input: In February 1846 Stone intimated to Abby Kelley Foster that she was thinking of becoming a public speaker, but not until the following summer did a storm of controversy over Foster's speaking at Oberlin decide the matter for her. Faculty opposition to Foster ignited impassioned discussion of women's rights among the students, especially of woman's right to speak in public, which Stone vigorously defended in a joint meeting of the men's and women's literary societies. She followed that campus demonstration by making her first public speech at Oberlin's August 1 commemoration of Emancipation in the West Indies.  In the fall of 1846 Stone informed her family of her intention to become a woman's rights lecturer. Her brothers were at once supportive, her father encouraged her to do what she considered her duty, but her mother and only remaining sister begged her to reconsider. To her mother's fears that she would be reviled, Stone said she knew she would be disesteemed and even hated, but she must "pursue that course of conduct which, to me, appears best calculated to promote the highest good of the world."  Stone then tried to gain practical speaking experience. Although women students could debate each other in their literary society, it was considered inappropriate for them to participate in oral exercises with men; women members of the collegiate rhetoric class were expected to learn by observing their male classmates. So Stone and first-year student Antoinette Brown, who also wanted to develop skill in public speaking, organized an off-campus women's debating club. After gaining a measure of competence, they sought and received permission to debate each other before Stone's rhetoric class. The debate attracted a large student audience as well as attention from the Faculty Board, which thereupon formally banned women's oral exercises in coeducational classes. Shortly thereafter, Stone accepted a challenge from a former editor of a county newspaper to a public debate on women's rights, and she soundly defeated him. She then submitted a petition to the Faculty Board, signed by most members of her graduating class, asking that women chosen to write graduation essays be permitted to read them themselves, as men so honored did, instead of having them read by faculty members. When the Faculty Board refused and Stone was elected to write an essay, she declined, saying she could not support a principle that denied women "the privilege of being co-laborers with men in any sphere to which their ability makes them adequate."  Stone received her baccalaureate degree from Oberlin College on August 25, 1847, becoming the first female college graduate from Massachusetts.

Answer this question "Where did she speak?"
output: Stone accepted a challenge from a former editor of a county newspaper to a public debate on women's rights, and she soundly defeated him.

Question: The Four Tops are a vocal quartet from Detroit, Michigan, USA, who helped to define the city's Motown sound of the 1960s. The group's repertoire has included soul music, R&B, disco, adult contemporary, doo-wop, jazz, and show tunes. Founded as the Four Aims, lead singer Levi Stubbs, Abdul "Duke" Fakir, Renaldo "Obie" Benson and Lawrence Payton remained together for over four decades, performing from 1953 until 1997 without a change in personnel. The Four Tops were among a number of groups, including the Miracles, the Marvelettes, Martha and the Vandellas, the Temptations, and the Supremes, who established the Motown Sound heard around the world during the 1960s.

Motown as a company began to change during the early 1970s. Older acts such as Martha and the Vandellas and The Marvelettes were slowly moved aside or dropped to focus on newer acts, such as Michael Jackson and The Jackson 5, Rare Earth, and the now-solo Diana Ross. In addition, the company moved its operations from Detroit to Los Angeles, California, where Berry Gordy planned to break into the motion picture and television industries. In 1972, it was announced that the entire company would move west and that all its artists had to move as well. Many of the older Motown acts, already neglected by the label, opted to stay in Detroit, including The Funk Brothers studio backing band, Martha Reeves, and the Four Tops.  The Tops departed Motown for ABC-Dunhill, where they were assigned to writer-producers Dennis Lambert and Brian Potter and the label's head of A&R, Steve Barri as producer, with The Tops' own Lawrence Payton later also serving as a producer and writer. He also took over lead vocal duties on several tracks.  The group's first release on the label, "Keeper of the Castle" was their first pop Top 10 hit since "Bernadette" in 1967. Follow-ups included the million-selling "Ain't No Woman (Like the One I've Got)", also a top 10 pop hit and their third R&B number 1, and the Top 20 hit, "Are You Man Enough", (from the movie "Shaft in Africa"). "Sweet Understanding Love"; "Midnight Flower"; and "One Chain Don't Make No Prison" all reached the R&B Top 10 between 1972 and 1974. Two ABC/Dunhill singles, 1974's "I Just Can't Get You Out of My Mind" and 1975's "Seven Lonely Nights" have become popular tunes in the southeast Beach/Shag Club Dance circuit.  After the release of "Catfish" (a top 10 R&B hit) in 1976, the major hits started to dry up and the Tops left ABC after an album recorded in Philadelphia with the MFSB musicians resulted in only minor chart success in 1978. The group disappeared from the recording scene until the early 1980s. Signing a deal with Casablanca Records, the Tops made a comeback in 1981 with the #1 R&B hit "When She Was My Girl". Produced by David Wolfert, it just missed the Billboard pop Top 10, peaking at #11. The group also scored a UK Top 10 hit with the song and had another hit there with the follow-up, "Don't Walk Away".

Using a quote from the above article, answer the following question: Did any singles come from this album?
HHHHHH
Answer:
Follow-ups included the million-selling "Ain't No Woman (Like the One I've Got)", also a top 10 pop hit