick Knox – drums, bongoswith:

McMartin Preschool Choir (includes Fur Dixon) – vocals on "People Ain't No Good"

Technical
Mark Ettel, Steve Macmillan – engineer
Joe Schiff, Tony Chiappa – assistant engineers
Eddy Schreyer – mastering
The Cramps – cover layout, photography
Phil Smee – cover illustration (lettering)
Passage 4:
Like a Baby
"Like a Baby" is a song written by Jesse Stone  It was recorded by Vikki Nelson for a Vik Records single in 1957  Priscilla Bowman recorded it for Abner Records in 1959  It was also recorded by Elvis Presley for his 1960 album Elvis Is Back!  James Brown and the Famous Flames recorded the song and released it as a single in 1963, which charted No  24 R&B  The single's B-side, an instrumental version of "Every Beat of My Heart", also charted, reaching No  99 on the  Billboard Hot 100  Brown and the Flames performed "Like a Baby" on their 1964 live album Pure Dynamite! Live at the Royal 
Wanda Jackson recorded "Like a Baby" for her 2011 album The Party Ain't Over 
Glenn Danzig recorded the song for his 2020 album Danzig Sings Elvis 
This is not the song "Like a Baby" recorded by Len Barry (1965) and written by John Madara, David White and Len Barry 

Personnel (Elvis Presley version)
Sourced from Keith Flynn 
Elvis Presley – lead vocals, acoustic rhythm/lead guitars
Scotty Moore — electric guitar
D  J  Fontana — drums
Hank Garland – six-string bass guitar
Bob Moore – double bass
Floyd Cramer – piano
Boots Randolph – saxophone
Buddy Harman – drums
The Jordanaires – backing vocals
Passage 5:
Santa Bring My Baby Back (To Me)
"Santa Bring My Baby Back (To Me)" is a 1957 Christmas song by Aaron Schroeder and Claude Demetrius, recorded by Elvis Presley  The song was released on the RCA Victor Elvis' Christmas Album in 1957 

Background
The song, written by Aaron Schroeder and Claude Demetrius, has been a popular Christmas song during the Holiday season on radio stations for decades  The song appeared originally as part of an RCA Victor 45 EP, EPA-4108, with "Santa Claus is Back in Town", "Blue Christmas", and "I'll Be Home for Christmas" in 1957  The EP reached #1 on the Billboard EP chart  The song was recorded on September 7, 1957, and features the vocal backing of the Jordanaires 
"Santa Bring My Baby Back (To Me)" was paired with "Santa Claus Is Back In Town" and was issued as a UK single concurrently with the album's release in 1957  The single reached #7 on the UK Singles Chart in November 1957 

Album appearances
The song appeared on the original RCA Victor LP, Elvis' Christmas Album, the 1958 reissue, the 1970 RCA Camden reissue, the UK release of the Camden version, CDS 1155, the 1975 Pickwick reissue, and the 1985 RCA Special Products rerelease 

Cover versions
"Baby Come Back," a song with the same melody and similar lyrics but without any references to Santa Claus or Christmas, was one of the earliest releases of Johnny Rivers in 1958 
In the 1965 Rolling Stones documentary film Charlie Is My Darling, the song is sung impromptu by Mick Jagger and Keith Richards in a hotel lounge 
Mae West recorded the song for her 1967 Christmas album Wild Christmas  The Reverend Horton Heat recorded the song for his 2005 Christmas album We Three Kings   Eleanor Friedberger released a cover version on the 2013 compilation album Holidays Rule 
The song has also been recorded or performed by The Smithereens, The Refreshments, Jeff Healey, 45 R P M , Arena Venus, Kim Stockwood, Terry Buchwald, Chris Isaak, Jimmy "Orion" Ellis, Janice Hagan, Rick Saucedo, and Tony Witt  John Candy performed the song in character as drag queen/actor Divine in a Christmas-themed episode of SCTV 
Train recorded the song for their 2015 album Christmas in Tahoe 
Passage 6:
List of songs recorded by Britney Spears
American pop singer Britney Spears made her chart debut in November 1998 with "   Baby One More Time", which attained global success  It was followed by the release of her debut studio album    Baby One More Time (1999), which opened at number one on the Canadian Albums Chart and the US Billboard 200, and was later certified fourteen-times platinum by the Recording Industry Association of America (RIAA)  Spears's second studio album, Oops!    I Did It Again, was released on May 16, 2000, and became the fastest-selling album by a female act in the US, selling 1,319,193 units in its opening week  It spawned the singles "Oops!    I Did It Again", "Lucky", "Stronger", and "Don't Let Me Be the Last to Know"  In November 2001, Spears's released "I'm a Slave 4 U", the lead single from her self-titled third studio album (2001)  In November 2003, Spears's fourth studio album, In the Zone, was released  The album includes "Me Against the Music", a collaboration with Madonna that reached number one on the European Hot 100 Singles, and "Toxic", which earned Spears her first Grammy Award in the category Best Dance Recording  Her first compilation album, Greatest Hits: My Prerogative, was released the following year 
Following her personal struggles through 2007, Spears's fifth studio album, Blackout, was released in October of the same year  The album sold over three million units worldwide, spawning the hit singles "Gimme More" and "Piece of Me"  With the release of her sixth studio album Circus (2008), Spears became the only act in the Nielsen SoundScan era (1991–present) to have four albums debut with US sales of 500,000 or more copies  Including the singles "Womanizer" and "Circus", it sold four million copies worldwide Spears's third compilation album, The Singles Collection (2009), includes her third US number-one single "3"  In 2011, Spears released the single "Hold It Against Me", making her the second artist in the Billboard Hot 100 chart's 52-year history to debut at number one with two or more songs, after Mariah Carey  The track was included on her seventh studio album Femme Fatale (2011), which debuted at number one on the US Billboard 200  Spears's eighth studio album, Britney Jean, was released in 2013; it made little commercial impact and received mixed reviews from critics but spawned the hit single "Work Bitch", which was certified platinum in the United States  Glory, the ninth studio album from Spears, was released in August 2016 to critical praise and chart success but failed to reach the success of her other albums 
Spears has sold over 100 million records worldwide and more than 28 6 million digital singles in the US alone, making her one of the best-selling music artists of all time  Billboard ranked her as the eighth-overall Artist of the Decade; it also recognized her as the best-selling female album artist of the first decade of the 21st century and the fifth overall  The RIAA also recognized Spears as the eighth top-selling female artist in the US, with 34 5 million certified albums  Spears is among the few artists in history to have had a number-one single and a number-one album in each of the three decades of their career (1990s, 2000s, and 2010s) 

