input question: Given the below context:  Set in the Stone Age, Ishbo is the younger son of Mookoo, the leader of a tribe of cavemen. Ishbo is smarter than most of his tribesmen, but awkward and nerdy, living in the shadow of his much more physically impressive brother Thudnik. He hopes to use his superior intellect to become an inventor and raise his tribe above simple sticks and stones, but due to a combination of the flimsy materials available to him and the lack of support from his tribe they always fail. Ishbo also has had a lifelong crush on his childhood friend, Fardart. Much to his dismay, immediately after he finally expresses his love to her she is "clubbed" by Thudnik (and all that follows in the tradition of caveman stereotypes), and eventually married to him. Ishbo himself has never clubbed a woman, having his heart set on Fardart his whole life. After Fardart is betrothed to Thudnik, Ishbo begins to believe that he will never club a woman. He at first is too attached to her to consider clubbing another woman, and is further discouraged after a particularly ill-fated attempt at clubbing. Ishbo becomes quite depressed, a feeling which is escalated by his failure to prove useful on a mammoth hunt. He falls into a large pile of mammoth dung, then is eaten by the mammoth, and eventually excreted (or extracted – the scene itself appears as a series of animated cave drawings) from the mammoth when it is finally killed by the rest of the tribesmen.  Guess a valid title for it!???
output answer: Homo Erectus (film)

input question: Given the below context:  With the piece set to open on 26 December, Gilbert first read the libretto to the cast on 14 December, but Toole, who was playing the central role of Thespis, did not return from a tour of the British provinces until 18 December. He then appeared in nine performances at the Gaiety in the six days immediately after his return, and other actors had similar commitments. In addition, Hollingshead had committed the company to perform a pantomime at The Crystal Palace on 21 December, which included many of the performers who would be in Thespis. Lastly, Thespis was to play as the afterpiece to an H. J. Byron comedy, Dearer than Life, which shared many of its actors, including Toole and Fred Sullivan, and had to be rehearsed at the same time.Despite the short time available for rehearsals, Sullivan recalled that Gilbert insisted that the chorus play a major role, as it would do in their later Savoy operas: Until Gilbert took the matter in hand choruses were dummy concerns, and were practically nothing more than a part of the stage setting. It was in 'Thespis' that Gilbert began to carry out his expressed determination to get the chorus to play its proper part in the performance. At this moment it seems difficult to realise that the idea of the chorus being anything more than a sort of stage audience was, at that time, a tremendous novelty. In consequence of this innovation, some of the incidents at the rehearsal of 'Thespis' were rather amusing. I remember that, on one occasion, one of the principals became quite indignant and said, 'Really, Mr. Gilbert, why should I stand here? I am not a chorus-girl!' to which Gilbert replied curtly, 'No, madam, your voice is not strong enough, or no doubt you would be.'  Guess a valid title for it!???
output answer: Thespis (opera)

input question: Given the below context:  It is not clear why, in 1873, Alkan decided to emerge from his self-imposed obscurity to give a series of six Petits Concerts at the Érard piano showrooms. It may have been associated with the developing career of Delaborde, who, returning to Paris in 1867, soon became a concert fixture, including in his recitals many works by his father, and who was at the end of 1872 given the appointment that had escaped Alkan himself, Professor at the Conservatoire. The success of the Petits Concerts led to them becoming an annual event (with occasional interruptions caused by Alkan's health) until 1880 or possibly beyond. The Petits Concerts featured music not only by Alkan but of his favourite composers from Bach onwards, played on both the piano and the pédalier, and occasionally with the participation of another instrumentalist or singer. He was assisted in these concerts by his siblings, and by other musicians including Delaborde, Camille Saint-Saëns, and Auguste Franchomme.Those encountering Alkan at this phase included the young Vincent d'Indy, who recalled Alkan's "skinny, hooked fingers" playing Bach on an Érard pedal piano: "I listened, riveted to the spot by the expressive, crystal-clear playing." Alkan later played Beethoven's Op. 110 sonata, of which d'Indy said: "What happened to the great Beethovenian poem ... I couldn't begin to describe – above all in the Arioso and the Fugue, where the melody, penetrating the mystery of Death itself, climbs up to a blaze of light, affected me with an excess of enthusiasm such as I have never experienced since. This was not Liszt—perhaps less perfect, technically—but it had greater intimacy and was more humanly moving ..."The biographer of Chopin, Frederick Niecks, sought Alkan for his recollections in 1880 but was sternly denied access by Alkan's concierge – "To my ... enquiry when he could be found at home, the reply was a ... decisive 'Never'." However, a few days later he found Alkan at Érard's, and Niecks writes of their meeting that "his reception of me was not...  Guess a valid title for it!???
output answer: Charles-Valentin Alkan

input question: Given the below context:  Oswald is walking merrily on the road, heading towards the county fair. On his way, the boy beagle is expelled out of the house by a disgruntled father. The father dog roughs up the boy beagle some more before returning indoors. Feeling sorry for his little friend, Oswald decides to take the little dog along. At the fair, Oswald and the boy beagle disguise themselves as a single customer in an attempt to just pay for one ticket. But their cover is blown when they stumble, prompting the ticket seller to shoo them. Annoyed by that employee, the boy beagle assaults the ticket seller, eventually knocking the latter out of the ticket booth. Going further into fair, the boy beagle wishes to board the roller coaster. But when a guard demands for a ticket which he has none, the little dog decides to just harass the guard, momentarily knocking that worker using the spinning bars. Oswald, who tries to take him, would also be knocked down by those bars. Oswald chases the boy beagle into the trousers of a hefty tourist. While the little dog is able to get out of the pants, the rabbit gets stuck. The boy beagle begins pelting Oswald in the head with some baseballs. Oswald then pursues the boy beagle into a high striker which the little dog climbs up. Oswald strikes the lever with a mallet but the boy beagle is able to dodge the bell-hitting mechanism. Oswald strikes the lever once more but harder. The impact of the second hit was so powerful that the high striker collapses. The rabbit then captures the boy beagle in a way that the tiny canine cannot escape.  Guess a valid title for it!???
output answer:
The County Fair (1934 film)