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

Question: Along with the subject of The One That Got Away, what notable pop artist started out his career on adult contemporary radio?

The following are given passages.
Context 1: Passage 1:
I Can Only Imagine (MercyMe song)
"I Can Only Imagine" is a song by Christian rock band MercyMe  Written and composed by lead singer Bart Millard, it was originally recorded for the band's 1999 independent album The Worship Project before being included on their 2001 major-label debut album Almost There  The song was the last to be written for The Worship Project; in writing it, Millard drew upon his thoughts about his father's death  Lyrically, it imagines what it would be like to be in front of God in heaven; it opens with just a piano before building to include guitar and drums 
After being released on October 12, 2001, as the second single from Almost There, "I Can Only Imagine" became a major success on Christian radio; it spent two weeks at No  1 on the Radio & Records Christian AC chart and became the most-played Christian single of 2002  It became an unexpected mainstream hit in 2003, peaking at No  71 on the Billboard Hot 100 and No  5 on the Billboard Adult Contemporary chart while also hitting top 40, adult top 40, and country radio charts  The song returned to the charts after its story was adapted into a 2018 film of the same name, peaking at No  1 on the Billboard Christian Songs chart and No  10 on the Billboard Digital Songs chart 
"I Can Only Imagine" received positive reviews from critics  Particular praise was given to its lyrics, and some critics called it the best song on Almost There  It received the Dove Awards for Song of the Year and Pop/Contemporary Recorded Song of the Year at the 33rd GMA Dove Awards, also garnering Millard the award for Songwriter of the Year; he also won the Songwriter of the Year award at the 25th American Society of Composers, Authors and Publishers (ASCAP) Christian Music Awards  In 2004, CCM Magazine ranked it as the fourth-best song in Christian music, and it has since become the most-played song in the history of Christian radio as well as the best-selling Christian song of all time; it has been certified five-times platinum by the Recording Industry Association of America (RIAA), and as of April 2018, it has sold over 2 5 million copies 

Background and recording
MercyMe was formed in 1994 by vocalist Bart Millard, guitarist Mike Scheuchzer, and keyboardist Jim Bryson  The band later brought on drummer Robby Shaffer and bassist Nathan Cochran  In their early years, they independently released four Christian alternative rock albums, drawing influence from the grunge style of rock music popular at the time  However, they realized that their original songs from these albums failed to connect with their audiences while their covers of popular worship songs were much more popular  Because of this, the band decided to write and produce an album of original worship songs  This album,  The Worship Project, utilized a simple verse–chorus format designed to easily fit on a PowerPoint screen In the last phases of production, MercyMe needed one more song to include on the album  Late at night on the band's bus, Millard found an old notebook with the phrase "I can only imagine" written in it  He began to write a song, basing it on his personal feelings about his father Arthur's death  Early in Bart's life, Arthur had been physically and emotionally abusive towards his family, with Bart being beaten severely at points; Arthur and his wife Adele eventually divorced, and Bart was sent to live with his mother after an especially extreme whipping  Bart kept in contact with his father, however, who  was later diagnosed with pancreatic cancer when Bart was 15  His father began to make amends for his actions and started becoming more religiously observant, reading the Bible and going to church regularly  As Arthur progressively became more ill, his relationship with his son improved dramatically; by the time Arthur died in 1991, when Bart was 18, the two were very close  Millard said that "I got a front row seat to see this guy go from being a monster to falling desperately in love with Jesus  By the time he passed away when I was a freshman in college, not only was he my best friend, he was like the Godliest man I’d ever known"  After Arthur's death, Bart became obsessed with the phrase "I can only imagine" after hearing his grandmother say that she could only imagine what Arthur was seeing in heaven  Millard found comfort in the thought and began to write it on anything he could find Once Millard started writing the song, he estimated that it took him only about ten minutes to write the lyrics  Millard said that it was one of the few songs he had ever written where there were not any mistakes in the writing process; "it was just written the way it is and left at that"  MercyMe initially attempted to record "I Can Only Imagine" as a fast song, but after several failed attempts, Millard talked with Bryson about arranging it into a slower version  As the band was tearing down the equipment in their recording studio, Bryson began playing a piano intro  Millard immediately decided to use the intro, and the rest of the song was completed in around five minutes  Although the rest of the band did not see how it would fit on the record, as it didn't meet the basic verse-chorus format the rest of the album had, they felt it needed to be included on it because it meant so much to Millard The Worship Project was released on October 14, 1999  Sales for the album far exceeded the band's previous efforts; Millard estimated the album's overall sales at 100,000, which other sources peg the album's sales as of 2006 at 60,000 or 65,000 copies  The difficulty of meeting sales demands when selling the album directly, in addition to having to book and manage for themselves, led the band to pursue a contract with a record label; MercyMe would sign with INO Records in 2000  "I Can Only Imagine" was one of several songs from the band's independent records that were selected to be included on their debut album with INO, Almost There (2001) 

Composition
"I Can Only Imagine" is set in the key of E major and has a tempo of 80 beats per minute  Bart Millard's vocal range in the song spans from the low note of B3 to the high note of G♯5  Millard is credited with writing and composing the song  A contemporary Christian and pop song, "I Can Only Imagine" has been considered both a ballad and a power ballad  The song opens up with only a piano, building up to include guitar and drums The song has a directly Christian message; its religious lyrics weren't edited for mainstream radio  In the song, the narrator wonders what it would be like to stand before God in heaven  In the refrain, the singer ponders "Will I dance for You Jesus/or in awe of you be still/Will I stand in Your presence or to my knees will I fall/Will I sing hallelujah/will I be able to speak at all/I can only imagine/I can only imagine"  Regarding the lyrical theme of "I Can Only Imagine", Millard explained to Fox News that "I was always told that if [my father] could choose, he would rather be in Heaven than here with me  As a Christian I believed that, but as an 18-year-old it was a little hard to swallow  So the questions in the song came from me asking God what was so great about Him that my dad would rather be there "

Critical reception
Critical reception for "I Can Only Imagine" was positive  Steve Losey of AllMusic praised it as being "passionate" and "emotionally compelling"  Kevin Chamberlin of Jesus Freak Hideout said the song's lyrics were "amazing"  It was called the "definite highlight" of Almost There by New Release Tuesday's Kevin McNeese, who also praised its piano intro, saying it "instantly invokes chills", as well as the song's lyrical content  Charisma writer Margaret Feinburg lauded the song's "heart-gripping" lyrics, and it was cited as the centerpiece of the album by Megumi Nakamura of Cross Rhythms, who called it "beautiful and touching"  Writing for CCM Magazine, Adam Woodroof described the song as "heavenly" and said it was the highlight of Almost There  Although Russ Breimeier of Christianity Today called it "beautiful and inspiring", he questioned if "I Can Only Imagine" was actually a worship song At the 33rd GMA Dove Awards in 2002, I Can Only Imagine" earned the GMA Dove Awards for Pop/Contemporary Recorded Song of the Year and Song of the Year  Millard won the award for Songwriter of the Year at the same ceremony as well as at the 25th American Society of Composers, Authors and Publishers (ASCAP) Christian Music Awards, held on June 2, 2003   In 2004, CCM Magazine ranked "I Can Only Imagine" as the fourth-greatest song in Christian music 

Legacy
"I Can Only Imagine" has been regarded as MercyMe's "breakthrough hit" as well as their signature song  It is the most-played song in the history of Christian radio and one of the most-played songs in the history of contemporary music  As of April 2018, it is the best-selling Christian song of all-time  It has consistently ranked among the best-selling Christian digital songs each year in the Billboard year-end charts, ranging from number 19 in 2016 to number three in 2018  It is often requested to be played at funerals  "I Can Only Imagine" was named the official inspirational song for the state of Oklahoma in 2018; the measure was passed by the Oklahoma Legislature and signed by Governor Mary Fallin The story behind "I Can Only Imagine" was adapted into a film  Directed by the Erwin Brothers and starring J  Michael Finley as Bart Millard and Dennis Quaid as Arthur Millard, the movie was released to theaters on March 16, 2018  It received mixed to positive reviews from critics, and exceeded initial expectations at the box office, grossing $17 1 million in its opening week  This was the fourth best-ever opening for a faith-based film, behind only The Passion of the Christ, Son of God, and Heaven Is for Real  The film finished its theatrical run having grossed $83 4 million in the United States and Canada and $1 8 million in other territories for a worldwide total of $85 2 million  As of August 2019, it ranks as the fifth-highest grossing music biopic of all-time in the United States (behind Bohemian Rhapsody, Straight Outta Compton, Walk the Line, and Rocketman) and was the highest-grossing independent film of 2018 

Release and promotion
Originally, "I Can Only Imagine" was set to be released by fellow Christian artist Amy Grant  Millard had initially declined a request from Grant's record label to allow her to record the song; some segments of the Christian community had reacted negatively to her divorce, and Millard wasn't sure if he wanted to be involved  After consulting with his pastor, who felt Millard should accept the opportunity, he began to reconsider, and finally agreed to let her cover it after talking with Grant over the phone  Grant had planned to release her version of the song as the lead single from her upcoming album and MercyMe would release a different song as their first single, hoping to capitalize on having written what would presumably become a major hit for Grant  The band released their first single from Almost There, "Bless Me Indeed (Jabez's Song)", which performed poorly at Christian radio, leading to poor sales of the album  Plans were made to release another single from the record, but the band's manager, Scott Brickell, decided to reach out to Grant to see if she still planned to release her version as a single  Grant gave MercyMe her blessing to release the song as a single and signed the rights back to the band; "I Can Only Imagine" was released on October 12, 2001, as the album's second single The song debuted on the Christian AC chart on November 2, 2001, reached the No  1 position on February 22, 2002, and spent two weeks at the top spot  It also peaked at No  15 on the Radio & Records Christian CHR chart  The song became the most-played song on Christian radio in 2002  As a result of its success on radio, Almost There experienced a "surge" in sales, debuting on the Billboard 200 in December 2001 and entering the top ten on the Christian Albums chart in January 2002  The song stayed on Christian radio for so long that plans to release a third single from Almost There were cancelled, with the band instead beginning work on a new album In 2003, a Dallas mainstream radio station, 100 3 Wild-FM, played the song on its morning show, The Fitz Radio Program  They had responded to a caller's repeated requests and the urgings of the program's producer, Todd Sheppard, a former seminary student  Although it had been played almost as joke, it soon became the most requested and most played song on the station  After hearing the song played on the station, Millard called-in and spoke with the crew, and MercyMe then came in and played the song live  Big Gay Steven, one of the show's hosts, described their audience's response to the song as "overwhelming"  As other mainstream stations around the country began to play the song, MercyMe's label, INO Records, partnered with Curb Records to market the single to mainstream radio  Its initial success was seen as surprising due to its overtly religious themes, although several other Christian artists had begun achieving mainstream success at the same time, including Stacie Orrico, whose singles "Stuck" and "(There's Gotta Be) More to Life" had both hit the Billboard Hot 100  Curb began to promote the song to adult contemporary and Top 40 radio, and INO and Curb released a double A-side physical single, "I Can Only Imagine/Word of God Speak", in September 2003 "I Can Only Imagine" debuted on the Adult Contemporary chart on May 23, 2003, eventually peaking at No  5 for the chart week of September 8, 2003  "I Can Only Imagine" spent 30 weeks on the chart  The song debuted on the Billboard Hot 100 for the chart week of October 11, 2003 at No  76  The song peaked at No  71 and spent 16 non-consecutive weeks on the chart  "I Can Only Imagine" also peaked at No  1 on the Billboard Hot 100 Singles Sales chart, a component chart of the Billboard Hot 100 that ranks the best-selling physical single releases, for 10 weeks  During the week of November 22, 2003, it became the first No  1 physical single to be outsold by the highest-selling digital single of the week; for that week, "I Can Only Imagine" sold 7,500 physical copies in the United States while Outkast's "Hey Ya!" sold 8,500 digital downloads  The song also charted on the Mainstream Top 40, Adult Top 40, and Country Songs charts In 2012, "I Can Only Imagine" appeared on France's Syndicat National de l'Édition Phonographique (SNEP) chart, spending two weeks and peaking at No  65  In March 2018, following the release of the film I Can Only Imagine, which was based on the song's story, it appeared on the Billboard Christian Songs chart; because the chart had been created after the song's original run on Christian radio, it was eligible to chart for the first time  It debuted at No  2 on the Billboard Christian Songs chart and also spent a third week at No  1 on the Billboard Christian Digital Songs chart; the song had spent 425 weeks on the chart at that point, the longest run of any song in the chart's history  "I Can Only Imagine" peaked at No  1 on the Christian Songs chart on March 31, 2018, and spent three weeks at the top spot  It also peaked at No  10 on the Billboard Digital Songs chart and ranked at No  8 on the 2018 year-end Christian Songs chart In April 2010, "I Can Only Imagine" was certified platinum by the RIAA, signifying sales of over 1 million digital downloads  It was the first single by any artist in the Christian music genre to go platinum  The song was certified double platinum in September 2014, triple platinum in June 2018, and quadruple platinum in September 2019  As of March 2018, it has sold 2 5 million copies, making it the best-selling Christian single of all time 

Music video
A music video was released for "I Can Only Imagine"  According to Millard, the video's inspiration came from seeing people holding empty picture frames at their concerts, symbolizing their deceased loved ones  Millard said that the "I've had so many people after a show pull out a picture of someone they've lost  These people embrace these photos and I just thought how can we tap into that"  The video features everyday people as well as several music artists including Michael Tait, Tammy Trent, Bob Herdman, and Jesse Katina, each holding an empty picture frame to signify their loss of a loved one; as the video progresses, they are holding pictures of their loved ones including Millard with his father's photograph 

Live performances
Despite including "I Can Only Imagine" on The Worship Project, MercyMe initially did not perform the song in concerts because they felt it did not fit with the rest of the record  The band's first performance of the song did not come until the summer after the release of The Worship Project at a summer camp at the request of a camp counselor  The band has played the song at every show since as of February 2009 MercyMe's 2004 concert tour (the Imagine Tour) and 2018–19 tour (the Imagine Nation Tour) both took their name from the song MercyMe performed "I Can Only Imagine" at the 33rd GMA Dove Awards, with an accompanying "inspiring video that underscored the emotional and inspirational power of song"  The band also performed the song at the 40th GMA Dove Awards, held on April 23, 2009, in a medley with "Finally Home"  At the 2017 National Prayer Breakfast, MercyMe performed the song with President Donald Trump in attendance  In March 2018, MercyMe performed "I Can Only Imagine" live on Fox & Friends to promote the film 

Other versions
Both an acoustic and live version of "I Can Only Imagine" were included in the Platinum edition of Almost There, which was released in August 2006  MercyMe released a new recording of the song on their iTunes Originals album, which was released in March 2008  On their compilation album 10, MercyMe released a new recording of the song featuring the London Session Orchestra as well as a live version  For their 2018 compilation album I Can Only Imagine: The Very Best of MercyMe, released to commemorate the release of the movie, the band recorded an updated recording titled "I Can Only Imagine (The Movie Session)", which peaked at No  19 on the Billboard Christian Songs chart "I Can Only Imagine" has been covered by several artists  In 2002, Amy Grant released her reworked version of the song, titled "Imagine" and paired with "Sing the Wondrous Love of Jesus", on her album Legacy    Hymns and Faith  Country singer Jeff Carson's 2003 cover peaked at No  50 on the Country Songs chart, and in 2014, gospel singer Tamela Mann's cover of the song spent 13 weeks atop the Billboard Gospel Songs chart  In May 2017, Aliyah Moulden, the third-place finisher on the 12th season of the reality competition show The Voice, performed the song on the show; her version debuted and peaked at No  4 on the Billboard Christian Songs chart, selling 15,000 copies in its first week and spending two weeks on the chart in total 

Track listing
CD release
"I Can Only Imagine" – 4:06 (Bart Millard)
"Word of God Speak" – 3:07 (Peter Kipley, Millard)

Personnel
(Credits from the album liner notes)MercyMe

Bart Millard – vocals
Jim Bryson – keyboards
Nathan Cochran – bass guitar, background vocals
Mike Scheuchzer – guitar, background vocals
Robby Shaffer – drumsAdditional performers

Paltrow Performance Group – stringsTechnical

Julian Kindred – engineer
Pete Kipley – producer, programming
Skye McCaskey  – engineer
Salvo – mixing
Shane Wilson – mixing

Release and radio history
Charts and certifications
Certifications
Passage 2:
WEBZ
WEBZ (99 3 FM) is a commercial urban adult contemporary radio station located in Mexico Beach, Florida (Panama City metro)  The station is owned by iHeartMedia 

External links
Official Website

WEBZ in the FCC FM station database
WEBZ on Radio-Locator
WEBZ in Nielsen Audio's FM station database
Passage 3:
Adult contemporary music
Adult contemporary music (AC) is a form of radio-played popular music, ranging from 1960s vocal and 1970s soft rock music to predominantly ballad-heavy music of the present day, with varying degrees of easy listening, pop, soul, R&B, quiet storm and rock influence  Adult contemporary is generally a continuation of the easy listening and soft rock style that became popular in the 1960s and 1970s with some adjustments that reflect the evolution of pop/rock music Adult contemporary tends to have lush, soothing and highly polished qualities where emphasis on melody and harmonies is accentuated  It is usually melodic enough to get a listener's attention, and is inoffensive and pleasurable enough to work well as background music  Like most of pop music, its songs tend to be written in a basic format employing a verse–chorus structure  The format is heavy on romantic sentimental ballads which mostly use acoustic instruments (though bass guitar is usually used) such as acoustic guitars, pianos, saxophones, and sometimes an orchestral set  The electric guitars are normally faint and high-pitched  However, recent adult contemporary music may feature synthesizers (and other electronics, such as drum machines) An AC radio station may play mainstream music, but it usually excludes hip-hop and some forms of dance-pop and teen pop, as these are less popular among adults, the target demographic  AC radio often targets the 25–44 age group, the demographic that has received the most attention from advertisers since the 1960s  A common practice in recent years of adult contemporary stations is to play less newer music and more hits of the past, even some songs that never even charted the AC charts   This de-emphasis on new songs slows the progression of the AC chart Over the years, AC has spawned subgenres including "hot AC" (also known as "modern AC"), "soft AC" (also known as "lite AC"), "urban AC" (a softer type of urban contemporary music), "rhythmic AC" (a softer type of rhythmic contemporary), and "Christian AC" (a softer type of contemporary Christian music)  Some stations play only "hot AC", "soft AC", or only one of the variety of subgenres  Therefore, it is not usually considered a specific genre of music; it is merely an assemblage of selected songs from artists of many different genres 

