The following are given passages.
Passage 1:
Rockin' You Tonight
Rockin' You Tonight is the second studio album by American country music artist Blaine Larsen. Released in 2006 on BNA Records (in association with Giantslayer Records), the album produced two singles for Larsen on the Hot Country Songs charts: "I Don't Know What She Said" and "Spoken Like a Man", which respectively reached number 24 and number 42. Also included is a cover of Mac Davis's "Baby, Don't Get Hooked on Me", as well as "I'm in Love with a Married Woman", which was previously recorded and released as a single by Mark Chesnutt from his 2002 self-titled album. "Let Alone You" was later recorded by Easton Corbin on his eponymous debut album in 2010.

Track listing
Personnel
Eddie Bayers - drums, percussion
Spady Brannan - bass guitar
Perry Coleman - background vocals
Mickey Jack Cones - background vocals
J.T. Corenflos - baritone guitar, electric guitar
Stuart Duncan - fiddle, mandolin
Kevin "Swine" Grantt - bass guitar
Tommy Harden - drums, percussion
Blaine Larsen - lead vocals
Chris Leuzinger - baritone guitar, electric guitar
Bill McDermott - electric guitar
Brent Mason - electric guitar
Jimmy Nichols - accordion, Hammond organ, piano, synthesizer horns, Wurlitzer
Danny Parks - electric guitar
Biff Watson - acoustic guitar, nylon string guitar, hi-string guitar
Gretchen Wilson - duet vocals on "Lips of a Bottle"
Lonnie Wilson - drums, percussion
Glenn Worf - bass guitar

Chart performance
Album
Passage 2:
Saturday Night Footy
In Australia, Saturday Night Footy (formerly as Saturday Night Football) is the broadcasting of Australian Football League (AFL) Saturday night matches on television. Saturday Night Footy is generally considered to be one of the biggest stages and generates publicity for the clubs involved. It is for this reason that clubs involved generally want to perform at their best to avoid large-scale criticism from the media. The Seven Network has held the primary broadcast rights for the AFL since the start of the 2012 season.
The commentary team is led by Basil Zempilas, Cameron Ling, Luke Darcy and Matthew Richardson. Samantha Lane provides reports during the match and also features as a reporter during the pre-match segment, which runs for 45 minutes (or one hour for matches played in Adelaide or Perth) before the match is played. Dr. Peter Larkins provides injury updates during and after the feature match. The show begins at 6:30pm every Saturday night, immediately following Seven News in most markets.
The pre-match show, titled The Kick, is anchored by Darcy and runs for one hour in the lead-up to the feature match. This portion of the telecast includes, among others, segments such as: interviews with players and the coaches involved in the feature match, going behind the scenes of a team's training session, and featuring various celebrity guests. Rachael Finch, Lleyton Hewitt and Redfoo, among others, have featured as guests on Saturday Night Footy.The post-match show, anchored by Darcy, reviews the match in detail and includes interviews with the players and coaches from both sides. The team also crosses to Sam McClure, at Footy Central, to recap the rest of the day's matches, and also to provide injury and player updates from those matches.
The original Saturday Night Footy telecast may not air into some states, as the current broadcasting contract requires the local teams to be televised into their respective states (for example, Saturday night matches involving the Brisbane Lions must be televised into Queensland). The pre-match show may also be omitted from the schedule if a local team's match being played in the twilight timeslot (i.e. 4:35 pm) is televised and overlaps into the 6:30pm timeslot.
During Seven's exclusively live broadcast of the AFL Grand Final as part of the 2012-2016 Broadcast Deal, the Saturday Night Footy team host both the pre-match show and the post-match show.
In 2018, James Brayshaw will join the Saturday Night Footy team.

See also
Friday Night Football (AFL)
Passage 3:
Lopez Tonight
Lopez Tonight is an American late-night television talk show that was hosted by the comedian George Lopez. The hour-long program premiered on November 9, 2009, on cable network TBS.  Lopez was the first Mexican-American to host a late-night talk show on an English-language network in the United States. The show featured audience interaction using a high-energy format. The program aired Monday through Thursday at midnight Eastern and Pacific, immediately following Conan. On August 10, 2011, TBS announced that Lopez Tonight would be canceled. The final episode aired the following night.

History
Phillip Kent, the chief executive of TBS, announced in March 2009 that George Lopez had signed a contract to host his own late-night talk show on TBS in November of that year. During interviews, Lopez said that he would bring the change to late-night television and that he wants the show to reach a diverse audience. He also stated that he would become the first Hispanic American to host a late-night talk show. The show debuted on November 9, 2009, with guests Kobe Bryant and Eva Longoria, as well as a special appearance from Ellen DeGeneres and a musical performance from Carlos Santana.

Arrival of Conan O'Brien and cancellation
The 2010 Tonight Show conflict resulted in Conan O'Brien's departure from NBC and The Tonight Show. Jay Leno returned to The Tonight Show, abandoning his prime time experiment, The Jay Leno Show. As a part of his severance deal, O'Brien was given a $32-million payout, a $12-million payout for his show's staff, and the ability to pursue options on other channels after September 1, 2010.
Hours before O'Brien's Legally Prohibited from Being Funny on Television Tour, O'Brien officially announced he had signed with TBS to create his own late-night talk show at 11:00 pm beginning in November 2010, thus pushing Lopez Tonight back to midnight. O'Brien was hesitant at first, saying he didn't want to do that to Lopez after what NBC had done to him, but Lopez himself called him and persuaded him to take the job. On the April 12 edition of Lopez Tonight, George addressed the situation by saying, "I was on Team Coco, now I'm on Team Loco!".
However, the move caused a steep decline in ratings. On August 10, 2011, TBS canceled Lopez Tonight effective at the end of the week. O'Brien said of the announcement on his show, taping just hours after it was confirmed:

"I want to take one second right now and talk about something serious. Today, not long ago—a couple of hours ago—it was announced that TBS is not renewing George Lopez's show for a third season. I have very strong feelings about this, and I wanted to talk about it. Had it not been for George being so incredibly supportive of me a year and a half ago, I would not have come to TBS and we would not be doing this show right now. I owe that man a lot, and frankly, it makes me very sad that TBS and George could not work this out. I really like being a part of a late-night lineup with George, and I wish that this could've continued. So, tonight, all of our thoughts are with George and his entire staff and crew. We understand, believe me, how hard this is for all of you, and we wish you all the best."

Format
The show followed the established six-piece format established by the likes of Steve Allen and Johnny Carson. The first segment included a monologue by Lopez, sometimes accompanied by several one-liners, or several brief comedy sketches. Most episodes also included a second segment, immediately after the monologue, with a full comedy sketch. An interview with either one or two guests followed, as well as a musical or comedy performance.

Recurring segments
Sketches introduced on the show include Bullet Wound or Not a Bullet Wound, a stereotypical game show similar to Jay Leno's "Jaywalking" where guests must answer seemingly racist questions, Creepy Little White Girl in which a horrific little girl appears on the stage to deliver bad news, The Jersey Shore Presents, a mocking piece where cast members of Jersey Shore star in hit movies, Sweet Tweets where Lopez answers questions submitted from Twitter, WWE Superstars Karoake where many WWE Superstars performed karaoke songs, Justin Bieber's Memories a segment that mocks Justin Bieber and his childhood, and "Eric Estrada" where colored lights flash and various guests, including Benjamin Bratt and Jon Cryer come out of the double doors in a California Highway Patrol motorcycle uniform.

