Problem: Background: Carousel is the second musical by the team of Richard Rodgers (music) and Oscar Hammerstein II (book and lyrics). The 1945 work was adapted from Ferenc Molnar's 1909 play Liliom, transplanting its Budapest setting to the Maine coastline. The story revolves around carousel barker Billy Bigelow, whose romance with millworker Julie Jordan comes at the price of both their jobs. He participates in a robbery to provide for Julie and their unborn child; after it goes tragically wrong, he is given a chance to make things right.
Context: The cast album of the 1945 Broadway production was issued on 78s, and the score was significantly cut--as was the 1950 London cast recording. Theatre historian John Kenrick notes of the 1945 recording that a number of songs had to be abridged to fit the 78 format, but that there is a small part of "Soliloquy" found on no other recording, as Rodgers cut it from the score immediately after the studio recording was made.  A number of songs were cut for the 1956 film, but two of the deleted numbers had been recorded and were ultimately retained on the soundtrack album. The expanded CD version of the soundtrack, issued in 2001, contains all of the singing recorded for the film, including the cut portions, and nearly all of the dance music. The recording of the 1965 Lincoln Center revival featured Raitt reprising the role of Billy. Studio recordings of Carousel's songs were released in 1956 (with Robert Merrill as Billy, Patrice Munsel as Julie, and Florence Henderson as Carrie), 1962 and 1987. The 1987 version featured a mix of opera and musical stars, including Samuel Ramey, Barbara Cook and Sarah Brightman. Kenrick recommends the 1962 studio recording for its outstanding cast, including Alfred Drake, Roberta Peters, Claramae Turner, Lee Venora, and Norman Treigle.  Both the London (1993) and New York (1994) cast albums of the Hytner production contain portions of dialogue that, according to Hischak, speak to the power of Michael Hayden's portrayal of Billy. Kenrick judges the 1994 recording the best all-around performance of Carousel on disc, despite uneven singing by Hayden, due to Sally Murphy's Julie and the strong supporting cast (calling Audra McDonald the best Carrie he has heard). The Stratford Festival issued a recording in 2015.
Question: Were the songs popular
Answer: Kenrick recommends the 1962 studio recording for its outstanding cast, including Alfred Drake, Roberta Peters, Claramae Turner, Lee Venora, and Norman Treigle.

Problem: Background: "Trapped in the Closet" is the twelfth episode in the ninth season of the American animated television series South Park. The 137th episode of the series overall, it originally aired on Comedy Central in the United States on November 16, 2005. In the episode, Stan joins Scientology in an attempt to find something "fun and free". After the discovery of his surprisingly high "thetan levels", he is recognized as the reincarnation of L. Ron Hubbard, the founder of the church.
Context: South Park had previously parodied Scientology in a spoof at the 2000 MTV Movie Awards. The MTV short was titled "The Gauntlet" and included "John Travolta and the Church of Scientology" arriving in a spaceship to defeat Russell Crowe (as a gladiator) and attempt to recruit the boys into Scientology. Travolta, along with his fellow Scientologists, was depicted as a Psychlo, as he appeared in the film Battlefield Earth. They had also made fun of Scientology in an earlier episode, titled "Super Best Friends", in which David Blaine formed his own cult, called "Blaintology". Parker and Stone have acknowledged that this is meant to be a reference to Scientology.  Parker stated that Isaac Hayes' membership had previously kept the show's creators from writing a full episode which parodies Scientology. However, the decision to ultimately produce a South Park episode satirizing Scientology was partially inspired by the friendship the show's creators have with Penn Jillette. Jillette was originally planning to do an episode of Bullshit! based on Scientology, but Showtime prohibited him from doing so to avoid the possibility of legal action from the Church of Scientology. Parker commented, "We're going, That's fucked up. And hearing other people say, 'You can't do that' - you can only say 'You can't do that' so many times to Matt and me before we're gonna do it. Finally, we just had to tell Isaac, 'Dude, we totally love working with you, and this is nothing personal, it's just we're South Park, and if we don't do this, we're belittling everything else we've ripped on.'"  Although some questions were raised prior to the episode's screening about whether it was wise to take swipes at Cruise and Scientology, Comedy Central declared that it supported Stone and Parker. A Comedy Central spokesman told Radar magazine in November 2005 that "they are free, and have been, to satirize anybody and anything they want to. They've made fun of MTV, they've made fun of Viacom, they've made fun of Comedy Central, and we've never interfered with them."  During production on the episode, investigative journalist Mark Ebner served as a consultant to Matt Stone and Trey Parker. Ebner had previously authored The New York Times best seller Hollywood, Interrupted, which includes an analysis of the Church of Scientology and its effects on the culture in Hollywood, and has a chapter on Tom Cruise and John Travolta's relationship to Scientology. On the official Comedy Central website for the South Park episode, it is asserted that the section of "Trapped in the Closet" that explains Scientology's portrayal and beliefs was not exaggerated: "Nothing about what you see here is exaggerated in the slightest. Seriously." The title is a reference to the R. Kelly song of the same name, and a depiction of R. Kelly appears in the episode to sing a parody of it.
Question: what followed these questions?
Answer:
However, the decision to ultimately produce a South Park episode satirizing Scientology was partially inspired by the friendship the show's creators have with Penn Jillette.