History
1960s: Early roots; easy listening and soft rock
Adult contemporary traces its roots to the 1960s easy listening format, which adopted a 70—80% instrumental to 20–30% vocal mix  A few offered 90% instrumentals, and a handful were entirely instrumental  The easy listening format, as it was first known, was born of a desire by some radio stations in the late 1950s and early 1960s to continue playing current hit songs but distinguish themselves from being branded as "rock and roll" stations  Billboard first published the Easy Listening chart July 17, 1961, with 20 songs; the first number one was "Boll Weevil Song" by Brook Benton  The chart described itself as "not too far out in either direction" Initially, the vocalists consisted of artists such as Frank Sinatra, Doris Day, Johnny Mathis, Connie Francis, Nat King Cole, Perry Como, and others  The custom recordings were usually instrumental versions of current or recent rock and roll or pop hit songs, a move intended to give the stations more mass appeal without selling out  Some stations would also occasionally play earlier big band-era recordings from the 1940s and early 1950s After 1965, differences between the Hot 100 chart and the Easy Listening chart became more pronounced  Better reflecting what middle of the road stations were actually playing, the composition of the chart changed dramatically  As rock music continued to harden, there was much less crossover between the Hot 100 and Easy Listening chart than there had been in the early half of the 1960s  Roger Miller, Barbra Streisand and Bobby Vinton were among the chart's most popular performers One big impetus for the development of the AC radio format was that, when rock and roll music first became popular in the mid-1950s, many more conservative radio stations wanted to continue to play current hit songs while shying away from rock  These middle of the road (or "MOR") stations also frequently included older, pre-rock-era adult standards and big band titles to further appeal to adult listeners who had grown up with those songs 
Another big impetus for the evolution of the AC radio format was the popularity of easy listening or "beautiful music" stations, stations with music specifically designed to be purely ambient  Whereas most easy listening music was instrumental, created by relatively unknown artists, and rarely purchased (especially as singles, although Jackie Gleason's beautiful music albums sold well in the 1950s), AC was an attempt to create a similar "lite" format by choosing certain tracks (both hit singles and album cuts) of popular artists 

1970s: Soft rock forms as a radio format
By the late 1960s hard rock had been established as one of the rock genres leading hard rock and soft rock to became distinct popular forms in the rock scene, and as major radio formats in the US  Soft rock was often derived from folk rock, using acoustic instruments and putting more emphasis on melody and harmonies  Major artists included Carole King, Cat Stevens, James Taylor and Bread In the early 1970s, softer songs by The Carpenters, Anne Murray, John Denver, Barry Manilow, and even Barbra Streisand, began to be played more often on "Top 40" radio  Top 40 radio stations played the Top 40 hits regardless of genre   As the texture of much of the music played on Top 40 radio began to soften, the Hot 100 and Easy Listening/AC charts became more similar  Easy Listening radio began playing songs by artists who had begun in other genres, such as rock and roll or R&B  Much of the music recorded by singer-songwriters such as Diana Ross, James Taylor, Carly Simon, Carole King and Janis Ian got as much, if not more, airplay on AC stations than on Top 40 stations  AC stations also began playing softer songs by Elvis Presley, Linda Ronstadt, Elton John, Rod Stewart, Billy Joel, and other rock-based artists  Soon after, the adult contemporary format began evolving into the sound that later defined it, with rock-oriented acts as Chicago and the Eagles, becoming associated with the format  In addition, several early disco songs, did well on the Adult Contemporary format 
Soft rock reached its commercial peak in the mid-to-late 1970s with acts such as Toto, England Dan & John Ford Coley, Air Supply, Seals and Crofts, Dan Fogelberg, America and the reformed Fleetwood Mac, whose Rumours (1977) was the best-selling album of the decade  By 1977, some radio stations, notably New York's WTFM and NBC-owned WYNY, and Boston's WEEI, had switched to an all-soft rock format  As Softrock 103, WEEI was famous for its promotional campaigns, featuring slogans such as "Joni, without the baloni " and "The Byrds, without the nyrds "  However, different forms of popular music  targeted to different demographic groups, such as disco vs  hard rock, began to emerge in the late-1970s  This led to specialized radio stations that played specific genres of music, and generally followed the evolution of artists in those genres 

1980s: Adult contemporary succeeds as radio format
On April 7, 1979, the Easy Listening chart officially became known as Adult Contemporary, and those two words have remained consistent in the name of the chart ever since  Adult contemporary music became one of the most popular radio formats of the 1980s  The growth of AC was a natural result of the generation that first listened to the more "specialized" music of the mid-late 1970s growing older and not being interested in the heavy metal and rap/hip-hop music that a new generation helped to play a significant role in the Top 40 charts by the end of the decade 
Mainstream AC itself has evolved in a similar fashion over the years; traditional AC artists such as Barbra Streisand, the Carpenters, Dionne Warwick, Barry Manilow, John Denver, and Olivia Newton-John found it harder to have major Top 40 hits as the 1980s wore on, and due to the influence of MTV, artists who were staples of the Contemporary Hit Radio format, such as Richard Marx, Michael Jackson, Bonnie Tyler, George Michael, Phil Collins, Laura Branigan and Journey began crossing over to the AC charts with greater frequency  Collins has been described by AllMusic as "one of the most successful pop and adult contemporary singers of the '80s and beyond"  However, with the combination of MTV and AC radio, adult contemporary appeared harder to define as a genre, with established soft-rock artists of the past still charting pop hits and receiving airplay alongside mainstream radio fare from newer artists at the time 
The amount of crossover between the AC chart and the Hot 100 has varied based on how much the passing pop music trends of the times appealed to adult listeners  Not many disco or new wave songs were particularly successful on the AC chart during the late 1970s and early 1980s, and much of the hip-hop and harder rock music featured on CHR formats later in the decade would have been unacceptable on AC radio 
Although dance-oriented, electronic pop and ballad-oriented rock dominated the 1980s, soft rock songs still enjoyed a mild success thanks to Sheena Easton, Amy Grant, Lionel Richie, Christopher Cross, Dan Hill, Leo Sayer, Billy Ocean, Julio Iglesias, Bertie Higgins, and Tommy Page  No song spent more than six weeks at No  1 on this chart during the 1980s, with nine songs accomplishing that feat  Two of these were by Lionel Richie, "You Are" in 1983 and "Hello" in 1984, which also reached No  1 on the Hot 100 
In 1989, Linda Ronstadt released Cry Like a Rainstorm, Howl Like the Wind, described by critics as "the first true Adult Contemporary album of the decade", featuring American soul singer Aaron Neville on several of the twelve tracks  The album was certified Triple Platinum in the United States alone and became a major success throughout the globe  The Grammy Award-winning singles, "Don't Know Much" and "All My Life", were both long-running No  1 Adult Contemporary hits  Several additional singles from the disc made the AC Top 10 as well  The album won over many critics in the need to define AC, and appeared to change the tolerance and acceptance of AC music into mainstream day to day radio play 

1990s: Subgenre formations/radio crossovers
The early 1990s marked the softening of urban R&B in the shape of new jack swing, at the same time alternative rock emerged and traditional pop saw a significant resurgence  This in part led to a widening of the market, not only allowing to cater to more niche markets, but it also became customary for artists to make AC-friendly singles  At the same time, the genre began adopting elements from hard rock as tastes were shifting towards louder music, while AC stations in general began playing more rock acts  "Softer" features such as light instrumental music (carried over from the beautiful music format—many AC stations carried the format until the early 1970s), new age songs and most pre-1964 artists were gradually phased out from AC radio throughout the early to mid-1990s 
Unlike the majority of 1980s mainstream singers, the 1990s mainstream pop/R&B singers such as All-4-One, Boyz II Men, Christina Aguilera, Backstreet Boys and Savage Garden generally crossed over to the AC charts  Latin pop artists such as Lynda Thomas, Ricky Martin, Marc Anthony, Selena, Enrique Iglesias and Luis Miguel also enjoyed success in the AC charts 
In addition to Celine Dion, who has had significant success on this chart, other artists with multiple number ones on the AC chart in the 1990s include Mariah Carey, Phil Collins, Michael Bolton, Bryan Adams, Whitney Houston and Shania Twain  Newer female Adult album alternative singer-songwriters such as Sarah McLachlan, Natalie Merchant, Jewel, Melissa Etheridge and Sheryl Crow also broke through on the AC chart during this time In 1996, Billboard created a new chart called Adult Top 40, which reflects programming on radio stations that exists somewhere between "adult contemporary" music and "pop" music  Although they are sometimes mistaken for each other, the Adult Contemporary chart and the Adult Top 40 chart are separate charts, and songs reaching one chart might not reach the other  In addition, hot AC is another subgenre of radio programming that is distinct from the Hot Adult Contemporary Tracks chart as it exists today, despite the apparent similarity in name 
In response to the pressure on Hot AC, a new kind of AC format cropped up among American radio recently  The urban adult contemporary format (a term coined by Barry Mayo) usually attracts a large number of African Americans and sometimes Caucasian listeners through playing a great deal of R&B (without any form of rapping), gospel music, classic soul and dance music (including disco) 
Another format, rhythmic AC, in addition to playing all the popular hot and soft AC music, past and present, places a heavy emphasis on disco as well as 1980s and 1990s dance hits, such as those by Amber, and Black Box, and includes dance remixes of pop songs, such as the Soul Solution mix of Toni Braxton's "Unbreak My Heart" 
In its early years of existence, the smooth jazz format was considered to be a form of AC, although it was mainly instrumental, and related a stronger resemblance to the soft AC-styled music  For many years, George Benson, Kenny G and Dave Koz had all had crossover hits that were played on both smooth jazz and soft AC stations 

2000s–present: AC music goes mainstream and mainstream music goes AC
During the 2000s, the AC market gained an increased presence in the music industry, as its radio formats were popular nationwide—Smooth jazz and "Urban AC" stations were ubiquitous in the East Coast, while Soft rock and "adult standards" stations were common in the Midwest, and pop-oriented "Hot AC" and "world music"/Hispanic AC stations were easily found in the West Coast and the "Sun Belt"  This led to the presence of numerous genres on the AC charts, often crossing to the "pop" charts, winning over many critics in the need to define AC, and increased the tolerance and acceptance of AC music into mainstream day-to-day radio play 
Josh Groban's single "You Raise Me Up" and Michael Bublé's cover of "Fever" are often cited as key examples of the high production values and ballad-heavy sound that defined 2000s-era AC, often dubbed as "jazz-pop", heavily carrying classical, jazz and traditional pop influences  Artists such as Nick Lachey, James Blunt, Jamie Cullum, John Mayer, Jason Mraz, Norah Jones, Diana Krall, Amy Winehouse and Susan Boyle also achieved great success during this period  During most of the 2000s, country music/countrypolitan musicians such as Kelly Clarkson, Clay Aiken, Billy Joel, Garth Brooks, Shania Twain, LeAnn Rimes and Carrie Underwood scored hits on soft AC, particularly in Southern states  A popular trend in the late 1990s and 2000s was remixing dance music hits into adult contemporary ballads, especially in the US, (for example, the "Candlelight Mix" versions of "Heaven" by DJ Sammy, "Listen To Your Heart" by D H T , and "Everytime We Touch" by Cascada) 
Key to the success of AC in the 2000s was the 25–34 demographic which had outgrown the pop music offerings of the time, most new rock became too alternative and harsh for AC radio and most new pop was now influenced heavily by dance-pop, hip-hop and electronic dance music  At the same time, the music industry also began to focus on older audiences and markets generally considered "niche" 
During the late 2000s, certain pop songs began entering the AC charts instead, generally after having recently fallen off the Hot 100  Adrian Moreira, senior vice president for adult music for RCA Music Group, said, "We've seen a fairly tidal shift in what AC will play"  Rather than emphasizing older songs, adult contemporary now began playing many of the same songs as top 40 and adult top 40, but only after the hits had become established  An article on MTV's website by Corey Moss describes this trend as: "In other words, AC stations are where pop songs go to die a very long death  Or, to optimists, to get a second life " As adult contemporary has long characterized itself as family-friendly, "clean" versions of pop songs began appearing on the AC chart, as were the cases of "Perfect" by P!nk, and "Forget You" by Cee Lo Green, both in 2011 AC radio's shift into more mainstream pop was a result of the changes on the broadcasting landscape following the 2005–2007 economic downturn and eventual recession, as advertisers preferred more profitable chart-based formats, which meant the demise of many AC-based formulas, primarily those aimed at older audiences, with tastes changing towards more modern music among all age groups  Diminishing physical record sales throughout the 2010s also proved a major blow to the AC genre, and there are concerns that the portable people meter, a device being used to determine radio listenership, may be incompatible with AC songs and may not accurately pick up that a person is listening to an AC station because of the pitches and frequencies used in the style Key AC artists of the early to mid-2010s included Bruno Mars, Coldplay, Adele, Arcade Fire, Meghan Trainor, Maroon 5 and Ed Sheeran, featuring a more pop-influenced, uptempo style than the typical AC fare of previous years, also featuring production values reminiscent of the Motown sound and the so-called Wall of Sound that dominated the soul-heavy pop charts of the early 1960s, when the Easy Listening chart was first introduced  The earlier years of the decade also saw alternative and indie rock acts such as Wilco, Feist, The 1975, Imagine Dragons, Mumford & Sons, Of Monsters and Men and The Lumineers quickly becoming AC mainstays, although these were eventually replaced by rhythm-based rock bands such as Panic! at the Disco, Neon Trees, X Ambassadors, Sheppard, Bastille, American Authors, Fitz and the Tantrums, Foster the People, Twenty One Pilots, Walk the Moon and Milky Chance 
During the middle of the decade, newer artists such as CeeLo Green, OneRepublic, Rachel Platten, Christina Perri, Andy Grammer, James Bay, Sara Bareilles, Shawn Mendes, Sia, Sam Smith, Gavin Degraw, Charlie Puth and Colbie Caillat as well as acts that were popular in the 1990s and early 2000s such as Britney Spears and Christina Aguilera were added to the rotation of most AC stations 
As trap music and similar styles of hip-hop began dominating top 40 stations during the last years of the 2010s, AC stations began picking up rhythmic artists like Rihanna, Lady Gaga, Ellie Goulding, Taio Cruz and Pitbull as well as EDM artists like Avicii, Daft Punk, Calvin Harris, David Guetta and Tiesto  Meanwhile, younger artists like Camila Cabello, Justin Bieber, Selena Gomez, Ariana Grande, Nick Jonas and the Jonas Brothers and Halsey began to be featured on AC stations more than on top 40 stations 

Adult contemporary formats
In radio broadcasting, adult contemporary is divided into several sub-formats, each with their own musical direction and demographic targeting  Hot adult contemporary formats generally feature an uptempo rotation of recent hits that appeal to a wide adult audience  A station formatted as "adult contemporary" with no qualifier, also referred to as "mainstream adult contemporary", generally has a similar playlist to hot AC stations, but with a broader rotation of classic hits from past decades Soft adult contemporary formats have a more conservative sound oriented primarily towards adult women, urban AC focuses on R&B and soul music that appeal to African American adults, and rhythmic AC focuses on dance music and other rhythmic genres 

Hot adult contemporary
Hot adult contemporary (hot AC) radio stations play a wide range of the present day's popular music that appeals towards the 18–54 age group; it serves as a middle ground between the youth-oriented contemporary hit radio (CHR) format, and adult contemporary formats (such as "mainstream" and soft AC) that are typically targeted towards a more mature demographic  They generally feature uptempo hit music with wide appeal, such as pop and pop rock songs, while excluding more youth-oriented music such as hip-hop  Recurrents usually reflect familiar and youthful music that adults had grown up with  Likewise, mature material from pop acts such as the Backstreet Boys, Jason Mraz, John Mayer, and Pink have also been prominent within the format The "hot AC" designation began to appear in the 1990s, to describe adult contemporary stations with a more energetic presentation and uptempo sound than their softer counterparts  An early example of the format, Houston's KHMX Mix 96 5, climbed from 14th place in the market to 3rd in the six months after its launch  The station's format and branding was widely replicated by other stations  Many hot AC outlets are among the top stations in their respective market Initially focused more on pop rock, the format has evolved to reflect changes in the composition of this audience; by the mid-2000s, the format had evolved to include more uptempo pop music, while alternative and indie rock crossovers (such as Foster the People, Imagine Dragons, Lovelytheband, and Twenty One Pilots) became more prevalent within the format during the 2010s These developments helped to expand the popularity of the format among younger listeners such as millennials; Nielsen Audio ranked hot AC as the third most-popular format among millennials, behind pop and country music  Of the format's expanding demographic reach, WOMX-FM program director Dana Taylor stated that hot AC stations "may not be the radio station that everybody agrees on, but it's a radio station that everybody goes, 'I'm okay with that' " The increasingly downtempo direction of pop hits in the mid-to-late 2010's also helped to attract additional listeners Hot AC stations typically keep a larger body of recent hits in rotation than those with rigid, chart-driven formats like CHR and urban contemporary  As these stations' playlists have become concentrated towards airing only the current hits at a given time, hot AC airplay can build and sustain a song's popularity over a long-term period  This effect has been credited in helping build an audience for early singles from new acts such as Adele, Rachel Platten ("Fight Song", which gained prominence for its use during Hillary Clinton's 2016 US presidential election campaign), and Max Schneider (whose 2016 single "Lights Down Low", over a year after its original release, became a sleeper hit on the Billboard Mainstream Top 40 and Hot 100 due in part to strong hot AC airplay) The popularity of the hot AC format prompted many mainstream AC stations to add uptempo music to their playlists, while still maintaining a deeper rotation of older hits than hot AC stations 

Modern adult contemporary
Modern adult contemporary refers to AC formats with a stronger lean towards modern rock and pop rock 
In the 1990s and early 2000s, modern AC was typically targeted towards women, with Mike Marino of KMXB in Las Vegas describing the format as reaching "an audience that has outgrown the edgier hip-hop or alternative music but hasn't gotten old and sappy enough for the soft ACs " The format typically focused on female rock acts such as Shawn Colvin, Sheryl Crow, Indigo Girls, Jewel, and Sarah McLachlan, and folk rock-influenced bands such as Counting Crows and The Wallflowers  Today, the format is fairly uncommon, with KTCZ in the Minnesota Twin Cities being one of the few modern AC stations left 

