Problem: Background: Tosca (Italian pronunciation: ['toska; 'toska]) is an opera in three acts by Giacomo Puccini to an Italian libretto by Luigi Illica and Giuseppe Giacosa. It premiered at the Teatro Costanzi in Rome on 14 January 1900. The work, based on Victorien Sardou's 1887 French-language dramatic play, La Tosca, is a melodramatic piece set in Rome in June 1800, with the Kingdom of Naples's control of Rome threatened by Napoleon's invasion of Italy. It contains depictions of torture, murder and suicide, as well as some of Puccini's best-known lyrical arias.
Context: The French playwright Victorien Sardou wrote more than 70 plays, almost all of them successful, and none of them performed today. In the early 1880s Sardou began a collaboration with actress Sarah Bernhardt, whom he provided with a series of historical melodramas. His third Bernhardt play, La Tosca, which premiered in Paris on 24 November 1887, and in which she starred throughout Europe, was an outstanding success, with more than 3,000 performances in France alone.  Puccini had seen La Tosca at least twice, in Milan and Turin. On 7 May 1889 he wrote to his publisher, Giulio Ricordi, begging him to get Sardou's permission for the work to be made into an opera: "I see in this Tosca the opera I need, with no overblown proportions, no elaborate spectacle, nor will it call for the usual excessive amount of music."  Ricordi sent his agent in Paris, Emanuele Muzio, to negotiate with Sardou, who preferred that his play be adapted by a French composer. He complained about the reception La Tosca had received in Italy, particularly in Milan, and warned that other composers were interested in the piece. Nonetheless, Ricordi reached terms with Sardou and assigned the librettist Luigi Illica to write a scenario for an adaptation.  In 1891, Illica advised Puccini against the project, most likely because he felt the play could not be successfully adapted to a musical form. When Sardou expressed his unease at entrusting his most successful work to a relatively new composer whose music he did not like, Puccini took offence. He withdrew from the agreement, which Ricordi then assigned to the composer Alberto Franchetti. Illica wrote a libretto for Franchetti, who was never at ease with the assignment.  When Puccini once again became interested in Tosca, Ricordi was able to get Franchetti to surrender the rights so he could recommission Puccini. One story relates that Ricordi convinced Franchetti that the work was too violent to be successfully staged. A Franchetti family tradition holds that Franchetti gave the work back as a grand gesture, saying, "He has more talent than I do." American scholar Deborah Burton contends that Franchetti gave it up simply because he saw little merit in it and could not feel the music in the play. Whatever the reason, Franchetti surrendered the rights in May 1895, and in August Puccini signed a contract to resume control of the project.
Question: What happened after that?
Answer: When Puccini once again became interested in Tosca, Ricordi was able to get Franchetti to surrender the rights so he could recommission Puccini.

Problem: Background: Margaret Mead (December 16, 1901 - November 15, 1978) was an American cultural anthropologist who featured frequently as an author and speaker in the mass media during the 1960s and 1970s. She earned her bachelor's degree at Barnard College in New York City and her M.A. and Ph.D. degrees from Columbia University. Mead was a respected and often controversial academic who popularized the insights of anthropology in modern American and Western culture. Her reports detailing the attitudes towards sex in South Pacific and Southeast Asian traditional cultures influenced the 1960s sexual revolution.
Context: In 1926, there was much debate about race and intelligence. Mead felt the methodologies involved in the experimental psychology research supporting arguments of racial superiority in intelligence were substantially flawed. In "The Methodology of Racial Testing: Its Significance for Sociology" Mead proposes that there are three problems with testing for racial differences in intelligence. First, there are concerns with the ability to validly equate one's test score with what Mead refers to as racial admixture or how much Negro or Indian blood an individual possesses. She also considers whether this information is relevant when interpreting IQ scores. Mead remarks that a genealogical method could be considered valid if it could be "subjected to extensive verification". In addition, the experiment would need a steady control group to establish whether racial admixture was actually affecting intelligence scores. Next, Mead argues that it is difficult to measure the effect that social status has on the results of a person's intelligence test. By this she meant that environment (i.e., family structure, socioeconomic status, exposure to language) has too much influence on an individual to attribute inferior scores solely to a physical characteristic such as race. Lastly, Mead adds that language barriers sometimes create the biggest problem of all. Similarly, Stephen J. Gould finds three main problems with intelligence testing, in his book The Mismeasure of Man that relate to Mead's view of the problem of determining whether there are indeed racial differences in intelligence.  In 1929 Mead and Fortune visited Manus, now the northern-most province of Papua New Guinea, travelling there by boat from Rabaul. She amply describes her stay there in her autobiography and it is mentioned in her 1984 biography by Jane Howard. On Manus she studied the Manus people of the south coast village of Peri. "Over the next five decades Mead would come back oftener to Peri than to any other field site of her career.  Mead has been credited with persuading the American Jewish Committee to sponsor a project to study European Jewish villages, shtetls, in which a team of researchers would conduct mass interviews with Jewish immigrants living in New York City. The resulting book, widely cited for decades, allegedly created the Jewish mother stereotype, a mother intensely loving but controlling to the point of smothering, and engendering guilt in her children through the suffering she professed to undertake for their sakes.  Mead worked for the RAND Corporation, a U.S. Air Force military funded private research organization, from 1948 to 1950 to study Russian culture and attitudes toward authority.  As an Anglican Christian, Mead played a considerable part in the drafting of the 1979 American Episcopal Book of Common Prayer.
Question: What other areas did Mead research?
Answer:
in which a team of researchers would conduct mass interviews with Jewish immigrants living in New York City.