Songs
Passage 7:
Heaven Only Knows (album)
Heaven Only Knows is the seventh album by R&B crooner Teddy Pendergrass  It was his final studio album for Philadelphia International, released just after he left the label to record for Asylum Records  It produced one single, "I Want My Baby Back," which reached #61 on the Billboard charts in 1984 

Critical reception
The Philadelphia Inquirer noted that, "except for the gentle, eloquent 'Crazy About Your Love', these Gamble- and Huff-produced tunes are mawkish and overblown "

Track listing
"Crazy About Your Love" (Bobby Womack, Kenny Gamble, Leon Huff)
"Judge for Yourself" (Dexter Wansel, Cynthia Biggs)
"I Want My Baby Back" (Womack, Gamble)
"Life Is for Living" (Frank Prescott, Michael Burton, Phil Terry)
"You and Me for Right Now" (Victor Carstarphen, Gene McFadden, John Whitehead)
"Just Because You're Mine" (Gene McFadden, John Whitehead)
"Heaven Only Knows" (LeRoy Bell, Casey James)
"Don't Ever Stop (Giving Your Love to Me)" (Gamble, Huff)
Passage 8:
Mark Chesnutt (album)
Mark Chesnutt is the tenth studio album by American country music artist Mark Chesnutt  His only album for the Columbia Records Nashville label, it features the singles "She Was", "I Want My Baby Back" and "I'm in Love with a Married Woman", which peaked at #11, #47, and #48, respectively, on the Billboard Hot Country Songs charts  "I'm in Love with a Married Woman" was later recorded by Blaine Larsen on his 2006 album Rockin' You Tonight 

Track listing
Personnel
Chart performance
Passage 9:
Oh Santa!
"Oh Santa!" is a song by American singer and songwriter Mariah Carey from her second Christmas album and thirteenth studio album, Merry Christmas II You (2010)  Carey wrote and produced the song in collaboration with Jermaine Dupri and Bryan-Michael Cox  It was released as the lead single from the album on October 1, 2010 by Island Def Jam Records  It is an up-tempo R&B song about Carey making a plea for Santa Claus to bring back her partner in time for the Christmas holidays  It received a positive response from music critics, with many praising its composition and style 
The track set a record on the United States Billboard Adult Contemporary songs chart, debuting at number twelve and peaking at number one the following week for four weeks  It became the first song to reach the summit in two weeks  It further became Carey's seventh number-one song on the chart  Carey filmed a 1960s-style music video to accompany the song's release as a single, and performed it on various programs in the lead up to Christmas, including her own TV special called Mariah Carey: Merry Christmas to You 
It was later adapted to be the finale of A Christmas Melody, a 2015 Hallmark Channel Christmas movie, with its lyrics tweaked to be relevant for Broadway child performer Fina Strazza's character singing about her single mother finding love  On December 4, 2020, a new version was released featuring singers Ariana Grande and Jennifer Hudson, as a single from the soundtrack to Mariah Carey's Magical Christmas Special for Apple TV+ 

Background and composition
"Oh Santa!" was written and produced by Mariah Carey, Jermaine Dupri and Bryan-Michael Cox for Carey's second Christmas/thirteenth studio album, Merry Christmas II You (2010); Rye Songs administered by Songs of Universal (BMI)/Shaniah Cymone Music|EMI April Music Inc  (ASCAP)/WBM Music Corp Inc /Pamela & Lorrence's Publishing LLC (SESAC)  Her vocals were recorded by Brian Garten, Marcus Johnson and Thomas Kanarek, Martin Cooke, Nicholas Essif and Peter Mack, and the music by John Horesco at Guardian Angel Studios, Westlake Recording Studios, Henson Studios and Capitol Recording Studios  It was mixed by Phil Tan and Damien Lewis at The Ninja Beat Club  Dupri played the drums and Randy Jackson performed bass  Cox plated the keyboard and percussion  The background vocals were sung by Angie Fisher, Melonie Daniels, Maryann Tatum, Sharlotte Gibson and Toni Scruggs "Oh Santa!" was one of four original compositions by Carey to be included on the album  It premiered on October 1, 2010, in the United States  An EP consisting of six remixes by Jump Smokers and Low Sunday were released on December 7, while a mix of "Oh Santa! and one of Carey's previous Christmas songs "All I Want for Christmas Is You", titled "Oh Santa! All I Want for Christmas Is You (Holiday Mashup)", was released on December 17  "Oh Santa!" is an up-tempo and festive R&B song, which lasts for a duration of three minutes, thirty-one seconds  It has a 1960s girl-group swing feel  The song, in the key of C♯ major, has a tempo of 80 beats per minute  Carey's voice spans more than three octaves, from  B♭2 to the high note of F♯6  Instrumentation consists of sleigh bells, jingle bells, hand claps and a piano melody, backed by a "school-yard chant beat"  Lyrically, Carey makes a plea to Santa Claus asking him to bring back her "baby" in time for Christmas, singing "Santa's gon' come and make him mine this Christmas "

Critical reception
Mike Diver of the BBC wrote that "Oh Santa!" is a "boisterous" song which "makes perfect sense" as a lead single  He continued to write that although it fell substandard to "All I Want for Christmas Is You", it would still "warrant revisiting 12 months down the line"  Rolling Stone writer Caryn Ganz commented on the composition, writing "Mariah bops to a schoolyard-chant beat"  Joey Guerra of the Houston Chronicle described the song as "irresistible" and predicted that it would "dominate ringtones" in the run up to Christmas  A reviewer for Idolator described the track as a "boppy" Christmas version of Avril Lavigne's "Girlfriend"  Rich Juzwiak of The Village Voice was critical of the song, writing "Of the four Mariah-penned new tracks, the Jermaine Dupri/Bryan-Michael Cox collaboration 'Oh Santa!' tries the hardest, an antique kitchen-sink replica that manages to invoke a cheerleading squad, the Pointer Sisters, Mariah's own 'Loverboy', and Hey Ya!'  Full of mumbling and cattiness, it's difficult to sing along to, so its prospects of becoming a perennial favorite are dim "