Soft adult contemporary
The Soft adult contemporary format typically targets women 25–54 and at-work listening  Soft AC playlists are generally conservative in comparison to hot AC, focusing on pop and power ballads, soft rock, and other familiar, light hits  Upon its establishment in the 1980s, the soft AC format was positioned as being a more upbeat version of easy listening that would appeal better to a younger audience, mainly by excluding instrumental beautiful music  Easy listening stations had begun shifting to the format out of concern that their existing programming would not appeal to the current generation of listeners In a 1990 article, James Warren of the Chicago Tribune characterized soft AC stations as being "as middle-of-the-road and unthreatening as modern media get", with personalities that were encouraged to be as inoffensive and "low-profile" as possible, and a more conservative music library than hot AC-leaning stations  In particular, Chicago's WLIT did not have its airstaff talk over the beginning and endings of songs (in contrast to the hot AC-leaning WFYR), and played Bob Seger's "We've Got Tonite" but not "Old Time Rock and Roll" (which was part of WTMX's playlist)  The director of a soft AC station in Connecticut, WEZN-FM, told Warren that he had barred the reading of top-of-hour news headlines, so that listeners wouldn't be tempted to tune away to an all-news station to learn more Soft AC stations tend to be more selective in their music libraries than other adult contemporary stations, preferring proven songs over current hits  Upon the onset of the format's popularity, core artists typically included singers such as Nat King Cole, Perry Como, Neil Diamond, Barry Manilow, Johnny Mathis, and Barbra Streisand  By the 1990s, to improve their appeal among changing demographics, some soft AC stations began to widen their playlist to include selections from contemporary acts with 80s, & 90s, musicians & bands such as Bon Jovi, Bryan Adams, Celine Dion, Roxette, Mariah Carey, Eric Clapton, Phil Collins, Elton John, Cher, Whitney Houston, Journey, and Queen  On the other hand, by 1996, New York's WLTW had begun to phase out its softer music in favor of a more uptempo direction In 2017, Inside Radio reported that soft AC had the third-largest decrease in US stations offering the format over the past decade (at 128), ranking behind only adult standards and oldies—a shift credited to aging demographics and a major boom in the wider-appealing classic hits format (which saw the largest overall increase over the same period)  Consultant Gary Berkowitz argued that the soft AC format had become increasingly irrelevant in comparison to mainstream and hot AC, due to PPM markets preferring uptempo music At the same time, however, soft AC began to experience a resurgence  In April 2016, iHeartMedia flipped its San Francisco classic soul station KISQ to soft AC as The Breeze; as of November 2018, it was the top station in the Bay Area  The trend continued into 2017 and 2018, with iHeartMedia extending its Breeze brand to other soft AC flips, and the brand (among others) being adopted by competitors such as Entercom  Industry analyst Sean Ross argued that older demographics were becoming more lucrative due to changes in listening habits among younger audiences, which prefer digital platforms such as music streaming services over linear terrestrial radio, and also noted how mainstream AC was dependent on the Top 40 charts to break new songs Current soft AC stations have continued to feature recurrents such as Michael Bolton, Celine Dion, Elton John, Fleetwood Mac, Hall & Oates, and Whitney Houston, while contemporary musicians such as Adele and Michael Bublé have also become modern fixtures of the format  In addition, the soft AC sound has diversified to include more songs that are "safe and universal" and not necessarily "soft", with Ross presenting Examples such as Simple Minds' "Don't You (Forget About Me)", as well as the retroactively-defined genre of yacht rock  Over time, some stations have gradually adjusted their playlists to include more recurrents from the 1980s and 1970s (although not to the same extent as other "soft oldies" formats, such as MeTV FM, which have also grown in popularity) 

Urban adult contemporary
The Urban adult contemporary format focuses primarily on current and classic R&B and soul music,  The format typically targets African-American adults: July 2018 numbers from Nielsen Audio recorded it as the top format among African-Americans 25–54 and 35–64  It also has a sizable popularity among younger listeners, ranking behind urban contemporary as the second-most popular format among African-American adults 18–34 in the same report, with an 18 9 audience share The format typically excludes youthful rhythmic music, such as commercial hip-hop and rap, that are usually associated with the urban contemporary format  The urban AC format is also associated with the "quiet storm"—mellower R&B ballads and slow jams, often in a jazz-influenced style  The syndicated evening program Keith Sweat Hotel focuses specifically on such music As urban contemporary stations prefer hit-driven hip-hop songs, labels typically service R&B songs to the urban AC format only  Some current R&B musicians have complained that this is an artificial divide that prevents them from reaching a wider, mainstream audience (citing the relatively smaller number of urban AC outlets in comparison to urban and rhythmic), even with attempts to give some singles a hip-hop-influenced sound to improve the potential for crossover appeal  Some acts have attempted to disassociate themselves from "R&B" to reduce the effect of this stigma, although streaming services have helped to expose R&B to a wider audience beyond urban AC radio 

Rhythmic adult contemporary
The Rhythmic adult contemporary format generally focuses on a variety of current and classic dance music, such as dance-pop, hip-hop, and R&B (often resembling a blend of the Classic hits and hot AC formats in practice)  The exact composition of current and recurrent content can vary between stations, depending on local cultures and the heritage of rhythmic formats in the market, ranging from late-80s/early-90s dance hits (including latin freestyle), to disco and Motown  Rhythmic hot AC has also been used as a format, popularized by stations such as New York's WKTU 

Smooth adult contemporary
The Smooth adult contemporary format is a variant of the smooth jazz format that incorporates mainstream and/or urban adult contemporary songs; they are designed to appeal to a wider range of demographics than a straight smooth jazz format  Some smooth AC stations may limit their airplay of jazz instrumentals to those by better-known performers such as Kenny G 

Christian adult contemporary
Contemporary Christian music (CCM) has several subgenres, one being "Christian AC"  Radio & Records, for instance, lists Christian AC among its format charts  There has been crossover to mainstream and hot AC formats by many of the core artists of the Christian AC genre, notably Amy Grant, Michael W  Smith, Kathy Troccoli, Steven Curtis Chapman, Plumb, and more recently Big Daddy Weave, Casting Crowns, For King & Country, Lauren Daigle, MercyMe, and Newsboys 

Adult album alternative
The Adult album alternative (triple-A or AAA) format generally features a diverse playlist of music that appeals to an adult audience, with a focus on emerging songs and artists, and often featuring songs that were not released as singles  The exact composition of a triple-A station's playlist can vary, with alternative rock, indie rock, and indie pop commonly used as core genres, and some stations featuring more uncommon genres such as alternative country, Americana, blues, folk music, and world music  NPR observed in 2018 that roughly half of all triple-A stations in the U S  were non-commercial stations  With the wide variety of music that is serviced to the format, adult album alternative charts have often served as a feeder for the Adult Top 40, and have been credited for breaking acts such as Dave Matthews Band and Lorde 

Christmas music
Since the 1990s it has become common for many AC stations, particularly soft AC stations, to play primarily or exclusively Christmas music during the Christmas season in November and December  While these tend mostly to be contemporary seasonal recordings by the same artists featured under the normal format, most stations will also air at least some vintage holiday tunes from older pop, MOR, and adult standards artists – such as  
Boney M , The Carpenters, Nat King Cole, Perry Como, Bing Crosby, Percy Faith, Mannheim Steamroller, Dean Martin, Johnny Mathis, Trans-Siberian Orchestra, and Andy Williams – many of whom would never be played on these stations during the rest of the year 
These Christmas music marathons typically start a few weeks before Thanksgiving Day and end after Christmas Day, or sometimes extending to New Year's Day  Afterwards, the stations usually resume their normal music fare  Several stations begin the holiday format much earlier, at the beginning of November especially after Halloween  The roots of this tradition can be traced back to the beautiful music and easy listening stations of the 1960s and 1970s 

Syndicated radio shows and networks carrying the adult contemporary format
Delilah – One of the US's most popular radio shows, Delilah airs primarily in the evening  Its Christmas Edition airs from mid-November to late December 
Intelligence for Your Life – Hosted by John Tesh, this show also airs evenings and also on weekends 
American Top 40 with Ryan Seacrest – One version of AT40 airs on US hot AC stations, which is a little different from its Top-40/CHR counterpart 
Rick Dees Weekly Top 40/Weekly Top 30 – Began offering Hot AC versions of the popular countdown show in June 1996  These shows feature the top 20 Hot AC songs in the US along with about 10 past hits from the 1980s, 1990s and early 2000s (decade)  A softer "AC" version was added in July 2009 to try to fill in the void left by Casey Kasem ending his AC countdown 
Radio Disney Music Top 30 Countdown, One version is for Hot AC stations, the other version is for Mainstream AC stations  Plays the USA Top 30 songs of the week according to Mediabase and a music rating service called ratethemusic com  This show, like Rick Dees' show, is distributed by Compass Media Networks 
Backtrax USA with Kid Kelly – Weekend programs focusing on the '80s and '90s, targeted for hot AC stations 
ABC and Dial Global both offer AC 24-hour networks programming soft and hot AC 
Tom Joyner and Steve Harvey have popular morning shows that air on urban AC (and sometimes Hip-Hop) stations  Both shows are often heard on competing stations in the same city, such as St  Louis, Philadelphia and Atlanta  Joyner's show is syndicated by ABC Radio, and Harvey's show by Premiere Radio Networks 
Retro Rewind with Dave Harris is a weekend-based radio show highlighting a massive playlist of songs from the 1980s and 1990s, interviews, spotlights and contests  The show is done live across the US on Saturday nights, taking audience requests  The show is targeted towards HOT AC and AC radio stations 
The EZ Rock network is a brand/network of soft AC heard in Canada 
Heart - A radio network in the UK that grew throughout 2009 as more stations were rebranded as "Heart" 
Smooth Radio – A UK-wide radio network that formed from six regional Smooth Radio stations 
Smoothfm – A network of two Australian commercial radio stations (based in Sydney and Melbourne) that are focused on providing an eclectic easy-listening playlist, usually featuring ballads 
Nova – A network of five Australian commercial radio station (based in Sydney, Melbourne, Brisbane, Adelaide and Perth) that are very similar to Smoothfm 
The Breeze – A group of New Zealand adult contemporary radio stations owned by MediaWorks Radio  There are 20 stations currently broadcasting throughout New Zealand 
The Bob and Sheri Show – American morning drive show based in Charlotte, North Carolina  Heard on more than 50 AC stations and the American Forces NetworkFormer syndicated programming includes Dick Clark's US Music Survey (1996–2005), Casey's Hot 20/Casey's Countdown/American Top 20/10 (1992–2009) and Top 30 USA 

See also
Adult Contemporary, a chart appearing in Billboard since 1961  This chart is typically (but not exclusively) closer to soft AC 
New-age music
Yacht rock
Passage 4:
The One That Got Away (Katy Perry song)
"The One That Got Away" is a song by American singer-songwriter Katy Perry from her third studio album, Teenage Dream (2010)  The song was produced by Dr  Luke and Max Martin, both of whom also co-wrote the song with Perry  The song is a mid-tempo pop ballad about a lost love  It features a reference to the rock band Radiohead, and compares the strength of the relationship to that of Johnny Cash and June Carter Cash  The song was released on September 30, 2011, by Capitol Records as the album's sixth single 
"The One That Got Away" peaked at number three on the Billboard Hot 100, with Teenage Dream becoming the seventh album in the 53-year history of the Hot 100 to generate at least six top 10s  The single reached the top of the Billboard Hot Dance Club Songs, Adult Top 40, and Mainstream Top 40 charts 
The accompanying music video for the song was directed by Floria Sigismondi and premiered in November 2011, featuring actor Diego Luna  An official remix featuring rapper B o B was released to digital retailers on December 20, 2011  An official acoustic rendition was released to digital retailers on January 16, 2012, this version was included in Teenage Dream: The Complete Confection edition  The song has been covered by several artists, including Kelly Clarkson, Olivia Rodrigo and Conan Gray, Richard Marx, Jordan Pruitt, Selena Gomez & the Scene, and Tate McRae 

Release and artwork
On September 13, 2011, at the New York City's Irving Plaza, Capitol Records confirmed to Billboard that "The One That Got Away" would be the sixth single from Teenage Dream  Perry said in a statement from the label:

"I'm so pleased to select 'The One That Got Away' as my sixth single because this song shows a very different side of me that I haven't shown with my past singles on this record, I think that everyone can relate to this song  I wrote [it] about when you promise someone forever, but you end up not being able to follow through  It's a bittersweet story  Hopefully, the listener learns from hearing it and never has to say they had 'The One' get away "
Later that month, Perry wrote the following message on her Twitter account: "The One That Got Away    It's happening!!!", along with a picture of the official single artwork  The artwork shows a pink-haired Perry looking up at the sky while wearing a disc-shaped hat  The photo gives a whimsical nod to the 1970s, with its distinctively retro appearance  On September 30, the song received radio airplay release in France  Soon it was followed by the release of the song to American mainstream and rhythmic contemporary radio stations on October 11  The single was issued to Italian radios through EMI Music Publishing on October 28  On December 2, the remix EP of "The One That Got Away" was released  The remix featuring American rapper B o B was issued by Capitol Records to American pop and rhythmic radios on December 15, followed by a digital release of the song five days later  Acoustic rendition of the song was released on January 16, 2012 Capitol Records said that they are not specifically releasing the song in hopes of it reaching number one and rewriting Hot 100 history (since Perry was the first woman to obtain five number ones on the chart from one album), rather the decision came out of "Perry's fondness for the song, its ear-catching hook and her obvious track record of success at pop radio"  EMI Music/Capitol Records EVP/marketing and promotion Greg Thompson told Billboard that, "if it goes to No  1, that would be great, If not, we still have a Katy song on the radio in fourth quarter", presumably boosting sales for Teenage Dream in the Christmas season 

Composition and writing
Originally titled "In Another Life", the song was produced by Dr  Luke and Max Martin, both of whom co-wrote it with Perry  It is a midtempo pop song positioned on the piece of E major and has a tempo of 134 beats per minute  Joanna Holcombe from Yahoo! Music noted that the song is about first loves  Leah Greenblatt from Entertainment Weekly, said that the song is "a midtempo ode to a summer-after-high-school love with whom she recalls sharing Mustang makeout sessions to Radiohead'"  Michael Wood from Spin magazine said that the song is one of the album's quieter cuts and that it recalls "Perry's singer-songwriter days at L A 's Hotel Café"  The song follows the chord progression of E–G♯m–C♯m–A, and Perry's vocal range spans from B3 to E5  Kitty Empire noticed that Perry's vocal is wistful throughout the song and that the references to June Carter Cash and Johnny Cash were unexpected  Rob Sheffield from Rolling Stone stated that when Perry sings, 'I was June, and you were my Johnny Cash,' "it's understood that she's thinking of the scrubbed-up Hollywood version of June and Johnny, from Walk the Line " After death of actor Johnny Lewis, media outlets speculated that the song was about him  In 2017, the singer revealed that "The One That Got Away" was about Josh Groban 

Critical reception
The song received mostly positive reviews from critics 
Kerri Mason from Billboard described the song as "delectable", noting that it has more texture than anything on Perry's previous album, One of the Boys  Mikael Wood from Spin magazine said that although "Perry delivers the gurl-gone-wild stuff with requisite sass", she actually "sounds more engaged on 'Not Like the Movies,' and 'The One That Got Away'  Similarly, Kitty Empire from The Guardian praised the collaboration, stating that Perry and Luke are at their most appealing in the song  In a similar note, Rob Sheffield from Rolling Stone, stated that Perry is more at home with the mall romance of "The One That Got Away"  The same opinion was echoed by Greg Kot from Chicago Tribune who felt that Perry sounds more invested in the more "serious" songs on the album, such as "The One That Got Away"  However, he added that it's as if Perry is "determined to balance the summer frothiness with a few shots of 'adult' earnestness"  Leah Greenblatt from Entertainment Weekly was not satisfied with the selection of the song as the sixth single, noting that there are better songs on the album that could have been chosen instead  Robert Copsey of the website Digital Spy awarded the song with four out of five stars and said:

"'Summer after high school, when we first met/ We make out in your Mustang, to Radiohead,' Katy Perry reminisces on the opening of her latest, potentially record-breaking single  We've always known that she had a penchant for the alt-rock, but we wonder if KP's 18-year-old self ever thought she'd be substituting the sounds of Thom Yorke and co  for the sugar-coated melodies that have made her one of the best-known artists on the planet today? 'Used to steal our parents' liquor, and climb through the roof/ Talk about our future, like we had a clue,' she continues over a toe-tapping drum beat and delicate piano riff as she agonises over the loss of her one true love  'In another life, I would be your girl/ We'd keep all our promises/ Be us against the world,' she mourns on a chorus as instantly satisfying as a mugful of Kenco  Word of advice Katy, we'd keep this one well away from Russell if you want to avoid history repeating itself "

Chart performance
On the week ending October 16, 2011, the song debuted at number 94 on the Billboard Hot 100 
In its sixth week it entered the top 10, making Teenage Dream one of only seven albums in Billboard's 53-year history to have six singles enter the top 10  On the chart dated December 24, 2011, the single entered the top five, making Teenage Dream the third album to have six or more top-five singles from one album on the chart following Rhythm Nation 1814 by Janet Jackson and Faith by George Michael  On the charts dated January 7, 2012, helped by the release of the remix with B o B , the single topped the Hot Dance Club Songs chart, the seventh song on the album to do so, setting a new record in the chart  The same week, the song peaked at number three on the Hot 100, making it Perry's only Teenage Dream single to fail to reach number one  As of January 2015, the song has sold more than 2,750,000 copies in the United States alone "The One That Got Away" debuted at number 87 in Australia on the week ending October 10, 2011  before peaking at number 27  In New Zealand, the song debuted at number 40 and later peaked at number 12  It was certified gold by the Recording Industry Association of New Zealand (RIANZ) after selling 7,500 copies there 

Music video
Background
Perry started filming for the video on September 30, 2011  Filming ended on October 2, 2011  The video was shot at the Lima Residence, a contemporary home located in Calabasas, an affluent city in Los Angeles County, California  Mexican actor Diego Luna plays Perry's boyfriend in the video  Photos from the set surfaced online, showing Perry wearing a conservative long-sleeved dress as well as sporting gray hair and prosthetic face wrinkles  The video was directed by Floria Sigismondi, who previously directed the video for "E T " The music video premiered on November 11, 2011 On November 4, 2011, a teaser for the video was released, narrated by Stevie Nicks  Nicks provides the elderly woman's voice, speaking about the past and her desire to go back for one day  The video contains scenes of Katy Perry and her past boyfriend (Luna) fighting, intertwined with scenes of them in love  She is later shown as a nostalgic, elderly woman dressed conservatively and standing by a fence looking into the distance  A seven-minute extended version of the video was shown on November 11, 2011, exclusively at select advance screenings of the motion picture My Week with Marilyn  As of March 2021, the video has more than 900 million views on YouTube 

