input: In May 1971, the Temptations finally found a permanent replacement for the first tenor position in twenty-year-old Baltimore native Damon Harris. Otis Williams, Edwards, Franklin, Street, and Harris continued recording and performing, and Norman Whitfield continued producing hits for them. There were Top 40 hits such as "Superstar (Remember How You Got Where You Are)" (1971), a message from the Temptations to David Ruffin and Eddie Kendricks, and "Take a Look Around" (1972). During this period, the group toured with Quiet Elegance as their back-up singers. Quiet Elegance featured Lois Reeves, the sister of Martha Reeves, alongside Frankie Gearing and Millie Vaney-Scott.  Late 1972 saw the release of "Papa Was a Rollin' Stone", a magnum opus written by Norman Whitfield and Barrett Strong and produced by Whitfield. Originally a three-minute record written and produced for the Undisputed Truth, Whitfield took the somber tune and created a sprawling, dramatic twelve-minute version for the Temptations--a forerunner of the extended single, soon to become popular in clubs and discotheques. An edited seven-minute version was released as a single and became one of the longest hit singles in music history: it hit number 1 on the pop charts and number 5 on the R&B charts. In 1973, "Papa Was a Rollin' Stone" won the Temptations their second Grammy for Best R&B Performance by a Group. Whitfield and arranger/conductor Paul Riser won the award for Best R&B Instrumental Performance for the instrumental version on the B-side, and Whitfield and Barrett Strong won the songwriting Grammy for Best R&B Song.  After "Papa Was a Rollin' Stone", Whitfield stopped working with Barrett Strong, and began writing the Temptations' material on his own. The success of "Papa" led Whitfield to create more elongated, operatic pieces, including the Top 10 hit "Masterpiece" (1973) and several of the tracks on the resulting Masterpiece album. Tensions developed between Whitfield and the group, who found Whitfield arrogant and difficult to work with, and the group citing his habitual tardiness, his emphasis of the instrumental tracks at the expense of their vocals on many of his productions, and the declining singles and albums sales as other sources of conflict, sought to change producers. Otis Williams complained about Whitfield's actions and the Temptations' stagnant sales to Berry Gordy; as a result, the group was reassigned to Jeffrey Bowen, co-producer of the 1967 In a Mellow Mood album.  The final Norman Whitfield-produced Temptations album, 1990, was released in December 1973, and included the Top 30 single "Let Your Hair Down". Shortly afterwards, Whitfield left Motown, and in 1975 established Whitfield Records, taking the Undisputed Truth and Willie Hutch with him, along with Rose Royce---who performed an instrumental track for "Let Your Hair Down" before recording their 1976 smash "Car Wash."

Answer this question "What happened in the early 70s?"
output: In May 1971, the Temptations finally found a permanent replacement for the first tenor position in twenty-year-old Baltimore native Damon Harris.

input: Ellis was strongly opposed to the idea of castration for eugenic purposes. In 1909, regulations were introduced at the Cantonal Asylum in Bern, which allowed those deemed 'unfit' and with strong sexual inclinations to be mandatorily sterilized. In a particular instance, several men and women, including epileptics and pedophiles were castrated, some of whom voluntarily requested it. While the results were positive, in that none of the subjects were found guilty of any more sexual offences, Ellis remained staunchly opposed to the practice. His view on the origin of these inclinations was that sexual impulses do not reside in the sexual organs, but rather they persist in the brain. Moreover, he posited that the sexual glands provided an important source of internal secretions vital for the functioning of the organism, and thus their removal could greatly injure the patient.  However, already in his time, Ellis was witness to the rise of vasectomies and ligatures of the Fallopian tubes, which performed the same sterilization without removing the whole organ. In these cases, Ellis was much more favorable, yet still maintaining that "sterilization of the unfit, if it is to be a practical and humane measure commanding general approval, must be voluntary on the part of the person undergoing it, and never compulsory." His opposition to such a system was not only rooted in morality. Rather, Ellis also considered the practicality of the situation, hypothesizing that if an already mentally unfit man is forced to undergo sterilization, he would only become more ill-balanced, and would end up committing more anti-social acts.  Though Ellis was never at ease with the idea of forced sterilizations, he was willing to find ways to circumvent that restriction. His focus was on the social ends of eugenics, and as a means to it, Ellis was in no way against 'persuading' 'volunteers' to undergo sterilization by withdrawing Poor Relief from them. While he preferred to convince those he deemed unfit using education, Ellis supported coercion as a tool. Furthermore, he supported adding ideas about eugenics and birth control to the education system in order to restructure society, and to promote social hygiene. For Ellis, sterilization seemed to be the only eugenic instrument that could be used on the mentally unfit. In fact, in his publication The Sterilization of the Unfit, Ellis argued that even institutionalization could not guarantee the complete prevention of procreation between the unfit, and thus, "the burdens of society, to say nothing of the race, are being multiplied. It is not possible to view sterilization with enthusiasm when applied to any class of people...but what, I ask myself, is the practical alternative?"

Answer this question "did his beliefes ever reach schools?"
output:
Furthermore, he supported adding ideas about eugenics and birth control to the education system