Chart performance
In the United States, "Oh Santa!" became a record-breaking entry on the Billboard Adult Contemporary songs chart  It debuted at number twelve for the issue dated December 11, 2010  The track soared to number one the following week, marking the quickest ascent to the peak position since Nielsen BDS began tracking airplay in 1993, in just two weeks  Previously, eight songs had reached number one within three weeks, four of which were Christmas entries due to adult contemporary radio stations playing an increased amount in the holiday season  "Oh Santa!" became Carey's seventh number-one hit on the chart, and her first in fifteen years since "One Sweet Day" (1995–96), a duet with Boyz II Men  The singer also topped the chart with her debut single "Vision of Love" (her first) and "Love Takes Time" in 1990, "I Don't Wanna Cry" in 1991, and "Can't Let Go" and "I'll Be There" in 1992  "Oh Santa!" remained atop the chart for four consecutive weeks altogether  It finished at number 42 on the 2011 Adult Contemporary year-end chart  For the week ending October 30, 2010, Carey occupied the top two positions on the Holiday Digital Songs chart: "Oh Santa!" debuted at number one while "All I Want For Christmas Is You" charted at number two  On January 1, 2011, the track debuted at number one-hundred on the Billboard Hot 100 chart, and number forty on the Hot R&B/Hip-Hop Digital Songs chart Elsewhere, the track debuted at number thirty-six on the South Korean Gaon International Digital Singles Chart for the week ending November 20, 2010  It later peaked at number thirty-two for the week ending December 25, 2010  On the International Download Singles Chart, the track peaked at number thirty  "On Santa!" peaked at number sixty-eight on the Japan Hot 100  The song peaked at number seventy-three on January 1, 2011, for two consecutive weeks on the Canadian Hot 100 chart 

Music video
The music video for "Oh Santa!" was directed by Ethan Lader and was shot in Los Angeles on October 6, 2010  Reports surfaced online that Carey's then-husband Nick Cannon would be directing the video, however Cannon dispelled the rumors on Twitter, saying "I am NOT directing " The video for "Oh Santa!" premiered on entertainment news program Access Hollywood on November 2, 2010  Prior to its release, various media outlets speculated that the video was going incorporate the same on-set style as seen in Outkast's music video for their 2003 single "Hey Ya!", with the singer as the main feature in front of  a large audience  Carey's fan site MariahDaily posted a message on their website asking people within the Los Angeles area to appear for a casting call for a chance to be featured in the video 

Synopsis
The video draws influence from the 1950s and 1960s variety shows and features Carey wearing a short, red "sexy Santa" ensemble, whilst on stage with a band, which featured gospel backup singers as well as a group of dancers, consisting of cheerleaders  The plotline is centered on Carey hosting a "Mariah Carey Christmas" television show  The announcer introduces Carey saying "here she is, the greatest singer of all time, Ms  Mariah Carey!"  The video then shows Carey's backup singers belting out the chorus while the singer is seen performing in front of a cheering audience  Her collection of fragrances is also advertised in the opening  In the second half of the video, Santa Claus makes an appearance, waving to friends and sharing a hug with Carey  The video ends with the singer laughing while the audience cheers and claps for her performance 

Reception
Becky Bain of Idolator commented on the simple structure and themes of the video, writing "There’s not much to this simple vid, but it does feature Carey doing her usual hand-waving theatrics while hitting some absolutely killer high notes " Bain also observed that the vast majority of the shots of Carey are either long shots, showing the singer from a distance, or close-up shots, showing Carey from the shoulders and above so that the viewer was not able to easily recognize that she was pregnant  Nicole James of MTV Buzzworthy also praised the content of the video, writing "Of course, it wouldn't be a Mariah Carey video without some glitz and glam so the stage and backdrop are covered in (what else?) glitter  Mariah puts on a great show and sings her heart out with that famous eight-octave range     scrooges need not apply, 'Oh Santa!' is fun and festive and has you longing for a sip of eggnog "

Remixes
When the song was first released as a single in 2010, six dance remixes were commissioned and were later released as a digital EP  A mashup of the song with 1994's "All I Want for Christmas Is You" produced by Jump Smokers titled "Oh Santa! All I Want for Christmas Is You (Holiday Mashup)" was also released on December 13, 2010 

Track listings and formats
Charts
Tenth anniversary version featuring Ariana Grande & Jennifer Hudson
For the tenth anniversary of the song, Carey re-recorded and re-released the song commercially as a new remix  Carey recorded the new version of the song with Ariana Grande and Jennifer Hudson  The new version served as the lead single from Carey's second soundtrack album, Mariah Carey's Magical Christmas Special  The song was released across all streaming platforms on December 4, 2020, accompanied by its official music video, premiered the same day on Carey's YouTube account 

Background
Talking to Billboard, Carey stated in regards to the song that "originally, I was blending with myself [   ] but it was cool to be able to work with the different vocal textures and play around with it and reimagine it " She went on to describe the song as a "girl group moment" 

Reception
The remix received positive reviews on release  Billboard writer Rania Aniftos wrote that the three singers "trading verses and harmonies" amounts for a "truly angelic result"  Chris Murphy, writer for Vulture went on to say that "the trio, the remix, and the accompanying music video absolutely makes the nice list in every possible way "In its first week of release, the song sold 10,000 downloads in the United States and 9,250 equivalent units in the United Kingdom 

Charts
Release history
See also
List of Billboard Adult Contemporary number ones of 2010
List of Billboard Adult Contemporary number ones of 2011
List of artists who reached number one on the U S  Adult Contemporary chart
Passage 10:
Black Elvis/Lost in Space
Black Elvis/Lost in Space is the fourth solo studio album by American rapper and producer Kool Keith, and his first release under the alias of 'Black Elvis'  It was intended to be released the same day as First Come, First Served, but was pushed back by Columbia Records and ended up being released four months later on August 10, 1999 through Relativity Entertainment Distribution rather than Sony Music Distribution, denoted by the WK prefix instead of the customary CK prefix and the legal copy on the release   Black Elvis 2 followed in 2023 

Background
Kool Keith uses very complex rhymes on various subject matters from Black Elvis' viewpoint on half of the album and on the other half elaborates on space travel and being lost in space  This is the first album for which Keith handled all of the production, although drum programming was done by Kutmasta Kurt and Marc Live  Sadat X, Black Silver, Roger Troutman, Motion Man, Kid Capri and Pimpin' Rex made guest appearances on the record 
A promotional video was made for the track "Livin' Astro" which aired on a few episodes of the MTV show Amp in early 2000  The video features Kool Keith acting as several different personas amidst a sci-fi backdrop that resembles the Black Elvis/Lost in Space album cover  The personas include the Original Black Elvis, Orange Man, the Kid in the Commercial, Lonnie Hendrex, and Light-Blue Cop 
Kool Keith was displeased with the lack of promotion for the Black Elvis project, and vented his frustrations about his label on the songs "Release Date" and "Test Press " He also published the e-mail addresses of several Ruffhouse executives, asking his fans to demand better promotion 

Reception
The album peaked at number 180 on the US Billboard 200, #74 on the Top R&B/Hip-Hop Albums, #10 on the Heatseekers Albums 

Track listing
Sample credits
Track 5 contains elements from "Come Go With Me" by Teddy Pendergrass (1979)
Track 8 contains elements from "Our House" by Madness (1982)
Track 11 contains elements from "Snake" by Charles Earland (1973)
Track 16 contains elements from "You Used to Love Me" by Faith Evans (1995)

Personnel
Charts



ground_truth: Elvis' Christmas Album

prompt_front: Answer the question based on the given passages. Only give me the answer and do not output any other words.