Synopsis
Released on November 11, 2011, the video begins with an elderly woman (Perry) in a white long-sleeved dress entering her modernistic home, returning from a meeting  After she walks past her husband (played by Herman Sinitzyn), he asks her “How was it?”, and she responds by simply saying “It was fine ”, hinting that the two are in a loveless marriage  While making herself a cup of coffee, the elderly woman, unhappy with her present situation, begins to think about her colorful past when the song begins: her younger self with her artist boyfriend (Luna)  As the song plays, the happy girl and the boyfriend paint portraits of each other, dress up wildly, dance at a stranger's wedding, and give each other a makeshift tattoo 

As the elderly woman sadly reminisces while sitting on her (and the husband's) fancy bedroom alone in a silk nightgown, her younger self and the boyfriend get into an argument which culminates in her splashing red paint on one of his elaborate paintings after he did the same to one of hers and he leaves angrily then drives away  The woman's younger self appears to her older self's bedroom with each on the bed as they both sing  The younger version is also shown in her older self's closet, crying and singing while the boyfriend is seen driving in a Ford Mustang to blow off steam from the fight  At the same time in the present, the older woman is shown driving out of her garage in a similar type of car as the boyfriend is driving in the flashback 
The boyfriend opens the sun visor above him while driving and finds the veil of the dress the younger version of Perry had worn at the wedding  He stares at the veil, hinting that he decides to make up with her  But he is too distracted by the veil and does not notice the large boulders on the road from a small rock slide  He swerves to avoid the rocks and accidentally drives off a cliff, dying in the subsequent crash without getting a chance to make up, while the woman's younger self collapses at the same time (possibly representing the death of her colorful personality)  The song ends abruptly as the sounds of the car violently rolling down the cliff are heard 
While Johnny Cash's cover of "You Are My Sunshine" plays quietly in the background, the woman's older self now sports a dark conservative long-sleeved dress and is revealed to have driven to that same spot where the boyfriend had died  She walks up to the edge of the cliff and leans against a fence when the boyfriend (either a ghost or a hallucination) appears before her on the other side of the fence  The two hold hands, revealing matching tattoos on their hands  When the older woman snaps back to reality, the Johnny Cash music stops suddenly and the boyfriend vanishes  Saddened, the elderly woman turns back and silently walks away from the cliff to return home as the screen fades to black 

Reception
Jillian Mapes of Billboard commented that the video was "beautifully-shot" and praised the interesting plot  A writer of Rolling Stone wrote: "It's a cute clip for a sweet song, but the heavy-handed aging makeup is hard to get over " Erin Strecker from Entertainment Weekly compared the video with Titanic (1997) and Rihanna's video for "We Found Love"  Strecker also noted that the video was more "tragic" than he was expecting from Perry  Jocelyn Vena of MTV News said: "Katy Perry's moody, contemplative clip for 'The One That Got Away' perfectly encapsulates both the joy of falling in love and the heartbreak of letting go  It travels through time and space and recalls the story of Perry's one that got away " Consequence of Sound's Chris Coplan called the video a "little more somber" than the videos Perry made for "E T " and "Last Friday Night (T G I F )" 

Other versions
A seven-minute director's cut version was shown exclusively at select advance screenings of the motion picture My Week with Marilyn on November 11, 2011  The extended version shows a more cinematic side to the plot of the original music video and includes never-before-seen footage, as well as extended dialogue between the characters 
On January 17, 2012, Electronic Arts announced that they would be teaming up with Perry to help promote their new expansion pack for The Sims game franchise called The Sims 3: Showtime, which sees the release of a limited collector's edition that contains in-game content based on herself  An official music video for "The One That Got Away" featuring Perry as a Sim was uploaded on EA's YouTube channel  The storyline shows a female Sim and a male Sim falling in love and getting married  One day, the male Sim collapses in the bathroom floor, he is taken to the hospital and then dies  His wife is then seen mourning at his funeral  Suddenly, she is transported "to another life", Katy Perry's Candyfornia featured in her "California Gurls" music video, where her love interest is still alive and well; they eventually reunite and kiss  It also features most of the in-game content that will be included for the collector's edition of The Sims 3: Showtime and in the stuff pack The Sims 3: Katy Perry's Sweet Treats  As of 2022, the video is reach 1 million views 

Live performances and other versions
"The One That Got Away" was part of the setlist of Perry's worldwide 2011 concert tour, California Dreams Tour  On October 16, 2011, Perry performed the song on the UK version of The X Factor  Perry performed the song at the American Music Awards on November 20, 2011  Her AMA 2011 performance was followed by a lengthy standing ovation, and presentation of a special award acknowledging Perry as the only female to have five number-one singles from the same album in the United States  Perry performed the song as part of a Live Lounge special for BBC Radio 1's Fearne Cotton on March 19, 2012, along with "Part of Me", "Firework", "Thinking of You" and a censored version of "Niggas in Paris" A remix featuring American rapper B o B was released in December 2011  B o B added two new verses, one at the beginning and another replacing the bridge of the album version of the song  The decision for Capitol Records to release a remix and reduce the price of the song to give Perry a sixth number-one song has been criticized by some, noting that this is not Perry's first time adding a featured guest to her single releases  The hit single "E T ", was modified with verses from Kanye West, while "Last Friday Night (T G I F )" was given a remix featuring Missy Elliott  However, Billboard, which compiles the charts, have issued multiple columns defending Perry and Capitol, underlining that they are operating under chart rules and that numerous other acts, such as Rihanna and Britney Spears, used the same tactics for charting purposes over the years  An acoustic version of the song, produced by Jon Brion, was released to the iTunes Store on January 16, 2012, garnering more favorable reviews, with critics noting that "The One That Got Away" sounds very naturally as a ballad  Perry's label, Capitol Records, sponsored a contest in January 2012 encouraging fans to record their own acoustic version of the song for a chance to have it featured on Perry's Facebook wall  The song was also included in the setlist of The Prismatic World Tour, in which it is interpolated with Perry's 2009 song "Thinking of You" 
A violin cover of the song by music student Grace Youn, which Youn had uploaded to YouTube in 2011, was used in the opening scene of Perry's 2012 documentary, Katy Perry: Part of Me  American Idol contestant Alyssa Raghu sang the song in front of Katy Perry on the Top 10 Reveal episode of Season 17 

Formats and track listings
Credits and personnel
Credits adapted from Teenage Dream album liner notes 

Charts
Certifications
Release history
See also
List of Billboard Dance Club Songs number ones of 2012
List of Billboard Hot 100 top-ten singles in 2012
Context 3: Passage 1:
Pythons (album)
Pythons is the second studio album by indie rock band Surfer Blood  It was released in June 2013 under Sire Records and produced by Gil Norton  Following the release of their EP, Tarot Classics, Surfer Blood had been writing songs whilst on tour  The first song to be written for the album is technically "Prom Song", as they have had the guitar parts for this song for a few years now  The album features all the qualities that define Surfer Blood's sound, but is stripped of its reverb and given a more polished production, as opposed to the production that took place in front-man John Paul Pitts' apartment  "Pixies" guitarist Joey Santiago lent the band equipment such as amplifiers and guitars during the album's production, as Norton is a close friend of his because he produced most of the Pixies discography 

Track listing
Personnel
John Paul Pitts - vocals, guitar
Thomas Fekete - guitar, vocals
Kevin Williams- bass, keyboards, vocals
Tyler Schwarz - drums
Gil Norton - producer
Dan Austin - engineer, programming
Brian Gardner - mastering
Rob Schnapf - mixing
Chris Szczech - mixing assistant
Brendan Dekora - assistant engineer
Jeff Sosnow - A&R
Alex Black - A&R
Julia Pitts - photography
Frank Maddocks - art direction, photography
Esteban Neumann - illustrations
Passage 2:
Waterfalls (album)
Waterfalls is a live album by American saxophonist and composer John Klemmer featuring studio enhanced live performances recorded in Los Angeles for the Impulse! label 

Reception
The Allmusic review by Scott Yanow awarded the album 4 stars stating it is "Worth investigating by open-eared listeners" 

Track listing
All compositions by John Klemmer"Prelude I" – 3:33
"Waterfalls" – 4:19
"Utopia: Man's Dream, Part 1" – 8:47
"Utopia: Man's Dream, Part 2" – 3:50
"There's Some Light Ahead" – 4:29
"Centrifugal Force" – 5:59
"Prelude II" – 4:02
"Waterfall II" – 6:08Recorded in performance at the Ash Grove in Los Angeles, California on June 17, 1972 and "enchanted" at The Village Recorder in Los Angeles on June 22, 1972

Personnel
John Klemmer – tenor saxophone, soprano saxophone, echoplex
Mike Nock – electric piano
Wilton Felder – electric bass
Eddie Marshall – drums
Victor Feldman – percussion
Diana Lee – vocals (tracks 3, 4 & 6)
Passage 3:
2 Horns / 2 Rhythm
2 Horns / 2 Rhythm is an album by American jazz trumpeter Kenny Dorham, featuring performances with Ernie Henry  It was recorded in 1957 and released on Riverside Records  This was Henry's last recording session 

Reception
The AllMusic review by Scott Yanow awarded the album four stars and stated "The sparse setting (unusual for a Dorham session) works quite well" 

Track listing
Recorded in New York City on November 13 (tracks 1–3, 5–7 & 9) and December 2 (tracks 4 & 8), 1957

Personnel
Kenny Dorham – trumpet, piano (track 3)
Ernie Henry – alto saxophone
Eddie Mathias (tracks 1–3, 5–7 & 9), Wilbur Ware (tracks 4 & 8) – bass
G T  Hogan – drums
Passage 4:
Crystal (Ahmad Jamal album)
Crystal is an album by American jazz pianist Ahmad Jamal featuring performances recorded in 1987 and released on the Atlantic label 

Critical reception
In an Allmusic review by Scott Yanow states "There are some magical moments on this quartet set    Jamal's control of dynamics and inventive use of space proved to be as effective as it had been when he first made his mark in the 1950s, although his chord voicings and general style had evolved  Jamal and his group perform ten of his originals with taste, swing and subtle surprises" 

Track listing
All compositions by Ahmad Jamal

"Quest for Light" – 4:48
"Arabesque" – 4:48
"Avo" – 7:04
"Piano Solo" – 1:57
"For My Daughter" – 3:34
"Perugia" – 3:57
"The Last Day" – 6:00
"Crystal" – 4:58
"Swahililand" – 4:08
"The Canteen" – 3:08

Personnel
Ahmad Jamal – piano
James Cammack – bass
David Bowler – drums
Willie White – percussion
Passage 5:
Plenty, Plenty Soul
Plenty, Plenty Soul is an album by American jazz vibraphonist Milt Jackson featuring performances recorded in 1957 and released on the Atlantic label 

Reception
The Allmusic review by Scott Yanow stated that "these all-star dates still sound fresh and enthusiastic decades later" 

Track listing
All compositions by Milt Jackson, except as indicated"Plenty, Plenty Soul" (Milt Jackson, Quincy Jones) - 9:33
"Boogity Boogity" (Jones) - 4:55
"Heartstrings" - 4:53
"Sermonette" (Cannonball Adderley) - 5:23
"The Spirit-Feel" - 4:22
"Ignunt Oil" - 5:35
"Blues at Twilight" (Jones) - 6:46Recorded in New York City on January 5 (tracks 4–7) and January 7 (tracks 1–3), 1957

Personnel
Milt Jackson – vibes
Joe Newman - trumpet
Jimmy Cleveland - trombone (tracks 1–3)
Cannonball Adderley - alto saxophone (tracks 1–3)
Frank Foster (tracks 1–3), Lucky Thompson (tracks 4–7) - tenor saxophone
Sahib Shihab - baritone saxophone (tracks 1–3)
Horace Silver - piano
Percy Heath (tracks 1–3), Oscar Pettiford (tracks 4–7) - bass
Art Blakey (tracks 1–3), Connie Kay (tracks 4––7) – drums
Quincy Jones - arranger (tracks 1–3)
Passage 6:
The Main Attraction (album)
The Main Attraction is an album by American jazz guitarist Grant Green featuring performances recorded in 1976 and released on the Kudu label 

Reception
The AllMusic review by Thom Jurek awarded the album two stars and stated "While it's true that this isn't one of Green's best records, it's not by any means his worst    Contrary to jazz critics' opinions, Green had nothing to be ashamed of on Main Attraction  If funky '70s soul-jazz is your thing, you won't go wrong with this one" 

Track listing
"The Main Attraction" (Don Grolnick, Steve Khan, Will Lee, David Matthews, Andy Newmark) - 19:35
"Future Feature" (Matthews) - 7:47
"Creature" (Grant Green) - 10:20Recorded at Rudy Van Gelder Studio, Englewood Cliffs, New Jersey in March 1976 with additional recording at A&R Studios, NYC

Personnel
Grant Green - guitar
Burt Collins, Jon Faddis - trumpet
Sam Burtis - trombone
Hubert Laws - flute
Michael Brecker, Joe Farrell - tenor saxophone
Ronnie Cuber - baritone saxophone
Don Grolnick - electric piano, clavinet
Steve Khan - rhythm guitar
Will Lee - electric bass
Andy Newmark - drums
Carlos Charles - conga, percussion
Sue Evans - percussion
Dave Matthews - arranger, conductor
Passage 7:
It's What's Happenin'
It's What's Happenin' (subtitled The Varitone Sound of Clark Terry) is an album by American jazz trumpeter Clark Terry featuring performances recorded in 1967 for the Impulse! label   Remastered in 2012 to commemorate the 50th anniversary of Impulse! Records, it was reissued together with Terry's only other record for the label as a solo leader, The Happy Horns of Clark Terry 

Reception
The Allmusic review by Richard S  Ginell awarded the album 3 stars stating "Not many will bother to recall that Clark Terry was the first trumpeter to make a recording with Selmer's Varitone attachment -- an electronic hookup to an amplifier that allowed a horn player to play octaves  Though the instrument quickly fell out of favor after a very brief vogue, it still produced an attractively soulful sound that was a good fit with Terry's jaunty, slurry, note-bending manner    there is nothing unmusically sensational about anything that happens here " 

Track listing
All compositions by Clark Terry except where noted 

"Electric Mumbles" - 3:51
"Secret Love" (Paul Francis Webster, Sammy Fain) - 6:15
"Take Me Back to Elkhart" - 7:11
"Take the "A" Train" (Billy Strayhorn) - 5:03
"Tee Pee Time" - 6:25
"Grand Canyon Suite" (Ferde Grofé) - 7:05

Personnel
Clark Terry - Varitone trumpet
Don Friedman - piano
George Duvivier - bass
Dave Bailey - drums
Passage 8:
Foolin' Myself
Foolin' Myself is an album of trio performances by the American jazz pianist Jaki Byard recorded in 1988 and released on the Italian Soul Note label 

Reception
The Allmusic review by Ken Dryden awarded the album 2+1⁄2 stars, stating "While the pianist's technique is impressive as always, his songs are not as strong as on many of his other releases" 

Track listing
All compositions by Jaki Byard except as indicated"Suite 27: Waterfalls, Highways, Skyways, Waterways" - 5:11
"Oslo to Kristiansund to Malmo" - 3:10
"Searchlight No  2" - 9:22
"Stage I / Stage II" - 4:17
"Breath" (Ralph Hamperian) - 8:27
"Foolin' Myself" (Jack Lawrence, Peter Tinturin) - 3:50
"Land of Love" - 6:36Recorded at Sound Ideas Studios in New York City on August 25, 1988

Personnel
Jaki Byard – piano
Ralph Hamperian - bass
Richard Allen - drums
Passage 9:
Three for Shepp
Three for Shepp is an album by American saxophonist Marion Brown featuring performances recorded in 1966 for the Impulse! label



ground_truth: Michael Bublé

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

Question: Who plays the wife of the producer of Here Comes the Boom in Grown Ups?

