Question: Given the below context:  Twenty-three year old Joanna Drayton's unannounced early return from her Hawaiian vacation causes a stir when she brings her new fiancé to her upper-class family home in San Francisco. He is John Prentice: a 37-year-old black  (the 1967 dialogue uses the term Negro throughout) physician and medical professor, whom she met just 10 days prior, whose first wife and young son were killed in a train accident eight years earlier. Joanna's parents – newspaper publisher Matt Drayton and his wife, art gallery owner Christina – are avowed liberals who have always instilled in her the idea of racial equality. Although they try to hide it, Joanna's parents and in particular her father are initially upset that she is planning to marry a Negro man. The Draytons' black maid for 22 years, Tillie, is even more horrified, telling Joanna that John is trying to "get above himself" by marrying a white woman, but Joanna asks why it is okay that she loves Tillie but she shouldn't love John, who is "just as black". The Draytons are unsettled by her engagement with John, since they never thought that her choice would be a Negro man, and further unsettled by John's decision that if Joanna's parents do not accept the engagement that day, then he will end it. Adding to the situation is that Joanna, at first intending to join John in a few weeks in Geneva for their planned marriage ceremony, has now decided that she will join him when he leaves after dinner to fly to a meeting in New York City, then onward to Switzerland, where he is an assistant director with the World Health Organization. She has also invited John's parents to fly up from Los Angeles for dinner, so they can all become acquainted. Due to this invitation, what was intended to be a sit-down steak dinner for two turns into a meet-the-in-laws dinner party. Furthermore, John is forced to reveal that he had not yet told his parents of his intention to marry a white woman.  Guess a valid title for it!
Answer: Guess Who's Coming to Dinner


[Q]: Given the below context:  In 1965, the activity on the main island diminished, but at the end of May that year an eruption began at a vent 0.6 km (0.37 mi) off the northern shore. By 28 May, an island had appeared, and was named Syrtlingur (Little Surtsey). The new island was washed away during early June, but reappeared on 14 June. Eruptions at Syrtlingur were much smaller in scale than those that had built Surtsey, with the average rate of emission of volcanic materials being about a tenth of the rate at the main vent. Activity was short-lived, continuing until the beginning of October 1965, by which time the islet had an area of 0.15 km2 (0.058 sq mi). Once the eruptions had ceased, wave erosion rapidly wore the island away, and it disappeared beneath the waves on 24 October.During December 1965, more submarine activity occurred 0.9 km (0.56 mi) southwest of Surtsey, and another island was formed. It was named Jólnir, and over the following eight months it appeared and disappeared several times, as wave erosion and volcanic activity alternated in dominance. Activity at Jólnir was much weaker than the activity at the main vent, and even weaker than that seen at Syrtlingur, but the island eventually grew to a maximum size of 70 m (230 ft) in height, covering an area of 0.3 km2 (0.12 sq mi), during July and early August 1966. Like Syrtlingur, though, after activity ceased on 8 August 1966, it was rapidly eroded, and dropped below sea level during October 1966.Effusive eruptions on the main island returned on 19 August 1966, with fresh lava flows giving it further resistance to erosion. The eruption rate diminished steadily, though, and on 5 June 1967, the eruption ended. The volcano has been dormant ever since. The total volume of lava emitted during the three-and-a-half-year eruption was about one cubic kilometre (0.24 cu mi), and the island's highest point was 174 metres (571 feet) above sea level at that time.Since the end of the eruption, erosion has seen the island diminish in size. A large area on the southeast side has been...  Guess a valid title for it!
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[A]: Surtsey


input: Please answer the following: Given the below context:  Tonight (1984), another dance-oriented album, found Bowie collaborating with Tina Turner and, once again, Iggy Pop. It included a number of cover songs, among them the 1966 Beach Boys hit "God Only Knows". The album bore the transatlantic Top 10 hit "Blue Jean", itself the inspiration for a short film that won Bowie a Grammy Award for Best Short Form Music Video, Jazzin' for Blue Jean. Bowie performed at Wembley Stadium in 1985 for Live Aid, a multi-venue benefit concert for Ethiopian famine relief. During the event, the video for a fundraising single was premiered, Bowie's duet with Mick Jagger. "Dancing in the Street" quickly went to number one on release. The same year, Bowie worked with the Pat Metheny Group to record "This Is Not America" for the soundtrack of The Falcon and the Snowman. Released as a single, the song became a Top 40 hit in the UK and US.Bowie was given a role in the 1986 film Absolute Beginners. It was poorly received by critics, but Bowie's theme song, also named "Absolute Beginners", rose to No. 2 in the UK charts. He also appeared as Jareth, the Goblin King, in the 1986 Jim Henson film Labyrinth, for which he wrote five songs. His final solo album of the decade was 1987's Never Let Me Down, where he ditched the light sound of his previous two albums, instead offering harder rock with an industrial/techno dance edge. Peaking at No. 6 in the UK, the album yielded the hits "Day-In, Day-Out" (his 60th single), "Time Will Crawl", and "Never Let Me Down". Bowie later described it as his "nadir", calling it "an awful album". Supporting Never Let Me Down, and preceded by nine promotional press shows, the 86-concert Glass Spider Tour commenced on 30 May. Bowie's backing band included Peter Frampton on lead guitar. Contemporary critics maligned the tour as overproduced, saying it pandered to the current stadium rock trends in its special effects and dancing, although years after the tour's conclusion, critics acknowledged that the tour influenced how other artists performed concerts, including...  Guess a valid title for it!
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output:
David Bowie