Problem: Given the question: Given the below context:  Pogoing aside, Vicious had been involved in a notorious incident during that memorable second night of the 100 Club Punk Special. Arrested for hurling a glass at The Damned that shattered and blinded a girl in one eye, he had served time in a remand centre—and contributed to the 100 Club banning all punk bands. At a previous 100 Club gig, he had assaulted Nick Kent with a bicycle chain. Indeed, McLaren's NME telegram said that Vicious's "best credential was he gave Nick Kent what he deserved many months ago at the Hundred Club". According to a later description by McLaren, "When Sid joined he couldn't play guitar but his craziness fit into the structure of the band. He was the knight in shining armour with a giant fist." "Everyone agreed he had the look," Lydon later recalled, but musical skill was another matter. "The first rehearsals...in March of 1977 with Sid were hellish.... Sid really tried hard and rehearsed a lot". Marco Pirroni, who had performed with Vicious in Siouxsie and the Banshees, has said, "After that, it was nothing to do with music anymore. It would just be for the sensationalism and scandal of it all. Then it became the Malcolm McLaren story".Membership in the Sex Pistols had a progressively destructive effect on Vicious. As Lydon later observed, "Up to that time, Sid was absolutely childlike. Everything was fun and giggly. Suddenly he was a big pop star. Pop star status meant press, a good chance to be spotted in all the right places, adoration. That's what it all meant to Sid." Westwood had already been feeding him material, like a tome on Charles Manson, likely to encourage his worst instincts. Early in 1977, he met Nancy Spungen, an emotionally disturbed drug addict and sometime prostitute from New York. Spungen is commonly thought to be responsible for introducing Vicious to heroin, and the emotional codependency between the couple alienated Vicious from the other members of the band. Lydon later wrote, "We did everything to get rid of Nancy.... She was killing him. I was absolutely...  Guess a valid title for it!
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The answer is:
Sex Pistols


input question: Given the below context:  Handel's music for Messiah  is distinguished from most of his other oratorios by an orchestral restraint—a quality which the musicologist Percy M. Young observes was not adopted by Mozart and other later arrangers of the music. The work begins quietly, with instrumental and solo movements preceding the first appearance of the chorus, whose entry in the low alto register is muted. A particular aspect of Handel's restraint is his limited use of trumpets throughout the work. After their introduction in the Part I chorus "Glory to God", apart from the solo in "The trumpet shall sound" they are heard only in "Hallelujah" and the final chorus "Worthy is the Lamb". It is this rarity, says Young, that makes these brass interpolations particularly effective: "Increase them and the thrill is diminished". In  "Glory to God", Handel marked the entry of the trumpets as da lontano e un poco piano, meaning "quietly, from afar"; his original intention had been to place the brass offstage (in disparte) at this point, to highlight the effect of distance.  In this initial appearance the trumpets lack the expected drum accompaniment, "a deliberate withholding of effect, leaving something in reserve for Parts II and III"  according to Luckett.Although Messiah is not in any particular key, Handel's tonal scheme has been summarised by the musicologist Anthony Hicks as "an aspiration towards D major", the key musically associated with light and glory. As the oratorio moves forward with various shifts in key to reflect changes in mood, D major emerges at significant points, primarily the "trumpet" movements with their uplifting messages. It is the key in which the work reaches its triumphant ending. In the absence of a predominant key, other integrating elements have been proposed. For example, the musicologist Rudolf Steglich has suggested that Handel used the device of the "ascending fourth"  as a unifying motif; this device most noticeably occurs in the first two notes of "I know that my Redeemer liveth" and on numerous other...  Guess a valid title for it!???
output answer: Messiah (Handel)


Please answer this: Given the below context:  Bowie's songs and stagecraft brought a new dimension to popular music in the early 1970s, strongly influencing both its immediate forms and its subsequent development. Bowie was a pioneer of glam rock, according to music historians Schinder and Schwartz, who credited Marc Bolan and Bowie with creating the genre. At the same time, he inspired the innovators of the punk rock music movement. When punk musicians were "noisily reclaiming the three-minute pop song in a show of public defiance", biographer David Buckley wrote that "Bowie almost completely abandoned traditional rock instrumentation." Bowie's record company promoted his unique status in popular music with the slogan, "There's old wave, there's new wave, and there's David Bowie".Musicologist James Perone credited Bowie with having "brought sophistication to rock music", and critical reviews frequently acknowledged the intellectual depth of his work and influence. The Human League founder Martyn Ware remarked that he had lived his life "as though he were an art installation." The BBC's arts editor Will Gompertz likened Bowie to Pablo Picasso, writing that he was "an innovative, visionary, restless artist who synthesised complex avant garde concepts into beautifully coherent works that touched the hearts and minds of millions". U2 lead singer Bono commented, "I like Bowie when he’s evenly pulled in the direction of being a pop star and Picasso, where he's right down the middle. That’s usually my favorite, when the songwriting is disciplined but the recording is not. I love when he's pulled equally in the directions of art and populism."Broadcaster John Peel contrasted Bowie with his progressive rock contemporaries, arguing that Bowie was "an interesting kind of fringe figure... on the outskirts of things". Peel said he "liked the idea of him reinventing himself... the one distinguishing feature about early-70s progressive rock was that it didn't progress. Before Bowie came along, people didn't want too much change". Buckley called the era "bloated,...  Guess a valid title for it!
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Answer:
David Bowie