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 "did anything else inspire the art?"
output: Corset, Lisa with Turban (1940), and Carmen Face Massage (1946).

input: Elgar was contemptuous of folk music and had little interest in or respect for the early English composers, calling William Byrd and his contemporaries "museum pieces". Of later English composers, he regarded Purcell as the greatest, and he said that he had learned much of his own technique from studying Hubert Parry's writings. The continental composers who most influenced Elgar were Handel, Dvorak and, to some degree, Brahms. In Elgar's chromaticism, the influence of Wagner is apparent, but Elgar's individual style of orchestration owes much to the clarity of nineteenth-century French composers, Berlioz, Massenet, Saint-Saens and, particularly, Delibes, whose music Elgar played and conducted at Worcester and greatly admired.  Elgar began composing when still a child, and all his life he drew on his early sketchbooks for themes and inspiration. The habit of assembling his compositions, even large-scale ones, from scraps of themes jotted down randomly remained throughout his life. His early adult works included violin and piano pieces, music for the wind quintet in which he and his brother played between 1878 and 1881, and music of many types for the Powick Asylum band. Diana McVeagh in Grove's Dictionary finds many embryonic Elgarian touches in these pieces, but few of them are regularly played, except Salut d'Amour and (as arranged decades later into The Wand of Youth Suites) some of the childhood sketches. Elgar's sole work of note during his first spell in London in 1889-91, the overture Froissart, was a romantic-bravura piece, influenced by Mendelssohn and Wagner, but also showing further Elgarian characteristics. Orchestral works composed during the subsequent years in Worcestershire include the Serenade for Strings and Three Bavarian Dances. In this period and later, Elgar wrote songs and partsongs. W. H. Reed expressed reservations about these pieces, but praised the partsong The Snow, for female voices, and Sea Pictures, a cycle of five songs for contralto and orchestra which remains in the repertory.  Elgar's principal large-scale early works were for chorus and orchestra for the Three Choirs and other festivals. These were The Black Knight, King Olaf, The Light of Life, The Banner of St George and Caractacus. He also wrote a Te Deum and Benedictus for the Hereford Festival. Of these, McVeagh comments favourably on his lavish orchestration and innovative use of leitmotifs, but less favourably on the qualities of his chosen texts and the patchiness of his inspiration. McVeagh makes the point that, because these works of the 1890s were for many years little known (and performances remain rare), the mastery of his first great success, the Enigma Variations, appeared to be a sudden transformation from mediocrity to genius, but in fact his orchestral skills had been building up throughout the decade.

Answer this question "did they win awards?"
output: 

input: Chronicled in both live-action and animated segments, The Aquabats! Super Show! is centered around the adventures of The Aquabats, a group of superhero rock musicians who travel the countryside on a self-appointed mission to fight evil and "destroy boredom", protecting the world from the villains and creatures who threaten to destroy it while aiming to become a famous rock and roll band in their own right.  The Aquabats consist of singer The MC Bat Commander (Christian Jacobs), the swaggering leader of the group; bassist Crash McLarson (Chad Larson), who can grow up to 100 feet in size; drummer Ricky Fitness (Richard Falomir), who has the power of super speed; guitarist EagleBones Falconhawk (Ian Fowles), who's armed with a laser-shooting electric guitar; and keyboardist Jimmy the Robot (James R. Briggs, Jr.), an android. Despite their superhuman strengths and abilities, The Aquabats are quite bumbling, disorganized, and sometimes cowardly when faced with danger; this has in fact led them to be labeled "the world's most inept superheroes". The band lives and travels by way of their "Battletram", a modified recreational vehicle which, despite its small exterior, has an implausibly massive interior (similar to the TARDIS from Doctor Who or The Big Bologna from The Kids From C.A.P.E.R.), which contains, among many things, a science lab, a command center, and a living room.  The Aquabats' origin story was left intentionally vague throughout the series, a choice Jacobs explains was done for the sake of the viewer's imagination, as kids are more accepting of the inherent absurdity of the premise than adults tend to be: "'There's five guys. This is what each of the five guys does. There are monsters. They're gonna try to fight them'. It's so simple. And I think that's why it's so awesome with kids--they just take it and run with it". In the first five episodes of season two, each member of The Aquabats shares their memory of how they joined the band via animated flashback sequences; however, all of these flashbacks directly and intentionally contradict each other, leaving it unknown which--if any--could be considered officially canonical.

Answer this question "who else was in the group?"
output:
bassist Crash McLarson (Chad Larson), who can grow up to 100 feet in size; drummer Ricky Fitness (Richard Falomir), who has the power of super speed;