Timeline
November 9, 2009 — Lopez Tonight debuts with guests Eva Longoria and Kobe Bryant as well as a special appearance by Ellen DeGeneres, and a musical performance from Carlos Santana, who performed "Oye Como Va".
November 12, 2009 — Comedian Larry David appears on the show and takes a DNA test revealing his results to be 63 percent European and 37 percent Native American.
November 25, 2009 — George officially announces that Arsenio Hall would become the permanent guest host of Lopez Tonight.
December 15, 2009 — A special reunion episode, featuring the main cast of George Lopez. Musical guests War performed "Low Rider", the theme song to the former show as well as Lopez Tonight.
January 18, 2010 — Jennifer Lopez performs the opening monologue for Lopez Tonight, addressing the 2010 Tonight Show conflict, beginning with "Welcome to Lopez Tonight, where nobody gets fired"!
April 1, 2010 — As part of an April Fool's Day joke, musician Usher corrected Lopez after incorrectly stating he had two kids, saying that he had three, and went on to say that how upset he was when people didn't get their facts straight, however Usher revealed it to be a joke and that he did indeed have two kids.
April 12, 2010 — George Lopez announces that beginning in November 2010, Conan O'Brien will officially join TBS for his own late-night talk show which will push Lopez Tonight back one hour from 11:00 pm to midnight.
June 24, 2010 – Lopez Tonight celebrates its 100th episode, with guests Kobe Bryant and Louis C.K. with special appearances from Arsenio Hall, Clint Eastwood, Tom Cruise, Donald Trump, Russell Brand, and Eddie Van Halen. At the end of the show, George alongside his band performed the Van Halen song "Panama".
August 18, 2010 – George Lopez bets Bow Wow $25,000 to charity that the Los Angeles Lakers would beat the Miami Heat on Christmas Day.
October 19, 2010 – The cast of Jackass 3D appears on the show.
November 3, 2010 – Conan O'Brien officially appears on the show promoting his new talk show, Conan, which moves Lopez Tonight to midnight.
November 4, 2010 – Lopez Tonight celebrates its last show in the 11:00PM time slot as it prepares to move to 12:00AM in order for the arrival of Conan. Guests on the show were Andy Richter, Bret Michaels, and a musical performance from Good Charlotte.
November 8, 2010 – Lopez Tonight airs its first show in the midnight time slot. The show features many changes including a new opening sequence as well as a new set. Guests on the show included Janet Jackson, Antoine Dodson, and a musical performance from Rooney.
August 10, 2011 – Lopez Tonight is canceled by TBS with the series finale airing August 12, 2011.
August 15, 2011 – Repeats of The Office filled in the former Lopez Tonight timeslot after several weeks of his show repeats.
August 18, 2011 – The official TBS Lopez Tonight website was taken down and currently redirects the site to tbs.com.

Production
Studio and set design
The show was taped at Warner Bros. Studios in Burbank, California, near The Ellen DeGeneres Show studio. The stage layout followed a street-party theme. The show differed from many other late-night talk shows, most notably for not featuring a desk or background of the city in which the show is taped.

House band
Lopez Tonight's house band was Michael Bearden and the Ese Vato's, who are famous for performances with Michael Jackson and Shakira. The band consisted of leader and keyboard player Michael Bearden, guitarist Tommy Organ, bass player Alex Al, percussionist Lenny Castro, trumpeter Bill Churchville, drummer Robin DiMaggio, and saxophonist Sean Holt. As in common talk show format, Michael Bearden and the Ese Vato's would perform the show's opening and closing theme, bumpers into and out of commercial breaks. The show's opening theme was "Lowrider" by the band War, which was also the theme song for George Lopez.

Reception
The show has been critically panned. Metacritic scored the show with a 39/100 based on six reviews. 
Matthew Gilbert of The Boston Globe claims "Lopez has a full-throated energy and a weakness for sophomoric guy humor that can be grating, especially since his show will air Monday through Thursday nights." The New York Times says "Mr. Lopez said he was 'bringing change to late-night TV,' but the only significant change was a coarsening of the already crass atmosphere."

See also
List of Lopez Tonight episodes
Passage 4:
I Don't Want This Night to End
"I Don't Want This Night to End" is a song co-written and recorded by American country music artist Luke Bryan. It was released in September 2011 as the second single from his album Tailgates & Tanlines. The song, written by Bryan, Rhett Akins, Dallas Davidson and Ben Hayslip, is a "guy meets girl" love story.
The song received positive reviews from critics who praised the simplistic writing and catchy chorus. "I Don't Want This Night to End" peaked at number one on the US Billboard Hot Country Songs chart, giving Bryan his third number-one country music hit in both charts and starting a streak of eighteen consecutive number one hits for him. This streak ended in 2019 when "What Makes You Country" peaked at number 7 on Hot Country Songs, and number 2 on Country Airplay. It also charted at number 22 on the Hot 100 chart, the same position as his previous single "Country Girl (Shake It for Me)". The song was certified 4× Platinum by the Recording Industry Association of America (RIAA), and has sold 2,730,000 copies in the United States as of August 2015. The song achieved minor chart success in Canada, peaking at number 48 on the Canadian Hot 100 chart. It also garnered a Platinum certification from Music Canada, selling over 80,000 copies in that country.
The accompanying music video was directed by Shaun Silva and features actress Cameron Richardson as Bryan's love interest.

Content
Bryan told The Boot that the song is about "a guy meeting a girl, and it's the first night that they're hanging out. It's a magical night and he doesn't want it to end. It's got a big fun chorus in it." He co-wrote the song with Rhett Akins, Dallas Davidson, and Ben Hayslip, collectively known as The Peach Pickers. After Hayslip provided the title, Bryan began playing a melody on a guitar. Hayslip then said that his publisher, Randy Gaston, recommended that he write "a song that talks about putting your hands up in the chorus".The song is set in the key of A minor and has a moderate tempo of approximately 112 beats per minute. The verses use a chord pattern of Am-G-Fsus2 three times, with a C-G-F pattern twice on the chorus followed by the original pattern of Am-G-Fsus2 twice. It ends on the Fsus2 chord.

Critical reception
Billy Dukes of Taste of Country gave the song four stars out of five, calling the chorus "pretty memorable" and saying that the writers "did a nice job of not over-thinking things." Matt Bjorke of Roughstock gave the song three and a half stars of five, writing that the chorus is "infectious and sing-a-long ready" and the song is "strong, well-written" and "sounds great on the radio, just like it will in concerts."Billboard and American Songwriter ranked "I Don't Want This Night to End" at number four and number one, respectively, on their lists of the 10 greatest Luke Bryan songs.

Music video
The music video was directed by Shaun Silva and premiered on November 8, 2011. Bryan portrays a country music star who falls for a new girl (played by actress Cameron Richardson) while he is home from the road. The video is a prequel to the music video for "Drunk On You" which was later released as a single.

Commercial performance
"I Don't Want This Night to End" debuted at number 44 on the U.S. Billboard Hot Country Songs chart for the week of September 17, 2011. It debuted at number 90 on the U.S. Billboard Hot 100 chart for the week of October 15, 2011. The song was certified five times platinum by the RIAA on August 3, 2020. As of August 2015, the song has sold 2,730,000 copies in the US.It debuted at number 80 on Canadian Hot 100 chart for the week of November 5, 2011.

Charts and certifications
Passage 5:
Home Alone Tonight
"Home Alone Tonight" is a song recorded by American country music artist Luke Bryan as a duet with Karen Fairchild of American country music group Little Big Town for his fifth studio album, Kill the Lights (2015). Upon the release of the album, the song entered the Billboard Hot Country Songs chart at number 33 on the strength of digital downloads. It was serviced to American country radio on November 23, 2015 as the album's third official single. The song was written by Jody Stevens, Cole Taylor, Jaida Dreyer and Tommy Cecil.

Live performances
Bryan and Fairchild performed the song live at the 2015 American Music Awards.

Content
The song is a mid-tempo ballad in which a man and woman meet in a bar and plot revenge on their former lovers together.

Critical reception
An uncredited review from Taste of Country was favorable, stating that it "features more progressive production than 'Strip It Down,' but isn’t quite as edgy as 'Kick the Dust Up.' One would hardly call the arrangement organic, but that fits the mood. The two spontaneous lovers promise they won’t regret what’s to come, even though both know it’s not true. It’s an inevitability that many will relate to."

