Problem: Background: "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).
Context: 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.
Question: Was this the most popular recording?
Answer: Gladys Knight version was released as a single in September 1967, reaching number 2 in the charts.

Background: Elaine May (born April 21, 1932) is an American screenwriter, film director, actress, and comedienne. She made her initial impact in the 1950s from her improvisational comedy routines with Mike Nichols, performing as Nichols and May. After her duo with Nichols ended, May subsequently developed a career as a director and screenwriter. Her screenwriting has been twice nominated for the Academy Award, for Heaven Can Wait (1978) and the Nichols-directed Primary Colors (1998).
Context: Audiences were still discovering them in 1961, four years after they arrived. However, at the height of their fame, they decided to discontinue their act that year and took their careers in different directions: Nichols became a leading film director; May became primarily a screenwriter and playwright, with some acting and directing. Among the reasons they decided to call it quits was that keeping their act fresh was becoming more difficult. Nichols explains: Several things happened. One was that I, more than Elaine, became more and more afraid of our improvisational material. She was always brave. We never wrote a skit, we just sort of outlined it: I'll try to make you, or we'll fight--whatever it was. We found ourselves doing the same material over and over, especially in our Broadway show. This took a great toll on Elaine. Nichols said that for him personally the breakup was "cataclysmic", and he went into a state of depression: "I didn't know what I was or who I was." It was not until 1996, thirty-five years later, that they would work together again as a team, when she wrote the screenplay and he directed The Birdcage. It "was like coming home, like getting a piece of yourself back that you thought you'd lost," he said. He adds that May had been very important to him from the moment he first saw her, adding that for her "improv was innate," and few people have that gift. Director Arthur Penn said of their sudden breakup, "They set the standard and then they had to move on." To New York talk show host Dick Cavett, "They were one of the comic meteors in the sky." They reunited for benefits for George McGovern for President in 1972.
Question: What is the article about?
Answer:
Director Arthur Penn said of their sudden breakup, "They set the standard and then they had to move on."