Question: Which racecar driver who performed in the 1971 Canadian Grand Prix was born in 1937?

The following are given passages.
Context 3: ^  – Karun Chandhok was given a five place penalty after the gearbox in his car was changed overnight  It did not affect his starting position 

Race
Notes

1 ^  – Felipe Massa was given a 20-second time penalty post-race for exceeding the pit lane speed limit in the closing stages of the race  However, as Massa finished one lap down and one lap clear of the next-placed car, the penalty did not affect his finishing position 

Championship standings after the race
Note: Only the top five positions are included for both sets of standings 
Passage 7:
Kevin Cogan
John Kevin Cogan (born in Culver City, California on March 31, 1956) is a former race car driver who drove in Formula One from 1980 to 1981  Driving a RAM Williams in the 1980 Canadian Grand Prix, he failed to qualify, suffering the same result driving for Tyrrell at the 1981 US GP West  He then moved over to Indy cars in 1982 but his career was cut short by a series of accidents 

Racing career
Cogan made his Indycar debut at the 1981 Indianapolis 500, driving the No  32 Sugaripe Prunes Phoenix PR-01-Cosworth DFX for Jerry O'Connell Racing, as part of the USAC Gold Crown Championship  Cogan qualified in 12th place and finished the race in fourth place with 197 laps completed  Despite this Cogan lost the Rookie of the Year Award to Josele Garza  Cogan then competed in the rival CART/PPG World Series for O'Connell  In his debut, the Gould Rex Mays Classic at the Milwaukee Mile, Cogan qualified in seventh place and finished in second  After the race, he was ranked fifth in points  Cogan participated in four more races that season with his best finish coming at the Los Angeles Times 500 at Riverside International Raceway  Cogan finished his first CART season 23rd in points 
In 1982 Cogan joined Team Penske to drive the No  4 Norton Spirit Penske PC-10-Cosworth DFX  At the season-opening Kraco Car Stereos 150 at Phoenix International Raceway, he qualified and finished in third place  The remainder of his season was inconsistent, highlighted by a second-place finish at the Domino's Pizza Pocono 500 at Pocono International Raceway to teammate Rick Mears  Cogan also had two pole positions at the Budweiser Cleveland 500 at Burke Lakefront Airport and the AirCal 500 at Riverside International Raceway  He finished the season sixth in points while Mears won the championship  Penske released Cogan at the end of the season 

1982 Indianapolis 500 controversy
During qualifying, Cogan set a new one-lap track record of 204 638 mph (329 333 km/h) and a record four-lap average of 204 082 mph (328 438 km/h)  He was beaten only by his teammate, Mears 
Cogan started from the middle of the front row, next to pole-sitter Mears, and A  J  Foyt  As the field approached the start-finish line to start the race, Cogan suddenly swerved right, touching and bouncing off Foyt's car, and directly into the path of and collecting Mario Andretti  The cars of Dale Whittington and Roger Mears, deeper in the field, were also damaged due to the field checking up  Bobby Rahal also reported getting hit from behind, but was undamaged  The race was immediately red-flagged 
Cogan's shocking accident took out four cars, including himself and Andretti  Foyt's team was able to make repairs and pushed his car out for the restart attempt  Meanwhile, Andretti and Foyt were furious and outspoken about their displeasure with Cogan  Andretti shunned Cogan's attempts to explain himself with a light shove 
Andretti on live radio and television said,  "This is what happens when you have children doing a man's job up front " Back in the garage area, Andretti complained about Cogan's abilities, claiming that Cogan was "looking for trouble", that he "couldn't handle the responsibilities of the front row" and that the Penske car he was driving was "too good for him" The commonly outspoken Foyt also chimed in during comments to ABC's Chris Economaki with, "   he ran right square into my goddamned left front   'Coogin' " Later, Foyt said back in the garage area,  of the crash and of Cogan that "It was a stupid deal  The guy had his head up his ass "
Gordon Johncock, Johnny Rutherford and Bobby Unser later placed some blame for the accident on the polesitter Rick Mears, for bringing the field down at such a slow pace  Johncock, who went on to win the 1982 race, pointed out that Andretti had jumped the start, and could have avoided the spinning car of Cogan had he been lined up properly in the second row  Foyt wrote a memoir of his career in 1983 and when mentioning the crash, in a more analytic form, assigned some blame on Mears for the slow start, while assigning Cogan the rest of the responsibility 
At the end of the USAC Gold Crown season, Cogan finished 47th in points  The reason was that Cogan ran the 1981 race without a USAC Class I license and received no points for his 4th-place finish 

Aftermath
Cogan quickly fell out of favor following the humiliation stemming from the accident  It was followed by a noticeable "blacklisting" by fans and press  Cogan nearly had the dubious distinction of taking out two of the most famous American auto racing legends (Foyt and Andretti) in one move in the biggest race of the season  The incident also further rehashed a standing feud between Team Penske and Patrick Racing  A year earlier, Penske and Patrick were the key fixtures in the controversial 1981 race  In a post-wreck interview, Penske stood behind Cogan, although he also refused to confirm nor deny the broken CV-joint believed to be responsible  As a result, Cogan faced a firestorm of controversy that impacted the remainder of his career 
Cogan never managed to win a race in 1982, and was possibly fired by Roger Penske because of it and replaced by Al Unser in 1983 
The accident was never explained by the Penske team, however, several experts had differing opinions  Rodger Ward, working for the IMS Radio Network immediately believed the rear brakes locked up  It was a common practice for drivers in the turbocharged era to "ride the brakes" during warm up laps in order to engage the turbocharger  Others theorized it may have happened due to a broken CV joint  Some feel that Sam Posey on ABC-TV inadvertently may have added to the controversy when he proclaimed "absolutely no idea" to the question of how it could have happened, and saying "it was as if he turned the wheel intentionally " The comments led many to conclude that the accident may have been entirely of Cogan's doing  As soon as he climbed from the car, Cogan was observed looking at the rear end axle, suggesting that he thought something broke 