Commercial performance
The song debuted at number 33 on the Billboard Hot Country Songs chart dated of August 29, 2015, the week the album was released, selling 13,000 copies in its first week. It debuted at number 55 on the Country Airplay chart dated of November 14, 2015 in anticipation of its official release. After Bryan and Fairchild performed the song on the 2015 American Music Awards, it debuted at number 97 on the Billboard Hot 100 chart dated of December 12, 2015, selling 16,000 copies. It became Bryan's thirteenth consecutive (and fifteenth overall) number one country music single on the Country Airplay chart dated of February 13, 2016. The song has sold 441,000 copies in the US as of April 2016.

Charts
Certifications
Passage 6:
Eliza Biscaccianti
Eliza Biscaccianti (1824 – July 1896) was an American operatic soprano from Boston, Massachusetts. Born Eliza Ostinelli, she was the daughter of pianist Sophia Hewitt Ostinelli, the only woman to have ever been employed as an organist and accompanist by Boston's Handel and Haydn Society and the second musician ever to perform the work of Beethoven in Boston, and Louis Ostinelli, a native of Italy who became a second violinist with, and later a conductor of, the Handel and Haydn Society. Her uncle was composer John Hill Hewitt and her grandfather was conductor, composer and music publisher James Hewitt.She was nicknamed "The American Thrush".

Musical training, marriage and singing career
From 1842 to 1847 Biscaccianti studied singing in Italy, most notably with Giuditta Pasta. She made her professional opera debut at Teatro Lirico in Milan in May 1847 as Elvira in Ernani. While in Italy she married the Italian cellist Count Alessandro Biscaccianti. They returned to the United States in late 1847 when Biscaccianti was offered a contract at the Astor Opera House in New York City. She made her debut at the Astor opera house as Amina in La sonnambula. She was later heard that season in the title role of Lucia di Lammermoor.After the Astor Place Riot in 1849, she returned to her native city of Boston where she was lauded for her opera performances. She then toured to San Francisco in 1852 where she was one of the star performers in the fledgling opera scene in that city during.
Madame Biscaccianti received from a large and highly intelligent audience, on the occasion of her re-appearance, last evening, one of the most flattering welcomes that we have ever seen bestowed upon a public favorite. It was her first concert in several weeks, and she had barely recovered from an illness which still left its enfeebling effects upon her frame; but her voice was strong, pure and exquisitely flexible, and her spirits buoyant and animated. She sang with a degree of fervor and expression that called for the most enthusiastic testimonials, in the forms of plaudits, "bravos" and bouquets, from a delighted auditory. Her execution, too, was brilliant and artistic; and we see no reason to change the opinion we expressed many months since, after one of the fair Signora's 'Benevolent Concerts'; that the strength and purity of her tones and her brilliancy of style and execution continually increase, and her increasing success is manifest at every concert given by Madam B. in this city.
According to Verdi historian, George Martin:
Because she had been born in Boston of a New England mother, Biscaccianti was known popularly as "The American Thrush," but she had studied in Europe and sung in Paris, Milan, St. Petersburg, and London, founding a claim to be the first American to sing opera in Europe. In the ten months that she remained in California she sang at least seventy recitals, thirty-five in San Francisco, thirteen in Sacramento, seven in Stockton, and the balance in smaller towns.
In 1853 Biscaccianti performed in operas in South America, including in Lima, Peru. After retiring from the stage she taught singing in Milan. In her elder years she lived in a home for artists in Paris that was supported by a foundation in memory of Rossini.

Death
By the time of her death in 1896, according to Ammer, Biscaccianti was impoverished. She died, aged 72, at the Rossini Foundation Home for Musicians in Paris.

Notes
Passage 7:
Don't Let Me Be Lonely Tonight
"Don't Let Me Be Lonely Tonight" is a song written and performed by American singer-songwriter James Taylor, from his 1972 album One Man Dog. 
The song has been included on three of Taylor's greatest-hits collection albums: Greatest Hits (1976), Classic Songs (1987) and The Best of James Taylor (2003). Taylor re-recorded the song for the 2001 Michael Brecker album Nearness of You: The Ballad Book; this rendition won Taylor the Grammy Award for Best Male Pop Vocal Performance in 2002.

Personnel
James Taylor – lead vocals, acoustic guitar
Danny Kortchmar – electric guitar
Craig Doerge – piano
Lee Sklar – bass guitar
Russ Kunkel – drums, congas
Michael Brecker – tenor saxophone

Reception
Billboard described "Don't Let Me Be Lonely Tonight" as a "ballad beauty." Record World called it a "superb lilting ballad featuring stunning Peter Asher production work and a terrific saxophone finale."  AllMusic reviewer Bill Janovitz wrote that the song is "a stunning example of the Tin Pan Alley-type of jazzy romantic ballad", and that the song's lyrics, about "a betrayed lover who allows his lonely heart to control his head", were unusual in that songs on that theme were usually performed by female artists. Berwyn Life critic Steve Sparacio said that it "is simply one of the most beautiful ballads in existence."

Chart performance
It was released as the lead single from the album, and peaked at No. 14 on the U.S. Billboard Hot 100, reaching its peak position on January 13, 1973.  It also reached No. 3 Easy Listening. In Canada, the song reached No. 18 on the Pop Singles chart and No. 7 AC.

Covers and samples
The song has been recorded by the following artists:

Johnny Mathis, on Me and Mrs. Jones (1973)
Liza Minnelli, on The Singer (1973), her best-selling album
The Isley Brothers, on their platinum-selling album 3 + 3 (1973). This version was done in 12/8 time, with a rhythm and blues feel.
Nancy Wilson, on Come Get to This (1975)
Isaac Hayes, on For the Sake of Love (1978), in a 7-minute, funk-infused version with a long instrumental introduction. The instrumental portion has been sampled in songs including "You Keep Leading Me On" by Mona Lisa (1996), "Rhyme No More" by Jay-Z (1997), "It's All Mo' Thug" by Bone Thugs-n-Harmony (1997) and "Lovin You (On My Mind)" by Slim Thug featuring Z-Ro (2013).
Mary MacGregor, on ...In Your Eyes (1978)
Scottish band Wet Wet Wet on their debut album Popped in Souled Out (1987)
Brazilian jazz-bossa nova singer Kenia recorded and released her own revival in 1987.
Oleta Adams, on Evolution (1992)
Michael Brecker, on Nearness of You: The Ballad Book (2001)
Eric Clapton, on Reptile (2001)
Joe Cocker, on Heart & Soul (2005)
Euge Groove, on Livin’ Large (2004)
David Sanborn featuring Lizz Wright on Closer (2005)
Diane Schuur on Schuur Fire (2005)
Jazz saxophonist Boney James, on Send One Your Love (2009). Vocals were by Quinn, in a style similar to the Isley Brothers' version. It was released as a single, and was nominated for the Grammy Award for Best Traditional R&B Performance in 2010, losing to Beyoncé's cover of "At Last".
Garth Brooks, on The Melting Pot album of the compilation box set Blame It All on My Roots: Five Decades of Influences (2013)
Jazz singer and bassist Kristin Korb on the album What If (2021)

Other cover versions
"Don't Let Me Be Lonely Tonight" has also been performed live by artists including George Benson, Pat Metheny, and Earth, Wind & Fire.
Passage 8:
Silly Love Songs (Glee)
"Silly Love Songs" is the twelfth episode of the second season of the American musical television series Glee, and the thirty-fourth overall. The Valentine's Day-themed episode was written by series creator Ryan Murphy, directed by Tate Donovan, and premiered on Fox on February 8, 2011. In this episode, Director Will Schuester (Matthew Morrison) assigns the McKinley High School glee club to perform love songs in honor of Valentine's Day. Club member Finn Hudson (Cory Monteith) sets up a kissing booth for the occasion, to take advantage of his rising popularity and raise money for the club. At the Dalton Academy, Blaine Anderson (Darren Criss) and the Dalton Academy Warblers make plans to perform a musical number outside of the campus, and Kurt Hummel (Chris Colfer) confesses his love for Blaine.
"Silly Love Songs" was met with critical acclaim, with much of the praise stemming from the character development and the musical performances. Melissa Maerz of the Los Angeles Times, Emily VanDerWerff of The A.V. Club, and Lisa de Moraes of The Washington Post all deemed the storyline as entertaining, while Joel Keller of the TV Squad went on to call the episode "the best episode of the season." The episode features cover versions of six songs, including a cover of "P.Y.T." by Michael Jackson and "My Funny Valentine" from the musical Babes in Arms. Many of the covers and performances were met with positive reception from critics and fans alike, with much of the praise going to the Glee covers of "Fat Bottomed Girls" by Queen and "Silly Love Songs" by Paul McCartney, respectively. All songs with the exception of "My Funny Valentine" were released as singles and made available for digital download.
Upon its initial airing, the episode was watched by just under 11.58 million American viewers, and it garnered a 4.6/13 Nielsen rating/share in the 18–49 demographic. Both the total viewership and ratings were significantly down from the previous episode, "The Sue Sylvester Shuffle", which aired immediately after the Super Bowl.

