Problem: Background: Born in Cherryvale, Kansas, Louise Brooks was the daughter of Leonard Porter Brooks, a lawyer, who was usually too busy with his practice to discipline his children, and Myra Rude, an artistic mother who determined that any "squalling brats she produced could take care of themselves". Rude was a talented pianist who played the latest Debussy and Ravel for her children, inspiring them with a love of books and music. When she was nine years old, a neighborhood predator sexually abused Louise. This event had a major influence on Brooks' life and career, causing her to say in later years that she was incapable of real love, and that this man "must have had a great deal to do with forming my attitude toward sexual pleasure....
Context: French film historians rediscovered her films in the early 1950s, proclaiming her as an actress who surpassed even Marlene Dietrich and Greta Garbo as a film icon, much to her amusement. It would lead to the still ongoing Louise Brooks film revivals, and rehabilitated her reputation in her home country.  James Card, the film curator for the George Eastman House, discovered Brooks living as a recluse in New York City about this time, and persuaded her to move to Rochester, New York to be near the George Eastman House film collection. With his help, she became a noted film writer in her own right. A collection of her writings, Lulu in Hollywood, was published in 1982. She was profiled by the film writer Kenneth Tynan in his essay, "The Girl in The Black Helmet", the title of which was an allusion to her bobbed hair, worn since childhood, a hairstyle she helped popularize, along with earlier actresses such as Colleen Moore.  She rarely gave interviews, but had special relationships with film historians John Kobal and Kevin Brownlow. In the 1970s she was interviewed extensively, on film, for the documentaries Memories of Berlin: The Twilight of Weimar Culture (1976), produced and directed by Gary Conklin, and for the documentary series Hollywood (1980) by Brownlow and David Gill. Lulu in Berlin (1984) is another rare filmed interview, produced by Richard Leacock and Susan Woll, released a year before her death, but filmed a decade earlier. Author Tom Graves was allowed into Brooks' apartment for an interview in 1982, and later wrote about the at times awkward and tense conversation in his article "My Afternoon With Louise Brooks" that is the lead piece in his book Louise Brooks, Frank Zappa, & Other Charmers & Dreamers.
Question: What other movies did she star in?
Answer: "The Girl in The Black Helmet", the title of which was an allusion to her bobbed hair, worn since childhood, a hairstyle she helped popularize,

Problem: Background: The 5th Dimension is an American popular music vocal group, whose repertoire includes pop, R&B, soul, jazz, light opera and Broadway--the melange was coined as "Champagne Soul." Formed as The Versatiles in late 1965, the group changed its name to the hipper "The 5th Dimension" by 1966. They became well-known during the late 1960s and early 1970s for their popular hits: "Up, Up and Away", "Stoned Soul Picnic", "Medley: Aquarius/Let the Sunshine In (The Flesh Failures)", "Wedding Bell Blues", "Never My Love", "One Less Bell to Answer", "(Last Night)
Context: In the early 1960s, Lamonte McLemore and Marilyn McCoo got together with three friends from Los Angeles -- Harry Elston, Lawrence Summers. and Fritz Baskett -- to form a group called 'the Hi-Fis' (which later became 'the Vocals'). In 1963, they sang at local clubs while taking lessons from a vocal coach. In 1964, they came to the attention of Ray Charles, who took them on tour with him the following year. He produced a single by the group, "Lonesome Mood", a jazz-type song that gained local attention. However, internal disagreements caused Elston to go his own way, eventually leading to his forming the Friends of Distinction, with latter day Hi-Fis member, Floyd Butler.  McLemore sought to form another group and started looking for members to join him and McCoo. McCoo, who had studied with the respected vocal coach Eddie Beal, had appeared in high school and college musical productions and was known for her way with a torch song. McLemore found Florence LaRue, who had received training in singing, dancing, and violin; and who won the talent portion at the Miss Bronze California contest, which McLemore was assigned to photograph. (McCoo had won the contest the prior year.) About the same time LaRue was approached to join the group, McLemore recruited an old friend, Ronald Townson, who at age six was singing in choirs and gospel groups in his hometown of St. Louis, Missouri. His grandmother fostered his career by arranging for private voice and acting lessons as he grew up. In his teens, he toured with Dorothy Dandridge and Nat King Cole, joined the Wings Over Jordan Choir, and played a small part in the film Porgy and Bess. He demonstrated his skill as a classical artist by placing third in the Metropolitan Opera auditions held in St. Louis. After finishing high school, he worked his way through Lincoln University by conducting the school and church choir. After graduating, he organized his own 25-member gospel choir.  Another of McLemore's friends from St. Louis days, Billy Davis Jr., started singing in gospel choirs at an early age. He later saved enough money to buy a cocktail lounge in St. Louis, which he used as a base for experimenting with musical groups. When asked to join McLemore's new group, he agreed, while hoping for a solo contract from Motown.
Question: did they do any local gigs?
Answer:
In 1964, they came to the attention of Ray Charles, who took them on tour with him the following year.