Question: Ripken was born in Havre de Grace, Maryland, the son of Violet "Vi" Ripken (nee Roberta) and Cal Ripken Sr. He has German, English, and Irish ancestry. Though the Ripkens called Aberdeen, Maryland, their home, they were often on the move because of Cal Sr.'s coaching duties with the Baltimore Orioles organization. Cal Sr., in fact, was in Topeka, Kansas with one of his teams when his son was born.

Ripken was drafted by the Baltimore Orioles in the second round of the 1978 Major League Baseball draft 48th overall. Despite a story written by SABR, Ripken was selected with the Orioles' predetermined draft pick, not through a forfeited pick from the Boston Red Sox after the Sox selected Dick Drago in the 1977 re-entry draft. The Orioles would select catcher Cecil Whitehead with the pick they received from Boston two picks after Ripken. On deciding to go straight from high school to the professional level, he said, "When the colleges started coming around, Dad and I talked about mostly whether I was going to pursue a career in baseball. If I had the ability, the feeling was to get on with it, and if it didn't work out, start over again in college at 25 or 26." Ripken played both pitcher and shortstop in high school; in fact, the Orioles were the only team not just interested in his pitching ability. The Orioles decided to start him playing shortstop in the minor leagues, deciding it would be easier for him to transition back to pitching if necessary than it would be for him to start hitting again. To begin Ripken's minor league career, the Orioles assigned him to the Bluefield Orioles of the rookie Appalachian League. He batted .264 with 63 hits, 0 home run, and 24 RBIs, failing to make the league's all-rookie team. In 1979, Ripken moved up to the Single-A Miami Orioles of the Florida State League. Shortly into the season, Miami manager Lance Nichols decided to move Ripken to third base, saying, "Cal was having some problems at short, so naturally I decided to shift him to third ... Third base was a perfect fit for Cal and our team." On July 2, Ripken hit his first professional home run, a game-winner in the 12th inning against Gary Abone of the West Palm Beach Expos. Ripken batted .303, hit five home runs, led the league with 28 doubles, and had 54 RBIs while playing in all 105 of Miami's games. He was named an All-Star after the season. His performance earned him a brief call-up to the Charlotte Orioles of the Double-A Southern League; Ripken batted .180 in a month with them, albeit with three home runs. Ripken began 1980 with Charlotte. His manager at Charlotte, Jimmy Williams, predicted him to set the team home run record, and Ripken did not disappoint. At season's end, he had 25 home runs, besting the previous record by four. He also had 28 doubles, 78 RBIs, and a .492 slugging percentage. Ripken was named an All-Star while helping Charlotte win the Southern League championship. In 1981, Ripken was added to Baltimore's 40-man roster. He attended spring training with the Orioles, but was sent to the Rochester Red Wings of the Triple-A International League to start the season. At Rochester, Ripken played in the longest professional baseball game. Ripken started at third base and played all 33 innings against the Pawtucket Red Sox (which featured another future Hall of Famer, Wade Boggs) in a game that took parts of three days to complete. Ripken hit 23 home runs for Rochester while batting .288 with 75 RBIs in 114 games. He was named the International League Rookie of the Year.

Using a quote from the above article, answer the following question: Did he make any other homeruns
HHHHHH
Answer: Ripken batted .303, hit five home runs, led the league with 28 doubles, and had 54 RBIs while playing in all 105 of Miami's games.

Question: "I Heard It Through the Grapevine" is a song written by Norman Whitfield and Barrett Strong for Motown Records in 1966. The first recording of the song to be released was produced by Whitfield for Gladys Knight & the Pips and released as a single in September 1967; it went to number two in the Billboard chart. The Miracles recorded the song first and included their version on their 1968 album, Special Occasion. The Marvin Gaye version was placed on his 1968 album In the Groove, where it gained the attention of radio disc jockeys, and Motown founder Berry Gordy finally agreed to its release as a single in October 1968, when it went to the top of the Billboard Pop Singles chart for seven weeks from December 1968 to January 1969 and became for a time the biggest hit single on the Motown label (Tamla).

Producer Norman Whitfield recorded "I Heard It Through the Grapevine" with various Motown artists. The first known recording is with the Miracles on August 6, 1966, though there may also have been a recording with the Isley Brothers, or at least Whitfield intended to record it with them; however a track has not turned up - some Motown historians believe that a session may have been scheduled but cancelled. The Miracles' version was not released as a single due to Berry Gordy's veto during Motown's weekly quality control meetings; Gordy advised Whitfield and Strong to create a stronger single. The Miracles version later appeared on their 1968 Special Occasion album, and a slightly different take, possibly from the same session but unreleased, appeared on the 1998 compilation album, Motown Sings Motown Treasures. Marvin Gaye's version was recorded in spring 1967, and is the second known recording, though was also rejected by Gordy as a single, and would also later go onto an album, In the Groove. The third recording was in 1967 with Gladys Knight and the Pips in a new, faster arrangement. Gordy accepted the new arrangement and the Gladys Knight version was released as a single in September 1967, reaching number 2 in the charts. When Gaye's album with his version of Grapevine was released in August 1968, radio disc jockeys were playing the song, so Gordy had it released as a single in October, and it went to number one in December. In 1968, Bobby Taylor & the Vancouvers recorded a version for their debut album based on Gladys' recent hit; however, after hearing the Marvin Gaye version, they felt they'd made the wrong choice. In 1969, Whitfield produced a version for the Temptations "psychedelic soul" album, Cloud Nine, in which he "brought compelling percussion to the fore, and relegated the piano well into the wings". In 1971, the Undisputed Truth recorded the song in a Marvin-styled version as did Bettye Lavette on her 1982 Motown album, Tell Me a Lie.

Using a quote from the above article, answer the following question: Were there other recordings?
HHHHHH
Answer:
The Miracles version later appeared on their 1968 Special Occasion album, and a slightly different take,