Plot
Glee club director Will Schuester (Matthew Morrison) gives New Directions a love song assignment. Having fallen for the group's newest member Lauren Zizes (Ashley Fink), Puck (Mark Salling) serenades her with Queen's "Fat Bottomed Girls". Lauren finds his song choice insulting and stands him up on a pre-Valentine's date, but eventually agrees to spend Valentine's Day with him as friends.

Artie Abrams (Kevin McHale) and Mike Chang (Harry Shum Jr.) celebrate their respective relationships by performing Michael Jackson's "P.Y.T. (Pretty Young Thing)" for their girlfriends, Brittany Pierce (Heather Morris) and Tina Cohen-Chang (Jenna Ushkowitz). Tina later begins to sing "My Funny Valentine" to Mike, but is too overcome with emotion, and begins to cry while continuing to sing.
Finn Hudson (Cory Monteith) sets up a kissing booth, to take advantage of his popularity in the hope of kissing his ex-girlfriend Quinn Fabray (Dianna Agron). He also wants to donate the proceeds to the glee club. Quinn initially refuses to buy a kiss from Finn, but does so at the insistence of her boyfriend Sam Evans (Chord Overstreet), who is suspicious of their relationship. The kiss further re-ignites Finn and Quinn's feelings for one another, and they begin an affair. Santana Lopez (Naya Rivera), angry for having recently had her bad behavior highlighted by the other club members, conspires to give them mono and reveal Quinn's infidelity. Finn's most recent ex-girlfriend Rachel Berry (Lea Michele) is dismayed by his renewed feelings for Quinn, but resolves to concentrate on her career instead of romance, and leads the female New Directions members in a performance of Katy Perry's "Firework".
At Dalton Academy, a private school attended by former New Directions member Kurt Hummel (Chris Colfer), the object of his affection Blaine Anderson (Darren Criss) announces his intention to sing a love song to his crush. Kurt believes that Blaine has feelings for him, so is disappointed when his crush turns out to be Jeremiah (Alexander Nifong), the assistant manager at a local Gap store. The Dalton Academy Warblers accompany Blaine as he serenades Jeremiah with Robin Thicke's "When I Get You Alone". Jeremiah is subsequently fired and rebuffs Blaine. Kurt confesses his feelings to Blaine, who tells Kurt that he cares for him but is terrible at romance, and does not want to risk damaging their friendship. The episode ends with New Directions assembled at Breadstix, a local restaurant, where the Warblers perform the titular "Silly Love Songs".

Production
"Silly Love Songs" was first announced by Glee co-creator Ryan Murphy in an interview with a German journalist. The name of the episode and its airdate were announced shortly after the announcement of the show getting a short-term hiatus due to various cast members contracting the flu. Inspiration for the episode may be partially related to a lobbying effort by Paul McCartney to have covers of songs by The Beatles incorporated into Glee. In an interview with various reporters at the 2010 Teen Choice Awards, Murphy revealed that he received a mixtape that was sent from McCartney, who is reportedly a fan of the series. Recurring characters who appear in this episode include glee club members Mike Chang (Harry Shum, Jr.), Sam Evans (Chord Overstreet), and Lauren Zizes (Ashley Fink), football coach Shannon Beiste (Dot-Marie Jones), and Blaine Anderson (Darren Criss) the lead singer of the Dalton Academy Warblers."Silly Love Songs" features cover versions of six songs: Katy Perry's "Firework", Queen's "Fat Bottomed Girls", Michael Jackson's "P.Y.T. (Pretty Young Thing)", "My Funny Valentine" from the musical Babes in Arms, "When I Get You Alone" by Robin Thicke, and "Silly Love Songs" by Paul McCartney and his band Wings. This was the fourth time a song by Katy Perry was used in a Glee episode, with the previous covers being "I Kissed a Girl" in the pilot, "Teenage Dream" on the episode "Never Been Kissed" and "California Gurls" on the previous episode "The Sue Sylvester Shuffle". All songs with the exception of "My Funny Valentine" were released as singles and made available for digital download. All five singles were included on Glee soundtrack albums: "Firework", "P.Y.T. (Pretty Young Thing)", and "Fat Bottomed Girls" were featured in the sixth soundtrack album, Glee: The Music, Volume 5, while "Silly Love Songs" and "When I Get You Alone" were featured on the seventh, Glee: The Music Presents the Warblers.

Reception
Ratings
"Silly Love Songs" was originally broadcast in the United States on Fox on February 8, 2011. It received just under 11.58 million American viewers upon its initial airing, despite airing simultaneously with NCIS on CBS, The Biggest Loser on NBC, No Ordinary Family on ABC, and One Tree Hill on The CW. It garnered a 4.6/13 Nielsen rating/share in the 18–49 demographic, the highest rating of the night. This episode's total viewership and ratings were significantly down from the previous episode, "The Sue Sylvester Shuffle", which was watched by over 26.8 million American viewers and received an 11.1/29 rating/share in the 18–49 demographic.In Canada, where it also aired on February 8, 2011, the episode was watched by over 2.08 million viewers. It ranked number ten in the most-watched television programs of the week. The total viewership slightly declined from the previous episode, which attained 2.16 million viewers, as well as being the ninth most-watched television program of the week. In Australia, where the episode aired on February 21, 2011, it was viewed by 921,000 viewers upon its initial airing. It was the eleventh most-watched program on the night. The episode's total viewership declined at a marginal rate from the previous episode, which drew 1.13 million viewers, and was the fourth most-watched program of the night and the most-watched in the 18–49 demographic. It placed tenth in the weekly viewership rankings. In the UK, the episode was watched by 2.629 million viewers (2.233 million on E4, and 396,000 on E4+1), becoming the most-watched show on E4 and E4 +1 for the week, and the most-watched show on cable for the week.