1983–1993
In 1983 Cogan began driving for Bignotti-Cotter Racing in the No  6 Master Mechanic/Caesar's Palace March 83C-Cosworth DFX (numbered 16 at Indianapolis only)  During the season results were hard to come by for Cogan with his best finish being a 5th place at the Indianapolis 500 where teammate Tom Sneva won  Helping neither Cogan nor Sneva was that Bignotti-Cotter began to develop the Theodore 83 rather than continue to use the proven March 83C  At the end of the season Cogan finished 15th in the CART standings and 6th in the USAC standings  At year's end, team co-owner George Bignotti retired and sold his share of the operation to co-owner Dan Cotter, who did not retain Cogan for 1984 
For 1984 Cogan was originally going to drive the No  98 Dubonnet/Curb Records Ligier LC02-Cosworth DFX for Curb Racing and the No  98 Dubonnet Eagle 84SB-Pontiac V8 for All American Racers each in select races  At the season-opening Toyota Grand Prix of Long Beach on the Streets of Long Beach Cogan would start 21st and finish in 28th place in the Ligier  At the Dana Jimmy Bryan 150 at Phoenix International Raceway Cogan would finish in 8th place aboard the Eagle  Then at the Indianapolis 500 Cogan returned to the Ligier  The car was off the pace at the beginning of practice and Cogan faced the possibility of failing to qualify  Cogan would eventually qualify for the race after Ligier and Curb parted ways and when Michael Chandler suffered career-ending injuries in the Eagle  During this time Mike Curb and Dan Gurney merged their teams to form Curb-All American Racers  In the race Cogan qualified in 27th place, setting a new speed record for stock block engines at Indianapolis  In the race Cogan retired to 20th place after suffering a frozen wheel after 137 laps  Cogan would leave Curb-All American Racers after the Budweiser Cleveland Grand Prix at Burke Lakefront Airport  Cogan would then start driving for Forsythe Racing in the No  33 Skoal Bandit March 84C-Cosworth DFX  Initially results were good as Cogan was able to start 5th and finish 8th in his debut for the team at the Michigan 500 at Michigan International Speedway and would follow it up with a 10th-place finish at the Provimi Veal 200 at Road America  During practice for the Domino's Pizza 500 at Pocono International Raceway Cogan would suffer season-ending injuries  Cogan would finish 24th in points 
In 1985 Cogan would begin to drive for Kraco Racing in the No  18 Kraco Car Stereo/Wolff Systems March 85C-Cosworth DFX  The season had its ups and downs uch as Cogan nearly failing to qualify for the Indianapolis 500, eventually starting in 32nd place and finishing 11th  Cogan would also get a 4th-place finish at the Detroit News 200 at Michigan International Speedway and a 5th-place finish at the Stroh's/G I  Joe's 200 at Portland International Raceway to get a 14th-place finish in points 
For 1986 Cogan joined Patrick Racing to drive the No  7 7-Eleven March 86C-Cosworth DFX  At the season opening Dana 200 for Special Olympics at Phoenix International Raceway Cogan scored his first Indycar win, leading 2nd place Tom Sneva by a lap  It was also the first time Cogan led the CART standings in his career  With 13 laps to go in the Indianapolis 500, Cogan made a bold move to pass Rick Mears and Bobby Rahal in less than a lap when both were held up by the slower car of Randy Lanier  Despite his car conspicuously oversteering in the turns, Cogan pulled away to a 3-second lead before a caution came out on lap 195 for a crash by Arie Luyendyk in turn four  Cogan did not get a good restart on lap 198 and was passed by Rahal, eventually finishing in 2nd place  Cogan still led the standings after Indianapolis but suffered retirements in seven of the fourteen remaining races and fell to 6th in the championship 
For 1987 Cogan would return with Patrick, making it the first team Cogan drove for in consecutive years, driving the No  7 Marlboro March 87C-Ilmor-Chevrolet Indy V8 265A  The season would turn out to be a disappointment as Cogan got a best finish of 5th at the Escort Radar Warning 200 at Mid-Ohio Sports Car Course and the Bosch Spark Plug Grand Prix at Nazareth Speedway to get a 16th-place finish in points 
In 1988 Cogan would begin to drive for Machinists Union Racing in the No  11 Schaefer Beer/Playboy Fashions March 88C-Cosworth DFX (although an 87C was used at the Miller High Life 200 at the Milwaukee Mile)  The season started off well as Cogan got a 3rd-place finish at the Toyota Grand Prix of Long Beach on the Streets of Long Beach  After seven rounds Cogan was ranked 11th in points when he was injured while competing at the Molson Indy Toronto at Exhibition Place  Cogan would miss four races but would still finish 13th in points on the strength of a 4th-place finish at the Nissan Indy Challenge at Tamiami Park 
For 1989 Cogan returned with the Machinists Union driving the No  11 Schaefer Beer/Playboy Fashions March 88C-Cosworth DFX  Another frustrating season saw Cogan finish 14th in points with a best finish of 8th at the Champion Spark Plug 300K at Laguna Seca Raceway  The only 'highlight' of Cogan's season was a major crash at the Indianapolis 500  At the end of the third lap, Cogan spun in turn four and hit the entrance to the pit lane  The car broke in half, rebounded and slammed into the end of the pit wall before finally sliding to a stop on its side in the pit lane  To everyone's surprise, Cogan immediately climbed from his destroyed car unharmed 
In 1990 Cogan could only get a drive for Indianapolis for Vince Granatelli Racing in the No  11 Tuneup Masters Penske PC18-Buick V6  In the race Cogan qualified in 15th place and finished in 9th place  Cogan would later get a second race at the Marlboro 500 at Michigan International Speedway for Stoops Racing in the No  17 Conseco Lola T9000-Cosworth DFS starting 13th and finishing 20th  Cogan would finish out the season 23rd in points 
In 1991 Cogan would join Team Menard to drive the No  9 Glidden/Menards Lola T9100-Buick V6 at the Indianapolis 500  During qualifying Cogan was unable to make an attempt due to rain and would have to wait for the second day  Cogan would easily qualify for the race in 16th place with a speed that would have placed him easily in the top ten along with other drivers, such as teammate Gary Bettenhausen, Arie Luyendyk, Emerson Fittipaldi and Stan Fox  In the race Cogan was involved in a crash with Roberto Guerrero on lap 25  In the wreck Cogan broke his arm and leg  Original television footage was inconclusive, and Cogan firmly assessed the blame on Guerrero, claiming that Guerrero cut down on him  An amateur home video shot from the grandstands surfaced, however, which showed that Cogan may have moved up into Guerrero  At the very least, the video showed that it may have been a simple racing accident, although Cogan still holds Guerrero responsible  As a result of the crash Cogan missed the remainder of the year (Menard wasn't going to do anymore races) and the next year  Cogan scored no points during the season 
For 1993 Cogan would drive for Galles-Kraco Racing in the No  11 Conseco Lola T9300-Ilmor-Chevrolet Indy V8 265A in a part-time schedule  At Cogan's debut for the year, the Indianapolis 500 Cogan was on the bubble on Bump Day and was nearly bumped by Bobby Rahal  Rahal was not successful and Cogan started in 14th place and would lead for four laps during pit stops, eventually finishing in 14th place  Cogan would drive in three more races for Galles-Kraco, getting a best finish of 13th at the Budweiser Grand Prix of Cleveland at Burke Lakefront Airport  Cogan would again score no points towards the championship 
Cogan would retire from racing at the end of 1993 with 6th place in 1982 and 1986 being his best finish in the CART standings and his win at Phoenix in 1986 being his only win 

