Given a document, generate a short title of the document. The title should convey the main idea/event/topic about which the document is being written. Note that URLs in the text have been replaced with [Link].

[EX Q]: Just over a week ago  on the evening of Dec. 7  Lloyd C. Blankfein hosted a reunion of one of the most elite clubs in American finance: former partners of Goldman Sachs  the Wall Street giant he has led  with remarkable and controversial success  since 2006.
 The gathering  held at the venerable New York Athletic Club  both celebrated Goldman's past and looked toward its future. What  Blankfein was asked  did he want his legacy to be?
 Blankfein replied that like his predecessors  he hoped to position Goldman Sachs to capitalize on whatever opportunities might arise during his tenure. As bland as that might sound  few on or off Wall Street have seized opportunities in these troubled economic times as skillfully as Blankfein.
 But as President Barack Obama prods the financial industry to do more to help ordinary Americans -- he chided "fat cat bankers" on Sunday for increasing their pay -- some current and former Goldman executives say Blankfein has built a money machine that  while it still values its customers  culture and reputation  puts profits above all.
 Interviews with nearly 20 current and former Goldman partners paint a portrait of a bank driven by hard-charging traders like Blankfein who wager vast sums in world markets in hopes of quick profits. Discreet bankers who give advice to corporate clients and help them raise capital -- once a major source of earnings for Goldman -- have been eclipsed  these people said.
 Blankfein has surrounded himself with a tight circle of executives drawn from Goldman's trading operation. Many of these executives  like Blankfein  cut their teeth in the commodities division  J. Aron
 After first guiding Goldman through the near-collapse of the nation's financial system and then deftly extricating his bank from a federal bailout  Blankfein is now presiding over one of the richest periods in the bank's 140-year history. Blankfein has accelerated a decade-long decline of Goldman's old partnership ethos  which was built around the principle that its bankers and traders can do well -- indeed  very well -- while putting their customers first  former partners said.
 Some Goldman alumni worry that Blankfein is jeopardizing the culture of success that defined the bank for much of its modern history. They wonder if Goldman will become  as one former partner put it  "just like every other bank on Wall Street" -- that is  focused on short-term profits rather than long-term gains.
 Publicly  Blankfein espouses the Goldman Sachs way. But privately  current and former partners say that he has fundamentally changed the way Goldman views its customers and the broader marketplace. The changes began when Goldman went public in the late 1990s  but have accelerated under Blankfein  they say.
 Bowing to pressure from shareholders and the public to rein in runaway pay on Wall Street  Goldman announced last week that its top executives  including Blankfein  would forgo cash bonuses this year. Instead  the executives will be paid in the form of special stock -- an arrangement that  while eliminating big paydays this year  nonetheless may turn out to be enormously lucrative if Goldman's share price rises in the future.
 Today  the traders -- Blankfein's camp -- are firmly in power. While Goldman employs nearly 31 000 people  in business ranging from money management to traditional investment banking  the bank makes the bulk of its money from trading. Van Praag said 50 percent of Goldman's revenue came from fees that it charged for services like investment banking. The other half is generated by Goldman using its capital for itself and its clients. While Blankfein's traders are minting money  his investment bankers are being pressed to keep a closer eye on the bottom line. Bankers who once spent years cultivating corporate clients  in hopes of one day landing lucrative work like advising on a big merger  are now being urged to squeeze more revenue from their customers.
[EX A]: AS GOLDMAN THRIVES SOME SAY AN ETHOS FADES

