input: Having played baseball throughout his youth, Spalding first played competitively with the Rockford Pioneers, a youth team, which he joined in 1865. After pitching his team to a 26-2 victory over a local men's amateur team (the Mercantiles), he was approached at the age of 15 by another squad, the Forest Citys, for whom he played for two years. In the autumn of 1867 he accepted a $40 per week contract ($700 in today's dollars), nominally as a clerk, but really to play professionally for the Chicago Excelsiors, not an uncommon arrangement used to circumvent the rules of the time, which forbade the hiring of professional players. Following the formation of baseball's first professional organization, the National Association of Professional Base Ball Players (which became known as the National Association, the Association, or NA) in 1871, Spalding joined the Boston Red Stockings (precursor club to the modern Atlanta Braves) and was highly successful; winning 206 games (and losing only 53) as a pitcher and batting .323 as a hitter.  William Hulbert, principal owner of the Chicago White Stockings, did not like the loose organization of the National Association and the gambling element that influenced it, so he decided to create a new organization, which he dubbed the National League of Baseball Clubs. To aid him in this venture, Hulbert enlisted the help of Spalding. Playing to the pitcher's desire to return to his Midwestern roots and challenging Spalding's integrity, Hulbert convinced Spalding to sign a contract to play for the White Stockings (now known as the Chicago Cubs) in 1876. Spalding then coaxed teammates Deacon White, Ross Barnes and Cal McVey, as well as Philadelphia Athletics players Cap Anson and Bob Addy, to sign with Chicago. This was all done under complete secrecy during the playing season because players were all free agents in those days and they did not want their current club and especially the fans to know they were leaving to play elsewhere the next year. News of the signings by the Boston and Philadelphia players leaked to the press before the season ended and all of them faced verbal abuse and physical threats from the fans of those cities.  He was "the premier pitcher of the 1870s", leading the league in victories for each of his six full seasons as a professional. During each of those years he was his team's only pitcher. In 1876, Spalding won 47 games as the prime pitcher for the White Stockings and led them to win the first-ever National League pennant by a wide margin.  In 1877, Spalding began to use a glove to protect his catching hand. People had used gloves previously, but they were not popular, and Spalding himself was skeptical of wearing one at first. However, once he began donning gloves, he influenced other players to do so.  Spalding retired from playing baseball in 1878 at the age of 27, although he continued as president and part owner of the White Stockings and a major influence on the National League. Spalding's .796 career winning percentage (from an era when teams played about once or twice a week) is the highest ever by a baseball pitcher, far exceeding the second-best .690.

Answer this question "what was a hallmark of his career?"
output: In 1876, Spalding won 47 games as the prime pitcher for the White Stockings and led them to win the first-ever National League pennant by a wide margin.

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 was The Carpetbaggers about?"
output:
sex-loaded widow.