Given the below context:  Stereolab's music is politically and philosophically charged. Dave Heaton of PopMatters said that the group "[uses] lyrics to convey ideas while using them for the pleasurable way the words sound." The lyrics of the 2006 compilation Fab Four Suture, contains themes of war, governments that suppress freedom, and "the powerlessness that everyday people feel in the face of it all", in contrast to "humans [working] together, [treating] each other like people, and [pushing] for governments that would do the same." Lætitia Sadier, who writes the group's lyrics, was influenced by both the Situationist philosophy Society of the Spectacle by Marxist theorist Guy Debord, and her anger towards the Iraq War. The Surrealist, as well as the Situationist cultural and political movements were also influences, as stated by Sadier and Gane in a 1999 Salon interview.Critics have seen Marxist allusions in the band's lyrics, and have gone so far as to call the band members themselves Marxist. Music journalist Simon Reynolds commented that Sadier's lyrics tend to lean towards Marxist social commentary rather than "affairs of the heart". The 1994 single "Ping Pong" has been put forward as evidence in regard to these alleged views. In the song, Sadier sings "about capitalism's cruel cycles of slump and recovery" with lyrics that constitute "a plainspoken explanation of one of the central tenets of Marxian economic analysis" (said critics Reynolds and Stewart Mason, respectively).Band members have resisted attempts to link the group and its music to Marxism. In a 1999 interview, Gane stated that "none of us are Marxists ... I've never even read Marx." Gane said that although Sadier's lyrics touch on political topics, they do not cross the line into "sloganeering". Sadier also said that she had read very little Marx. In contrast, Cornelius Castoriadis, a radical political philosopher but strong critic of Marxism, has been cited as a marking influence in Sadier's thinking. The name of her side project, Monade, and its debut album...  Guess a valid title for it!
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Answer: Stereolab


Q: Given the below context:  Nielsen is perhaps most closely associated outside Denmark with his six symphonies, written between 1892 and 1925. The works have much in common: they are all just over 30 minutes long, brass instruments are a key component of the orchestration, and they all exhibit unusual changes in tonality, which heighten the dramatic tension. From its opening bars, Symphony No. 1 (Op. 7, 1890–92), while reflecting the influence of Grieg and Brahms, shows Nielsen's individuality. In Symphony No. 2 (Op. 16, 1901–02), Nielsen embarks on the development of human character. Inspiration came from a painting in an inn depicting the four temperaments (choleric, phlegmatic, melancholic, and sanguine).The title of Symphony No. 3, Sinfonia Espansiva (Op. 27, 1910–11), is understood by the English composer Robert Simpson to refer to the "outward growth of the mind's scope". It fully exploits Nielsen's technique of confronting two keys at the same time and includes a peaceful section with soprano and baritone voices, singing a tune without words. Symphony No. 4, The Inextinguishable (Op. 29, 1914–16), written during World War I, is among the most frequently performed of the symphonies. In the last movement two sets of timpani are placed on opposite sides of the stage undertaking a kind of musical duel. Nielsen described the symphony as "the life force, the unquenchable will to live".Also frequently performed is the Symphony No. 5 (Op. 50, 1921–22), presenting another battle between the forces of order and chaos. A snare drummer is given the task of interrupting the orchestra, playing ad libitum and out of time, as if to destroy the music. Performed by the Danish Radio Symphony Orchestra conducted by Erik Tuxen at the 1950 Edinburgh International Festival, it caused a sensation, sparking interest in Nielsen's music outside Scandinavia. In Symphony No. 6 (without opus number), written 1924–25, and subtitled Sinfonia Semplice (Simple Symphony), the tonal language seems similar to that in Nielsen's other symphonies, but the symphony...  Guess a valid title for it!
A: Carl Nielsen


Given the below context:  Gloria Wandrous wakes up in the apartment of wealthy executive Weston Liggett and finds that he has left her $250. An insulted Gloria, whose dress is torn, takes Liggett's wife Emily's (Dina Merrill) mink coat to cover herself and scrawls "No Sale" in lipstick on the mirror, but she orders her telephone answering service, BUtterfield 8, to put Liggett through if he calls. Gloria visits a childhood friend, pianist Steve Carpenter, who chastises her for wasting her life on one-night stands but agrees to ask his girlfriend Norma to lend her a dress. Gloria leaves, and Norma tells Steve to choose between her and Gloria. Liggett takes a train to the countryside where his wife Emily is caring for her mother. A friend, Bingham Smith, advises him to end his adulterous relationships and return to Bing's law firm instead of working for the chemical business of Emily's father. Meanwhile, Gloria lies to her mother Annie, claiming to have spent the night at Norma's. Liggett returns home. Finding the lipstick and money, he phones Gloria to explain the money was meant for her to buy a new dress, to replace the one that he had torn. While drinking later that night, Liggett advises her to ask a high price for her lovemaking talents. She insists she does not take payment from her dates and claims she has been hired as a model to advertise the dress she is wearing at three bistros that night. Liggett follows Gloria, watching her flirt with dozens of men at several clubs. He then drives her to a run-down motel. After sleeping together, Liggett and Gloria decide to explore their relationship further. Together for five days, they grow closer, falling genuinely in love with one another and parting only upon the return of Liggett's wife.  Guess a valid title for it!
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Answer:
BUtterfield 8