IN: The Stylistics are a Philadelphia soul group that achieved its greatest chart success in the 1970s. They formed in 1968, consisting of singers Russell Thompkins Jr., Herb Murrell, Airrion Love, James Smith, and James Dunn. All of their US hits were ballads characterized by the falsetto of Russell Thompkins Jr. and the production of Thom Bell. During the early 1970s, the group had twelve consecutive R&B top ten hits, including "Stop, Look, Listen", "

After signing to Avco, the record label approached producer Thom Bell, who had already produced a catalogue of hits for The Delfonics, to work with the group. The Stylistics auditioned for Bell, but he was initially unimpressed. He ultimately agreed to produce the group because he believed in the potential of lead singer, Russell Thompkins, Jr.'s distinctive, nasal high tenor & falsetto voice. Avco gave Bell complete creative control over the Stylistics and he proceeded to focus the group's sound exclusively around Thompkins's voice. On most of the group hits, Bell would have Thompkins sing virtually solo. The first song recorded with Bell and his collaborator, lyricist Linda Creed, was the lush "Stop, Look, Listen". Bell imported techniques he had perfected with The Delfonics and his musical arrangements worked perfectly with Thompkins' falsetto vocals. Their hits from this period --distilled from three albums-- included "Betcha by Golly, Wow" (U.S. #3), "I'm Stone in Love with You", "Break Up to Make Up" (U.S. #5), "You Make Me Feel Brand New" featuring Thompkins singing a rare lead vocal duet with Airrion Love, the aforementioned "Stop, Look, Listen", "You Are Everything", and the Top 20 Pop hit "Rockin' Roll Baby" (U.S. #14). "You Make Me Feel Brand New" was the group's biggest U.S. hit, holding at No. 2 for two weeks just as the spring of 1974 turned to summer, and was one of the group's five U.S. gold singles. The Stylistics' smooth sound also found an easier path on to adult contemporary airwaves than many other soul artists and the group made Billboard magazine's Easy Listening singles chart twelve times from 1971 to 1976, with three entries ("Betcha by Golly, Wow", "You Make Me Feel Brand New", and "You'll Never Get to Heaven (If You Break My Heart)") reaching the Top 10. Every single that Bell produced for the Stylistics was a Top Ten R&B hit, and several--"You Are Everything", "Betcha by Golly Wow!", "I'm Stone in Love with You", "Break Up to Make Up", and "You Make Me Feel Brand New"--were also Top Ten pop chart hits. The group also enjoyed commercial success with big hits with this material throughout Europe.

when did they break up?

OUT:

input: Baker portrayed a pacifist Quaker schoolteacher in John Ford's Cheyenne Autumn (1964), and received critical acclaim for the role. She then had a supporting role as Saint Veronica in George Stevens' The Greatest Story Ever Told (1965), and portrayed a cynical, alcoholic movie star in The Carpetbaggers (1964), which brought her a second wave of notoriety in spite of the film's lackluster reviews. The New York Times called the film "a sickly sour distillation" of the source novel, but said Baker's performance "brought some color and a sandpaper personality as the sex-loaded widow." The film was the top moneymaker of that year, with domestic box-office receipts of $13,000,000, and marked the beginning of a tumultuous relationship with the film's producer, Joseph E. Levine. Based on her Carpetbaggers performance, Levine began to develop Baker as a movie sex symbol, and she appeared posing in the December 1964 issue of Playboy. She was subsequently cast by Levine in the title roles of two 1965 potboilers-- Sylvia, as an ex-prostitute and con artist, and as Jean Harlow in Harlow. Baker appeared on the cover of the Saturday Evening Post on their November 2, 1963, issue dressed as Harlow, promoting the film's upcoming production. In 1965, she became an official celebrity spokesperson for Foster Grant sunglasses and appeared in advertisements for the company. Baker likened this era of her career to "being a beauty contest winner [as opposed to] an actress." Despite much prepublicity, Harlow received a lukewarm response from critics: Variety referred to Baker's portrayal of Harlow as "a fairly reasonable facsimile, although she lacks the electric fire of the original." Relations between Baker and Levine soured; in a 1965 interview, Baker sardonically commented: "I'll say this about Joe Levine: I admire his taste in leading ladies," which led the press to suspect a rift between the actress and producer. Baker sued Levine over her contract with Paramount Pictures in 1966, and was ultimately fired by Paramount and had her paychecks from Harlow frozen amid the contentious legal dispute; this left Baker hundreds of thousands of dollars in debt (however, she was eventually awarded $1 million in compensation). In an interview with Rex Reed in his book People Are Crazy Here (1974), Baker revealed that she had felt pressure in both her working relationship with Levine, and her domestic life with her husband, the latter of whom she said wanted to maintain an expensive lifestyle: "We'd been very poor when we started out at the Actors Studio in New York," she told Reed. "I was under contract to Joe Levine, who was going around giving me diamonds and behaving like he owned me. I never slept with him or anything, but everyone thought I was his mistress." In the spring of 1966, Baker returned to theatre, performing in a production of Anna Christie at the Huntington Hartford Theater in Los Angeles. The production was directed by Garfein. The production was heralded as the "theatre event of the week" in Los Angeles, though its reception was middling. Cecil Smith of The Los Angeles Times wrote of the production: "The beautiful Miss Baker's vehicle becomes a hearse." The play was also performed at the Tappan Zee Playhouse in Nyack, New York in June 1966.

Answer this question "What happened in Sylvia?"
output:
as an ex-prostitute and con artist,