input: In early 1925, Cooper began his film career in silent pictures such as The Thundering Herd and Wild Horse Mesa with Jack Holt, Riders of the Purple Sage and The Lucky Horseshoe with Tom Mix, and The Trail Rider with Buck Jones. He worked for several Poverty Row studios, including Famous Players-Lasky and Fox Film Corporation. While his skilled horsemanship led to steady work in Westerns, Cooper found the stunt work--which sometimes injured horses and riders--"tough and cruel". Hoping to move beyond the risky stunt work and obtain acting roles, Cooper paid for a screen test and hired casting director Nan Collins to work as his agent. Knowing that other actors were using the name "Frank Cooper", Collins suggested he change his first name to "Gary" after her hometown of Gary, Indiana. Cooper immediately liked the name. Cooper also found work in a variety of non-Western films, appearing, for example, as a masked Cossack in The Eagle (1925), as a Roman guard in Ben-Hur (1925), and as a flood survivor in The Johnstown Flood (1926). Gradually, he began to land credited roles that offered him more screen time, in films such as Tricks (1925), in which he played the film's antagonist, and the short film Lightnin' Wins (1926). As a featured player, he began to attract the attention of major film studios. On June 1, 1926, Cooper signed a contract with Samuel Goldwyn Productions for fifty dollars a week. Cooper's first important film role was in The Winning of Barbara Worth (1926) with Ronald Colman and Vilma Banky, in which he plays a young engineer who helps a rival suitor save the woman he loves and her town from an impending dam disaster. Cooper's experience living among the Montana cowboys gave his performance an "instinctive authenticity", according to biographer Jeffrey Meyers. The film was a major success. Critics singled out Cooper as a "dynamic new personality" and future star. Goldwyn rushed to offer Cooper a long-term contract, but he held out for a better deal--finally signing a five-year contract with Jesse L. Lasky at Paramount Pictures for $175 a week. In 1927, with help from Clara Bow, Cooper landed high-profile roles in Children of Divorce and Wings, the latter being the first film to win an Academy Award for Best Picture. That year, Cooper also appeared in his first starring roles in Arizona Bound and Nevada--both films directed by John Waters. In 1928, Paramount paired Cooper with a youthful Fay Wray in The Legion of the Condemned and The First Kiss--advertising them as the studio's "glorious young lovers". Their on-screen chemistry failed to generate much excitement with audiences. With each new film, Cooper's acting skills improved and his popularity continued to grow, especially among female movie-goers. During this time, he was earning as much as $2,750 per film and receiving a thousand fan letters a week. Looking to exploit Cooper's growing audience appeal, the studio placed him opposite popular leading ladies such as Evelyn Brent in Beau Sabreur, Florence Vidor in Doomsday, and Esther Ralston in Half a Bride. That year, Cooper also made Lilac Time with Colleen Moore for First National Pictures, his first movie with synchronized music and sound effects. It became one of the most commercially successful films of 1928.

Answer this question "what pictures did he do?"
output: The Thundering Herd and Wild Horse Mesa with Jack Holt, Riders of the Purple Sage and The Lucky Horseshoe with Tom Mix, and The Trail Rider with Buck Jones.

input: Johnson's solo career at MCA commenced in 1989, with a succession of high-placed singles and the number one album Blast. The remix collection Hollelujah followed, trailed by a second studio album, Dreams That Money Can't Buy. However, Johnson's relations with MCA cooled with this release, and he would ultimately become a reclusive but successful painter, after announcing in 1993 that he was HIV-positive. The following year, Johnson recounted his version of Frankie's history in his autobiography A Bone in My Flute. His self-issued 1999 album Soulstream included a re-recording of "The Power of Love", which was also released as a single. Paul Rutherford, the other openly gay member of the band, released the partially ABC produced album Oh World and a handful of singles before retiring with his New Zealander partner to Waiheke Island. The "other three", as Smash Hits labelled them, continued to work together in what turned out to be a vain attempt to resurrect "Frankie" with various singers including Dee Harris from Fashion and Grant Boult (Jeckyl Ice) from The Premise, who had opened the shows on the band's UK and European tours. Under the name Boss Dog, with Boult on vocals, the band were offered a major deal with Virgin Records but on condition they work as Frankie Goes to Hollywood. Johnson challenged the use of the name and the deal soured. Boult and Brian Nash continued with the material written by The Shuffle Brothers and under the name Low they released "Tearing My soul Apart" in 1992 on Swanyard Records. As "Nasher", Nash released a 2002 solo album entitled Ripe. Ped worked behind the scenes and scored a top ten hit with the group "Lovestation". Mark O'Toole moved to Florida and played with Punk outfit "Trapped by Mormons". The band's name lived on to the extent that re-issues of "Relax" and "The Power of Love" both returned to the UK Top 10 in 1993. Remixes of "The Power of Love" (which became a dance anthem from its original ballad format) and "Two Tribes" were Top 20 hits again in 2000, while "Welcome to the Pleasuredome" also got commercially successful remix treatment, to the extent of a Top 20 placing four years earlier. The group's first two singles appeared sixth and 22nd respectively in the official all-time UK best-selling singles list issued in 2002.

Answer this question "What happened in the later years"
output:
Johnson's solo career at MCA commenced in 1989,