input: Tex recorded his first hit, "Hold On To What You've Got", in November 1964 at FAME Studios in Muscle Shoals, Alabama. He was unconvinced the song would be a hit and advised Killen not to release it. However, Killen felt otherwise and released the song in early 1965. By the time Tex got wind of its release, the song had already sold 200,000 copies. The song eventually peaked at number five on the Billboard Hot 100 and became Tex's first number-one hit on the R&B charts, staying on the charts for 11 weeks and selling more than a million copies by 1966.  Tex placed six top-40 charted singles on the R&B charts in 1965 alone, including two more number-one hits, "I Want To (Do Everything For You)" and "A Sweet Woman Like You". He followed that with two successive albums, Hold On To What You've Got and The New Boss. He placed more R&B hits than any artist, including his rival James Brown. In 1966, five more singles entered the top 40 on the R&B charts, including "The Love You Save" and "S.Y.S.L.J.F.M." or "The Letter Song", which was an answer song to Wilson Pickett's "634-5789 (Soulsville, U.S.A.)".  His 1967 hits included "Show Me", which became an often-covered tune for British rock artists and later some country and pop artists, and his second million-selling hit, "Skinny Legs and All". The latter song, released off Tex's pseudo-live album, Live and Lively, stayed on the charts for 15 weeks and was awarded a gold disc by the Recording Industry Association of America (RIAA) in January 1968. After leaving Atlantic for Mercury, Tex had several more R&B hits including "Buying a Book" in 1970 and "Give the Baby Anything the Baby Wants" in 1971. The intro saxophone riffs in his 1969 song, "You're Right, Ray Charles" later influenced Funkadelic's "Standing on the Verge of Gettin' It On".  Tex recorded his next big hit, "I Gotcha", in December 1971. The song was released in January 1972 and stayed on the charts for 20 weeks, staying at number two on the Hot 100 for two weeks and sold more than 2 million copies, becoming his biggest-selling hit to date. Tex was offered a gold disc of the song on March 22, 1972. The parent album reached number 17 on the pop albums chart. Following this and another album, Tex announced his retirement from show business in September 1972 to pursue life as a minister for Islam. Tex returned to his music career following the death of Elijah Muhammad in 1975, releasing the top-40 R&B hit, "Under Your Powerful Love". His last hit, "Ain't Gonna Bump No More (With No Big Fat Woman)", was released in 1977 and peaked at number 12 on the Hot 100 and number 2 in the UK.  His last public appearances were as part of a revised 1980s version of the Soul Clan in 1981. After that, Tex withdrew from public life, settling at his ranch in Navasota, Texas, and watching football games by his favorite team, the Houston Oilers.

Answer this question "Was the song on any other charts?"
output: Tex's first number-one hit on the R&B charts, staying on the charts for 11 weeks and selling more than a million copies by 1966.

input: Independently of each other, Rodgers and Hammerstein had been attracted to making a musical based on Lynn Riggs' stage play Green Grow the Lilacs. When Jerome Kern declined Hammerstein's offer to work on such a project and Hart refused Rodgers' offer to do the same, Rodgers and Hammerstein began their first collaboration. The result, Oklahoma! (1943), marked a revolution in musical drama. Although not the first musical to tell a story of emotional depth and psychological complexity, Oklahoma! introduced a number of new storytelling elements and techniques. These included its use of song and dance to convey and advance both plot and character rather than act as a diversion from the story and the firm integration of every song into the plot-line.  Oklahoma! was originally called Away We Go! and opened at the Shubert Theatre in New Haven in March 1943. Only a few changes were made before it opened on Broadway, but three would prove significant: the addition of a show-stopping number, "Oklahoma!"; the deletion of the musical number "Boys and Girls Like You and Me", which would soon after be replaced with a reprise of "People Will Say We're in Love"; and the decision to re-title the musical after the song.  The original Broadway production opened on March 31, 1943, at the St. James Theatre. Although the typical musical of the time was usually written around the talents of a specific performer, such as Ethel Merman or Fred Astaire, no stars were used in the production. Ultimately the original cast included Alfred Drake (Curly), Joan Roberts (Laurey), Celeste Holm (Ado Annie), Howard Da Silva (Jud Fry), Betty Garde (Aunt Eller), Lee Dixon (Will Parker) and Joseph Bulloff (Ali Hakim). Marc Platt danced the role of "Dream Curly", and Katharine Sergava danced the part of "Dream Laurey". In Oklahoma!, the story and the songs were considered more important than sheer star power. Nevertheless, the production ran for a then-unprecedented 2,212 performances, finally closing on May 29, 1948. Many enduring musical standards come from this show, among them "Oh, What a Beautiful Mornin'", "The Surrey with the Fringe on Top", "I Cain't Say No", the aforementioned "People Will Say We're in Love", and "Oklahoma!".  In 1955 it was made into an Academy Award-winning musical film, the first feature shot with the Todd-AO 70 mm widescreen process. The film starred Gordon MacRae and Shirley Jones, and its soundtrack was #1 on the 1956 album charts.  After their initial success with Oklahoma!, the pair took a break from working together and Hammerstein concentrated on the musical Carmen Jones, a Broadway version of Bizet's Carmen with the characters changed to African Americans in the contemporary South, for which he wrote the book and lyrics. The musical was adapted to the screen in 1954, and scored a Best Actress Oscar nomination for leading lady Dorothy Dandridge.

Answer this question "What type of new storytelling elements were introduced?"
output:
These included its use of song and dance to convey and advance both plot and character rather than act as a diversion from the story and