Background: Franklin Joseph Lymon (September 30, 1942 - February 27, 1968), known professionally as Frankie Lymon, was an American rock and roll/rhythm and blues singer and songwriter, best known as the boy soprano lead singer of the New York City-based early rock and roll group The Teenagers. The group was composed of five boys, all in their early to mid-teens. The original lineup of the Teenagers, an integrated group, included three African-American members, Frankie Lymon, Jimmy Merchant, and Sherman Garnes; and two Puerto Rican members, Joe Negroni and Herman Santiago. The Teenagers' first single, 1956's "Why Do Fools Fall in Love," was also its biggest hit.
Context: In early 1957, Lymon and the Teenagers broke up while on a tour in Europe. During an engagement at the London Palladium, Goldner began pushing Lymon as a solo act, giving him solo spots in the show. Lymon began performing with backing from pre-recorded tapes. The group's last single, "Goody Goody" backed with "Creation of Love," initially retained the "Frankie Lymon & the Teenagers" credit, but they were actually solo recordings (with backing by session singers). Lymon had officially departed from the group by September 1957; an in-progress studio album called Frankie Lymon and the Teenagers at the London Palladium was instead issued as a Lymon solo release. As a solo artist, Lymon was not nearly as successful as he had been with the Teenagers. Beginning with his second solo release, "My Girl", Lymon had moved to Roulette Records. On a July 19, 1957 episode of Alan Freed's live ABC TV show The Big Beat, Lymon began dancing with a white teenage girl while he was performing. His actions caused a scandal, particularly among Southern TV station owners, and The Big Beat was subsequently canceled. There is no surviving footage because the episode was taped over, according to Judith Fisher Freed. Lymon's slowly declining sales fell sharply in the early 1960s. Within the span of one year, as a result of heroin use, and the deepening of his voice to a baritone as a result of going through puberty. His highest-charting solo hit was a cover of Bobby Day's "Little Bitty Pretty One", which peaked at No. 58 on the Hot 100 pop chart in 1960 and which had been recorded in 1957. Addicted to heroin since the age of 15, Lymon fell further into his habit, and his performing career went into decline. According to Lymon in an interview with Ebony magazine in 1967, he was first introduced to heroin when he was 15 by a woman twice his age. In 1961, Roulette, now run by Morris Levy, ended their contract with Lymon and he entered a drug rehabilitation program. After losing Lymon, the Teenagers went through a string of replacement singers, the first of whom was Billy Lobrano. In 1960, Howard Kenny Bobo sang lead on "Tonight's the Night" with the Teenagers; later that year, Johnny Houston sang lead on two songs. The Teenagers, who had been moved by Morris Levy to End Records, were released from their contract in 1961. The Teenagers briefly reunited with Lymon in 1965, without success.
Question: Why did the group break up?
Answer: In early 1957, Lymon and the Teenagers broke up while on a tour in Europe.

Problem: Background: La Strada (lit. "The Road") is a 1954 Italian drama film directed by Federico Fellini from his own screenplay co-written with Tullio Pinelli and Ennio Flaiano. The film portrays a naive young woman (Giulietta Masina) bought from her mother by a brutish strongman (Anthony Quinn) who takes her with him on the road. Fellini has called La Strada "a complete catalogue of my entire mythological world, a dangerous representation of my identity that was undertaken with no precedent whatsoever."
Context: In later years, Fellini explained that from "a sentimental point of view," he was "most attached" to La Strada: "Above all, because I feel that it is my most representative film, the one that is the most autobiographical; for both personal and sentimental reasons, because it is the film that I had the greatest trouble in realizing and that gave me the most difficulty when it came time to find a producer." Of all the imaginary beings he had brought to the screen, Fellini felt closest to the three principals of La Strada, "especially Zampano." Anthony Quinn found working for Fellini invaluable: "He drove me mercilessly, making me do scene after scene over and over again until he got what he wanted. I learned more about film acting in three months with Fellini than I'd learned in all the movies I'd made before then." Long afterwards, in 1990, Quinn sent a note to the director and his co-star: "The two of you are the highest point in my life -- Antonio." Critic Roger Ebert, in his book The Great Movies, has described the current critical consensus as holding that La Strada was the high point of Fellini's career and that, after this film, "his work ran wild through the jungles of Freudian, Christian, sexual and autobiographical excess". (Ebert, himself, disagrees, seeing La Strada as "part of a process of discovery that led to the masterpieces La Dolce Vita (1960), 8 1/2 (1963) and Amarcord (1974)".) The years since its initial release have solidified the high estimation of La Strada. It holds a 97% rating on the review aggregator website Rotten Tomatoes from 31 reviewers who, on average, scored it 8.7 on a scale of 10. Its numerous appearances on lists of best films include the 1992 Directors' poll of the British Film Institute (4th best), the New York Times "Best 1,000 Movies Ever Made", and the "Greatest Films" list of They Shoot Pictures, Don't They (# 67) - a website that statistically calculates the most well-received movies. In 1995, the Catholic Church's Pontifical Commission for Social Communications issued a list of 45 films representing a "...cross section of outstanding films, chosen by a committee of twelve international movie scholars." This has come to be known as the Vatican film list, and includes La Strada as one of 15 films in the sub-category labeled Art. Pope Francis, has said it is "the movie that perhaps I loved the most," because of his personal identification with its implicit reference to his namesake, Francis of Assisi.
Question: What else did Quinn say or feel about La Strada?
Answer:
I learned more about film acting in three months with Fellini than I'd learned in all the movies I'd made before then.