Critical response
"Silly Love Songs" was met with critical acclaim from many television critics upon its initial airing. Erica Futterman of Rolling Stone gave a very positive review of the episode, and wrote, "This was our favorite type of Glee episode. Though we enjoy over-the-top spectacles [...], the show's real cleverness shines when they take songs from across the board and fit them into a cohesive storyline. Sue Sylvester didn't make an appearance and—dare we say it—we didn't even miss her." Bobby Hankinson of the Houston Chronicle enjoyed the episode, going on to write, "I thought it was a strong showing, if a little disjointed. Well, at least it was honest. If this show is one thing, it's disjointed. It's part of its spazzy appeal." Melissa Maerz of the Los Angeles Times gave the episode a positive review: "On Tuesday night, Glee wasn’t only back at its usual time, it was back to doing what it does best: giving us entertaining [...] storylines involving characters we care about who sing songs that emerge organically and advance the story. It was like a perfect heart-shaped bubble of an episode reminding the show’s fans about all the things we’ve missed about the show these last couple of months."Robert Canning of IGN also gave the episode a positive review, and opined, "With the dissing of glee club temporarily put on hold, Glee the series was able to have a little fun with Tuesday night's episode. And fun it was, with the gang of New Directions taking on Valentine's Day, with flirting, kissing and, of course, singing. Without the bullying, this was a much lighter episode of Glee, and the results gave way to a lot more laughs and story development." He went on to praise Ashley Fink's performance as Lauren Zizes, and said of Puck's falling in love with Lauren, "I can't decide if I want to root for this couple, but I certainly know I'm going to be rooting for Lauren." Canning ultimately gave the episode an 8.5 out of 10. Wyndham Wyeth of Paste went on to praise the episode for its depiction of relationships in high school, as well as the backing vocals for Salling's performance of "Fat Bottomed Girls" by Queen. Emily VanDerWerff of The A.V. Club gave the episode a positive review and a grade of "A−": "'Silly Love Songs' is a fine example of the show at what's very nearly its absolute best. There's nothing too heady here, but if the show has one tone that it's nailed almost completely consistently, it's the feeling of teenage romance, the sense that the person you're in love with is the only person you will ever be in love with [...] followed almost immediately by the crippling feeling of heartbreak, of losing that person too soon. Teenage life moves fast and is filled with heightened emotions. And like most musicals, Glee has always been at its best when it embraces those two sides of its characters' lives. As such, 'Silly Love Songs', which is pretty much just an excuse to play around with the show's many romantic pairings among its glee club characters, is a lot of fun without trying all that hard." In conclusion of her review, she wrote, "The best episodes play that elation and devastation off of each other. The worst episodes flounder about for some sort of emotional foothold. But when Glee just tells small, sweet stories about these kids and the ways they're trying to cope with being in high school when they know they're meant for bigger things, it can be terrific. Tonight was one of those episodes, and tonight's episode was terrific. Here's to a good February sweeps."

Matt Richenthal of TV Fanatic gave the episode a 4.6 out of 5 stars, and went on to describe the episode as "A funny, touching, entertaining Glee episode that didn't feature a single line from Sue Sylvester? I never thought I'd see the day. But that's exactly what transpired on 'Silly Love Songs', as the show stopped feeling like a Public Service Announcement for a week and actually focused on well-paced, well-written relationship developments among its core characters." Joel Keller of TV Squad gave the episode a positive review, and wrote, "'Silly Love Songs' strikes an interesting contrast to Sunday night's post-Super Bowl episode in that tonight was more about the kids and where they are in their stories than about big production numbers and Sue's cartoon evilness. It was also the funniest episode of the season, in no small part because we got some insight into the lives of two New Directions members we rarely get to hang out with for any length of time: Santana and Lauren." James Poniewozik of Time Magazine praised the storyline and the musical performances of the episode. However, Soraya Roberts of the Daily News gave the episode a negative review: "This show sometimes sounds like it was written by a PIT, prime idiot TV writer. It's almost as bad as Tina breaking down into tears for no reason while singing 'My Funny Valentine' to Mike and Blaine attempting to channel Frank Sinatra while singing Paul McCartney's 'Silly Love Songs' in the middle of Breadsticks." Lisa de Moraes of The Washington Post praised the storyline, calling it cohesive.

Musical performances
The musical covers and performances for the episode were mostly well received by critics and fans alike. Sandra Gonzalez of Entertainment Weekly stated that her favorite was "Silly Love Songs" by Paul McCartney, performed by the Warblers. In a review of the performance, she wrote, "This is much more Warbler-esque than 'When I Get You Alone'. I had also been worried we wouldn't get our weekly dose of dorky Warbler dance moves. Plus, major points for the blink-and-you'll-miss-it moment when Blaine sang the love 'won't come at all' line to Santana. It was probably my personal biggest laugh-out-loud moment of the episode." She gave the performance an "A". She also praised Puck's performance of "Fat Bottomed Girls", and opined, "In general, I'm in love with Mark Salling's voice. He's right up there with Artie [...] in my book. And this song was smothered in awesome sauce. Bonus points for Puck's sort-of-feminine head bob, Brittany's background groovin', the club's reactions to him singing to Lauren, and Mr. Schu's mild eye-roll." She went on to give the performance an "A−". Kristin Coachman of the Seattle Post-Intelligencer was a bit more critical of Puck's cover of the song: "This week Mark Salling [...] is singing Queen's 'Fat Bottomed Girls'. I know this song fits in with Puck's storyline for the episode, but I feel like the song was in the wrong key for him. At times it sounded like he was straining to hit the higher notes. Because of this, I have to wonder if the backing vocals are purposely drowning his voice out. It seems depending on the song selection for him, Salling's vocal performances continue to be very hit or miss this season."Tina's cover of "My Funny Valentine" stirred mixed emotions in Gonzalez. She criticized the ending: "When she started sobbing, it got weird. Then weirder. Then downright uncomfortable." However, she liked the earlier part of the performance, and wrote, "It was übersweet when Tina started getting choked up during her song, because let's face it, it happens. You can love someone so much it hurts. If she would have continued the song with a mild lump in her throat, I think I might have gotten choked up with her."Rachel's cover of "Firework" by Katy Perry was reviewed negatively by Coachman. She wrote, "I'm not loving Michele’s vocals on this track. It was like they wanted to purposely make her sound like Katy Perry. As much as I really like Katy Perry, Michele has more of a tremendous voice. There are parts where I thought she sounded really great, but for the most part this song just wasn't my cup of tea. Michele has such a beautiful voice; I wish she was given songs that would allow her to showcase it to her advantage." Katie Morgan of Billboard gave a positive review of the Warblers' performance of "Silly Love Songs", writing, "Not only do they sound great [...], but the song brings a sugary sweet end to a super-saccharine episode." The Marquee Blog at CNN gave the music numbers a positive review. A notable segment reads: "I just loved seeing The Warblers get their groove on amidst the jeans and cotton T-shirts. And Kurt was super gracious trying to be supportive of Blaine, in spite of his own feelings. I also totally loved the music [...] and overall this was one of my favorite episodes this season. Brett Berk of Vanity Fair praised Salling's performance of "Fat Bottomed Girls", as well as the casts' performances of "P.Y.T." by Michael Jackson and "When I get You Alone" by Robin Thicke. Erica Futterman of Rolling Stone gave Salling's performance a positive review. She wrote, "We were thoroughly entertained by Puck's attempt to win newbie Lauren Zizes over with his tribute to her larger figure. Only in Puck's world would Queen's raucous song qualify as a serenade—and our horror-turned-amusement was mirrored on his fellow New Directions' faces. Puck is no Freddie Mercury, but he handles the melody well and makes up for lack of range with swagger."

Chart history
All five of the cover versions released as singles debuted on the Billboard Hot 100, and appeared on other musical charts. With these new Hot 100 debuts, plus the debut the same week of "She's Not There" from the prior episode "The Sue Sylvester Shuffle", which had aired two days before "Silly Love Songs", the Glee Cast passed Elvis Presley's record of 108 singles on the Hot 100, reaching 113 singles. The cast had nine songs on the Hot 100 that week, a new record for them. The show's rendition of "Firework" debuted at number thirty-four; it was at number thirty-five on the Billboard Canadian Hot 100. The other four songs from this episode on the Hot 100 were "Silly Love Songs" at number forty-five, which also made number fifty-four on the Canadian Hot 100, "When I Get You Alone" at number forty-seven, which also made number sixty-one on the Canadian Hot 100, "Fat Bottomed Girls" at number fifty-six, which also made number fifty on the Canadian Hot 100, and "P.Y.T. (Pretty Young Thing)" at number fifty-eight, which also made number sixty-nine on the Canadian Hot 100.
Passage 9:
Up All Night (Matt Willis song)
"Up All Night" is the debut solo single by English musician Matt Willis. It was released as a single on 22 May 2006 and appears on his debut album, Don't Let It Go to Waste. The song is about how Willis keeps thinking of a girl, and as a result cannot sleep at night. It debuted at number 52 on the UK Singles Chart on download sales alone. The following week, it peaked at number seven after the physical release. It stayed in the UK chart for a total of four weeks.
The video for "Up All Night" features Willis in a house late at night and flashes back and forth between scenes of Willis having difficulty sleeping and Willis in the midst of a party. Willis's first televised performance of "Up All Night" took place on 7 May 2006 on Top of the Pops. He then performed the song again on the same show on 28 May 2006, three weeks since his TV debut.

Track listings
CD2 contains a free beer mat, with images of a dragon on the front and Willis on the rear.

Charts
Passage 10:
I Don't Want to Go Back Alone
I Don't Want to Go Back Alone (Portuguese: Eu Não Quero Voltar Sozinho) is a 2010 Brazilian short film directed by Daniel Ribeiro. The short won the 2011 Iris Prize.
It was later expanded into Ribeiro's 2014 feature film The Way He Looks.

Plot
Leonardo "Leo" is a 15-year-old blind high school student with his one friend in class, Giovana, sitting next to him. Seated behind Leonardo is the new student Gabriel. After class Giovana invites Gabriel to walk home with herself and Leonardo; she customarily links arms with him for support even though his house is further from the school than hers. Later Giovana teases Leonardo about never confiding in her about romance and suggests he receive math tutoring from Gabriel.
Over time the three grow closer, walking home and playing games together. Leonardo becomes more self-conscious about appearance, asking questions about what he and Gabriel look like. Gabriel volunteers to take over escorting Leonardo so Giovana doesn't have to backtrack, though she possessively says that's not necessary. However, Leo happily agrees. A school project requires same-sex pairs, leading Leonardo to work with Gabriel instead of Giovana. During a more serious conversation about his blindness, Gabriel points out Giovana's attraction to Leonardo, but Leonardo says he does not reciprocate. After school one day, Leo links arms with Gabriel rather than Giovana, much to Gabriel's surprise and Giovana's chagrin.
When they arrive at his house, Leonardo changes shirts in front of Gabriel, who is stunned before removing his own sweatshirt. Gabriel asks Leonardo where the bathroom is to brush his teeth, but Gabriel is standing in the doorway and sees Leonardo smelling his sweatshirt. However he does not mention this to Leo. The next day in class, Gabriel tells Leonardo he left his sweatshirt at Leonardo's house but must leave school early for a dentist's appointment, and so will collect it the next day. After the other students have left, Leonardo admits to Giovana he is in love with Gabriel.
Doubtful about the homosexual romance - and hurt because she has feelings for Leo as Gabriel suspected - Giovana does not provide a positive response before a sudden phone call summons her to her grandmother's birthday, leaving Leonardo to walk home alone with a white cane. At home, when he hears someone come into his room, he chastises Giovana for leaving him and expresses his doubts about confessing his love for Gabriel. However, the visitor is actually Gabriel himself, who smiles to himself at this unintended confession before silently kissing him on the lips, leaving with his sweatshirt. Later, Giovana arrives while apologizing for taking so long. Leonardo is left confused and, after feeling around his room, discovers the sweatshirt is gone. He smiles at the realization that Gabriel was the one who kissed him.

Cast
Ghilherme Lobo as Leonardo
Fabio Audi as Gabriel
Tess Amorim as Giovana

Awards and accolades
Feature film
In December 2012, the film's official Twitter announced that a feature film based on the short film, titled "Todas as Coisas mais Simples", which translates to "All of the Simplest Things", was in production, after over two years of fundraising and preparation of the script. Filming began and completed in early 2013. The film premiered in 2014.In September 2013, director Daniel Ribeiro, announced the final title would be "Hoje Eu Quero Voltar Sozinho", which translates to "Today I Want to Go Back Alone". Ribeiro reported, "Throughout the development of the movie a new plot element arose: Leonardo's independence. It's a naturally common theme in any teen's life, but specially in Leonardo's as, being blind, he's often overprotected by those around him, and he wants to do some things on his own, without depending on others. Therefore, the original title was no longer valid, after all "going back alone" became one of the main character's objectives."
The official English title of the film is "The Way He Looks".
Passage 11:
Jim Cornelison
James Cornelison (born June 20, 1964) is an American singer who sings "The Star-Spangled Banner" and "O Canada" at the beginning of home games for the Chicago Blackhawks, accompanied by organist Frank Pellico. Cornelison started singing the anthem for the Blackhawks part-time in 1996; he has been singing the national anthem for the Blackhawks full-time since 2007. Cornelison has sung "Back Home Again in Indiana" at the Indianapolis 500 since 2017. He has also performed the anthem before Chicago Bears home games at Soldier Field during the 2010–11 NFL playoffs, as well as the 2011 season opener against the Atlanta Falcons, which fell on the tenth anniversary of the September 11 attacks. He also sang the National Anthem at the home opener of the 2019 season, the opening game of the 100th anniversary of the NFL.
Cornelison also sang at the 2015 NASCAR myAFibRisk.com 400 race at Chicagoland Speedway. He performed the National Anthem at the Bears' 2016 home-opener against the Philadelphia Eagles. 
He frequently sang the national anthem at the opening ceremonies for the Arlington International Festival of Racing at Arlington International Racecourse in the northwest suburbs of Chicago.
Cornelison graduated from Seattle Pacific University with degrees in music and psychology. He then went on to earn a master's degree in music from Indiana University in 1992. In 1995, he moved to Chicago and joined the Lyric Opera Center for American Artists.

Awards
Cornelison has won several awards for music, including:

The William Matheus Sullivan Foundation Award
First place in the American Opera Society of Chicago's 1997 Vocal Competition
The George London Foundation Encouragement Grant
Passage 12:
The Fox and the Hound
The Fox and the Hound is a 1981 American animated buddy drama film produced by Walt Disney Productions and loosely based on the 1967 novel of the same name by Daniel P. Mannix. The 24th Disney animated feature film, it tells the story of the unlikely friendship between a red fox named Tod and a hound dog named Copper. They struggle to preserve their friendship despite their emerging instincts and the surrounding social pressures demanding them to be adversaries, as they are enemies by nature. After Chief, Copper's mentor and guardian who is owned by the same hunter as him, is hit by a train while chasing Tod and seemingly almost dies, Copper assumes his role as a hunting dog and vows vengeance against Tod. Eventually, they fight each other, but in the end, Copper saves Tod after Tod saves him and his owner from a bear.
The film was directed by Ted Berman, Richard Rich, and Art Stevens, marking the directorial debuts of Berman and Rich. It was produced by Ron Miller, Wolfgang Reitherman, and Art Stevens. The ensemble voice cast consists of Mickey Rooney as Tod and Kurt Russell as Copper, respectively, with Pearl Bailey, Jack Albertson, Sandy Duncan, Jeanette Nolan, Pat Buttram, John Fiedler, John McIntire, Dick Bakalyan, Paul Winchell, Keith Mitchell, and Corey Feldman providing the voices of the other characters of the film. Mitchell and Feldman in particular voiced Young Tod and Young Copper. The instrumental musical score to the film was composed and conducted by Buddy Baker, with Walter Sheets performing the orchestration.
Walt Disney Productions first obtained the film rights to the novel by Daniel P. Mannix in 1967, however, actual development on the film would not occur until spring 1977. It marked the last involvement of the remaining members of Disney's Nine Old Men, which included Frank Thomas and Ollie Johnston. Though they had involvement in early development of the film, it was ultimately handed over to a new generation of animators following the retirement of the old animators. As such, it was the first film for future directors including Tim Burton, Brad Bird, and John Lasseter. During production, its release was delayed by over six months following the abrupt departure of Don Bluth and his team of animators. Further concerns were raised over the handling of the scene in which Chief is hit by a train, which was originally planned to result in him dying. After debating the handling of the scene, the filmmakers decided to change the death into a non-fatal injury by which he merely suffers a broken leg.
The film was released to theaters on July 10, 1981, by Buena Vista Distribution. It was a financial success, becoming the 14th highest-grossing film of the year and earning $39.9 million in the United States. However, it received mixed reviews from critics, who praised the animation and voice acting of it, but believed that it was not groundbreaking enough. It was nominated for three awards, of which it won one. At the time of its release, it was the most expensive animated film produced to date, costing $12 million. It was re-released to theaters on March 25, 1988. An intermediate follow-up, The Fox and the Hound 2, was released directly-to-DVD on December 12, 2006.

