Background: Pitchford was born in Honolulu, where he attended Catholic schools, graduating in 1968 from Saint Louis High School. He began his performance career as an actor and a singer with the Honolulu Community Theatre (now Diamond Head Theatre), the Honolulu Symphony Orchestra and the Honolulu Theatre for Youth, among others. While studying at Yale University, Pitchford performed with numerous campus drama groups, but his focus gradually turned off-campus, where he worked with the Wooster Square Revival, an experimental theatre company that offered acting opportunities to recovering addicts and alcoholics. In 1969, Pitchford returned to Honolulu as an assistant to authors Faye Hammel and Sylvan Levey in updating the popular guidebook Hawai'i on $5 and $10 A Day, and researching Trans World Airlines' Budget Guide to Hawai'i, the first of a series of guidebooks that would eventually turn into the popular series TWA Getaway Guides.
Context: Inspired by a 1979 news story about Elmore City, Oklahoma, a town which had finally lifted an 80-year-old ban on dancing, Pitchford wrote the screenplay for the motion picture Footloose (1984). He collaborated on the nine-song score with Kenny Loggins, Eric Carmen, Jim Steinman, Sammy Hagar and others. The film, directed by Herbert Ross, opened at #1 and was, at the time, the highest-grossing February release in film history. When the soundtrack album hit #1 on the Billboard album charts, it deposed Michael Jackson's Thriller and held that position for 10 weeks. It went on top charts all over the world, eventually selling more than 17 million albums. Kenny Loggins's single of the title song hit #1 on March 31, 1984, and stayed there for three weeks. Five weeks later (May 26, 1984) Deniece Williams's "Let's Hear It for the Boy" went to #1, as well. Four more songs from the soundtrack charted in the Top 40; "Almost Paradise," which reached #7, was co-written with Eric Carmen, and was performed by Mike Reno of Loverboy and Ann Wilson of Heart; "Dancing in the Sheets," which reached #17, was co-written with Bill Wolfer, and was performed by Shalamar; "I'm Free (Heaven Helps the Man)," which reached #22 and, like the film's title track, was co-written with, and performed by, Kenny Loggins; and "Holding Out for a Hero," which reached #34, was co-written with Jim Steinman, and was performed by Bonnie Tyler. "Footloose" was nominated for a Golden Globe as Best Song; and "Footloose" and "Let's Hear It for the Boy" (co-written with Tom Snow) both received Academy Awards nominations (1985). Pitchford received two Grammy nominations: Best Soundtrack Album for a Motion Picture, Television or Other Visual Media, and Best R&B Song "Dancing in the Sheets." Paramount Pictures's remake of Footloose, which was again based on Pitchford's original screenplay and featured six of his songs, was released in October 2011. Blake Shelton had a hit with his re-recording of the title song. Next Pitchford wrote the screenplay of, and collaborated on the authorship and composition of all the songs for, the 1989 musical film Sing.
Question: Was Footloose well received?
Answer: The film, directed by Herbert Ross, opened at #1 and was, at the time, the highest-grossing February release in film history.

Background: Pierre Benjamin Monteux (pronounced [pjeR mo.to]; 4 April 1875 - 1 July 1964) was a French (later American) conductor. After violin and viola studies, and a decade as an orchestral player and occasional conductor, he began to receive regular conducting engagements in 1907. He came to prominence when, for Sergei Diaghilev's Ballets Russes company between 1911 and 1914, he conducted the world premieres of Stravinsky's The Rite of Spring and other prominent works including Petrushka, Ravel's Daphnis et Chloe, and Debussy's Jeux. Thereafter he directed orchestras around the world for more than half a century.
Context: Monteux made a large number of recordings throughout his career. His first recording was as a violist in "Plus blanche que la blanche hermine" from Les Huguenots by Meyerbeer in 1903 for Pathe with the tenor Albert Vaguet. It is possible that Monteux played in the Colonne Orchestra's 20 early cylinders recorded around 1906-07. His recording debut as a conductor was the first of his five recordings of The Rite of Spring, issued in 1929. The first of these, with the OSP, is judged by Canarina to be indifferently played; recordings by Monteux of music by Ravel and Berlioz made in 1930 and 1931, Canarina believes, were more impressive. Stravinsky, who also recorded The Rite in 1929, was furious that Monteux had made a rival recording; he made vitriolic comments privately, and for some time his relations with Monteux remained cool. Monteux's final studio recordings were with the London Symphony Orchestra in works by Ravel at the end of February 1964. In the course of his career he recorded works by more than fifty composers. In Monteux's lifetime it was rare for record companies to issue recordings of live concerts, although he would much have preferred it, he said, "if one could record in one take in normal concert-hall conditions". Some live performances of Monteux conducting the Metropolitan Opera, and among others the San Francisco Symphony, Boston Symphony, BBC Symphony and London Symphony orchestras survive alongside his studio recordings, and some have been issued on compact disc. It has been argued that these reveal even more than his studio recordings "a conductor at once passionate, disciplined, and tasteful; one who was sometimes more vibrant than the Monteux captured in the studio, and yet, like that studio conductor, a cultivated musician possessing an extraordinary ear for balance, a keen sense of style and a sure grasp of shape and line." Many of Monteux's recordings have remained in the catalogues for decades, notably his RCA Victor recordings with the Boston Symphony and Chicago Symphony orchestras; Decca recordings with the Vienna Philharmonic; and Decca and Philips recordings with the LSO. Of Manon, one of his few opera recordings, Alan Blyth in Opera on Record states "Monteux had the music in his blood and here dispenses it with authority and spirit". He can be heard rehearsing in the original LP issues of Beethoven's Eroica Symphony with the Concertgebouw Orchestra (Philips 835132 AY) and Beethoven's 9th with the London Symphony (Westminster, WST 234). Video recordings of Monteux are scarcer. He is seen conducting Berlioz's Roman Carnival Overture and Beethoven's 8th symphony with the Chicago Symphony Orchestra, and Dukas' L'Apprenti sorcier with the London Symphony Orchestra in an "unshowy, deeply satisfying humane way".
Question: Anything else you can share about the article?
Answer:
It has been argued that these reveal even more than his studio recordings "a conductor at once passionate, disciplined, and tasteful;