Please answer this: Given the below context:  The band's third album, Fables of the Reconstruction (1985), demonstrated a change in direction. Instead of Dixon and Easter, R.E.M. chose producer Joe Boyd, who had worked with Fairport Convention and Nick Drake, to record the album in England. The band members found the sessions unexpectedly difficult, and were miserable due to the cold winter weather and what they considered to be poor food; the situation brought the band to the verge of break-up. The gloominess surrounding the sessions worked its way into the context for the album's themes. Lyrically, Stipe began to create storylines in the mode of Southern mythology, noting in a 1985 interview that he was inspired by "the whole idea of the old men sitting around the fire, passing on ... legends and fables to the grandchildren".They toured Canada in July and August 1985, and Europe in October of that year, including The Netherlands, England (including one concert at London's Hammersmith Palais), Ireland, Scotland, France, Switzerland, Belgium and West Germany. On October 2, 1985, the group played a concert in Bochum, West Germany, for the German TV show Rockpalast. Stipe had bleached his hair blond during this time. Fables of the Reconstruction performed poorly in Europe and its critical reception was mixed, with some critics regarding it as dreary and poorly recorded. As with the previous records, the singles from Fables of the Reconstruction were mostly ignored by mainstream radio. Meanwhile, I.R.S. was becoming frustrated with the band's reluctance to achieve mainstream success.For its fourth album, R.E.M. enlisted John Mellencamp's producer Don Gehman. The result, Lifes Rich Pageant (1986), featured Stipe's vocals closer to the forefront of the music. In a 1986 interview with the Chicago Tribune, Peter Buck related, "Michael is getting better at what he's doing, and he's getting more confident at it. And I think that shows up in the projection of his voice." The album improved markedly upon the sales of Fables of the Reconstruction and reached number...  Guess a valid title for it!
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Answer: R.E.M.


Please answer this: Given the below context:  The area where Tulsa now exists was considered Indian Territory when it was first formally settled by the Lochapoka and Creek tribes in 1836. They established a small settlement under the Creek Council Oak Tree at the present day intersection of Cheyenne Avenue and 18th Street. This area and this tree reminded Chief Tukabahchi and his small group of the Trail of Tears survivors of the bend in the river and their previous Creek Council Oak Tree back in the Talisi, Alabama area. They named their new settlement Tallasi, meaning "old town" in the Creek language, which later became "Tulsa". The area around Tulsa was also settled by members of the other so-called "Five Civilized Tribes" who had been relocated to Oklahoma from the Southern United States. Most of modern Tulsa is located in the Creek Nation, with parts located in the Cherokee and Osage Nations. Although Oklahoma was not yet a state during the Civil War, the Tulsa area saw its share of fighting. The Battle of Chusto-Talasah took place on the north side of Tulsa and a number of battles and skirmishes took place in nearby counties. After the War, the tribes signed Reconstruction treaties with the federal government that in some cases required substantial land concessions. In the years after the Civil War and around the turn of the century, the area along the Arkansas River that is now Tulsa was periodically home to or visited by a series of colorful outlaws, including the legendary Wild Bunch, the Dalton Gang, and Little Britches.  Guess a valid title for it!
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Answer: Tulsa, Oklahoma


Please answer this: Given the below context:  Music critic J. D. Considine noted "on albums, Jackson's sound isn't defined by her voice so much as by the way her voice is framed by the lush, propulsive production of Jimmy Jam and Terry Lewis." Wendy Robinson of PopMatters said "the power of Janet Jackson's voice does not lie in her pipes. She doesn't blow, she whispers ... Jackson's confectionary vocals are masterfully complemented by gentle harmonies and balanced out by pulsing rhythms, so she's never unpleasant to listen to."Matthew Perpetus of Fluxblog suggested Jackson's vocal techniques as a study for indie rock music, considering it to possess "a somewhat subliminal effect on the listener, guiding and emphasizing dynamic shifts without distracting attention from its primal hooks." Perpetus added: "Her voice effortlessly transitions from a rhythmic toughness to soulful emoting to a flirty softness without overselling any aspect of her performance ... a continuum of emotions and attitudes that add up to the impression that we're listening to the expression of a fully-formed human being with contradictions and complexities."Jackson's music has encompassed a broad range of genres. Her records from the 1980s have been described as being influenced by Prince, as her producers are ex-members of the Time. Sal Cinquemani wrote that in addition to defining Top 40 radio, she "gave Prince's Minneapolis sound a distinctly feminine—and, with songs like 'What Have You Done for Me Lately?,' 'Nasty,' 'Control,' and 'Let's Wait Awhile,' a distinctly feminist—spin."On Control, Richard J. Ripani documented that she, Jam and Lewis had "crafted a new sound that fuses the rhythmic elements of funk and disco, along with heavy doses of synthesizers, percussion, sound effects, and a rap music sensibility." Author Rickey Vincent stated that she has often been credited for redefining the standard of popular music with the industrial-strength beats of the album. She is considered a trendsetter in pop balladry, with Richard Rischar stating "the black pop ballad of the mid-1980s...  Guess a valid title for it!
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Answer:
Janet Jackson