Plot
After a young red fox is orphaned, Big Mama the owl and her friends, Dinky the finch and Boomer the woodpecker, arrange for him to be adopted by a kindly farmer named Widow Tweed, who names him Tod. Meanwhile, her neighbor, hunter Amos Slade, brings home a young hound puppy named Copper and introduces him to his hunting dog, Chief, who is at first annoyed by him, but then learns to love him. One day, Tod and Copper meet and become best friends, pledging eternal friendship. Amos grows frustrated at Copper for constantly wandering off to play, and places him on a leash. While playing with Copper outside his barrel, Tod accidentally awakens Chief. Amos and Chief chase him until they are stopped by Tweed. After an argument, Amos threatens to kill Tod if he trespasses on his property again. Hunting season comes and Amos takes Chief and Copper into the wilderness for the interim. Meanwhile, Big Mama, Dinky, and Boomer attempt to explain to Tod that Copper will soon become his enemy. However, he naively insists that they will remain friends forever.
The following spring, Tod and Copper reach adulthood. Copper returns as an expert hunting dog, who is expected to track down foxes. Late at night, Tod sneaks over to visit him. Their conversation awakens Chief, who alerts Amos. A chase ensues and Copper catches Tod, but lets him go while diverting Amos. Chief catches Tod as he attempts an escape on a railroad track, but an oncoming train strikes him, resulting in him falling into the river below and breaking his leg. Enraged by this, Copper and Amos blame Tod for the accident and vow vengeance. Realizing Tod is no longer safe with her, Tweed leaves him at a game reserve. After a disastrous night on his own in the woods, Big Mama introduces him to Vixey, a female fox who helps him adapt to life there.
Amos and Copper trespass into the reserve and hunt Tod and Vixey. The chase climaxes when they inadvertently provoke an attack from a giant bear. Amos trips and falls into one of his own traps, dropping his rifle slightly out of reach. Copper violently fights the bear, but is almost killed by it. Tod comes to his rescue and battles it until they both fall down a waterfall. As Copper approaches Tod as he lies wounded in the lake below, Amos appears, ready to shoot him. Copper positions himself in front of him to prevent Amos from doing so, refusing to move away. Amos, understanding Tod had saved their lives, lowers his rifle and leaves with Copper. Tod and Copper reconcile their friendship and share one last smile before parting. At home, Tweed nurses Amos back to health, much to his humiliation. As he lies down to take a nap, Copper smiles as he remembers the day when he first met Tod. At the same moment, Vixey joins Tod on top of a hill as they both look down on Amos' and Tweed's homes.

Voice cast
Mickey Rooney as Tod
Keith Mitchell as Young Tod
Kurt Russell as Copper
Corey Feldman as Young Copper
Pearl Bailey as Big Mama
Jack Albertson as Amos Slade
Sandy Duncan as Vixey
Jeanette Nolan as Widow Tweed
Pat Buttram as Chief
John Fiedler as The Porcupine
John McIntire as The Badger
Dick Bakalyan as Dinky
Paul Winchell as Boomer

Production
Development
In May 1967, shortly before the novel won the Dutton Animal Book Award, it was reported that Walt Disney Productions had obtained the film rights to it. In spring 1977, development began on the project after Wolfgang Reitherman had read the original novel and decided that it would make for a good animated feature as one of his sons had once owned a pet fox years before. The title was initially reported as The Fox and the Hounds, but the filmmakers dropped the plural as the story began to focus more and more on the two leads. Reitherman was the film's original director along with Art Stevens as codirector. A power struggle between the two directors and coproducer Ron Miller broke out over key sections of the film with Miller supporting the younger Stevens. Miller instructed Reitherman to surrender reins over to the junior personnel, but Reitherman resisted due to a lack of trust in the young animators.In an earlier version of the film, Chief was slated to die as he did in the novel. However, the scene was modified to have him survive with a broken leg. Animator Ron Clements, who had briefly transitioned into the story department, protested, "Chief has to die. The picture doesn't work if he just breaks his leg. Copper doesn't have motivation to hate the fox." Likewise, younger members of the story team pleaded with Stevens to have him killed. He countered, "Geez, we never killed a main character in a Disney film and we're not starting now!" The younger crew members took the problem to upper management, who would also back Stevens. Ollie Johnston's test animation of Chief stomping around the house with his leg in a cast was eventually kept, and Randy Cartwright reanimated the scene where Copper finds his body and had him animate his eyes opening and closing so the audience knew that he was not dead.Another fight erupted when Reitherman, in thinking the film lacked a strong second act, decided to add a musical sequence of two swooping cranes voiced by Phil Harris and Charo. These characters would sing a silly song titled "Scoobie-Doobie Doobie Doo, Let Your Body Turn to Goo" to Tod after he was dropped in the forest. Charo had recorded the song and several voice tracks which were storyboarded, and live-action reference footage was shot of her wearing a sweaty pink leotard. However, the scene was strongly disliked by studio personnel who felt the song was a distraction from the main plot, with Stevens stating, "We can't let that sequence in the movie! It's totally out of place!" He notified studio management and after many story conferences, the scene was removed. Reitherman later walked into his office, slumped in a chair, and said, "I dunno, Art, maybe this is a young man's medium." He later moved on to undeveloped projects such as Catfish Bend.

Animation
By late 1978, Frank Thomas, Ollie Johnston, and Cliff Nordberg had completed their animation. Thomas had animated scenes of Tod and Copper using dialogue Larry Clemmons had written and recorded with the child actors. The film would mark the last one to have the involvement of Disney's Nine Old Men who had retired early during production, and animation was turned over to the next generation of directors and animators, which included John Lasseter, John Musker, Ron Clements, Glen Keane, Tim Burton, Brad Bird, Henry Selick, Chris Buck, Mike Gabriel, and Mark Dindal, all of whom would finalize the animation and complete the film's production. These animators had moved through the in-house animation training program, and would play an important role in the Disney Renaissance of the 1980s and 1990s.However, the transition between the old guard and the new resulted in arguments over how to handle the film. Reitherman had his own ideas on the designs and layouts that should be used, but the newer team backed Stevens. Animator Don Bluth animated several scenes including of Widow Tweed milking her cow, Abigail, while his team worked on the rest of the sequence, and when she fires at Amos' automobile. Nevertheless, Bluth and the new animators felt that Reitherman was too stern and out of touch, and on his 42nd birthday, September 13, 1979, Bluth, along with Gary Goldman and John Pomeroy, entered Ron Miller's office, and they turned in their resignations. Soon after, 13 more animators followed suit in turning in their resignations. Though Bluth and his team had animated substantial scenes, they asked not to receive screen credit.With those animators now gone, Miller ordered all of the resigning animators off the studio lot by noon of that same day and would later push the film's release from Christmas 1980 to summer 1981. New animators were hired and promoted to fill the ranks. To compensate for the lack of experience of the new animators, much of the quality control would rely upon a network of veteran assistant animators. Four years after production started, the film was finished with approximately 360,000 drawings, 110,000 painted cels, and 1,100 painted backgrounds making up the finished product. A total of 180 people, including 24 animators, worked on the film.

Casting
Early into production, the principal characters such as Young Tod, Young Copper, Big Mama, and Amos Slade had already been cast. The supporting roles were filled by Disney voice regulars including Pat Buttram as Chief, Paul Winchell as Boomer, and Mickey Rooney, who had just finished filming Pete's Dragon (1977), as Adult Tod. Jeanette Nolan was the second choice for Widow Tweed after Helen Hayes turned down the role. The last role to be cast was Adult Copper. Jackie Cooper had auditioned for the role, but left the project when he demanded more money than the studio was willing to pay. While filming the Elvis (1979) television film, former Disney young actor Kurt Russell was cast following a reading that had impressed the filmmakers, and completed his dialogue in two recording sessions. The growling vocals for the bear were provided by sound effects artist Jimmy MacDonald.

