Some context: Marion Lee "Mickey" Thompson (December 7, 1928 - March 16, 1988) was an American auto racing builder and promoter. A hot rodder since his youth, Thompson increasingly pursued land speed records in his late 20s and early 30s. He achieved international fame in 1960 when he became the first American to break the 400 mph barrier, driving his Challenger 1 to a one-way top speed of 406.60 mph at the Bonneville Salt Flats and surpassing John Cobb's one-way world record mark of 402 mph. Thompson then turned to racing, winning many track and dragster championships.
In 1962 Thompson entered three John Crosthwaite designed cars in the Indianapolis 500. Unusually, they used a stock V8 Buick engine and it was in the rear unlike the front engined, race tuned, Offenhauser powered cars used by most competitors. It was the first stock engine to be raced at Indy since 1946. Thompson's crew, led by Fritz Voigt, were young, smart and hard working. Working 12-14 hour days, the car was designed and built in 120 days. For the race, the engine (enlarged to 4.2 litre capacity, the maximum allowed by the regulations for "stock block" engines) had to be detuned because they were concerned it would not last the distance. Despite being more than 70 bhp down on the other cars, Dan Gurney qualified eighth and was in ninth place until a leaking oil seal seized the gearbox and ended his race on lap 94. He was placed 20th out of 33. The team won the Mechanical Achievement Award for original design, construction and accomplishment.  Thompson's promotion skills pleased the sponsors with the publicity generated that year. For the 1963 Indianapolis 500 Crosthwaite designed the innovative Harvey Aluminium Special "roller skate car" with the then pioneering smaller profile (12 inch diameter) and wide racing tires (front 7 inches and rear 9 inches wide) and wheels. Thompson took five cars to Indianapolis. Two of the previous year's design with Chevrolet V8 engines and three roller skate cars. One of the new cars, the Harvey Titanium Special, featured a lightweight titanium chassis. Al Miller II raced one of the modified 1962 cars to ninth place despite only qualifying in 31st position. Duane Carter qualified one of the roller skate cars 15th but was only placed 23rd after an engine failure on the 100th lap. The small tire sizes and low car weights caused complaints amongst the old hands and owners, so for future races, cars were restricted to minimum tire sizes and minimum car weights.  1962 Formula One World Champion Graham Hill tested one of the roller skate cars at Indianapolis in 1963, but refused to race it citing its poor handling.  In 1963 Thompson traveled to England where, along with Dante Duce, he demonstrated his Ford-powered top fuel Harvey Aluminum Special dragster at the Brighton Speed Trials. It was then displayed at the Racing Car Show in London in January 1964.  Thompson brought three modified 12-inch tire cars to the 1964 Indianapolis 500, but new rules required him to use 15-inch tires. The Allstate sponsored team used Allstate tires and Ford engines. The chassis had to be altered to accommodate the larger Ford engines. Two of them qualified for the race. The car No.84 began the month with Masten Gregory as the driver but Eddie Johnson in car No.84 qualified 24th and finished 26th. Dave MacDonald in car No.83 qualified 14th and died in a fiery crash on the second lap.
Where did he race next?
A: For the 1963 Indianapolis 500 Crosthwaite designed the innovative Harvey Aluminium Special "roller skate car" with the then pioneering smaller profile

Some context: 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....
Brooks made her screen debut in the silent The Street of Forgotten Men, in an uncredited role in 1925. Soon, however, she was playing the female lead in a number of silent light comedies and flapper films over the next few years, starring with Adolphe Menjou and W. C. Fields, among others.  She was noticed in Europe for her pivotal vamp role in the Howard Hawks directed silent "buddy film", A Girl in Every Port in 1928.  In an early sound film drama, Beggars of Life (1928), Brooks played an abused country girl who kills her foster father in a moment of desperation. A hobo, Richard Arlen, happens on the murder scene and convinces Brooks to disguise herself as a young boy and escape the law by "riding the rails" with him. In a hobo encampment, or "jungle," they meet another hobo, Wallace Beery. Brooks's disguise is soon uncovered and she finds herself the only female in a world of brutal, sex-hungry men. Much of this film was shot on location, and the boom microphone was invented for this film by the director William Wellman, who needed it for one of the first experimental talking scenes in the movies.  By this time in her life, she was mixing with the rich and famous, and was a regular guest of William Randolph Hearst and his mistress, Marion Davies, at San Simeon, being close friends with Davies' niece, Pepi Lederer. Her distinctive bob haircut helped start a trend; many women styled their hair in imitation of her and fellow film star Colleen Moore. Soon after the film Beggars Of Life was made, Brooks, who loathed the Hollywood "scene", refused to stay on at Paramount after being denied a promised raise, and left for Europe to make films for G. W. Pabst, the prominent Austrian Expressionist director.  Paramount attempted to use the coming of sound films to pressure the actress, but she called the studio's bluff. It was not until 30 years later that this rebellious move would come to be seen as arguably the most savvy of her career, securing her immortality as a silent film legend and independent spirit. Unfortunately, while her initial snubbing of Paramount alone would not have finished her in Hollywood altogether, her refusal after returning from Germany to come back to Paramount for sound retakes of The Canary Murder Case (1929) irrevocably placed her on an unofficial blacklist. Actress Margaret Livingston was hired to dub Brooks's voice for the film, as the studio claimed that Brooks' voice was unsuitable for sound pictures.
Did this relate to her real life in anyway?
A: