input question: 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!???
output answer: OK Computer

input question: Given the below context:  In 1937 Ferrier entered the Carlisle Festival open piano competition and, as a result of a small bet with her husband, also signed up for the singing contest. She easily won the piano trophy; in the singing finals she sang Roger Quilter's To Daisies, a performance which earned her the festival's top vocal award. To mark her double triumph in piano and voice, Ferrier was awarded a special rose bowl as champion of the festival.After her Carlisle victories, Ferrier began to receive offers of singing engagements. Her first appearance as a professional vocalist, in autumn 1937, was at a harvest festival celebration in the village church at Aspatria. She was paid one guinea. After winning the gold cup at the 1938 Workington Festival, Ferrier sang Ma Curly-Headed Babby in a concert at Workington Opera House. Cecil McGivern, producer of a BBC Northern radio variety show, was in the audience and was sufficiently impressed to book her for the next edition of his programme, which was broadcast from Newcastle on 23 February 1939. This broadcast—her first as a vocalist—attracted wide attention, and led to more radio work, though for Ferrier the event was overshadowed by the death of her mother at the beginning of February. At the 1939 Carlisle Festival, Ferrier sang Richard Strauss's song All Souls' Day, a performance which particularly impressed one of the adjudicators, J. E. Hutchinson, a music teacher with a considerable reputation. Ferrier became his pupil and, under his guidance, began to extend her repertoire to include works by Bach, Handel, Brahms and Elgar.When Albert Wilson joined the army in 1940, Ferrier reverted to her maiden name, having until then sung as 'Kathleen Wilson'. In December 1940 she appeared for the first time professionally as 'Kathleen Ferrier' in a performance of Handel's Messiah, under Hutchinson's direction. In early 1941 she successfully auditioned as a singer with the Council for the Encouragement of the Arts (CEMA), which provided concerts and other entertainments to military camps,...  Guess a valid title for it!???
output answer: Kathleen Ferrier

input question: Given the below context:  Anton Rubinstein was a famous Russian pianist who had lived, performed and composed in Western and Central Europe before he returned to Russia in 1858. He saw Russia as a musical desert compared to Paris, Berlin and Leipzig, whose music conservatories he had visited. Musical life flourished in those places; composers were held in high regard, and musicians were wholeheartedly devoted to their art. With a similar ideal in mind for Russia, he had conceived an idea for a conservatory in Russia years before his 1858 return, and had finally aroused the interest of influential people to help him realize the idea. Rubinstein's first step was to found the Russian Musical Society (RMS) in 1859. Its objectives were to educate people in music, cultivate their musical tastes and develop their talents in that area of their lives. The first priority of the RMS acted was to expose to the public the music of native composers. In addition to a considerable amount of Western European music, works by Mussorgsky and Cui were premiered by the RMS under Rubinstein's baton. A few weeks after the Society's premiere concert, Rubinstein started organizing music classes, which were open to everyone. Interest in these classes grew until Rubinstein founded the Saint Petersburg Conservatory in 1862.According to musicologist Francis Maes, Rubinstein could not be accused of any lack of artistic integrity. He fought for change and progress in musical life in Russia. Only his musical tastes were conservative—from Haydn, Mozart and Beethoven to the early Romantics up to Chopin. Liszt and Wagner were not included. Neither did he welcome many ideas then new about music, including the role of nationalism in classical music. For Rubinstein, national music existed only in folk song and folk dance. There was no place for national music in larger works, especially not in opera. Rubinstein's public reaction to the attacks was simply not to react. His classes and concerts were well attended, so he felt no reply was actually necessary. He even forbade...  Guess a valid title for it!???
output answer: Pyotr Ilyich Tchaikovsky and The Five

input question: Given the below context:  Susan Miller works as a girdle salesgirl in a big department store. She dreams of living on "the other side", among the rich. An elderly woman, calling herself Mrs. Maybelle Worthington, comes to buy some underwear. She is actually a professional swindler. Her partner Warren meets her at the department store, and reports that her "daughter" (a partner in their schemes) has run away to get married. They notice that Susan resembles the "daughter", and ask her to impersonate the missing girl at their party that evening. Susan sees an opportunity to experience life among the rich, and wear the expensive clothes she could never afford. From that day on, Susan becomes "Linda Worthington" and accompanies "Mother Worthington" and "Uncle Warren" in their travels. They use her to attract marriageable young rich men, whom they swindle. One day in Southern California, they encounter John Wheeler, and overhear his plan to buy a yacht for $15,000. They take him for a millionaire, and use "Linda" to lure him into one of their swindles. But John is actually an accountant, who has carefully saved the $15,000 out of his limited income. This time Susan/Linda falls in love with the intended victim, and it's hard for them to find their way to happiness.  Guess a valid title for it!???
output answer:
Rings on Her Fingers