Problem: Given the question: Given the below context: In 1970, Lennon and Ono went through primal therapy with Arthur Janov in Los Angeles, California. Designed to release emotional pain from early childhood, the therapy entailed two half-days a week with Janov for four months; he had wanted to treat the couple for longer, but they felt no need to continue and returned to London. Lennon's debut solo album, John Lennon/Plastic Ono Band (1970), was received with praise by many music critics, but its highly personal lyrics and stark sound limited its commercial performance. Critic Greil Marcus remarked, "John's singing in the last verse of 'God' may be the finest in all of rock." The album featured the song "Mother", in which Lennon confronted his feelings of childhood rejection, and the Dylanesque "Working Class Hero", a bitter attack against the bourgeois social system which, due to the lyric "you're still fucking peasants", fell foul of broadcasters. In January 1971, Tariq Ali expressed his revolutionary political views when he interviewed Lennon, who immediately responded by writing "Power to the People". In his lyrics to the song, Lennon reversed the non-confrontational approach he had espoused in "Revolution", although he later disowned the message, saying that it was borne out of guilt and a desire for approval from radicals such as Ali. Lennon became involved with Ali in a protest against the prosecution of Oz magazine for alleged obscenity. Lennon denounced the proceedings as "disgusting fascism", and he and Ono (as Elastic Oz Band) released the single "God Save Us/Do the Oz" and joined marches in support of the magazine. Eager for a major commercial success, Lennon adopted a more accessible sound for his next album, Imagine (1971). Rolling Stone reported that "it contains a substantial portion of good music" but warned of the possibility that "his posturings will soon seem not merely dull but irrelevant". The album's title track later became an anthem for anti-war movements, while the song "How Do You Sleep?" was a musical attack on McCartney in response... Guess a valid title for it!
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The answer is:
John Lennon
input question: Given the below context: Popeye goes to see Olive Oyl, riding on a whale while singing his theme song. In the town, locals give Popeye dirty looks. One local tries to shoot Popeye, but because of Popeye's strength, the bullet hits Popeye on the back of his head, and hits the local who tried to shoot him. The local falls from the roof to the ground. He goes to a store named "Alla Kinda Flowers," where he requests a bouquet for Olive. After a while, a local gives Popeye a toothy while mocking him. To get even, Popeye smacks the local's teeth out, and they crunch together in his mouth. The scene then cuts to Olive, dancing in a tavern, entertaining everybody. Popeye walks in using the swinging old-style doors. Olive notices Popeye, patiently sitting at a table. Olive dances to Popeye. Popeye gives Olive her "bouquet" (which consists of only one flower) and Olive dances away with a leap. Olive's feet gets stuck into two spittoons. While Olive struggles to get out of the spittoons, Popeye is laughing. Olive, determined to get even, performs a fancy dance. Afterwards, the people in the tavern applaud to Olive's act. Bluto enters the tavern. He blasts his guns numerous times, forming a cloud. When the cloud clears, everyone is seen to have fled the tavernall but Popeye. Bluto, noticing Popeye sitting calmly, goes over to him. A poster reading "$5000 REWARD ... BLUTO THE BANDIT" has Bluto's picture on it. The two Blutos notice each other. Popeye looks at the poster after Bluto, realizing Bluto is the bandit on the poster. Guess a valid title for it!???
output answer: Blow Me Down!
Given the below context: Ten years after the end of World War II, Tom Rath is living in suburban Connecticut with his wife Betsy and three children; he's having difficulty supporting his family on his salary writing for a nonprofit organization. Tom is also dealing with flashbacks from his combat service as an Army Captain in both the European and Pacific theaters, involving men that he killed (including, by accident, his best friend), and a young Italian girl named Maria, with whom he had a brief but heartfelt affair in Italy despite his being in a relationship with Betsy at the time. Before he left Maria for the final time to go back into battle, Tom was told that she was pregnant and was going to keep the baby. He would never see her or the child again. When an expected inheritance from Tom's recently deceased grandmother turns out to have been depleted, leaving only her large and unsaleable mansion, Betsy pressures Tom to seek a higher-paying job. Acting on a tip from a fellow train commuter, Tom applies for an opening in public relations at television network UBC. Asked to write his autobiography as part of the interview process, he refuses. Hired nonetheless, he helps network president Ralph Hopkins launch a national mental health campaign. Hopkins is powerful and highly respected, but unbeknownst to his employees, his workaholic habits have caused him to be estranged from his wife and his rebellious daughter, who soon elopes with an unsuitable man. Guess a valid title for it!
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Answer: The Man in the Gray Flannel Suit
Please answer this: Given the below context: In the 1960s, Axelrod worked as a producer and A&R executive for Capitol Records in Los Angeles. During this time, he began to conceive his own musical ideas, involving a fusion of baroque classical sounds, R&B rhythms, and spiritual themes. Challenged by what he described as a "new breed of record buyer ... more sophisticated in his thinking", he was one of several Los Angeles-based musical eccentrics during the late 1960s who wanted to expand on the mid-1960s studio experiments of Brian Wilson and George Martin. His first attempt at this creative vision was composing a religious-themed, psychedelic opera for the Electric Prunes, a local garage rock group. When the band found it too challenging to finish the recording, Axelrod enlisted studio musicians from the Wrecking Crew to complete the album, released as Mass in F Minor in 1968. The recording attracted both controversy and national fame for the producer.After the success of Mass in F Minor, Axelrod was asked by Capitol to record a similar album. He wanted to further capitalize on the experimental climate of popular music and chose to adapt works by English poet William Blake on an album. Blake musical settings were at the height of their popularity among musicians and composers. Numerous serious music composers had set his poems to music since the 1870s, and the practice was eventually adapted in other musical fields during the 20th century, including popular music, musical theatre, and the 1960s folk idiom. Axelrod, a self-professed "Blake freak", had been fascinated by Blake's painting and poetry since his late teens and frequently read the poems as an adult. He conceived Song of Innocence after he had bought an edition of Blake's complete poetry while working in Capitol's art department and considered the concept for a few years before Mass in F Minor. Axelrod was not sociable with colleagues, such as record executives who could have helped him professionally, and felt that he could identify with Blake; he considered the poet "very bad at making new friends". Guess a valid title for it!
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Answer:
Song of Innocence