Q: Given the below context: The film takes place over a summer by the seaside and follows three girls through a summer that will change their lives. The story is told by Keira St. George, a girl who is trying to decide what to do with her life. She constantly throws away her college letter without reading it, but her father always retrieves it, annoying her more. Her two best friends are Glory Lorraine a beautiful but somewhat bitchy girl obsessed with marriage, and Lisa MacDougall, an awkward, born-again, religious girl who is obsessed with sex. Glory babysits for Keith Clark and his wife, who works the night shift four times a week. Keith is a 32-year-old husband and father, who loves to ride his motorcycle, gamble with friends and smoke pot. One afternoon, Keira talks to Gordon Gruber, who is a bit slow, trying to get information from him about Keith, who has taken Gruber under his wing. Gruber tells Keira about the pot growing in Keith's backyard. That night, Keira and Lisa decide to take some of Keith's pot. While leaving, they hear what sounds like Keith and his wife having sex. Sex crazed Lisa decides to take a closer look. When Kiera joins her, the two discover that Keith isn't with his wife but with Glory! Later that night, Glory arrives at the bonfire. Keira and Lisa tell Glory about seeing her with Keith. Glory defends her actions, saying she loves Keith and he loves her. The next day, while Keira works at the food stand, Glory tells her more about Keith and her relationship with him. Wheels begin to turn in Keira's head, and after debating with herself, she decides to go to Keith's. He thinks she wants to buy pot, but she tells him she will "babysit" too. She convinces him to let her in. He tells her he's married and she's half his age, but it is obvious both are attracted to each other. She leads Keith into the bedroom. Guess a valid title for it!
A: These Girls
Question: Given the below context: Agnes Hurley is a disillusioned housewife, married to Bronx cabdriver Tom Hurley. She wants something better for her daughter, Jane. When Jane announces her engagement to Ralph Halloran, Aggie sees this as an opportunity to have a romantic elaborate wedding, with caterers and all the trimmings, like she never had because they could never afford it. However, the daughter does not want it because it is causing awkward conflicts with her family and friends, and her father has been saving that money for many years to purchase a taxi medallion and become self-employed. The film deals with the ensuing money troubles and conflicts within the family, which also involve Uncle Jack Conlon and most of the neighborhood. It is not until the end of the film that the mother realizes that it is the happiness of her family, rather than the expensive ceremony, that is most important, as they go off to watch their daughter get married at their church in the new taxi. Guess a valid title for it!
Answer: The Catered Affair
[Q]: Given the below context: While Raff was able to offer "practical suggestions [in orchestration] which were of great value to Liszt", there may have been "a basic misunderstanding" of the nature of their collaboration. Liszt wanted to learn more about instrumentation and acknowledged Raff's greater expertise in this area. Hence, he gave Raff piano sketches to orchestrate, just as he had done earlier with Conradi"so that he might rehearse them, reflect on them, and then, as his confidence in the orchestra grew, change them." Raff disagreed, having the impression that Liszt wanted him on equal terms as a full collaborator. While attending an 1850 rehearsal of Prometheus, he told Bernhard Cossmann, who sat next to him, "Listen to the instrumentation. It is by me."Raff continued making such claims about his role in Liszt's compositional process. Some of these accounts, published posthumously by Die Musik in 1902 and 1903, suggest that he was an equal collaborator with Liszt. Raff's assertions were supported by Joachim, who had been active in Weimar at approximately the same time as Raff. Walker writes that Joachim later recalled to Raff's widow "that he had seen Raff 'produce full orchestral scores from piano sketches.'" Joachim also told Raff's biographer Andreas Moser that "the E-flat-major Piano Concerto was orchestrated from beginning to end by Raff." Raff's and Joachim's statements effectively questioned the authorship of Liszt's orchestral music, especially the symphonic poems. This speculation was debased when composer and Liszt scholar Peter Raabe carefully compared all sketches then known of Liszt's orchestral works with the published versions of the same works. Raabe demonstrated that, regardless of the position with first drafts, or of how much assistance Liszt may have received from Raff or Conradi at that point, every note of the final versions represents Liszt's intentions. Guess a valid title for it!
****
[A]: Symphonic poems (Liszt)
Question: Given the below context: "I Want You"Andy Gill notes that the song displays a tension between the very direct tone of the chorus, the repeated phrase "I want you", and a weird and complex cast of characters, "too numerous to inhabit the song's three minutes comfortably", including a guilty undertaker, a lonesome organ grinder, weeping fathers, mothers, sleeping saviors, the Queen of Spades, and the "dancing child with his Chinese suit". Analyzing the evolution of the lyrics through successive drafts, Wilentz writes that there are numerous failures, "about deputies asking him his name ... lines about fathers going down hugging one another and about their daughters putting him down because he isn't their brother". Finally Dylan arrives at the right formula.Heylin points out that the "gorgeous" tune illustrates what Dylan explained to a reporter in 1966: "It's not just pretty words to a tune or putting tunes to words ... [It's] the words and the music [together]I can hear the sound of what I want to say." Al Kooper has said that of all the songs that Dylan had outlined to him in his hotel, this was his favorite, so Dylan delayed recording it to the very end of the Nashville sessions, "just to bug him". Released as a single in June 1966, shortly before the album Blonde on Blonde, "I Want You" reached number 20 in the USA, and number 16 in the UK. "Stuck Inside of Mobile with the Memphis Blues Again"Recorded at the third Nashville session, this song was the culmination of another epic of simultaneous writing and recording in the studio. Wilentz describes how the lyrics evolved through a surviving part-typed, part-handwritten manuscript page, "which begins 'honey but it's just too hard' (a line that had survived from the very first New York session with the Hawks). Then the words meander through random combinations and disconnected fragments and images ('people just get uglier'; 'banjo eyes'; 'he was carrying a 22 but it was only a single shot'), before, in Dylan's own hand, amid many crossings-out, there appears 'Oh MAMA you're here IN... Guess a valid title for it!
Answer:
Blonde on Blonde