Personal life
Since leaving IndyCar, Cogan has distanced himself from racing to concentrate on a real estate business in Los Angeles, Palos Verdes Estates LLC  Cogan declined invitations to be interviewed for the centennial era of the Indianapolis Motor Speedway (2009) in which many IndyCar legends and IndyCar drivers were interviewed by ESPN  Cogan also refused invitations to participate in Indianapolis 500 festivities during the 100th anniversary of the race in 2011 (9)
In 1988, ESPN reporter Jack Arute reported that Cogan was married, to Tracy, and had a son  The couple has since been divorced since 2004  In a 2015 interview with a news reporter, it was revealed that Cogan has 2 more children, a daughter and a son, since his retirement 

Racing record
SCCA National Championship Runoffs
Complete USAC Mini-Indy Series results
Complete Formula One World Championship results
(key)

American open-wheel racing
(key)

CART
Indianapolis 500
24 Hours of Le Mans
Passage 8:
Mark Donohue
Mark Neary Donohue Jr  (March 18, 1937 – August 19, 1975), nicknamed "Captain Nice," and later "Dark Monohue," was an American race car driver and engineer known for his ability to set up his own race car as well as driving it to victories Donohue is probably best known as the driver of the 1500+ bhp "Can-Am Killer" Porsche 917-30 and as the winner of the Indianapolis 500 in 1972  Cars that Donohue raced include: AMC Javelin, AMC Matador, Chevrolet Camaro, Eagle-Offy, Elva Courier, Ford GT40 MK IV, Ferrari 250LM, Ferrari 512, Lola T70, Lola T330, Lotus 20, McLaren M16, Porsche 911, Porsche 917/10, Porsche 917/30, Shelby Cobra, and Shelby Mustang GT350R 

Early life
Born in Haddon Township, New Jersey, Donohue grew up in Summit, graduated from the Pingry School in Hillside, and entered Brown University in Providence, Rhode Island  At the age of 22 while a senior at Brown, Donohue began racing his 1957 Corvette  He won the first event he entered, a hillclimb in Belknap County, New Hampshire  He graduated from Brown in 1959 with a bachelor's degree in mechanical engineering Donohue won the SCCA national championship in an Elva Courier in 1961  Experienced race driver Walt Hansgen (who worked for Inskip Motors in New York & Rhode Island) recognized Donohue's ability and befriended him, eventually providing an MGB (through Inskip Motors in Providence, RI and prepped by their race shop Competition Engineering) for Donohue to race at the 1964 Bridgehampton 
500-mile (800 km) SCCA endurance event, which he won  Hansgen arranged for Donohue to become his teammate in 1965, co-driving a Ferrari 275 at the 12 Hours of Sebring endurance race, which they finished in 11th place  That year, Donohue also won two divisional championships: in SCCA B Class in a GT350 and in SCCA Formula C in a Lotus 20B Donohue was hired on March 29, 1964, by Jack Griffith [Griffith Motors, Syosset, N Y /Plainview, N Y ] as design engineer for the Griffith, formerly TVR Grantura Mk III, powered by a Ford 289 cid (4 7l) V8 engine  He went on to assist TVR's David Hives in designing the Series 400 Griffith and then working on the ill-fated Bob Cumberford-designed, Intermeccanica-(Torino, Italy) produced Series 600 Griffith 
During its production life, there were 192 Series 200 Griffiths built, 59 of the Series 400 and only 10 of the Series 600 
During his tenure at Griffith Mark drove the Griffith-owned Shelby 289 Cobra making his mark on the SCCA circuit 
In February of '65 Donohue was named comptroller at Griffith Motors, but was soon lured from Griffith by Roger Penske early in 1966 
The Griffith company went defunct in November, 1966 

Ford GT40 and joining with Penske
In 1966, thanks to his friendship with Hansgen, word quickly spread to the Ford Motor Company about the young driver  Ford immediately signed Donohue to drive one of their GT-40 Mk II race cars campaigned at the 24 Hours of Le Mans by the Holman & Moody racing team   Le Mans proved frustrating for Donohue   Hansgen died while testing the GT40 in preparation for Le Mans so Donohue partnered with Australian Paul Hawkins   Donohue and Hawkins completed only twelve laps due to differential failure and finished 47th  Earlier that year, co-driving with Hansgen, Donohue finished third at the 24 Hours of Daytona and second at the 12 Hours of Sebring At Hansgen's funeral, Roger Penske spoke to Donohue about driving for him  In his first race for Penske, at Watkins Glen in June 1966, Donohue qualified well but crashed the car at the top of a hill, destroying it Donohue was invited back to Le Mans by Ford in 1967  Ford had developed a new GT, the Mark IV  Donohue co-drove in the No  4 yellow car with sports car driver and race car builder Bruce McLaren for Shelby American Racing  The two drivers disagreed on many aspects of racing and car setup, but as a team were able to muster a fourth-place finish in the endurance classic In 1967, Penske contacted Donohue about driving Penske's brand new Lola T70 spyder in the United States Road Racing Championship   Donohue dominated the 1967 race, driving a Lola T70 MkIII Chevrolet for Penske  Donohue raced in seven of the eight races that year, winning six (at Las Vegas, Riverside, Bridgehampton, Watkins Glen, Pacific Raceways, and Mid-Ohio) and finishing third at the Laguna Seca Raceway round behind Lothar Motschenbacher and Mike Goth 
In 1968, Donohue and Penske returned to defend their USRRC championship with the McLaren M6A Chevrolet  Donohue did not start the first race of the year at Circuit Hermanos Rodriguez in Mexico City due to problems getting the engine to start  Despite this, Donohue still dominated the series, even though he suffered three DNFs during the season due to mechanical problems with the M6A 

