input: The seventh season starts with Willow in England, unnerved by her power, studying with a coven near Giles' home to harness it. She fears returning to Sunnydale and what she is capable of doing if she loses control again, a fear that dogs her the whole season.  Buffy and the Scoobies face the First Evil, bent on ending the Slayer line and destroying the world. Potential Slayers from around the globe congregate at Buffy's home and she trains them to battle the First Evil. Willow continues to face her grief over Tara's death and, reluctantly, becomes involved with one of the Potentials, Kennedy (Iyari Limon).  In the final episode of the series, "Chosen", Buffy calls upon Willow to perform the most powerful spell she has ever attempted. With Kennedy nearby, cautioned to kill her if she becomes out of control, Willow infuses every Potential Slayer in the world with the same powers Buffy and Faith have. The spell momentarily turns her hair white and makes her glow--Kennedy calls her "a goddess"--and it ensures that Buffy and the Potentials defeat the First Evil. Willow is able to escape with Buffy, Xander, Giles, and Kennedy as Sunnydale is destroyed.  Through the gamut of changes Willow endures in the series, Buffy studies scholar Ian Shuttleworth states that Alyson Hannigan's performances are the reason for Willow's popularity: "Hannigan can play on audience heartstrings like a concert harpist... As an actress she is a perfect interpreter in particular of the bare emotional directness which is the specialty of [series writer Marti] Noxon on form."

Answer this question "Why is she unnerved by her power?"
output: studying with a coven near Giles' home to harness it. She fears returning to Sunnydale and what she is capable of doing if she loses control again,

input: The Sweet made their UK television debut in December 1970 on a pop show called Lift Off, performing the song "Funny Funny". A management deal was signed with the aforementioned songwriting team of Nicky Chinn and Mike Chapman. Phil Wainman resumed his collaboration with Sweet, as executive producer. This management deal also included a worldwide (the U.S. excepted) record contract with RCA Records (in the United States and Canada Bell Records issued the group's music until late 1973; followed by Capitol Records).  In March 1971 RCA issued "Funny Funny", written by Chinn and Chapman, which became the group's first international hit, climbing to the Top 20 on many of the world's charts. EMI reissued their 1970 single "All You'll Ever Get from Me" (May 1971) and it again failed to chart. Their next RCA release "Co-Co" (June 1971) went to number two in the U.K. and their follow up single, "Alexander Graham Bell" (October 1971), only went to #33. These tracks still featured session musicians on the instruments with the quartet providing only the vocals.  The Sweet's first full LP album, Funny How Sweet Co-Co Can Be, was released in November 1971. A collection of the band's recent singles supplemented by some new Chinn/Chapman tunes (including "Chop Chop" and "Tom Tom Turnaround") and pop covers (such as the Lovin' Spoonful's "Daydream" and the Supremes' "Reflections"), the album, recorded at Nova Studios in London, was produced by Phil Wainman and engineered by Richard Dodd and Eric Holland. It was not a serious contender on the charts. Their albums' failure to match the success of their singles was a problem that would plague the band throughout their career.

Answer this question "Are there any interesting aspects about this article"
output: album, recorded at Nova Studios in London, was produced by Phil Wainman and engineered by Richard Dodd and Eric Holland. It was not a serious contender

input: In 1960, Joe Banashak, of Minit Records and later Instant Records, hired Toussaint as an A&R man and record producer. He also did freelance work for other labels, such as Fury. Toussaint played piano, wrote, arranged and produced a string of hits in the early and mid-1960s for New Orleans R&B artists such as Ernie K-Doe, Chris Kenner, Irma Thomas (including "It's Raining"), Art and Aaron Neville, the Showmen, and Lee Dorsey, whose first hit "Ya Ya" he produced in 1961.  The early to mid-1960s are regarded as Toussaint's most creatively successful period. Notable examples of his work are Jessie Hill's "Ooh Poo Pah Doo" (written by Hill and arranged and produced by Toussaint), Ernie K-Doe's "Mother-in-Law", and Chris Kenner's "I Like It Like That". A two-sided 1962 hit by Benny Spellman comprised "Lipstick Traces (on a Cigarette)" (covered by the O'Jays, Ringo Starr, and Alex Chilton) and the simple but effective "Fortune Teller" (covered by various 1960s rock groups, including the Rolling Stones, the Nashville Teens, the Who, the Hollies, the Throb, and ex-Searchers founder Tony Jackson). "Ruler of My Heart", written under his pseudonym Naomi Neville, first recorded by Irma Thomas for the Minit label in 1963, was adapted by Otis Redding under the title "Pain in My Heart" later that year, prompting Toussaint to file a lawsuit against Redding and his record company, Stax (the claim was settled out of court, with Stax agreeing to credit Naomi Neville as the songwriter). Redding's version of the song was also recorded by the Rolling Stones on their second album. In 1964, "A Certain Girl" (originally by Ernie K-Doe) was the B-side of the first single release by the Yardbirds. The song was released again in 1980 by Warren Zevon, as the single from the album Bad Luck Streak in Dancing School it reached 57 on Billboard's Hot 100. Mary Weiss, former lead singer of The Shangri-Las, released it as "A Certain Guy" in 2007.  Toussaint credited about twenty songs to his parents, Clarence and Naomi, sometimes using the pseudonym "Naomi Neville". These include "Fortune Teller", first recorded by Benny Spellman in 1961, and "Work, Work, Work", recorded by the Artwoods in 1966. Alison Krauss and Robert Plant covered "Fortune Teller" on their 2007 album Raising Sand.

Answer this question "At what age did Toussaint start playing music?"
output: