Background: Indigenous languages of the Americas are spoken by indigenous peoples from Alaska and Greenland to the southern tip of South America, encompassing the land masses that constitute the Americas. These indigenous languages consist of dozens of distinct language families, as well as many language isolates and unclassified languages. Many proposals to group these into higher-level families have been made, such as Joseph Greenberg's Amerind hypothesis. This scheme is rejected by nearly all specialists, due to the fact that some of the languages differ too significantly to draw any connections between them.
Context: Thousands of languages were spoken by various peoples in North and South America prior to their first contact with Europeans. These encounters occurred between the beginning of the 11th century (with the Nordic settlement of Greenland and failed efforts in Newfoundland and Labrador) and the end of the 15th century (the voyages of Christopher Columbus). Several indigenous cultures of the Americas had also developed their own writing systems, the best known being the Maya script. The indigenous languages of the Americas had widely varying demographics, from the Quechuan languages, Aymara, Guarani, and Nahuatl, which had millions of active speakers, to many languages with only several hundred speakers. After pre-Columbian times, several indigenous creole languages developed in the Americas, based on European, indigenous and African languages.  The European colonizers and their successor states had widely varying attitudes towards Native American languages. In Brazil, friars learned and promoted the Tupi language. In many Latin American colonies, Spanish missionaries often learned local languages and culture in order to preach to the natives in their own tongue and relate the Christian message to their indigenous religions. In the British American colonies, John Eliot of the Massachusetts Bay Colony translated the Bible into the Massachusett language, also called Wampanoag, or Natick (1661-1663; he published the first Bible printed in North America, the Eliot Indian Bible.  The Europeans also suppressed use of indigenous American languages, establishing their own languages for official communications, destroying texts in other languages, and insisting that indigenous people learn European languages in schools. As a result, indigenous American languages suffered from cultural suppression and loss of speakers. By the 18th and 19th centuries, Spanish, English, Portuguese, French, and Dutch, brought to the Americas by European settlers and administrators, had become the official or national languages of modern nation-states of the Americas.  Many indigenous languages have become critically endangered, but others are vigorous and part of daily life for millions of people. Several indigenous languages have been given official status in the countries where they occur, such as Guarani in Paraguay. In other cases official status is limited to certain regions where the languages are most spoken. Although sometimes enshrined in constitutions as official, the languages may be used infrequently in de facto official use. Examples are Quechua in Peru and Aymara in Bolivia, where in practice, Spanish is dominant in all formal contexts.  In North America and the Arctic region, Greenland in 2009 adopted Kalaallisut as its sole official language. In the United States, the Navajo language is the most spoken Native American language, with more than 200,000 speakers in the Southwestern United States. The US Marine Corps recruited Navajo men, who were established as code talkers during World War II, to transmit secret US military messages. Neither the Germans nor Japanese ever deciphered the Navajo code, which was a code using the Navajo language. Today, governments, universities, and indigenous peoples are continuing to work for the preservation and revitalization of indigenous American languages.
Question: Do they practice some languages more than others?
Answer: In the United States, the Navajo language is the most spoken Native American language,

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 the Footloose remake based on the original Pitchford wrote?
Answer:
Paramount Pictures's remake of Footloose, which was again based on Pitchford's original screenplay and featured six of his songs,