Trans-Am
Donohue began his Trans-Am series campaign in 1967, winning three of twelve races in a Roger Penske-owned Chevrolet Camaro  In 1967 and 1968, Trans-Am schedule included two of the most prized endurance races in the world, the 24 Hours of Daytona and the 12 Hours of Sebring  Donohue finished fourth at Daytona and won the Trans-Am class at the 12 Hours of Sebring 
1968 would be a banner year for Donohue in the Trans-Am series, as he successfully defended his 12 Hours of Sebring victory by partnering with Craig Fisher and driving his Penske Chevrolet Camaro to victory  Donohue went on to win 10 of 13 races, a Trans-Am series record which would stand until Tommy Kendall went 11 for 13 in the 1997 Trans-Am championship, winning the first 11 races that year in his All-Sport liveried Mustang 
Donohue was considered a leading Trans-Am driver of the late 1960s and early 1970s  Had there been a Drivers' Championship in place at the time, he would have won three of them (his last in 1971) while driving Camaros in 1968 and 1969, and an AMC Javelin in 1971, all for Roger Penske Racing 
During their enormous success in Trans-Am, Penske and Donohue would begin to experiment with their Camaros  They discovered that using a drag racing trick of dipping a car in an acid bath would eat away small amounts of metal, which in turn made the car incrementally lighter, and allowed it to be driven faster  The 1967 Z-28 won its last race by lapping the entire field of cars, causing suspicion throughout the paddock During a post-race inspection, race stewards discovered that the car was 250 pounds lighter than the 2,800-pound minimum weight requirement  Donohue was about to have his race victory taken away for cheating, but Roger Penske stepped in  Penske warned that any disqualification would have the potential of motivating Chevrolet to pull all support for the Trans-Am series  After considering the potential consequences, the race stewards allowed Donohue's victory to stand, but the rules for the 1968 season incorporated a change whereby all cars would be weighed during the technical inspection before the race 
Penske and Donohue did not stop acid-dipping after this, however  Continuing the practice of reducing weight allowed them to place weights of certain sizes strategically in specific locations within the car, thus helping to balance the car while being driven on the limit  Acid-dipping car bodies was prevalent with competing Trans-Am teams also 
They continued to use the "lightweight" car in 1968, at the Sebring 12-hour race  They changed the grille and taillight to the 1968 model, and then painted both cars identically  They sent the legal weight car through the technical inspection with the number 15 and again with the number 16 on it  Then they put both cars in the race, number 15 and 16, one car being 250 pounds lighter  They won the race, finished third overall, and went on to win 10 out of 13 races that year 
They also acid-dipped the body on the Camaro and had to caution people not to lean against it, for fear it would dent  The lightweight car was featured on an episode of Dream Car Garage on Speed TV in 2005 
In 1970 new Javelin team owner Roger Penske and driver Mark Donohue would breathe new life into the AMC team  Donohue drove the Javelin to three victories, with AMC finishing second overall in the Manufacturers' Championship  In 1971, of the ten races that the Over 2 5L Class cars participated in, Donohue won seven of them, including the final six races in a row, with AMC winning the Manufacturers' championship for the first time ever  In the final race of the season, Javelins finished in first, second and third place, with George Follmer becoming the only other Javelin driver to win besides Donohue 

Indianapolis 500
In 1969, Penske and Donohue raced in their first Indianapolis 500, with Donohue finishing seventh, winning the rookie of the year award  Donohue raced at Indianapolis each year following, finishing second in 1970 and 25th in 1971 
Donohue won in 1972, driving for Penske  He finished the race in his McLaren-Offy setting a record speed of over 162 mph (261 km/h), which stood for twelve years  The victory was the first for Penske in the Indy 500 

NASCAR
Donohue raced in several NASCAR Grand American races and a NASCAR pony car division from 1968 until 1971  In the 1972–1973 season, driving an AMC Matador for Penske Racing in NASCAR's top division, the Winston Cup Series, Donohue won the season-opening event at Riverside  That race was Penske's first NASCAR win in a long history of NASCAR participation  Although photographs of Donohue with the more aerodynamic 1974 Matador coupe exist and are published, he did not drive it in competition 

Can-Am Porsche
Between 1971 and 1972, Penske Racing (along with Donohue as the primary test and development driver) was commissioned by Porsche to help develop the 917-10 to compete in the Can-Am series  During testing at Road Atlanta, Donohue recommended larger brake ducts, believing that more cooling would slow the brakes' degradation during a race 
The Porsche engineers obliged, but the new ducts interfered with the bodywork closure pins that attached body panels to the car  Coming out of turn seven at about 150 mph (240 km/h), the rear bodywork flew off the car, which became extremely unstable, lifted off the ground, and tumbled down the track  The front of the car was torn away, leaving Donohue, still strapped to his safety seat, with his legs dangling outside the car  Amazingly, Donohue only suffered an internal derangement of his knee with meniscus damage and limited cruciate plus collateral ligament damage  (He was operated on at Piedmont Hospital in Atlanta by Drs  J  Funk and J  L  Watts )  George Follmer, Donohue's old Trans-Am teammate, took over testing the 917-10 for Donohue, who said:

It just doesn't feel right  Seeing another man driving your car, a car you know so well  I imagine it must feel like watching another man in bed with your wife 

