input question: Given the below context:  Stereolab's music combines a droning rock sound with lounge instrumentals, overlaid with sing-song female vocals and pop melodies, and have also made use of unorthodox time signatures. It has been generally described as avant-pop, indie pop, art pop, indie electronic, indie rock, post-rock, experimental rock, and experimental pop.The band have played on vintage electronic keyboards and synthesizers from brands such as Farfisa and Vox and Moog. Gane has praised the instruments for their versatility: "We use the older effects because they're more direct, more extreme, and they're more like plasticine: you can shape them into loads of things." The 1994 album Mars Audiac Quintet prominently features Moog synthesizers. Lætitia Sadier's English and French vocals was a part of Stereolab's music since the beginning; and would occasionally sing wordlessly along with the music.  In reference to her laid-back delivery, Peter Shapiro wrote facetiously in Wire that Sadier "display[ed] all the emotional histrionics of Nico", while some critics have commented that her vocals were unintelligible. Sadier would often trade vocals with Mary Hansen back-and-forth in a sing-song manner that has been described as "eerie" and "hypnotic", as well as "sweet [and] slightly alien". After Hansen's death in 2002, critic Jim Harrington commented that her absence is noticeable on live performances of Stereolab's older tracks, and that their newer songs could have benefited from Hansen's backing vocals.In interviews, Gane and Sadier have discussed their musical philosophy. Gane said that "to be unique was more important than to be good." On the subject of being too obscure, he said in a 1996 interview that "maybe the area where we're on dodgy ground, is this idea that you need great knowledge [of] esoteric music to understand what we're doing." Sadier responded to Gane, saying that she "think[s] we have achieved a music that will make sense to a lot of people whether they know about Steve Reich or not." The duo were up-front about their...  Guess a valid title for it!???
output answer: Stereolab


Given the below context:  Handel joined the Hamburg opera house when it was experiencing a period of considerable artistic success. This blossoming followed the arrival of Reinhard Keiser, who had become musical director at the Gänsemarkt in about 1697, and in 1703 succeeded Johann Kusser as the theatre's manager. Born in 1674, Keiser had studied under Johann Schelle and probably Johann Kuhnau at the Thomasschule zu Leipzig.  In 1694 he was employed as a court composer at Brunswick, where in three years he composed seven operas, at least one of which (Mahumeth) was performed in Hamburg. According to Handel's biographer Donald Burrows, Keiser was a good judge of popular taste, with a flair for writing Italian-style arias.  Between 1697 and 1703, prior to Handel's arrival, about a dozen more Keiser operas had been staged at the Gänsemarkt. Despite his on-stage successes, Keiser was an unreliable general manager, with expensive private tastes and little financial acumen, often at odds with his creditors.It is possible that Keiser, who had connections in the Halle area, had heard of Handel and was directly instrumental in securing the latter's post in the Gänsemarkt orchestra; certainly he was a considerable influence on the younger man in the three years that Handel spent in Hamburg. Another important Gänsemarkt colleague was the house composer and singer Johann Mattheson, who noted Handel's rapid progress in the orchestra from back-desk violinist to harpsichord soloist, a role in which, said Mattheson, "he showed himself a man—a thing which no one had before suspected, save I alone". Mattheson was less complimentary on Handel's early efforts at composition: "He composed very long, long arias, and really interminable cantatas", before, it seems, "the lofty schooling of opera ... trimmed him into other fashions".  Guess a valid title for it!
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Answer: Handel's lost Hamburg operas


Problem: Given the question: Given the below context:  Donna Foster works for publisher John Caine. She agrees to have his niece, Christabel, live with her in San Francisco while attending business school. Christabel proves to be a scheming, socially ambitious woman. She flirts with Donna's fiance, the wealthy Curtis Carey, at a party for Donna's friend, painter Gabriel Broome. She also attracts the interest of aspiring author Nick Bradley. While having her portrait done by Broome, a call from Curtis brings her eagerly to a jeweler, only to discover to her disappointment that he merely seeks her advice in buying Donna an engagement gift. After he purchases an expensive one, Christabel plants a seed of doubt in Donna's mind and makes her feel guilty by insinuating that in accepting such a lavish gift, Donna is giving Curtis the appearance of being after his money. Christabel then turns around and cunningly does the same to Curtis by convincing him to propose a pre-nuptial agreement. Donna is offended and the couple break up, which turns out to have been Christabel's plan all along. With Curtis now available, Christabel rebuffs a marriage proposal from Nick, whose novel is about to be published by Caine. A romance develops that leads to Christabel marrying Curtis and becoming a high society lady. However, it turns out that she is still attracted to Nick, whom she begins seeing on the side. On one occasion, she slips away from a vacation resort, telling Curtis that she is going to see her aunt Clara. Her lie is exposed by Caine, her uncle, who informs Curtis that the aunt had died while Christabel claimed to be visiting her. Curtis reunites with Donna after sending away Christabel with nothing more than a few expensive furs. She gets into an accident and is hospitalized, but promptly begins a flirtation with her doctor, showing that she is truly incorrigible.  Guess a valid title for it!
++++++++++++++++++++++++++++++++
The answer is:
Born to Be Bad (1950 film)