The following are given passages.
Context 2: Passage 1:
Grown Ups (film)
Grown Ups is a 2010 American comedy film directed by Dennis Dugan, written by Adam Sandler and Fred Wolf, produced by Sandler and Jack Giarraputo, and starring Sandler, Kevin James, Chris Rock, David Spade, Rob Schneider, Salma Hayek, Maria Bello, and Maya Rudolph  The film tells a story of five lifelong friends who won their junior high school basketball championship in 1978  They reunite three decades later for a 4th of July weekend after learning about the sudden death of their basketball coach 
Produced by Sandler's Happy Madison Productions in association with Relativity Media, Grown Ups was released in the United States on June 25, 2010, by Columbia Pictures  Despite receiving unfavorable reviews from critics, it grossed $272 million and led to a sequel, Grown Ups 2, in 2013 

Plot
In 1978, childhood friends Lenny Feder, Eric Lamonsoff, Kurt McKenzie, Marcus Higgins, and Rob Hilliard win their junior high basketball championship  They celebrate at a lake house with their coach Robert "Buzzer" Ferdinando 
Thirty years later in 2008, Lenny is a wealthy and successful Hollywood talent agent, married to fashion designer Roxanne and has three children: Greg, Keith, and Becky  Eric claims to co-own a lawn furniture company and has two children: Donna and Bean; his wife Sally still breastfeeds Bean  Kurt is a stay-at-home father, and has two children: Andre and Charlotte, his wife Deanne is pregnant with their third child, and her mother Ronzoni lives with them  Marcus is a slacker and lothario  Rob is married to his much older fourth wife Gloria 
When Buzzer dies, the five friends reunite for his funeral in their hometown with their families  Lenny rents the Earnshaw family's lake house for everyone to stay over Fourth of July weekend, though his family is leaving early to attend Roxanne's fashion show in Milan  He pushes his boys to play outside and runs into his childhood opponent Dickie, who claims Lenny's foot was out of bounds when he made the winning shot 
As the friends spread Buzzer's ashes, Rob breaks down over his failed marriages and reveals that he has invited his estranged daughters Jasmine, Amber, and Bridget to visit  The men play “arrow roulette”, shooting an arrow straight into the air, and Rob wins by not running for cover, but the arrow impales his left foot, causing him to 'snap' at Gloria from the pain  
Lenny is thrilled to find the kids playing with cup-and-string telephones  Realizing the positive impact the weekend is having on their children, Roxanne tells Lenny to cancel their Milan trip and stay at the lake instead 
Everyone visits Water Wizz where Marcus flirts with Jasmine and Amber after buying them skimpy bikinis, and Eric teaches Bean to drink cow's milk  The families cause chaos throughout the park: the wives attract a bodybuilder, then jeer at his high-pitched Canadian accent; Rob assaults a slide attendant when he insults Bridget, and Eric ignores Donna's warning about a chemical in the pool that turns urine blue  At the zipline attraction, Lenny's group meets up with Dickie, accompanied by his former teammates  One of them, Wiley, is severely injured after crashing into a shed while sliding down the zipline using his feet 
The next day, Rob attacks Marcus, mistakenly believing that he slept with Jasmine, and Marcus admits to feeling insecure compared to his happily married friends  Everyone comes clean about the state of their lives: Roxanne confronts Lenny for canceling their flight to Milan before they left home, and he explains he wanted their family to have a normal vacation and to rein in his children's respectful attitudes; Deanne confronts Kurt for spending time with the Feders' nanny Rita, but Kurt retaliates by pointing out how she under-appreciates him; Eric reveals that he was laid off from his job, and was showing off the whole time so the others wouldn't humiliate him; Rob admits what everybody already knows – that he wears a toupee  Gloria helps everyone reconcile, and Lenny and Kurt offer to help Eric start a new business 
On their last day at the lake house, Lenny and his friends agree to a rematch against Dickie, Robideaux, Muzby, Tardio, and Malcolm  The game culminates in Lenny and Greg facing Dickie and his son, but Lenny misses the game-deciding shot  As the families watch the Fourth of July fireworks, Lenny tells Roxanne that he let Dickie's family win to get him off his case, and felt that his own family needed to know what losing feels like  A drunken Marcus plays another game of arrow roulette, and the crowd flees in panic  Trapped in a full-body cast, Wiley is struck in the foot by the arrow 

Cast
Production
Sandler, Rock, Schneider, and Spade met when they all joined the cast of Saturday Night Live in the 1990–1991 season; supporting cast members Colin Quinn, Rudolph, Tim Meadows, and Norm Macdonald have also been SNL cast members 
Filming commenced in Essex County, Massachusetts, in August 2009  Chebacco Lake was used to portray the fictional Amoskeag Lake where the Earnshaw family's lake house setting was  Woodman's of Essex was used for the restaurant "Woodman's Eat in the Rough  Water Wizz was also used for the water park scene 

Release
Box office
Grown Ups grossed $162 million in the United States and $110 2 million in other territories for a worldwide gross of $272 2 million against a production budget of $75 million  Grown Ups surpassed Click to become Sandler's highest-grossing film worldwide  Happy with the gross, Adam Sandler showed his appreciation by buying brand-new Maserati sports cars for his four co-stars 

Critical response
On Rotten Tomatoes, Grown Ups has an approval rating of 10% based on 169 reviews and an average rating of 3 5/10  The site's critical consensus reads, "Grown Ups' cast of comedy vets is amiable, but they're let down by flat direction and the scattershot, lowbrow humor of a stunted script " On Metacritic, the film has a score of 30 out of 100 based on 32 reviews, indicating "generally unfavorable reviews"  Audiences polled by CinemaScore gave the film an average grade of "B" on an A+ to F scale Connie Ogle of the Miami Herald referred to it as "the perfect poster child for this maddening summer of movie mediocrity " Rick Groen of The Globe and Mail criticized what he saw as blatant commercialism, saying the cast "lob[bed] gags they surely disdain at an audience they probably despise while reserving their own laughter for that off-camera dash all the way to the bank " Richard Roeper went as far as to say that it was "a blight upon the bright canvas of American cinema", and that he hated it  Tom Long of the Detroit News called it "trite comedy" and "total garbage " On the other end of the spectrum, Lisa Kennedy of the Denver Post called it "crude and decent-hearted" and "easy, breezy, predictable "

Awards
Rob Schneider was nominated for a Razzie Award for Worst Supporting Actor for the film, but lost to Jackson Rathbone for both The Last Airbender and The Twilight Saga: Eclipse The film won at the 2011 MTV Movie Awards for the "Best Line from a Movie" category, which it won for the line "I want to get chocolate wasted!", delivered by Becky, played by Alexys Nycole Sanchez 

Home media
Grown Ups was released on DVD and Blu-ray Disc on November 9, 2010 

Sequel
A sequel, titled Grown Ups 2, was released on July 12, 2013  Dennis Dugan, the director of the first film, returned as director  The main cast, including Adam Sandler, Kevin James, Chris Rock, David Spade, Salma Hayek, Maya Rudolph, Maria Bello and Steve Buscemi reprised their roles, except Rob Schneider  New cast includes Andy Samberg, Taylor Lautner and Patrick Schwarzenegger  The sequel follows Lenny Feder as he relocates his family back to the small town where he and his friends grew up   Like its predecessor, Grown Ups 2 received very poor reviews but was still a box office hit 
Passage 2:
Nanny McPhee and the Big Bang
Nanny McPhee and the Big Bang (released in the United States and Canada as Nanny McPhee Returns) is a 2010 period fantasy comedy film directed by Susanna White, produced by Tim Bevan, Eric Fellner and Lindsay Doran with music by James Newton Howard and co-produced by StudioCanal, Relativity Media, Working Title Films and Three Strange Angels  It is a sequel to the 2005 film Nanny McPhee  It was adapted by Emma Thompson from Christianna Brand's Nurse Matilda books  Thompson reprises her role as Nanny McPhee, and the film also stars Maggie Gyllenhaal, Ralph Fiennes, Rhys Ifans, Ewan McGregor, Asa Butterfield and Maggie Smith  The film was theatrically released on 20 August 2010 by Universal Pictures 
The film received positive reviews from critics and it earned $93 2 million on a $35 million budget  It also received a Young Artist Award nomination for Best Performance in a Feature Film  The film was released on DVD and Blu-ray in the UK on 19 June 2010 

Plot
Isabel Green is driven to her wit's end by her hectic life while her husband Rory fights in World War II  Between trying to keep the family farm up and running and her job in the village shop, run by the slightly mad Mrs  Docherty, she also has three boisterous children to look after, Norman, Megsie and Vincent  When her children's two wealthy, but pompous and snobby city cousins, Cyril and Celia, are evacuated to live with them in the countryside, they start fighting with them, only adding to Isabel's problems 
When the magical Nanny McPhee arrives to help, the children at first do not listen and carry on fighting, which she soon puts a stop to with her magic  Meanwhile, Isabel's brother-in-law Phil has gambled away his half of the farm, and is being chased by two hired female assassins working for casino owner Mrs  Biggles  He desperately attempts to make Isabel sell her half of the farm, using mean and spiteful schemes to leave her no choice; one of the schemes, setting loose a litter of piglets to be sold to a neighbouring farmer, is discovered by the children, leading them to bond as they work together to fix it  Isabel takes everyone on a picnic as a show of thanks, during which Mrs  Docherty's ARP Warden husband warns them about bombs and relates how he imagines a pilot might accidentally release one, and Phil subsequently delivers a telegram saying Rory was killed in action  Everyone believes the news except Norman, who is sure his father is alive because he "can feel it in [his] bones"  He tells this to Cyril, who at first thinks he is just upset, but then agrees that Norman might be right; the two convince Nanny McPhee to take them to the War Office in London, where Cyril and Celia's father Lord Gray holds an important position, believing he will know the truth 
At first Lord Gray sneers at Norman's disbelief at his father's death, but after Cyril reveals that he knows he is divorcing their mother and blasts him for his neglect as a parent, Lord Gray investigates what has happened  While he is gone, Norman asks Cyril where he will live following the divorce; upon learning he rarely sees either of his parents, he says that he and Celia are welcome to live permanently with the Greens  Lord Gray returns and tells Norman that his father is merely missing in action, and that there is no record of a telegram being sent to his mother  After the boys leave, Norman deduces that Phil forged the telegram 
While the older boys are at the War Office, Megsie, Celia and Vincent try to stop Isabel from signing Phil's papers and selling the farm by creating distractions such as pretending that a mouse was in the kitchen  Just as she is about to finally do so, a German pilot accidentally drops a huge bomb on the Greens' barley field; it does not explode, but the fallout is strong enough to cover Phil's papers with ink  When Nanny McPhee, Norman and Cyril return, Phil admits to Norman's accusation of forgery and is handcuffed to the stove by Isabel  The children go out to watch Mr  Docherty defuse the bomb, but when he faints, Megsie takes over, succeeding with the help of the other children and Nanny McPhee's jackdaw friend Mr  Edelweiss  Nanny McPhee helps to harvest the barley with a little magic, saving Phil from Mrs  Biggles' hitwomen in the process  While everyone celebrates, Mrs  Docherty is revealed to be baby Agatha from the first film and to remember Nanny McPhee, who has been staying with her  As Nanny McPhee walks away from the now-happy Isabel and the children, they chase after her, only to see Rory, with an injured arm, making his way back to them  He runs to his family and they embrace 
In a mid-credits scene, Ellie, an elephant conjured by Nanny McPhee to share Vincent's bed, is seen enjoying the magically operated Scratch-o-matic invented for the piglets 

Cast
Emma Thompson as Nanny McPhee, the  nanny who changes the lives of the Green and Gray children 
Maggie Gyllenhaal as Isabel Green (née Carrington), the frazzled mother of Norman, Megsie and Vincent 
Rhys Ifans as Phil Green, Norman, Megsie and Vincent's uncle, Rory's brother and Isabel's brother-in-law, who tries to sell the farm because he gambled it away at a casino 
Asa Butterfield as Norman Green, the eldest of the Green children 
Lil Woods as Megan “Megsie” Green, the middle and only girl of the Green children 
Oscar Steer as Vincent Green, the youngest of the Green children 
Eros Vlahos as Cyril Gray, the spoiled cousin of Norman, Megsie and Vincent  He becomes kinder throughout the film and makes friends with Norman 
Rosie Taylor-Ritson as Celia Gray, the other spoiled cousin of Norman, Megsie and Vincent  She also becomes kinder throughout the film and makes friends with Megsie 
Maggie Smith as Agatha Rose Docherty (née Brown), the owner of the shop at which Mrs  Green works  She's baby Aggie from the first film grown up 
Ewan McGregor as Rory Green, Isabel's husband, Phil's brother and the father of the Greens, away fighting in World War II 
Ralph Fiennes as Lord Gray, Cyril and Celia's father, a General very high up in the War Office 
Sam Kelly as Mr  Algernon Docherty, Mrs  Docherty's husband, who's an ARP (Air Raid Precautions) Warden 
Sinead Matthews as Miss Topsey, a henchwoman of Mrs  Biggles, the woman who owns the casino at which Phil gambled the farm away 
Katy Brand as Miss Turvey, the colleague of Miss Topsey 
Bill Bailey as Farmer MacReadie, the farmer who buys the piglets from the Greens 
Nonso Anozie as Sergeant Ralph Jeffreys - the guard at the War Office, and a former charge of Nanny McPhee 
Daniel Mays as Blenkinsop - Cyril and Celia's chauffeur 
Ed Stoppard as Lieutenant Addis, a coworker of Lord Gray 
Toby Sedgwick as an enemy plane pilot 

Production
Filming locations
The village in the film is Hambleden in Buckinghamshire, the farm set and scenes were filmed in Hascombe, near Godalming in Surrey and the War Office scenes, both interior and exterior, were filmed at the University of London, and the motorbike scenes on various London roads Dunsfold Aerodrome, the location of Top Gear, name Nanny McPhee and the Big Bang as being filmed there, with more filming taking place at Shepperton Studios 

Release
Theatrical
Nanny McPhee and the Big Bang was theatrically released on 20 August 2010 by Universal Pictures (2 April 2010 in the UK) 

Home media
The film was released on DVD and Blu-ray in the UK on 19 June 2010  Nanny McPhee Returns, as the film was renamed for the North American market, was released on DVD and Blu-ray on 14 December 2010 

Other media
Emma Thomson wrote a novelization of the movie  Thomson narrated its audiobook and included a behind-the-scenes diary  Thomson won the Audie Award for Narration by the Author and was nominated for an Audie Award for Middle Grade Title and a Grammy Award for Best Spoken Word Album for Children for her narration

Reception
Critical response
Critical response for the film was positive  Review aggregation website Rotten Tomatoes gave the film a rating of 75% based on 121 reviews  The site's critic consensus reads: "Emma Thompson's second labor of love with the Nanny McPhee character actually improves on the first, delivering charming family fare with an excellent cast " Metacritic calculated an average score of 52 out of 100 based on 25 reviews, indicating "mixed or average reviews"  Audiences polled by CinemaScore gave the film an average grade of "A-" on an A+ to F scale  The Independent also gave a favourable review, with praise given to the actors and Thompson's script "

Box office
In the UK, the film opened at number one, with £2,586,760, outperforming new release The Blind Side, grossing a total of £16,211,057  In the United States and Canada, it debuted in seventh position with a $8 4 million  Gross exceeded $27 million 

Awards
Cancelled sequel
A third film, to be set in 21st-century England, was planned, but the sequel did not meet studio expectations and plans for any future films were cancelled 
Passage 3:
Here Comes the Boom
Here Comes the Boom is a 2012 American sports comedy film directed by Frank Coraci, co-written, produced by, and starring Kevin James as a biology teacher who attempts to save his school's music program by becoming an MMA fighter  It was also written by Allan Loeb with music by Rupert Gregson-Williams  The film co-stars Henry Winkler and Salma Hayek  It was produced by Happy Madison Productions  The film was released in the United States on October 12, 2012, by Columbia Pictures  The film's title is taken from the song "Boom" by Christian nu-metal band P O D 

Plot
Former Division I collegiate wrestler Scott Voss is a 42-year-old bored and disillusioned biology teacher at the failing Wilkinson High School  Budget cutbacks at the school jeopardize the continuation of its music program, which would result in its teacher, Marty Streb, being laid off  Concerned for both his colleague and his students, Scott attempts to raise the $48,000 necessary to keep the music program  He moonlights as a night instructor for an adult citizenship class, where student Niko requests outside tutoring  When Scott arrives at Niko's apartment, he learns that Niko is a former MMA fighter  While watching the UFC at Niko's apartment, Scott learns that the loser of a fight receives $10,000, which gives him the idea of raising the money by fighting and losing in MMA 
Scott, helped by Niko and Marty, begins with small unsanctioned bouts paying only $750 to the loser  Niko begins training him in defense, later adding trainer Mark to teach offense, after Scott knocks out opponent "Lucky" Patrick Murray and realizes that wins give larger payouts, needing fewer fights to achieve his goal  While Marty trains with Scott, Malia De La Cruz, one of Scott's students and a band member, helps Niko study for his citizenship test by putting the information into songs  Scott then begins fighting in small MMA fights and gradually gains greater amounts of money for the school 
Scott has been pursuing the school nurse, Bella Flores, and they share moments flirting with each other, while also rekindling Scott's passion for teaching  He begins to engage the class and earns the respect of his students  Scott is within $6,000 of his goal when Mark tells him that Niko turned down a sanctioned UFC fight offered by Joe Rogan, with the certainty of earning $10,000 for a loss  Scott confronts Niko, who apologizes and admits he turned it down because he was jealous as he was once asked to fight at the UFC but suffered a neck injury while training, ending his career  Scott and Niko accept the offer, and they travel to the MGM Grand Las Vegas for the fight  The night he arrives, Bella calls Scott to tell him that the school's vice principal Robert Elkins has been arrested for embezzling from the school, including Scott's winnings  All Scott's efforts have been in vain, and he decides he must win the fight and the $50,000 
The publicity of Scott's rise to fame has grown, and the school's band appears in the stands to play his theme song, "Holly Holy" by Neil Diamond, thanks to Bella contacting Rogan  During the fight, Marty reminds the losing Scott that even if he does not win, he has inspired the students, which is their real purpose as teachers  Scott has no answer to his dangerous opponent Ken Dietrich, who is angered that his original opponent canceled and that he is stuck with a man that "does not deserve" to be fighting at the UFC  Scott struggles to survive the first two rounds, but after finding inspiration from the students, he manages to win in the third and final round of the fight, earning $50,000 and Dietrich's respect  Scott and Bella kiss through the chain link fence of the ring 
In the closing scene, the music program is saved, the school is operating on a normal budget thanks to Scott's donation and Niko and all of the students in Scott's citizenship class attend their American citizenship ceremony 

Cast
Production
Filming began on March 28, 2011, in and around the Boston, Massachusetts, area  Filming continued on through May 25, 2011, in Lowell and Quincy, Massachusetts, where it wrapped shortly thereafter, by early June 2011 

Music
"Holly Holy" – versions by Neil Diamond and Charice are heard in the film
"Bouncing off the Ceiling (Upside Down)" by A-Teens
"Joker & the Thief" by Wolfmother
"Optimus Bellum Domitor" by Sak, Williams and Welch
"Boom" by P O D 
"Spank" by Jimmy "Bo" Horne
"James Brown Is Dead" by L A  Style
"New Noise" by Refused
"Holly Holy" by Neil Diamond
"Faithfully" by Journey
"Holly Holy (NSFW Remix)" by Neil Diamond ft  UltraLove
"Pictures" by Joseph Anderson
"I Stand Alone" by Godsmack
"Doin' It Right (Delta Mix)" by Steve Azar

Release
DVD was released in Region 1 in the United States on February 5, 2013, and also Region 2 in the United Kingdom on 18 March 2013, it was distributed by Sony Pictures Home Entertainment 

Reception
Box office
In its opening weekend, the movie earned $11 8 million in the domestic box office and ended its box office run with $73 million worldwide 

Critical reception
On Rotten Tomatoes, the film holds a rating of 42% based on 98 reviews, and an average rating of 5/10  The website's consensus reads, "Here Comes the Boom benefits from Kevin James's genial presence, but the film doesn't deliver enough laughs to live up to its title – or enough satisfying plot to make up the difference " On Metacritic the film has a score of 40 out of 100, based on reviews from 26 critics, indicating "mixed or average reviews"  Audiences surveyed by CinemaScore gave the film an average grade of "A" on an A+ to F scale USA Today's Scott Bowles says the film "telegraphs every punch     but when the comedy connects, it can deliver with funny force"  He says, "The film suffers from too many side stories, but it does a nice job capturing the heavyweight battles of everyday folk " 
Michael Phillips of the Chicago Tribune writes: "Once it gets going and commits to its time-worn inspirational formula, it's not half-bad " Neil Genzlinger of The New York Times wrote: "If you can choke down the implausible notion that the doughy Kevin James would last more than five seconds in a mixed martial arts ring, Here Comes the Boom is a moderately enjoyable, nontaxing sort of comedy "John Anderson of Variety magazine wrote: "Hands of stone meet heads of air in Here Comes the Boom, a sports story so daffy it may as well star Kevin James " He called the film "a triumph of recycling" comparing it to Rocky  Anderson is critical of the different clashing tones of the film, but calls the characters likable, and writes the "violence adds a frisson of tension to the pic’s mix of grappling, romance and anemic social critique "Entertainment Weekly's Lisa Schwarzbaum called it "A cloddish, harmlessly drecky comedy from the Sandler factory of crude mush "
Nathan Rabin of The A V  Club wrote: "Here Comes The Boom seems to have made it from the pitch stage - Kevin James does MMA to save his school or something! - to the big screen without an iota of inspiration, ambition, or personality seeping in at any juncture "
Marc Savlov of the Austin Chronicle wrote: ""Here Comes the Bomb" would've been a more fitting title, but props to Henry Winkler for rising to the occasion and turning in a sweet, idealistic performance in a film that otherwise feels like a tawdry commercial for the UFC and MMA "

