Background: Stereolab were an English-French avant-pop band from London, formed in 1990 by Tim Gane (guitar/keyboards) and Laetitia Sadier (vocals/keyboards/guitar) who both remained at the songwriting helm across many line-up changes. Other long-time members included Mary Hansen (backing vocals/keyboards/guitar), who joined in 1992 and remained in the line-up until her accidental death in 2002, and Andy Ramsay (drums), who joined in 1993 and is still in the official line-up. Sean O'Hagan of the High Llamas was a member from 1993 to 1994, and continued appearing on later records for occasional guest appearances. The group's music combined influences from krautrock, lounge and 1960s pop music.
Context: Stereolab's music is politically and philosophically charged. Laetitia Sadier, who writes the group's lyrics, said that her inspiration was most recently her anger towards the Iraq War. The Surrealist and Situationist cultural and political movements were also influences, as noted by Sadier and Gane in a 1999 Salon.com interview. Stewart Mason commented in an AllMusic review that the lyrics from the 1997 song "Miss Modular" "sound influenced by the Situationist theory of the 'spectacle'."  Critics have noted 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". "Ping Pong", a 1994 single included on the album Mars Audiac Quintet, was noted for its alleged Marxist lyrics. 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 Simon 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 title, Socialisme ou Barbarie, are also references to the work of Castoriadis.  Stereolab's album and song titles occasionally reference avant-garde political groups and artists. Gane said that the title of their 1999 album Cobra and Phases Group Play Voltage in the Milky Night contains the names of two Surrealist organisations, "CoBrA" and "Phases Group", "Brakhage", the title of the first song on the 1997 album Dots and Loops, is a nod to experimental filmmaker Stan Brakhage. Other examples are the 1992 compilation Switched On, named after Wendy Carlos' 1968 album Switched on Bach, and the 1992 single "John Cage Bubblegum", named after experimental composer John Cage.
Question: what was special about the lyrics?
Answer: Stereolab's music is politically and philosophically charged.

Problem: Background: Carousel is the second musical by the team of Richard Rodgers (music) and Oscar Hammerstein II (book and lyrics). The 1945 work was adapted from Ferenc Molnar's 1909 play Liliom, transplanting its Budapest setting to the Maine coastline. The story revolves around carousel barker Billy Bigelow, whose romance with millworker Julie Jordan comes at the price of both their jobs. He participates in a robbery to provide for Julie and their unborn child; after it goes tragically wrong, he is given a chance to make things right.
Context: The cast album of the 1945 Broadway production was issued on 78s, and the score was significantly cut--as was the 1950 London cast recording. Theatre historian John Kenrick notes of the 1945 recording that a number of songs had to be abridged to fit the 78 format, but that there is a small part of "Soliloquy" found on no other recording, as Rodgers cut it from the score immediately after the studio recording was made.  A number of songs were cut for the 1956 film, but two of the deleted numbers had been recorded and were ultimately retained on the soundtrack album. The expanded CD version of the soundtrack, issued in 2001, contains all of the singing recorded for the film, including the cut portions, and nearly all of the dance music. The recording of the 1965 Lincoln Center revival featured Raitt reprising the role of Billy. Studio recordings of Carousel's songs were released in 1956 (with Robert Merrill as Billy, Patrice Munsel as Julie, and Florence Henderson as Carrie), 1962 and 1987. The 1987 version featured a mix of opera and musical stars, including Samuel Ramey, Barbara Cook and Sarah Brightman. Kenrick recommends the 1962 studio recording for its outstanding cast, including Alfred Drake, Roberta Peters, Claramae Turner, Lee Venora, and Norman Treigle.  Both the London (1993) and New York (1994) cast albums of the Hytner production contain portions of dialogue that, according to Hischak, speak to the power of Michael Hayden's portrayal of Billy. Kenrick judges the 1994 recording the best all-around performance of Carousel on disc, despite uneven singing by Hayden, due to Sally Murphy's Julie and the strong supporting cast (calling Audra McDonald the best Carrie he has heard). The Stratford Festival issued a recording in 2015.
Question: who did the choreography?
Answer: