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: Are there any other interesting aspects about this article?
Answer: that a genealogical

Problem: Background: Gigi [ZiZi] is a 1958 American musical-romance film directed by Vincente Minnelli processed using MGM's Metrocolor. The screenplay by Alan Jay Lerner is based on the 1944 novella of the same name by Colette. The film features songs with lyrics by Lerner and music by Frederick Loewe, arranged and conducted by Andre Previn. In 1991, Gigi was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".
Context: In late April, Freed and Minnelli and their respective entourages arrived in Paris. The weather had become unseasonably hot, and working in unair-conditioned hotel rooms was uncomfortable. Minnelli began scouting locations while Freed and Lerner discussed the still incomplete script. Lerner had taken liberties with Colette's novella; the character of Honore, nonexistent in the original book and very minor in the Loos play, was now a major figure. Gigi's mother, originally a significant character, was reduced to a few lines of dialogue delivered off-screen. Lerner also expanded the focus on Gigi's relationship with her grandmother.  By mid-July, the composers had completed most of the score, but still were missing the title tune. Loewe was at the piano while Lerner was indisposed in the bathroom, and when the former began playing a melody the latter liked, he later recalled he jumped up, "[his] trousers still clinging to [his] ankles, and made his way to the living room. 'Play that again,' he said. And that melody ended up being the title song for Gigi."  In September, the cast and crew flew to California, where several interior scenes were filmed, among them the entire scene in Maxim's, which included a musical number by Jourdan. Lerner was unhappy with the look of the scene as it had been shot by Minnelli, and at considerable expense, the restaurant was recreated on a soundstage and the scene was reshot by director Charles Walters, since Minnelli was overseas working on a new project.  The film title design uses the artwork of Sem's work from the Belle Epoque.
Question: Where did they film?
Answer:
Paris.