Awards and nominations
Here Comes the Boom was chosen as one of ten best films for family audiences by the 21st Annual Movieguide Awards on February 15, 2013 
Passage 4:
Sau Crore
Sau Crore (lit  'Hundred crores') is a 1991 Indian film starring, produced and directed by Dev Anand  It also debuts newcomers Fatima Sheikh and Raman Kapoor  The movie is based on the story of Indian Badminton Player Syed Modi, who was shot dead on 28 July 1988 in Lucknow as he came out of the K  D  Singh Babu Stadium after a practice session  The murder sent shock waves through India, especially after the police filed murder charges against Modi's wife Ameeta Modi and her lover (and future husband) Raja Sanjay Singh of Amethi, who was a prominent politician belonging to the Congress Party  The role of Syed Modi was played by Raman Kapoor and the politician was played by (Naseeruddin Shah) 

Plot
After her husband Raj (Raman Kapoor) is murdered, Kamlesh (Fatima Sheikh) receives a shock and doesn't speak for days  The cause of this is that she indeed witnessed her husband's murder  But who did murder Raj? Was it really the politician Somnath (Naseeruddin Shah) who fell in love with Kamlesh and wanted to marry her? Was it a plot created by Somnath's rival candidate Mohanbhai (Anupam Kher) to win the elections? Or was it Kamlesh herself who wanted to leave Raj and run off with Somnath? It's up to CBI Inspector Kumar (Dev Anand) to find out 

Music
Lyrics: Suraj Sanim

External links
Sau Crore at IMDb
Passage 5:
Galate Samsara
Galate Samsara (transl  Chaotic family) is a 1977 Indian Kannada language comedy film directed by C  V  Rajendran and produced by C  Jayaram  It stars Dr Vishnuvardhan, Rajinikanth and Manjula in the lead roles  It also stars Dwarakish, Dr  K S Ashwath, Balakrishna and Vajramuni in supporting roles  The movie is a remake of Tamil movie Veettuku Veedu which was based on the play Thikku Theriyatha Veettil which in turn was an adaptation of the English comedy play Right Bed Wrong Husband  The Marathi adaptation of the same English play titled Pati Sagle Uchapati was adapted into a Kannada titled Housefull  Further, the Marathi play was also adapted in Hindi as All The Best which was remade in Malayalam as Best of Luck which in turn went on to be remade in Kannada as Ond Chance Kodi 

Plot
Vasudevan (Dr Vishnuvardhan) is rich businessman Kadikalingam's son  Vasu is fearful of his father, because Kadikalingam is a very strict man  He works at his father's company as General Manager  He is in love with a young bold woman Malathy  But Kadikalingam strictly opposes this love, so Vasu leaves his home and registers for marriage to Malathy  The couple is tenant to Kala's house  She is Malathy's close friend and her husband is Balu (Rajinikanth)  He has a close relationship with another woman Prameela, who is a stage dancer  Kala feels unhappy about her married life  Balu has been avoiding Kala lately since his infidelity with Prameela  Balu is physically abusive towards his wife  Malathy warns Balu to stay away from Prameela and to be sincere to his wife  Balu signs the divorce papers and leaves his wife and starts staying at his girlfriends house 
Meanwhile, Balu's paternal uncle died in an accident and had named him as the next in kin in the will  They intend laying their hand on 2 lakhs cash  In a moment of crisis, Malathy is forced to make her husband Vasu pose as Kala's husband Balu  Pattusamy is manager Paramanandham's son, who works as a music teacher  Pattusamy and Paramanandham come to Kala's house and spend a week with her at her home  Pattusamy falls in love with Malathy  He tries to impress her  Pattusamy is always standing in front of Malathy's room watching her 
Prameela finds a richer businessman than Balu and kicks him out  Balu who sees Vasu and Kala's photo published in a newspaper for a soap company advertisement, goes home and argues with Vasu and Malathy  Then Malathy briefly explains the house's situation  Balu claims to hear the truth and also joins the drama 
Next day, Balu introduces himself to Paramanandham as Ramesh, Malathy's brother from Sri Lanka  Pattusamy closely watches the house and the peoples' activities because he thinks there is something fishy with the members of the house  He tells his suspicion to his father, but Paramandham does not believe his son  Unfortunately, Kadigalingam reaches Vasu's rented house and calls Kala for our home  Then, Kala and Malathy was explained the truth and Kadikalingam understood Malathy is his daughter-in-law's and mistress of Vasu  Pattusamy and his father hear the news  They are explained the crisis situation and then Paramandham gives the cash into Kala and Balu's hands  Finally Malathy succeeds in her plan and Pattusamy was asked to apologize to Malathy 

Cast
Dr  Vishnuvardhan as Vasudev Rao
Manjula as Janaki - Janu
Rajinikanth as Balu
Shubha as Kaveri
Halam
Baby Rekha as Prameela
Balakrishna
Dwarakish
K  S  Ashwath
Vajramuni

Soundtrack
Passage 6:
Greetings from the Shore
Greetings From The Shore is a 2007 American coming-of-age romantic comedy film directed by Greg Chwerchak  The movie has played over 60 festivals, winning over 20 awards  It had its American theatrical release on September 12, 2008, on a limited basis The film is set (and was shot) on the New Jersey shore, mainly in Lavallette 

Plot
Still reeling from the death of her father, a young girl spends one last summer at the Jersey Shore before heading off to college  But when her plans fall apart, the girl stumbles into a mysterious world of Russian sailors, high-stakes gambling, and unexpected love 

Cast
Kim Shaw as Jenny Chambers
Paul Sorvino as Catch Turner
David Fumero as Benicio Aceveda
Jay O  Sanders as Commodore Callaghan
Andrew Shaifer as Flip Dooley
Lars Arentz-Hansen as Lars Ramkildestrom
Gideon Emery as Sasha Mientkiewicz
Ron Geren as Christos Zazavich
Cristin Milioti as Didi
Alexander Cendese as Owen Callaghan

Reception
Critical response
When the film was released Neil Genzlinger, the film critic of The New York Times, was critical of the actors experience, writing, "The problem with having a big-name actor in your small film is that he tends to underscore the inexperience of some of your other stars  That’s the effect Paul Sorvino has in Greetings From the Shore, a watchable-enough summer-at-the-beach tale billed as Gabrielle Berberich’s first feature as writer and producer   until Mr  Sorvino, a real actor and a good one, shows up  He plays a down-on-his-luck fisherman who takes the girl under his wing, and he makes Ms  Shaw and some of the other cast members look like amateurs  The director, Greg Chwerchak (who also gets a writing credit), doesn’t help; he allows several secondary characters to become thudding clichés, trampling the delicate story "Film critics Frederic and Mary Ann Brussat of the web based Spirituality & Practice, discussed the basic theme of the film, "Jenny's summer teaches her to go with the flow when her life plan is upset  She also learns that the universe is set up in such a felicitous way that when a door closes, a window opens "Critic David Hiltbrand liked the film, writing, "It's a formulaic and familiar plot, the Jersey girl version of The Flamingo Kid  But it unfolds smoothly, thanks to Greg Chwerchak's focused direction  And the water down on Barnegat Inlet Island looks oddly idyllic on film  Greetings From the Shore is well-acted, including by newcomer Shaw, who has an appealing, wide-eyed innocence reminiscent of a young Meg Ryan  This is a two-hankie weeper that doesn't really earn its tears  But it's a sweet little movie nonetheless "

Awards
Wins

Bare Bones International Film Festival, 2008 - Won, Festival Recognition: Instrumental Score - Jim Latham
Columbus International Film & Video Festival, 2007 - Won, Bronze Plaque Award: Entertainment - Greg Chwerchak
Great Lakes Film Festival, 2007 - Won, Grand Jury Prize: Best Narrative Feature; Best of the Fest; Best Director - Greg Chwerchak; Best Lead Actress - Kim Shaw
Red Rock Film Festival, 2007 - Won, Audience Award: Best Narrative Feature - Gabrielle Berberich, Greg Chwerchak
Wild Rose Independent Film Festival, 2007 - Won, WRIFF Award: Best Acting Ensemble, Best Screenplay, Best Feature, Best Director of a Feature, Certificate of Distinctive Achievement: Best Sound, Best Cinematography/Videography, Best Actress, Best Actor, Best Editing
Fargo Film Festival, 2008 - Won, Best Narrative Feature, Best Screenplay - Gabrielle Berberich, Greg Chwerchak
Garden State Film Festival, 2008 - Won, Audience Award: Pick of the Flicks; Home Grown Award: Best Feature - Gabrielle Berberich, Greg Chwerchak
George Lindsey UNA Film Festival, 2008 - Won, Honorable Mention: Professional Full-Length Feature
Tupelo Film Festival, 2008 - 2nd Place, Festival Prize: Best Feature - Gabrielle Berberich, Greg Chwerchak
WorldFest-Houston International Film Festival, 2008 - Won, Special Jury Award: Best Feature - Gabrielle Berberich, Greg Chwerchak
Passage 7:
Sylvia Fine
Sylvia Fine Kaye (August 29, 1913 – October 28, 1991) was an American lyricist, composer, and producer  Many of her compositions and productions were performed by her husband, comedian Danny Kaye  Fine was a Peabody Award-winner and was nominated for two Academy Awards and two Emmys during her career  She won an Emmy award in 1976 for children's special 

Early life
Sylvia Fine was born in Brooklyn, New York, the youngest of three children of a Jewish dentist, and raised in East New York  She attended Thomas Jefferson High School and studied music at Brooklyn College, where she wrote the music for the school's alma mater, with lyrics from the poet Robert Friend 

Career and Danny Kaye
She was working as an audition pianist when she met Danny Kaye; both were working on a short-lived Broadway show, The Straw Hat Revue  Fine wrote the lyrics and music for the show  Although the pair had never met before, they discovered some things in common   They were both born in Brooklyn, and Kaye had once worked for Fine's father, watching his office while the dentist went to lunch  Dr  Fine had fired his future son-in-law for doing woodworking with his dental drills He proposed on the telephone while working in Florida; Fine was in New York  She made the trip to Fort Lauderdale where they were married on January 3, 1940 She took a direct role in managing her husband's career and wrote many of his songs for him, both in film and recordings   Those for the film The Court Jester were co-written with Sammy Cahn  She was an associate producer of some of the films  Fine received a Peabody Award in 1980, and during her career she was also nominated for two Oscars and two Emmys  She began working in television production with her husband's 1960s television shows The New York Times reported, "In the 1970s, [Fine] embarked on a separate career as a television producer and teacher  She began teaching musical comedy at the University of Southern California in 1971 and at Yale in 1975  She produced and narrated the course as a 90-minute PBS program Musical Comedy Tonight (eventually a three-part series), earning her a Peabody Award in 1979 In 1975 she was executive producer for the television special "Danny Kaye: Look in at the Metropolitan opera "She produced and edited Assignment Children, a UNICEF film that starred her husband  In the last three years of her life, she had been writing a book about her life with Kaye, Fine and Danny, for Knopf Books 

Personal life
Fine and Kaye had a daughter, Dena (born December 17, 1946)  They separated in September 1947, attributing the separation to "two people working very hard " They reunited seven months later, and remained married until his death in 1987 
In 1992, her daughter Dena Kaye was quoted in a newspaper article, recalling Fine's advice to her and the influence it had in her life  Both Fine and Kaye were determined not to influence their daughter's choices as she grew up  In a 1954 interview, Kaye stated that "Whatever she (Dena) wants to be she will be without interference from her mother nor from me " Dena grew up to become a journalist 

Death
Sylvia Fine Kaye died of emphysema at the age of 78 in her Manhattan apartment in 1991  She is buried with her husband at Kensico Cemetery in Valhalla, New York 

Legacy
The careers of Fine and Kaye are documented in The Danny Kaye and Sylvia Fine Collection at the Library of Congress  The materials preserved in the collection include manuscripts, scores, scripts, photographs, sound recordings, and video clips 

Selected list of Sylvia Fine songs
"Anatole of Paris" from The Secret Life of Walter Mitty (1947)
"The Inspector General" and "Happy Times" (Johnny Green, Sylvia Fine) from The Inspector General (1949)
"The Moon Is Blue" (Herschel Burke Gilbert, Sylvia Fine) from The Moon Is Blue (1953) - Oscar nominee, Best Original Song
"Knock on Wood" from Knock on Wood (1954)
"(You'll Never) Outfox the Fox" (Sammy Cahn, Sylvia Fine) from The Court Jester (1956)
"The Five Pennies" from The Five Pennies (1959) - Oscar nominee, Best Original Song 
"Lullaby in Ragtime," also from The Five Pennies
Passage 8:
Marius Weyers
Marius Weyers (born 3 February 1945, in Johannesburg) is a South African actor  He lives with his wife Yvette, an artist in her own right, in Rooi-Els in the Western Cape  He received international attention playing Andrew Steyn, a bumbling scientist in the movie The Gods Must Be Crazy (1980)  He appeared in Blood Diamond (2006) 

Selected filmography
1967 Love Nights in the Taiga as Markjoff
1974 No Gold for a Dead Diver as Rene Chagrin
1977 Target of an Assassin as Colonel Pahler
1980 The Gods Must Be Crazy as Andrew Steyn
1982 Gandhi as Train Conductor
1988 Thieves of Fortune as Unknown
1989 DeepStar Six as Dr  John Van Gelder
1989 Farewell to the King as Sergeant Conklin
1989 Happy Together as Denny Dollenbacher
1989 Jewel of the Gods as Snowy Grinder
1992 The Power of One as Professor Daniel Marais
1992 Golden Girls as Derek
1993 Bopha! as Van Tonder
1997 Paljas as Hendrik MacDonald
2003 Stander as General Francois Jacobus Stander, Andre Stander's Father
2005 The Triangle as Karl Sheedy
2006 Blood Diamond as Rudolf Van de Kaap
Woestynblom (TV series) as Jerry F 
2013 Nothing for Mahala as Hendrik Botha
2018 The Seagull (Die Seemeeu) as Piet
2018 The Recce as General Piet Visagie
2019 The Story of Racheltjie De Beer as George
Passage 9:
God's Law and Man's
God's Law and Man's is a lost 1917 silent film drama direct by John H  Collins and distributed by Metro Pictures  It starred Collins's wife Viola Dana  The story comes from a novel by Paul Trent, A Wife by Purchase 

Cast
Viola Dana - Ameia
Robert Walker - Dr  Claude Drummond
Augustus Phillips - Jack Aston
Henry Hallam - Kunda Ram
Frank Currier - Major General Dennison
Marie Adell - Olive Dennison
George A  Wright - Earl of Hetherington
Floyd Buckley - Lord Charles Drummond
Passage 10:
Boom Boom (John Lee Hooker song)
"Boom Boom" is a song written by American blues singer and guitarist John Lee Hooker and recorded in 1961   Although it became a blues standard, music critic Charles Shaar Murray calls it "the greatest pop song he ever wrote"  "Boom Boom" was both an American R&B and pop chart success in 1962 and a UK top-twenty hit in 1992 
The song is one of Hooker's most identifiable and enduring songs and "among the tunes that every band on the [early 1960s UK] R&B circuit simply had to play"   It has been recorded by numerous blues and other artists, including a 1965 North American hit by the Animals 

Recording and composition
Prior to recording for Vee-Jay Records, John Lee Hooker was primarily a solo performer or  accompanied by a second guitarist, such as early collaborators Eddie Burns or Eddie Kirkland  However, with Vee-Jay, he usually recorded with a small backing band, as heard on the singles "Dimples", "I Love You Honey", and "No Shoes"  Detroit keyboardist Joe Hunter, who had previously worked with Hooker, was again enlisted for the recording session  Hunter brought with him "the cream of the Motown label's session men, later known as the Funk Brothers": bassist James Jamerson, drummer Benny Benjamin, plus guitarist Larry Veeder, tenor saxophonist Hank Cosby, and baritone saxophonist Andrew "Mike" Terry  They have been described as "just the right band" for "Boom Boom"  Hooker had a unique sense of timing, which demanded "big-eared sidemen" The original "Boom Boom" is an uptempo (168 beats per minute) blues song, which has been notated in 2/2 time in the key of F   It has been described as "about the tightest musical structure of any Hooker composition: its verses sedulously adhere to the twelve-bar format over which Hooker generally rides so roughshod"  The song uses "a stop-time hook that opens up for one of the genre's most memorable guitar riffs" and incorporates a middle instrumental section Hooker-style boogie According to Hooker, he wrote the song during an extended engagement at the Apex Bar in Detroit 

I would never be on time [for the gig]; I always would be late comin' in   And she [the bartender Willa] kept saying, "Boom boom – you late again"   Every night: "Boom, boom – you late again"   I said "Hmm, that's a song!"     I got it together, the lyrics, rehearsed it, and I played it at the place, and the people went wild 
Also included are several wordless phrases, "how-how-how-how" and "hmm-hmm-hmm-hmm"   "Boom Boom" became the Hooker song that is "the most memorable, the most instantly appealing, and the one which has proved the most adaptable to the needs of other performers"  ZZ Top later used similar lines ("how-how-how-how") for their popular "La Grange" 

Releases and charts
When "Boom Boom" was released as a single in April or May 1962, the song became a hit   It entered the Billboard Hot R&B Sides chart on June 16, 1962, where it spent eight weeks and reached number 16  The song also appeared the Billboard Hot 100, where it peaked at number 60, making it one of only two Hooker singles to enter the broader chart  It was included on the 1962 Vee-Jay album Burnin'  as well as many Hooker compilations, including John Lee Hooker: The Ultimate Collection  
Two years later, in 1964, the song made a brief appearance on the chart in Walloon Belgium, which at the time did not rank positions   In 1992, after being featured in a Lee Jeans commercial, the "Boom Boom" reached number 16 on the UK Singles Chart  It also appeared on charts in New Zealand (number 24 in 1992) and France (numbers 45 in 1993 and 87 in 2013) Hooker recorded several later versions  Following the success of the Animals' version, Hooker re-recorded the song in 1968 for Stateside Records as the B-side of "Cry Before I Go" under the longer title "Boom Boom Boom"   He reworked the song as "Bang Bang Bang Bang" for his Live at Soledad Prison album, as a South Side Chicago street musician in the film The Blues Brothers (but the song itself is not included in the film soundtrack), and as the title track for his 1992 album Boom Boom with Jimmie Vaughan 