[EX Q]: What happens when the one and only Bill Murray recites American literature and flexes his pipes on songs from the great American songbook  backed by three accomplished classical musicians at a packed Orchestra Hall?
âNew Worlds:  Bill Murray   Jan Vogler and Friendsâ was the name of the show the famed Wilmette-raised actor and comedian  along with cellist Jan Vogler  violinist Mira Wang and pianist Vanessa Perez  brought to Symphony Center on Tuesday night as part of a national tour in support of their new Decca Gold album of the same name.
 Murray  sang a little  danced a little  cracked a couple of jokes. The inveterate Cubs fan traded his tuxedo jacket for a Cubs windbreaker at the end  prompting a roar from audience members  one of whom had draped a Wrigley victory flag over the side of the platform that was put up on stage to accommodate extra seats.
The tone shifted from light to serious and back again.  Murray  sometimes recited over musical accompaniment; sometimes  his  recitations stood on their own. One selection merged into the next in a seamless  two-hour flow of spoken word  song and instrumental music. Like all highly skilled actors   Murray  is a virtuoso of tone and timing.  His  typically laid-back manner fools no one  for thereâs always a finely honed theatrical sensibility and command of craft peeking through.
Who could resist James Fenimore Cooperâs evocation of a pristine early 19th-century American woodland (from âThe Deerslayerâ)  as recited with all due wonderment by  Murray  over a movement from a Schubert piano trio?
Or  Murray âs thoughtful rendition  half-sung  half-spoken  of âJeanie with the Light-Brown Hair â a nostalgic slice of early America I have never heard so poignantly done as here?  Murray  may not have classically trained vocal technique  but  his  baritone is pleasant and musical and absolutely true to the words and the deep emotions they convey  and that was all that mattered.
There was so much else to savor all evening long. You havenât heard âIt Ainât Necessarily Soâ until youâve heard  Murray âs sassy  jazzy transformation of that beloved Gershwin classic. Nor are you likely to forget the gutsy intensity of feeling he brought to Van Morrisonâs soul standard âWhen Will I Ever Learn to Live in God.â
After that number   Murray  flung long-stemmed roses to the fans  who were up on their feet  loudly cheering the hometown favorite. âThanks for coming â itâs nice to be home â he told them  as he  Vogler  Wang and Perez waved their goodbyes.
If this is what it takes to sell light classical music and renew interest in neglected classics of American literature to a mass concert public  maybe  Murray  and friends are on to something. Long may their team flourish.
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[EX A]: Bill Murray at Orchestra Hall is a show no one else could have done

[EX Q]: The new  Mario  game has some serious film noir vibes. Fans on Twitter have been picking up on the crooked stink of New Donk City since the game came out  but the idea seems to have solidified with the brilliant help of the Storied podcast. The podcast goes on a journey with co-hosts Sean Ainsworth  Harrison Pink  and Chris Rebbert as they transform famous films  TV shows  and games into other mediums.
Presumably inspired by the recent rumors that an official Super Mario Bros. movie is in the works  the hosts pondered the best method for bringing  Mario 's pixels onto the silver screen. Sure  the happy-go-lucky world of Nintendo might not scream "gritty monochromatic detective drama." But you're clearly just not paying attention (or exploring Photo Mode in Super Mario Odyssey.)
Their proposed script begins with a panning shot over pictures of a smiling Luigi  as  Mario  grieves over the death of his brother and the better half of their Super Mario Bros. P. I. firm. His voiceover is all tough talk  while maintaining the trademark cartoonish Italian stereotype we've come to love.
What proceeds is your usual  Mario  game plot  with a damsel in distress who needs the help of a hero to escape a mafia-style boss with tons of goons stalking about town. Bowser  a local land baron in the tradition of Chinatown  is up to his no-good tricks and is trying to marry her and take all her inheritance money.
If anyone is wondering  I've got this frame of Mario Odyssey paused  and am currently narrating "Mario  P.I." as a film noir series while I have jazz music playing in the background.
In honor of his dead brother   Mario  goes on a wild-goose chase to rescue  his  dame.
Some key scenes include: 1)  Mario  meeting up with Bowser at a country club  with Bowser intimidating the detective by totally owning his opponent in Wii Tennis while  Mario  tries to question him  2) A second femme fatale  in the form of Birdo  who cannot speak English but gives  Mario  an egg with a key piece of evidence before she's murdered  3) One (if not several) car chase scenes  in which the cars are replaced with  Mario  go-karts and the tommy guns replaced with Blue Shells.
But  like any good noir film  the journey ends in deception. As  Mario  gets deeper into the investigation  eventually managing to kill Bowser  he learns a sickening truth. The Koopa King and Drug Lord Bowser was actually just small pennies compared to the real boss in charge: Princess Peach  who runs the drug operation at the heart of the Mushroom Kingdom. She needed a fall guy.  Mario  was her guy. Bowser took the fall.
The story closes on  Mario  as  he  lays dying  and Luigi emerges from the shadows to give the princess a kiss.
[EX A]:
Popular theory: 'Super Mario Odyssey' is noir as hell