[Q]: Given the below context:  The album's lyrics, written by Yorke, are more abstract compared to his personal, emotional lyrics for The Bends. Critic Alex Ross said the lyrics "seemed a mixture of overheard conversations, techno-speak, and fragments of a harsh diary" with "images of riot police at political rallies, anguished lives in tidy suburbs, yuppies freaking out, sympathetic aliens gliding overhead." Recurring themes include transport, technology, insanity, death, modern British life, globalisation and anti-capitalism. Yorke said: "On this album, the outside world became all there was ... I'm just taking Polaroids of things around me moving too fast." He told Q: "It was like there's a secret camera in a room and it's watching the character who walks in—a different character for each song. The camera's not quite me. It's neutral, emotionless. But not emotionless at all. In fact, the very opposite." Yorke also drew inspiration from books, including Noam Chomsky's political writing, Eric Hobsbawm's The Age of Extremes, Will Hutton's The State We're In, Jonathan Coe's What a Carve Up! and Philip K. Dick's VALIS.The songs of OK Computer do not have a coherent narrative, and the album's lyrics are generally considered abstract or oblique. Nonetheless, many musical critics, journalists, and scholars consider the album to be a concept album or song cycle, or have analyzed it as a concept album, noting its strong thematic cohesion, aesthetic unity, and the structural logic of the song sequencing. Although the songs share common themes, Radiohead have said they do not consider OK Computer a concept album and did not intend to link the songs through a narrative or unifying concept while it was being written. Jonny Greenwood said: "I think one album title and one computer voice do not make a concept album. That's a bit of a red herring." However, the band intended the album to be heard as a whole, and spent two weeks ordering the track list. O'Brien said: "The context of each song is really important ... It's not a concept album but there is...  Guess a valid title for it!
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[A]: OK Computer


[Q]: Given the below context:  Newspaperman Michael Hogan finds himself alone with a newborn daughter to take care of, after his wife has died in child labor. Mike is devastated and has no idea how to raise little Nancy, but his sister Grace and her husband Bill agrees to relief him of his duties as a father, letting the girl live with them. Nancy stays with Grace and Bill for eight years, while Mike lives the life of a bachelor, only contributing to his daughter's upbringing by paying an allowance. Feeling ashamed of her father's absence, Nancy concocts stories about him to share with her friends. At the same time, Mike is out with his friend George Cummings at a drive-in, trying to pick up a waitress named Barbara Adams, without success. Grace tries to protect Nancy by telling her that her father is very busy at work and doesn't have the time to come see her. This makes Nancy act on her father's behalf, paying a visit to Mike's boss, McCarthy, demanding that her father get more time to spend with his daughter. Mike doesn't give up on dating Barbara, returning to the drive-in, pretending to write an article about her workplace. He convinces her boss that she get the day off for an interview, and she reluctantly agrees to spend the day with him. In spite of this, they get along fine, but when Mike eventually kisses Barbara, his boss turns up and scolds him for not spending time with his neglected daughter. Barbara changes her mind about Mike and decides to not see him again. Mike decides to try and spend some time with his daughter and takes her to the drive-in, where she meets Barbara. Barbara quickly takes to Nancy and the three of them go bowling together. Mike and Barbara become a couple and all seems fine, until a bank robber Barbara helped get convicted through a testimony in court breaks out from prison. His name is Eddy, and he comes to town to get his revenge on Barbara. He finds out where she lives and arrives to her home with a gun.  Guess a valid title for it!
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[A]: A Guy Could Change


[Q]: Given the below context:  Impresario and author John Hollingshead, the lessee of London's Gaiety Theatre since 1868, had produced a number of successful musical burlesques and operettas there. Indeed, Hollingshead "boasted that he kept alight 'the sacred lamp of burlesque.'" Gilbert and Sullivan were each well acquainted with the Gaiety and its house artistes.  Gilbert's Robert the Devil (a burlesque of the opera Robert le Diable) had been on the programme on the theatre's opening night on 21 December 1868, with Nellie Farren in the title role, and played successfully for over 100 nights. Constance Loseby and Annie Tremaine (both of whom had roles in Thespis) were also in the cast of Robert, and Arthur Sullivan was in the audience on that opening night as one of Hollingshead's guests. It was a great success, "received with a storm of approbation". Less successfully, Gilbert had also written a play for the theatre in 1869 called An Old Score. Hollingshead would later say that the piece was "too true to nature". By late September or early October 1871, Gaiety programmes announced that "The Christmas Operatic Extravaganza will be written by W. S. Gilbert, with original music by Arthur Sullivan." There would be prominent roles for the popular comedian J. L. Toole, as well as Farren, the theatre's star "principal boy" in all of its burlesques. How and when the pair came to collaborate on Thespis is uncertain. Gilbert was a logical choice for the assignment. With seven operas and plays premièring that year and over a dozen other burlesques, farces and extravaganzas under his belt, he was well known to London theatregoers as a comic dramatist. Sullivan, however, was at this point mainly known for his serious music. His completed music that year included the choral cantata On Shore and Sea, a suite of incidental music for Shakespeare's The Merchant of Venice, and numerous hymns, including "Onward, Christian Soldiers". He did have two comic operas to his credit, Cox and Box (1866) and The Contrabandista (1867), but the latter was four years in...  Guess a valid title for it!
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[A]: Thespis (opera)


[Q]: Given the below context:  In Bedrock, Slate International's vice president Cliff Vandercave and his secretary Miss Stone discuss their plan to swindle the company of its vast fortune and flee. As part of the plan, they would need one of the employees to be the scapegoat. Meanwhile, Fred Flintstone loans his best friend and neighbor Barney Rubble money so that he and his wife Betty can adopt a child. The agency pairs them up with a child named Bamm-Bamm, who can only pronounce his own name. Although Bamm-Bamm is initially difficult to control due to being raised by mastodons, and thus has super strength, he eventually warms up to his new family. Barney vows to repay his friend Fred for his debt of gratitude. Despite his mother-in-law Pearl Slaghoople's objections, Fred's wife Wilma remains supportive of Fred's decision to help Barney. Fred promises he will prove himself to her one day.  Guess a valid title for it!
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[A]:
The Flintstones (film)