The Animals version
English rock band the Animals recorded "Boom Boom" for their 1964 UK debut album The Animals   Their blues-rock rendition generally follows John Lee Hooker's original, although they add "shake it baby" as a response to the "come on and shake" refrain in the middle section, taken from Hooker's "Shake It Baby" (recorded during the 1962 American Folk Blues Festival tour in Europe, where it became a hit in 1963) The Animals' version was released as a single in North America in November 1964 and is included on the Animals' second American album, The Animals on Tour  It reached number 43 on the Billboard Hot 100 and number 14 on the Canadian RPM Top 40&5 singles chart  The song also appeared on the unranked chart in Wallonia Cash Box described it as "a rousing salute to the apple of a guy's eye" that's "exciting, funky-styled" and "a great swinger "Over the years, several versions of "Boom Boom" have been recorded by various Animals reunion lineups as well as by former members Eric Burdon and Alan Price  In 2012, the original 1964 version was used in the film Skyfall 

Big Head Todd and the Monsters version
American rock group Big Head Todd and the Monsters recorded "Boom Boom" for their album Beautiful World (1997)  Group bassist Rob Squires described the recording session: "Hooker has just this incredible presence  He walked into the room and literally everyone was intimidated including our producer and the people who work in the studio "  Beginning with the television series debut of NCIS: New Orleans in 2014, a portion of Big Head Todd's version has been used as the opening theme 

Recognition and legacy
In 1995, John Lee Hooker's "Boom Boom" was included in the Rock and Roll Hall of Fame's list of "The Songs That Shaped Rock and Roll"   It was inducted into the Blues Foundation Hall of Fame in 2009 in the "Classics of Blues Recording" category  A Detroit Free Press poll in 2016 ranked the song at number 37 in "Detroit's 100 Greatest Songs"  Rolling Stone magazine ranked Hooker's version at number 463 on its 2021 list of the "500 Greatest Songs of All Time", down from number 220 on its 2004 list 
Passage 11:
Beethoven (TV series)
Beethoven is a 1994  American Saturday morning cartoon television series loosely based on the 1992 motion picture of the same name   The series was produced by Northern Lights Entertainment and Universal Cartoon Studios, and aired for one season on CBS Saturday Mornings, with 13 episodes with two 10 minute segments produced  Dean Jones, who played Dr  Varnick in the film, voiced the role of George Newton; Nicholle Tom, who played teenage daughter Ryce in the film and Beethoven's 2nd, was the only cast member from the films to reprise her role in the series 

Premise
The Newton family love Beethoven, their St  Bernard dog  But the father, George, has his moments with Beethoven, who gets in different mishaps time after time  When not with the Newton family, Beethoven spends time with three other dogs, Sparky (the stray from the first film), Ginger, and Caesar 
Unlike the film, Beethoven has a speaking voice, at least among the other animals  The same plot was used in another animated series, Free Willy, where the main character also could talk 

Cast
Additional voices
Crew
Paul Germain - Producer, Story Editor and Voice Director

Episodes
Home release
Universal and Goodtimes released episodes of the show on VHS  In July 2020, the series became available on the Peacock streaming service 
Passage 12:
Sonny & Cher
Sonny & Cher were an American pop and entertainment duo in the 1960s and 1970s, made up of spouses Sonny Bono and Cher  The couple started their career in the mid-1960s as R&B backing singers for record producer Phil Spector 
The pair first achieved fame with two hit songs in 1965, "Baby Don't Go" and "I Got You Babe"  Signing with Atco/Atlantic Records, they released three studio albums in the late 1960s, as well as the soundtrack recordings for two unsuccessful movies, Good Times and Chastity, with Cher contributing vocals to one cut, "Chastity's Song (Band of Thieves)"  In 1972, after three years of silence, the couple returned to the studio and released two other albums under the MCA/Kapp Records label 
In the 1970s, they also positioned themselves as media personalities with two top ten TV shows in the US, The Sonny & Cher Comedy Hour and The Sonny & Cher Show  The couple's career as a duo ended in 1975 following their divorce  In the decade they spent together, Sonny and Cher were nominated for two Grammy Awards and sold over 40 million records worldwide  Rolling Stone ranked them No  18 on its list of the 20 Greatest Duos of All Time Performing under her first name, Cher went on to a highly successful career as a solo singer and actress, while Sonny Bono was eventually elected to Congress as a Republican U S  Representative from California  The two performers were inducted to the Hollywood Walk of Fame in 1998, following Sonny's death in a skiing accident 

Career
1962–1964: The origin
Cherilyn Sarkisian first met Salvatore Bono in a Los Angeles coffee shop in November 1962, when she was sixteen  Eleven years her senior, Bono was working for record producer Phil Spector at Gold Star Studios in Hollywood  The two became best friends, eventual lovers, and were supposedly married in 1964, but Bono says in his autobiography that it was not an official marriage  They were legally wed after their only child, Chaz, was born  Through Bono, Cher started as a session singer, and sang backup on several of Spector's classic recordings, including "Be My Baby" by the Ronettes, "You've Lost That Loving Feeling" by The Righteous Brothers and Darlene Love's "A Fine, Fine Boy"  In Darlene Love's recording, the listener can clearly hear Cher and Sonny close to the mic (along with Love, who recorded her own backing vocals) 

1965–1966: Career development
With Bono continuing to write, arrange and produce the songs, the couple's first incarnation was as the duo "Caesar and Cleo"  They released some singles in 1964, including "The Letter", with Vault Records, and "The Letter", "Do You Wanna Dance" and "Love Is Strange", with Reprise Records In September 1964, they released "Baby Don't Go" under the name of Sonny & Cher, which became their first regional hit  The song was later included on the 1965 Reprise compilation Baby Don't Go – Sonny & Cher and Friends, which also included songs from artists such as Bill Medley, The Lettermen and The Blendells The duo released their first album Look at Us in the summer of 1965  The album contained the number one single "I Got You Babe"  Look at Us peaked at number two on the Billboard chart for eight weeks in the later part of 1965 Sonny & Cher made their first promotional tour of Britain in the first two weeks of August 1965  The tour was organized and overseen by Larry Page, co-manager of the English rock band the Kinks, who met Cher a month earlier while she finished recording her debut album and while the Kinks toured America  Page and the Kinks' publicist Brian Sommerville quickly signed to be Sonny & Cher's European business manager and British publicist, respectively  During their two weeks in Britain, the duo primarily appeared on British television and radio, but they also performed at the 100 Club in central London on August 5 The couple appeared on many of the top television shows of the era including The Ed Sullivan Show, American Bandstand, Where The Action Is, Hollywood A Go-Go, Hollywood Palace, Hullabaloo, Beat Club, Shindig!, Ready Steady Go! and Top of the Pops  They also appeared as themselves in the film Wild on the Beach, singing "It's Gonna Rain"  On their first album Bono also displayed his political interest long before running for Congress in the lyrics of the song, "The Revolution Kind" 
As the followup to the success of Look at Us, they released their second studio album in April 1966, The Wondrous World of Sonny & Chér, which peaked at number 34  The two dressed in animal skins with Bono wearing knee high caveman boots and Cher going barefoot During 1965, five of their songs were in US Billboard Top 20, a record passed only by Elvis Presley and behind famous artists like The Beatles, The Rolling Stones and others  Periodic solo releases by Cher continued during this period, including major successes with "Bang Bang (My Baby Shot Me Down)", and Burt Bacharach & Hal David's theme from "Alfie" (as heard in the motion picture Alfie, as well as a single release), both in 1966  Because they sided with the young people being harassed on the Sunset Strip during the Sunset Strip curfew riots; they were removed from their promised position of honor in the Tournament of Roses Parade in January 1967 

1967–1969: Career woes
In 1967, Sonny and Cher released their third album, In Case You're In Love  It peaked at number 45 in the U S  charts  It contained two hit singles, both written by Bono, "The Beat Goes On" (No  6 on the Billboard Hot 100) and "Little Man" (No  21 on the Billboard Hot 100) 
In an attempt to capitalize on the duo's initial success, Bono speedily arranged a film project for the duo to star in, but the 1967 feature, Good Times, was a major bomb, despite the efforts of fledgling director William Friedkin and co-star George Sanders  After Good Times flopped in 1968, Columbia Pictures immediately sold rights to their intended follow-up film Speedway to MGM  The couple were replaced by Elvis Presley and Nancy Sinatra  In 1969, another film, Chastity, starring Cher, written and produced by Sonny, was also a commercial bomb Sonny and Cher's career had stalled by 1968 as album sales quickly dried up  Their gentle, easy-listening pop sound and drug-free life had become unpopular in an era increasingly consumed with the psychedelic rock of the evolving landscape of American pop culture during the late 1960s 
Bono decided to forge ahead, carving a new career for the duo in Las Vegas resorts, where they sharpened their public persona with Cher as the wise-cracking, glamorous singer, and Bono as the good-natured recipient of her insults  In reality, Bono controlled every aspect of their act, from the musical arrangements to the joke-writing  While success was slow to come, their luck improved when network TV talent scouts attended a show, noting their potential appeal for a variety series 
Sonny and Cher also welcomed their first child, Chastity (named after Cher's movie), born on March 4, 1969 

1970–1977: TV success and divorce
In 1970, Sonny and Cher starred in their first television special, The Nitty Gritty Hour, a mixture of slapstick comedy, skits, and live music  The appearance was a critical success, which led to numerous guest spots on other television shows  They also appeared in The New Scooby-Doo Movies as guest stars 
Sonny and Cher caught the eye of CBS head of programming Fred Silverman while guest-hosting The Merv Griffin Show, and Silverman offered the duo their own variety show  The Sonny & Cher Comedy Hour debuted in 1971 as a summer replacement series  The show returned to prime time later that year and was an immediate hit, quickly reaching the Top 10  The show received 15 Emmy Award nominations during its run, winning one for direction, throughout its initial four seasons on CBS  The duo also revived their recording career, releasing the album All I Ever Need Is You, and charting two more top ten hits: "All I Ever Need Is You", and "A Cowboy's Work Is Never Done" in 1972 Sonny and Cher's dialogues were patterned after the successful nightclub routines of Louis Prima and Keely Smith: the happy-go-lucky husband squelched by a tart remark from the unamused wife  The show featured a stock company of zany comedians, including Teri Garr, Freeman King, Ted Ziegler, Billy Van and Murray Langston (later The Unknown Comic on The Gong Show)  One sketch satirizing CBS's detective show Cannon and its portly star William Conrad was so successful that Sonny and Cher staged several follow-ups, with Tony Curtis as "Detective Fat"  Everybody in these sketches wore wide-waisted "fat suits" (similar to hoop skirts), so Detective Fat and his clients and his suspects would spend most of the time bumping each other and bouncing across the crowded room 
By the third season of the Sonny & Cher Comedy Hour (1974), the marriage of Sonny and Cher was falling apart; the duo separated later that year  The show imploded, while still rating in the top 10  What followed was a very public divorce (finalized on June 26, 1975)  Cher won a Golden Globe Award for Best Performance By an Actress in a Television Series – Musical or Comedy for The Sonny & Cher Comedy Hour in 1974 

Bono launched his own show, The Sonny Comedy Revue, in the fall of 1974, retaining the "Sonny and Cher" troupe of comedians and writers  Cher also announced plans to star in a new variety series of her own  Critics predicted that Bono would be the big winner with a solo comedy vehicle, and held little hope for Cher's more musical showcase  After only six weeks, however, Bono's show was abruptly canceled The Cher show debuted as an elaborate, all-star television special on February 16, 1975, featuring Flip Wilson, Bette Midler, and special guest Elton John  Cloris Leachman and Jack Albertson both won Emmy Awards for their appearances as guest-stars a few weeks later, and the series received four additional Emmy nominations that year  The first season ranked in the Top 25 of the year-end ratings 
As a result of the divorce, Sonny and Cher went their separate ways until Cher attended the opening of one of Bono's restaurants in something of a reconciliation  The Sonny & Cher Show returned in 1976, even though they were no longer married (the duo "reunited" with a humorous handshake)  After struggling with low ratings through 1977, Sonny and Cher finally parted ways for good  In 1976, Mego Toys also released a line of toys and dolls, in the likeness of Sonny & Cher  The release of these fashion dolls coincided with the popularity of The Sonny & Cher Show 

1978–1999: After Sonny and Cher
Sonny Bono went on to an acting career and later entered politics, eventually becoming a member of the U S  House of Representatives  Cher went on to become a Grammy Award-winning solo singer and an Academy Award-winning actress 
The couple made two surprise impromptu reunion performances: the first on The Mike Douglas Show in the spring of 1979, singing a medley of "United We Stand" and "Without You", and the second on November 13, 1987, on Late Night with David Letterman where they performed their hit song "I Got You Babe"; it turned out to be the last time the two would perform together In early 1999, And the Beat Goes On: The Sonny and Cher Story, directed by David Burton Morris and starring Jay Underwood and Renee Faia, was broadcast on ABC  The TV movie was based on the autobiography of Bono, and focuses on the relationship between the couple during the early 1960s to their divorce in the mid 1970s  This movie was also nominated for two Emmy Awards 

Bono's death, music copyright
On January 5, 1998, Bono died of injuries from hitting a tree while skiing at Heavenly Ski Resort in Lake Tahoe  He was 62 years old  Bono's death came just days after Michael Kennedy died in a similar accident  Bono's widow, Mary, was selected to fill the remainder of his congressional term, and was re-elected in her own right, serving until she was defeated for re-election in 2012  She continues to champion many of her late husband's causes, including the ongoing fight as how to best save the Salton Sea 
The funeral, unbeknownst to Cher, was broadcast live on CNN  She gave a tearful eulogy, after which the attendees sang the song "The Beat Goes On"  In front of millions, Cher tearfully and effusively praised Bono, calling him "the most unforgettable character I've ever met"  His final resting place is Desert Memorial Park in nearby Cathedral City, California, the same cemetery in which Frank Sinatra was laid to rest later that same year  The epitaph on Bono's headstone reads: "And The Beat Goes On" In 1998, Sonny and Cher received a star on the Hollywood Walk of Fame for Television  Cher appeared at the event with Mary Bono, who accepted the award on behalf of her late husband  Cher paid tribute to Bono in the CBS special Sonny and Me: Cher Remembers, calling her grief "something I never plan to get over"  During the same year, Cher also released her twenty-second album Believe that was highly influenced by Bono's death, and in the booklet Cher wrote "In memory of Son" When Cher and Bono divorced, they agreed to split revenue from the songs recorded together  When Bono died, one-third of his interest passed to wife Mary Bono, and one-sixth interests were split amongst his children  Cher sued UMG in 2009, claiming she and Bono's heirs were owed $5,000,000 in "hidden" royalties 

Legacy and achievements
Author Joseph Murrells described Sonny & Cher as "part of the leading exponents of the rock-folk-message type of song, a hybrid combining the beat and instrumentation of rock music with folk lyrics and often lyrics of protest "The Sonny & Cher Comedy Hour received numerous Emmy nominations; Director Art Fisher won for Outstanding Directing for a Variety Series in 1972  Cher won a Golden Globe Award for Best Actress – Television Series Musical or Comedy in 1974 Sonny and Cher received the following honors:

1966: Grammy nomination for Best New Artist
1972: Grammy nomination for Best Pop Duo/Group Performance
1998: Received a star on the Hollywood Walk of Fame
2015: Ranked No  18 on Rolling Stone's list of the 20 Greatest Duos of All Time

Filmography
Discography
Look at Us (1965)
The Wondrous World of Sonny & Chér (1966)
In Case You're in Love (1967)
All I Ever Need Is You (1972)
Mama Was a Rock and Roll Singer, Papa Used to Write All Her Songs (1974)

See also
Cher
Sonny Bono
Supercouple
List of number-one hits (United States)
List of artists who reached number one on the Billboard Hot 100

Notes
Passage 13:
Shakalaka Boom Boom
Shakalaka Boom Boom is a 2007 Indian musical drama film directed and produced by Suneel Darshan and written by Anurag Kashyap  The film stars Bobby Deol, Upen Patel, Celina Jaitly and Kangana Ranaut in the lead  It released on April 6, 2007 
Shakalaka Boom Boom is based on conflicts and the power game involved in the functioning of the music industry  The film is loosely based on the Academy Award winning film Amadeus  The film was partly shot in South Africa 

Plot
Shakalaka Boom Boom follows the tale of a jealous, selfish and greedy music artist, Ayan Joshi aka AJ (Bobby Deol)  AJ is one of the finest music artists in the industry and is currently under a stop since he can't think of a new project  AJ is in love with the hot and sexy Ruhi (Kangana Ranaut) and hopes to tell her how he feels  However, a wannabe singer, Reggie (Upen Patel) appears who falls in love with Ruhi and woos her before AJ can  
Therefore, AJ swears to destroy Reggie's career and hence comes into Reggie's life as his friend  Getting him drunk, getting him smoking, is all that AJ has been doing to Reggie, and Reggie even loses control and passes out  One day, AJ finds out all Reggie's secrets and gets him so drunk that he has liver-fail  While Reggie was in the state of dying, AJ takes all his music-notes and beats and flees from the place  Then Ruhi shows up and takes him to the hospital  He is placed into the operation section due to liver failure, and then Ruhi plans to destroy AJ's career just like he did to Reggie 
Though Ruhi does not know that AJ isn't alone, he also has his hidden agenda with Reggie's ex-girlfriend Sheena (Celina Jaitly) who is now a bigshot due to AJ  AJ and Sheena together publish Reggie's music as their own, and it goes onto becoming a big hit  At the music-signing, Ruhi gets her gun out, though it doesn't seem to work  She seems that's it, though Karma has a different plan in mind  Due to her gun not working, she leaves and as she leaves, a disco ball randomly falls on top of AJ's head  He is placed into the hospital, and the doctors declare him "deaf"  The ending shows him going to hell, and Reggie waking up to a better life, as he and Ruhi have now proved that the music is really his 

Cast
Bobby Deol as A J 
Upen Patel as Reggie
Celina Jaitly as Sheena
Kangana Ranaut as Ruhi
Asrani as Yogra
Dalip Tahil as Kumar
Anupam Kher as Reggie's Father
Govind Namdev as Guru
Vivek Vaswani as Vidyacharan Shukla
Seema Rahmani as Seema

