input: The video was directed by David Fincher and shot at The Burbank Studios in Burbank, California on February 10-11, 1990. According to Lucy O'Brien in her book Madonna: Like an Icon, the video was brought together after a "huge casting call" in Los Angeles where hundreds of different sorts of dancers appeared. Filmed in black-and-white, the video recalls the look of films and photography from The Golden Age of Hollywood with the use of artwork by the Art Deco artist Tamara de Lempicka and an Art Deco set design. Many of the scenes are recreations of photographs taken by noted photographer Horst P. Horst, including his famous Mainbocher Corset, Lisa with Turban (1940), and Carmen Face Massage (1946). Horst was reportedly "displeased" with Madonna's video because he never gave his permission for his photographs to be used and received no acknowledgement from Madonna. Some of the close-up poses recreate noted portraits of such stars as Marilyn Monroe, Veronica Lake, Greta Garbo, Marlene Dietrich, Katharine Hepburn, Judy Garland and Jean Harlow. (Additionally, several stars of this era were name-checked in the song's lyrics.) Several famous Hollywood portrait photographers whose style and works are referenced include George Hurrell, Eugene Robert Richee, Don English, Whitey Schafer, Ernest Bachrach, Scotty Welbourne, Laszlo Willinger, and Clarence Sinclair Bull. The video features the dancers for Madonna's then-upcoming Blond Ambition Tour - Donna De Lory, Niki Harris, Luis Xtravaganza Camacho, Jose Gutierez Xtravaganza, Salim Gauwloos, Carlton Wilborn, Gabriel Trupin, Oliver Crumes and Kevin Stea. The choreography was set by "Punk Ballerina" Karole Armitage. The video premiered worldwide on MTV on March 29, 1990, and it also premiered on BET on November 22 that same year, making itthe first video by Madonna to air on an African-American channel. There are two versions of the video, the regularly aired television music video, and the 12-inch remix, which is the extended version over three minutes longer.

Answer this question "How did these photos get chosen?"
output:

input: On June 19, 1988, at the midpoint of the 1988 season, Allison crashed on lap 1 of the Miller High Life 500. Initially he survived a head-on hit into the outside barrier but then suddenly Jocko Maggiacomo t-boned Allison in the driver's side of the car, nearly killing Allison. When he reached a local hospital he was initially declared dead, but subsequent medical assistance saved his life. Beginning from a vegetative state, Alison entered a rehab program. As a result of his massive injuries he retired from driving in NASCAR. In 1992 his younger son, Clifford Allison, was fatally injured in a practice crash for the NASCAR Busch Series race (now Xfinity Series) at Michigan International Speedway. Bobby Allison was elected to the International Motorsports Hall of Fame in 1993. Later in 1993, his son Davey was killed in a helicopter accident at Talladega Superspeedway. Three years after these major tragedies, he and his wife Judy divorced. Four years after their divorce, while attending their daughter-in-law's wedding, they reconnected. They were remarried in July 2000 and remained together until her death in 2015. He was inducted into the Motorsports Hall of Fame of America in 1992, and inducted into the NASCAR Hall of Fame in May 2011, along with Lee Petty, Bud Moore, David Pearson, and Ned Jarrett. Allison is one of eight drivers to have won what was then considered a career Grand Slam (an unofficial term) by winning the sport's four majors: the Daytona 500, the Winston 500, the Coca-Cola 600, and the Southern 500. Only seven other drivers have accomplished this feat: Richard Petty, David Pearson, Darrell Waltrip, Dale Earnhardt, Jeff Gordon, Jimmie Johnson, and Buddy Baker.

Answer this question "What did he do in his retirement?"
output: In 1992 his younger son, Clifford Allison, was fatally injured

input: Haraway also writes about the history of science and biology. In Primate Visions: Gender, Race, and Nature in the World of Modern Science (1990), she focused on the metaphors and narratives that direct the science of primatology. She asserted that there is a tendency to masculinize the stories about "reproductive competition and sex between aggressive males and receptive females [that] facilitate some and preclude other types of conclusions". She contended that female primatologists focus on different observations that require more communication and basic survival activities, offering very different perspectives of the origins of nature and culture than the currently accepted ones. Drawing on examples of Western narratives and ideologies of gender, race and class, Haraway questioned the most fundamental constructions of scientific human nature stories based on primates. In Primate Visions, she wrote: "My hope has been that the always oblique and sometimes perverse focusing would facilitate revisionings of fundamental, persistent western narratives about difference, especially racial and sexual difference; about reproduction, especially in terms of the multiplicities of generators and offspring; and about survival, especially about survival imagined in the boundary conditions of both the origins and ends of history, as told within western traditions of that complex genre". Haraway's aim for science is "to reveal the limits and impossibility of its 'objectivity' and to consider some recent revisions offered by feminist primatologists". Haraway presents an alternative perspective to the accepted ideologies that continue to shape the way scientific human nature stories are created. Haraway urges feminists to be more involved in the world of technoscience and to be credited for that involvement. In a 1997 publication, she remarked: I want feminists to be enrolled more tightly in the meaning-making processes of technoscientific world-building. I also want feminist--activists, cultural producers, scientists, engineers, and scholars (all overlapping categories) -- to be recognized for the articulations and enrollment we have been making all along within technoscience, in spite of the ignorance of most "mainstream" scholars in their characterization (or lack of characterizations) of feminism in relation to both technoscientific practice and technoscience studies.

Answer this question "What other interesting facts are in the article?"
output:
Haraway questioned the most fundamental constructions of scientific human nature stories based on primates.