Porsche, Penske, and Donohue quickly started the development of the 917-30, complete with a reworked aerodynamic "Paris" body and a 5 4-liter turbocharged flat-12 engine whose output could be adjusted from about 1,100 to 1,500 bhp by turning a boost knob in the cockpit  During the development of this motor, the German Porsche engineers often asked Donohue if the motor finally had enough power  He answered, "It will never have enough power until I can spin the wheels at the end of the straightaway in high gear "
On August 9, 1975, Donohue drove the 917–30 to a world closed-course speed record at the Talladega Superspeedway in Talladega, Alabama  His average speed around the 2 66-mile (4 28 km) high-banked oval was 221 120 mph (355 858 km/h)  Donohue held the record for 11 years, until it was broken by Rick Mears at Michigan International Speedway 
The 917-30 is referred to as the "Can-Am killer"  as it dominated the competition, winning all but two races of the 1973 Can-Am championship (which is an untrue statement, because OPEC killed the Can-Am series in 1975–1976)  After the Arab oil embargo in 1973, it led the SCCA, IMSA and other race series to impose fuel limitations on motor sport racing as a whole, which hampered the performance of the 917/30, making it uncompetitive in the Can-Am series  Brian Redman drove it once in 1974, and that was it for the car as far as Penske campaigning it  The 917/30 generally is considered one of the most powerful and most dominant racing machines ever created 

First IROC champion
Donohue raced in the inaugural IROC series in 1973–74, racing identical, specially-prepared Porsche RSRs  In the four-race series, Donohue won the first and third of three races at Riverside and the final race of the year at Daytona  The only person to beat Donohue was his former Penske Trans-Am teammate, George Follmer  In winning the first IROC championship, Donohue beat the best racing drivers of that era from all of the major championships, such as Denny Hulme, Richard Petty, A  J  Foyt, Emerson Fittipaldi, Bobby Allison, David Pearson, Peter Revson, Bobby Unser, and Gordon Johncock 

Retirement and Formula One
The pressures of racing and designing the car took their toll on Donohue  By 1973, the "Captain Nice" nickname he had earned earlier in his career was being supplanted by the nickname "Dark Monohue"   Donohue announced that he would retire from racing after the 1973 Can-Am season  In addition, the horrific events at the 1973 Indianapolis 500 and the subsequent death of his friend, Swede Savage, pushed him to quit  His retirement was short-lived, however, as he was lured back to full-time competitive driving by Penske when he formed a Formula One team, Penske Cars Ltd, to compete in the final two events of the 1974 Formula One World Championship, and to continue competing in 1975 with the new Penske PC1 

Donohue previously had debuted in Formula One on September 19, 1971, with a Penske-sponsored McLaren at the Canadian Grand Prix at Mosport Park, finishing on the podium in third place  After coming out of retirement with his former boss, Penske, Donohue returned to Formula One, entering into the final two races of the 1974 Formula One season  Donohue finished in 12th place at the Canadian Grand Prix, but failed to finish at the United States Grand Prix 
A full season of racing for the 1975 Formula One season was planned  The 1975 season turned out to be a difficult one for Donohue and Penske   Donohue was able to muster fifth-place finishes at the Swedish Grand Prix and the British Grand Prix, but the new Penske PC1 chassis proved problematic, as evidenced by three retirements in the first six races  At the Austrian Grand Prix, Donohue's career, along with Roger Penske's Formula One aspirations, took a tragic turn 

Death
Midway through the 1975 F1 season, Penske abandoned the troublesome PC1 and started using the March 751  Donohue recently had arrived in Austria for the Austrian Grand Prix at the Österreichring race track following the successful closed-course speed record attempt at Talladega Superspeedway in Alabama just a few days earlier  During a practice session for the race, Donohue lost control of his March after a tire failed, sending him into the catch fencing at the fastest corner on the track, Vöest Hügel Kurve  A track marshal was killed by debris from the accident, but Donohue did not appear to be injured significantly  It is said that Donohue's head struck either a catch fencing post or the bottom of the wood frame for an advertising billboard located alongside of the racetrack  A headache resulted, however, and worsened  After going to the hospital in Graz the next day, Donohue lapsed into a coma from a cerebral hemorrhage and died  He was survived by his second wife and two sons from his first marriage  Donohue is buried at St  Teresa Cemetery in Summit, New Jersey 

Commemorations and legacy
In 2003, in commemoration of Penske Racing's 50th NASCAR win, Nextel Cup driver Ryan Newman drove a Dodge Intrepid painted to resemble Donohue's 1973 AMC (with a No  12 and current Alltel decals) at the fall Rockingham, North Carolina, race 
Penske's new Penske Racing complex in Mooresville, North Carolina is decorated with various murals of Donohue and his racing cars, most notably the AMC stock car and the various Porsche prototypes that Donohue drove through his career 
Donohue chronicled his entire racing career in the book, The Unfair Advantage (co-written with noted motorsports and engineering journalist Paul Van Valkenburgh)  The book documents his career from his first races to his final full season of racing the year before he was killed  This was not merely a celebrity autobiography, but a detailed, step-by-step record of the engineering approach he took to getting the absolutely highest performance from every car he drove, always looking for that elusive "unfair advantage"  Donohue (along with Penske) were pioneers in many rights, some as notable as the use of a skidpad as a tool for developing and perfecting race car suspension designs and setups  The book told how Donohue learned to exploit the antilock braking system and the powerful turbocharged engine of several prototype Porsches, as well as how he learned from various mishaps, including a near-fatal crash  The book was published shortly before Donohue's death 
The book was re-released in 2000 by Bentley Publishers (Cambridge, Massachusetts)  It includes information and additional photography that was not available before the first edition was published 
Donohue's racing tradition is carried on by his son, David Donohue, a successful road racer in his own right 

Awards
Drexel University presented Mark Donohue with its Engineering and Science Award in 1973 
Mark Donohue was inducted into the International Motorsports Hall of Fame in 1990 
He was also inducted in the Motorsports Hall of Fame of America in 1990 
He was inducted in the Sports Car Club of America Hall of Fame in its 2006 class 

Motorsports career results
SCCA National Championship Runoffs
Formula One World Championship
(key)

Formula One Non-Championship
(key)

Complete USAC Championship Car results
Indianapolis 500 results
NASCAR
Winston Cup Series
Daytona 500
International Race of Champions
(key) (Bold – Pole position  * – Most laps led )

Complete Canadian-American Challenge Cup results
(key) (Races in bold indicate pole position) (Races in italics indicate fastest lap)

Complete 24 Hours of Le Mans results
See also
Roger Penske
Indianapolis Motor Speedway
George Follmer
Walt Hansgen
Skidpad
Turbocharger
Brown University
Lola Cars
Vehicle Dynamics
Elva (car manufacturer)



ground_truth: Mark Neary Donohue Jr.