Soundtrack
The soundtrack album for the film was released in 1981 by Disneyland Records. It contains songs written by Stan Fidel, Jim Stafford, and Jeffrey Patch.

Track listing
Release
Box office
In its original release, the film grossed $39.9 million in domestic grosses, the highest for an animated film at the time from its initial release. Its distributor rentals were reported to be $14.2 million while its international rentals totaled $43 million. It was rereleased theatrically on March 25, 1988, where it grossed $23.5 million. It has had a lifetime gross of $63.5 million across its original release and reissue.

Home media
The film was first released on VHS on March 4, 1994, as the last entry in the Walt Disney Classics line. This release was placed into moratorium on April 30, 1995. On May 2, 2000, it was released on Region 1 DVD for the first time as part of the Walt Disney Gold Classic Collection line, along with a simultaneous VHS re-issue as part of the same video line on the same day. This edition went into moratorium in January 2006. Soon after, a 25th anniversary special edition DVD was released on October 10, 2006.The film was released on Blu-ray on August 9, 2011, commemorating its 30th anniversary as part of a 3-disc Blu-ray/DVD Combo pack that was bundled as a 2-movie Collection Edition featuring The Fox and the Hound 2 on the same Blu-ray Disc, as well as separate DVD versions of both films. Featuring a new digital restoration, the Blu-ray transfer presents the film for the first time in 1.66:1 widescreen and also features 5.1 DTS-HD Master Audio. The Fox and the Hound 2 is presented in 1.78:1 widescreen and features the same audio channel as the first film. A DVD-only edition of the 2-movie Collection, again featuring both films on separate discs, was also released on the same day.

Critical reception
Initial reviews
Vincent Canby of The New York Times claimed that the film "breaks no new ground whatsoever", while describing it as "a pretty, relentlessly cheery, old-fashioned sort of Disney cartoon feature, chock-full of bouncy songs of an upbeatness that is stickier than Krazy Glue and played by animals more anthropomorphic than the humans that occasionally appear." He further commented that the film "is rather overstuffed with whimsy and folksy dialogue. It also possesses a climax that could very well scare the daylights out of the smaller tykes in the audience, though all ends well. Parents who don't relish chaperoning their tykes to see the movie, but find they must anyway, can take heart in the knowledge that the running time is 83 minutes. That's about as short as you can get these days." Sheila Benson of the Los Angeles Times praised the animation, but criticized the story for playing it too safe. She acknowledged that the writers were "protecting us from important stuff: from rage, from pain, from loss. By these lies, done for our own good, of course, they also limit the growth that is possible." David Ansen of Newsweek stated, "Adults may wince at some of the sticky-sweet songs, but the movie is not intended for grownups."Richard Corliss of Time magazine praised the film for its intelligent story about prejudice. He argued that it shows that biased attitudes can poison even the deepest relationships, and its bittersweet ending delivers a powerful and important moral message to audiences. Roger Ebert of the Chicago Sun-Times also praised it, saying, "For all of its familiar qualities, this movie marks something of a departure for the Disney studio, and its movement is in an interesting direction. The Fox and the Hound is one of those relatively rare Disney animated features that contains a useful lesson for its younger audiences. It's not just cute animals and frightening adventures and a happy ending; it's also a rather thoughtful meditation on how society determines our behavior."

Retrospective reviews
TV Guide gave the film four out of five stars, saying, "The animation here is better than average (veteran Disney animators Wolfgang Reitherman and Art Stevens supervised the talents of a new crop of artists that developed during a 10-year program at the studio), though not quite up to the quality of Disney Studios in its heyday. Still, this film has a lot of 'heart' and is wonderful entertainment for both kids and their parents. Listen for a number of favorites among the voices." Michael Scheinfeld of Common Sense Media gave its quality a rating of 4 out of 5 stars, stating, "It develops into a thoughtful examination of friendship and includes some mature themes, especially loss."In The Animated Movie Guide, Jerry Beck considered the film "average", though he praises the voice work of Pearl Bailey as Big Mama, and the extreme dedication to detail shown by animator Glen Keane in crafting the fight scene between Copper, Tod, and the bear. In his book The Disney Films, Leonard Maltin also notes that that scene received great praise in the animation world. However, he felt the film relied too much on "formula cuteness, formula comedy relief, and even formula characterizations". Overall, he considered it "charming" stating that it is "warm, and brimming with personable characters" and that it "approaches the old Disney magic at times." Craig Butler from All Movie Guide stated that it was a "warm and amusing, if slightly dull, entry in the Disney animated canon." He also called it "conventional and generally predictable" with problems in pacing. However, he praised its climax and animation, as well as the ending. His final remark is that "Two of the directors, Richard Rich and Ted Berman, would next direct The Black Cauldron, a less successful but more ambitious project."Rob Humanick of Slant Magazine gave the film 31⁄2 out of five stars, noting that it was the transition point between the remaining original animators since Snow White and the Seven Dwarfs to the new generation, saying that "the results culled the best qualities of both groups." and that "The result is a work of both learned, assured poise and triumphant freshman determination, not far away (in style or quality) from other benchmark-status works, like the aforementioned Snow White or Pixar’s Toy Story." RL Shaffer of IGN wrote a rather mixed review, claiming that it "is just not as impressive as Disney's early work, or their late '80s/early '90s pictures." James Kendrick of Q Network Film Desk stated that it "is not one of the studio's best efforts, but nonetheless it remains a fascinating product of an era of upheaval as well as a meaningful statement about the nature of prejudice." Peter Canavense of Groucho Reviews stated that it "is sweet but a bit dull", nothing that "Overall, the picture is good-hearted and colorful, with an ending that carries a nice touch of ambiguity about the tussle of nature and nurture." John J. Puccio of Movie Metropolis claimed that it "is very sweet and no doubt a delight for children, but I found it quite slow and tedious."The review aggregator website Rotten Tomatoes reported that the film received a 70% approval rating with an average rating of 6.5/10 based on 27 reviews. The website's consensus states that "The Fox and the Hound is a likeable, charming, unassuming effort that manages to transcend its thin, predictable plot." Metacritic gave it a score of 65 based on 15 reviews, indicating "generally favorable reviews".

Accolades
The film was awarded a Golden Screen Award (German: Goldene Leinwand) in 1982. In the same year, it was also nominated for a Young Artist Award and the Saturn Award for Best Fantasy Film.

Comic adaptations
As well as adaptations of the film itself, comic strips featuring the characters also appeared in stories unconnected to it. Examples include The Lost Fawn, in which Copper uses his sense of smell to help Tod find a fawn who has gone astray;The Escape in which Tod and Vixey must save the Canada goose from the bobcat;The Chase, in which Copper must safeguard a sleepwalking Chief; and Feathered Friends, in which Dinky and Boomer must go to desperate lengths to save one of Widow Tweed's chickens from a coyote.A comic adaptation of the film, drawn by Richard Moore, was published in newspapers as part of Disney's Treasury of Classic Tales. A comic-book titled The Fox and the Hound followed, with new adventures of the characters. From 1981 to 2007, a few Fox and the Hound Disney comics stories were produced in Italy, Netherlands, Brazil, France, and the United States.

Follow-up
An intermediate follow-up, The Fox and the Hound 2, was released directly-to-DVD on December 12, 2006. It takes place during Tod and Copper's youth, before the events of the later half of the first film. The story-line involves Copper being tempted to join a band of singing stray dogs called "The Singin' Strays", thus threatening his friendship with Tod. It was critically panned, with critics calling it a pale imitation of its predecessor.

See also
Foxes in popular culture, films and literature
The Belstone Fox, a 1973 British film with similar themes, based on David Rook's 1970 novel, The Ballad of the Belstone Fox

Notes

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

Question: Who sings Home Alone Tonight with the singer of "I Don't Want This Night to End"?



Answer: Karen Fairchild