Soundtrack
All songs  are composed by Himesh Reshammiya and lyrics are penned by Sameer 

Reception
Critical reception
Shakalaka Boom Boom attracted negative reviews from top critics of India  Mayank Shekhar of Hindustan Times rated the film with 1 out of 5 stars  Shakti Salgaokar of DNA gave movie a one and half stars and wrote in his review, "It's simple — sexual innuendo, potshots at popular films, bad mimicry, foreign locations, a generous dose of overacting, an item song and a gora villain  And as he magnificently presents the climax of the film  Spare us the comedy, please?" Nikhat Kazmi of Times of India said, "This one's definitely not for the fastidious, choosy viewer but for those who don't mind losing it for a bit, Shakalaka Boom Boom works like an average Bollywood musical  Performance-wise, it's one big circus with the guys hogging most of the limelight  The girls — Kangana and Celina — are mere confetti" and gave it 3 out of 5 stars  Taran Adarsh also gave it 3 out of 5 stars, saying "It's a well-crafted entertainer and lives up to the expectations of its target audience — the youth  At the box-office, its business at the multiplexes will help it generate good revenue, making it a profitable proposition for its investors "
Passage 14:
He Comes Up Smiling
He Comes Up Smiling is a 1918 American comedy film produced by and starring Douglas Fairbanks and directed by Allan Dwan 
This film was based on a novel of the same title by Charles Sherman, which was adapted into a 1914 play of the same name by Byron Ongley and Emil Nyitray  Fairbanks starred in the play with Patricia Collinge as the female lead  This film "survives incomplete" 

Plot
As described in a film magazine, the principal duty of bank clerk Jerry Martin is to care for the bank president's pet canary  The bird escapes and Jerry starts in pursuit  In a chase that takes him far afield, Jerry meets a hobo and decides to give up his bank job  Baron Bean (Montana), another hobo, becomes his valet, but they desert Jerry when he is taking a bath and steal his clothes  He finds a suit belonging to William Batchelor (MacQuarrie), a broker who is cooling off at a pool, and with the broker's business cards he passes himself off as Batchelor  He meets John Bartlett (Campeau) and his daughter Billie (Daw) and promptly falls in love  Her father is also a stock broker who has been nicked by Batchelor  An attempt is made to corner the market while Jerry is being entertained, but he foils the plotters, falls heir to a fortune, and wins the love of Billie 

Cast
Douglas Fairbanks as Jerry Martin
Marjorie Daw as Billie Bartlett
Herbert Standing as Mike
Frank Campeau as John Bartlett
Bull Montana as Baron Bean
Albert MacQuarrie as William Batchelor
Kathleen Kirkham as Louise
Jay Dwiggins as General
William Elmer
Robert Cain

Preservation
The surviving reels of He Comes Up Smiling were preserved by the Academy Film Archive in 2010 
Context 3: 

Reception
The Allmusic review by Thom Jurek awarded the album 4½ stars, stating: "Marion Brown's Three for Shepp is the image-in-the-mirror companion to Archie Shepp's Four for Trane recorded the year before  The program is equally divided between Brown's originals, which occupy the first half of the album, and Shepp tunes that take up the latter half  What is immediately striking is how similar in tone, color, and texture the two men were when it came to composition  Brown arms himself here with crack bands for these recordings    This is a classic Impulse! recording of the period by an overlooked master "The authors of the Penguin Jazz Guide wrote: "Brown's Impulse! records are routinely overlooked    In the wake of this, his first successful record, Brown took to the road, playing tirelessly but curbing his studio activities  Impulse! had already released Shepp's Four For Trane  This was explicitly intended as a companion project and its arresting opening    establishes it as one of the most inventive in the label's distinguished catalogue    Brief as it is at just 35 minutes, Three For Shepp is so densely packed with musical information that it takes many, many listens to deconstruct: a living lesson in musical history, a passionate manifesto for the future "A reviewer at SoundOhm included the album in the "Best of 2019" playlist, and stated: "Three For Shepp balances fiery energy and delicate precision    Even this early in his career, Brown stood apart from his peers in "the new thing " His solos were as gentle as they were furious  Informed by the African American folk traditions of his native Georgia and an enthusiastic embrace of the avant-garde, his music would confront and challenge society  As Brown says in the original liner notes, 'The music is definitely a part of what's going on in the black revolution in America '  Three For Shepp still sounds crucial today (over 50 years later) and remains a vital statement of jazz's past, present and future "

Track listing
All compositions by Marion Brown except as noted

"New Blue" - 5:11
"Fortunato" - 8:54
"The Shadow Knows" - 3:04
"Spooks" (Archie Shepp) - 4:32
"West India" (Shepp) - 6:24
"Delicado" (Shepp) - 6:38

Personnel
Marion Brown - alto saxophone
Grachan Moncur III - trombone
Dave Burrell (tracks 1-3), Stanley Cowell (tracks 4-6) - piano
Norris Jones - bass
Bobby Capp (tracks 1-3), Beaver Harris (tracks 4-6) – drums
Passage 10:
Benny Golson's New York Scene
Benny Golson's New York Scene is the debut album by saxophonist Benny Golson featuring performances recorded in late 1957 and originally released on the Contemporary label 

Reception
John S  Wilson's contemporaneous review was positive, noting that both quintet and nonet bands feature "Farmer playing with broad authority no matter what the fare at hand while Golson's warm, dark lines flare and glide through all the pieces " Scott Yanow of Allmusic stated, "this underrated gem served as a strong start to Benny Golson's influential solo career" 

Track listing
All compositions by Benny Golson except as indicated "Something in B flat" (Ray Bryant) - 6:04
"Whisper Not" - 6:01
"Step Lightly" - 6:54
"Just by Myself" - 4:12
"Blues It" - 6:52
"You're Mine, You" (Johnny Green, Edward Heyman) - 4:22
"Capri" (Gigi Gryce) - 3:59
"B G 's Holiday" - 5:34 Bonus track on CD

Personnel
Benny Golson - tenor saxophone
Art Farmer - trumpet
Jimmy Cleveland - trombone  (tracks 2, 4 & 7)
Julius Watkins - French horn (tracks 2, 4 & 7)
Gigi Gryce - alto saxophone (tracks 2, 4 & 7)
Sahib Shihab - baritone saxophone (tracks 2, 4 & 7)
Wynton Kelly - piano
Paul Chambers - bass
Charlie Persip - drums
Passage 11:
Tarot Classics
Tarot Classics is an EP by Florida-based indie rock band Surfer Blood released on October 25, 2011, on Kanine Records  It is their last release for Kanine 

Reception
Tarot Classics received generally favorable reviews from music critics 

Track listing
All songs written by John Paul Pitts, Thomas Fekete, Tyler Schwarz and Kevin Williams, except as noted 

I'm Not Ready (John Paul Pitts, Thomas Fekete, Tyler Schwarz)
Miranda
Voyager Reprise
Drinking Problem
Voyager Reprise (Another Summer of Love Remix)
Drinking Problem (Speculator Remix)
Passage 12:
Soundsigns
Soundsigns is an album by the American jazz saxophonist Dewey Redman of performances recorded in 1978 for the Galaxy label 

Reception
The Allmusic review by Scott Yanow awarded the album 3 stars stating "Recorded at the same sessions that resulted in Musics, this LP (which has not yet been reissued on CD) is actually more exploratory" 

Track listing
All compositions by Redman except as indicated"Piece for Tenor and Two Basses"  - 8:23
"Half Nelson" (Miles Davis) - 10:07
"Adesso Lo Sai" - 13:59
"Come Earth" - 8:00Recorded at Fantasy Studios in Berkeley, California on October 18 & 19, 1978

Personnel
Dewey Redman - tenor saxophone (tracks 1-3), harp (track 4)
Fred Simmons - piano (tracks 2 & 3)
Charlie Haden (tracks 1 & 4), Mark Helias - bass
Eddie Moore - drums, saw, cymbal (tracks 2-4)
Passage 13:
Tijuana Jazz
Tijuana Jazz is an album by American jazz vibraphonist Gary McFarland and trumpeter Clark Terry featuring performances recorded in 1965 for the Impulse! label  The album was also released in the UK on the HMV label as CLP3541



ground_truth: Maria Bello

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

Question: What is the record label for the band which performed Pythons?

The following are given passages.
Context 3: 

Reception
The AllMusic review by Scott Yanow awarded the album 3 stars stating: "McFarland's arrangements are fine, but the solos are quite short, and the Mexican-flavored music is not particularly memorable  A blown opportunity" 

Track listing
All compositions by Gary McFarland except as indicated"South of the Border" (Jimmy Kennedy, Michael Carr) - 2:06
"Acapulco at Night" - 2:52
"Fantastic, That's You" (George Cates, George Douglas) - 2:54
"Limehouse Blues" (Philip Braham, Douglas Furber) - 3:37
"Tijuana" (Cates, Douglas) - 2:09
"Marcheta" (Victor Schertzinger) - 2:55
"Granny's Samba" - 3:30
"Soul Bird (Tin Tin Deo)" (Gil Fuller, Chano Pozo) - 4:01
"Mexicali Rose" (Jack Tenney, Helen Stone) - 2:27
"Ira Schwartz's Golden Dream" - 3:32
"Mary Jane" - 3:05
"Sweet Georgia Brown" (Ben Bernie, Kenneth Casey, Maceo Pinkard) - 2:06Recorded in New York City on December 3, 1965 (tracks 1, 2, 6 & 9), December 6, 1965 (tracks 4, 8, 11 & 12), and December 7, 1965 (tracks 3, 5, 7 & 10)

Personnel
Gary McFarland – marimba, electric piano
Joe Newman, Clark Terry - trumpet, flugelhorn
Bob Brookmeyer – valve trombone
Toots Thielemans - harmonica, guitar
Barry Galbraith - guitar
Bob Bushnell – electric bass
Mel Lewis, Grady Tate – drums
Passage 14:
More Blues and the Abstract Truth
More Blues and the Abstract Truth is an album by American jazz composer, conductor and arranger Oliver Nelson featuring performances recorded in 1964 for the Impulse! label 

Reception
The Allmusic review by Scott Yanow awarded the album 4 stars, stating: "Unlike the original classic Blues and the Abstract Truth set from three years earlier, Oliver Nelson does not play on this album  He did contribute three of the eight originals and all of the arrangements but his decision not to play is disappointing    The emphasis is on blues-based pieces and there are some strong moments even if the date falls short of its predecessor" 

Track listing
All compositions by Oliver Nelson except as noted

"Blues and the Abstract Truth" - 5:14
"Blues O'Mighty" (Hodges) - 6:48
"Theme from Mr  Broadway" (Brubeck) - 5:45
"Midnight Blue" (Neal Hefti) - 4:06
"The Critic's Choice" - 2:21
"One for Bob" - 6:07
"Blues for Mr  Broadway" (Brubeck) - 8:12
"Goin' to Chicago Blues" (Count Basie, Jimmy Rushing) - 4:37
"One for Phil" - 3:58 Bonus track on CD reissue
"Night Lights" (Arnold Shaw) - 2:46 Bonus track on CD reissueRecorded on November 10, 1964 (tracks 4 & 6–9), and November 11, 1964 (tracks 1–3, 5 & 10) 

Personnel
Oliver Nelson - arranger, conductor
Thad Jones, Danny Moore (tracks 1 & 5) - trumpet
Phil Woods - alto saxophone
Ben Webster - tenor saxophone (tracks 4 & 7)
Phil Bodner - tenor saxophone, English horn
Pepper Adams - baritone saxophone
Roger Kellaway - piano
Richard Davis – bass
Grady Tate – drums
Passage 15:
Groovin' with Golson
Groovin' with Golson is the sixth album by saxophonist Benny Golson featuring performances recorded in 1959 and originally released on the New Jazz label 

Reception
The Allmusic review by Scott Yanow states, "the hard bop music does indeed groove in its own fashion" 

Track listing
All compositions by Benny Golson except where noted 

"My Blues House" - 9:25
"Drum Boogie" (Roy Eldridge, Gene Krupa) - 3:59
"I Didn't Know What Time It Was" (Richard Rodgers, Lorenz Hart) - 5:25
"The Stroller" - 9:18
"Yesterdays" (Jerome Kern, Otto Harbach) - 5:54

Personnel
Benny Golson - tenor saxophone
Curtis Fuller - trombone
Ray Bryant - piano
Paul Chambers - bass
Art Blakey - drums
Passage 16:
At the Village Vanguard
At the Village Vanguard (subtitled You Took the Words Right Out of My Heart) is a live album by jazz drummer Paul Motian recorded at the Village Vanguard and originally released on the German JMT label  Recorded in 1995 it features performances by Motian with guitarist Bill Frisell and tenor saxophonist Joe Lovano  The album was rereleased on the Winter & Winter label in 2005 

Reception
The Allmusic review by Thom Jurek awarded the album 3½ stars, stating: "This is a prime Motian date, not to be missed this time around" 

Track listing
All compositions by Paul Motian except as indicated

"You Took the Words Right Out of My Heart" (Ralph Rainger, Leo Robin) - 7:58
"Abacus" - 9:38
"Folk Song for Rosie" - 10:19
"The Owl of Cranston" - 8:30
"5 Miles to Wrentham" - 4:46
"Yahllah" - 14:16
"The Sunflower" - 8:33
"Circle Dance" - 5:04Recorded at the Village Vanguard in New York City in June 1995

Personnel
Paul Motian - drums
Bill Frisell - electric guitar
Joe Lovano - tenor saxophone
Passage 17:
Thinking of Home
Thinking of Home is an album by jazz saxophonist Hank Mobley recorded on July 31, 1970 but not released by the Blue Note label until 1980  It features performances by Mobley with trumpeter Woody Shaw, pianist Cedar Walton, guitarist Eddie Diehl, bassist Mickey Bass, and drummer Leroy Williams  This was Mobley's 26th (and final) recording for Blue Note 

Reception
Allmusic awarded the album 4½ stars and the review by Scott Yanow stated "It is only fitting that Hank Mobley would record one of the last worthwhile Blue Note albums before its artistic collapse (it would not be revived until the 1980s) for his consistent output helped define the label's sound in the 1960s" On All About Jazz Richton Guy Thomas said "this is a fitting farewell session  It features the powerful trumpet playing of Woody Shaw and the exciting pianist Cedar Walton  Hank Mobley's playing has a fire that ought to remind you of the Jazz Messengers, as it should since he was one of the original members of the group     Thinking of Home should remind diehard jazz fans (and enlighten those newer to the genre) that Mobley was an innovative and stimulating tenor saxophonist who consistently swung" 

Track listing
All compositions by Hank Mobley except where noted

"Suite: Thinking of Home/The Flight/Home at Last" - 10:06
"Justine" - 13:04
"You Gotta Hit It" - 5:34
"Gayle's Groove" (Mickey Bass) - 5:33
"Talk About Gittin' It" - 8:38

Personnel
Hank Mobley — tenor saxophone
Woody Shaw — trumpet
Cedar Walton — piano
Eddie Diehl — guitar
Mickey Bass — bass
Leroy Williams — drums
Passage 18:
Opus de Jazz
Opus de Jazz (subtitled A Hi-Fi Recording for Flute, Vibes, Piano, Bass, Drums) is an album by American jazz vibraphonist Milt Jackson featuring performances recorded in 1955 and released on the Savoy label 

Reception
The AllMusic review by Scott Yanow stated: "This is not essential, but it is enjoyable music "

Track listing
"Opus de Funk" (Horace Silver) – 13:28
"Opus Pocus" (Ozzie Cadena) – 7:25
"You Leave Me Breathless" (Ralph Freed, Frederick Hollander) – 6:27
"Opus and Interlude" (Cadena) – 6:30Recorded in New York City on October 28, 1955

Personnel
Milt Jackson – vibes
Frank Wess – tenor saxophone, track 2; flute, tracks 1, 3 and 4
Hank Jones – piano
Eddie Jones – bass
Kenny Clarke – drums
Passage 19:
The Jazz Skyline
The Jazz Skyline is an album by American jazz vibraphonist Milt Jackson featuring performances recorded in 1956 and released on the Savoy label 

Reception
The Allmusic review by Bob Rusch states: "This session has interest as an example of Milt Jackson's mid-'50s work in a non-Modern Jazz Quartet context  And despite the many critical assertions that the vibist was restrained by pianist John Lewis' direction, his playing here revealed no marked change" 

Track listing
"Lover" (Lorenz Hart, Richard Rodgers) - 7:45
"Can't Help Lovin' Dat Man" (Oscar Hammerstein II, Jerome Kern) - 4:35
"The Lady Is a Tramp" (Hart, Rodgers) - 7:18
"Angel Face" (Hank Jones) - 6:38
"Sometimes I'm Happy" (Irving Caesar, Vincent Youmans) - 7:15
"What's New?" (Johnny Burke, Bob Haggart) - 3:51

Personnel
Milt Jackson – vibes
Lucky Thompson - tenor saxophone
Hank Jones - piano
Wendell Marshall - bass
Kenny Clarke – drums
Passage 20:
Jazz Contemporary
Jazz Contemporary is an album by American jazz trumpeter Kenny Dorham featuring performances recorded in 1960 and released on the Time label  The album features the recording debut of pianist Steve Kuhn 

Reception
The Allmusic review by Scott Yanow awarded the album 2½ stars and stated "The results are not quite essential but everyone plays up to par    It's fine hard bop, the modern mainstream music of the period" 

Track listing
All compositions by Kenny Dorham except as indicated"A Waltz" - 5:34
"Monk's Mood" (Thelonious Monk) - 8:09
"In Your Own Sweet Way" (Dave Brubeck) - 8:01
"Horn Salute" - 8:27
"Tonica" - 2:57
"This Love of Mine" (Sol Parker, Henry W  Sanicola Jr , Frank Sinatra) - 6:49Bonus tracks on CD reissue:

"Sign Off" - 5:29
"A Waltz" [alternate take] - 5:36
"Monk's Mood" [alternate take] (Monk) - 2:53
"This Love of Mine" [alternate take] (Parker, Sanicola, Sinatra) - 7:55Recorded on February 11 (tracks 2, 3, 7, 8, 10) and February 12, 1960 (tracks 1, 4-6, 9) 

Personnel
Kenny Dorham - trumpet
Charles Davis - baritone saxophone
Steve Kuhn - piano
Jimmy Garrison (tracks 2, 3, 7, 8 & 10), Butch Warren (tracks 1, 4-6 & 9)  - bass
Buddy Enlow - drums



ground_truth: Kanine Records