[Q]: Given the below context: During ancient times, Gibraltar was regarded by the peoples of the Mediterranean as a place of religious and symbolic importance. The Phoenicians were present for several centuries, apparently using Gorham's Cave as a shrine to the genius loci of the place, as did the Carthaginians and Romans after them. Excavations in the cave have shown that pottery, jewellery and Egyptian scarabs were left as offerings to the gods, probably in the hope of securing safe passage through the dangerous waters of the Strait of Gibraltar.The Rock was revered by the Greeks and Romans as one of the two Pillars of Hercules, created by the demigod during his tenth labour when he smashed through a mountain separating the Atlantic and the Mediterranean. According to a Phocaean Greek traveller who visited in the sixth century BC, there were temples and altars to Hercules on the Rock where passing travellers made sacrifices. The Spanish later symbolised the importance of the Pillars of Hercules with a heraldic device consisting of a pair of columns with a scroll wrapped around them a symbol that became the $ sign and the related Portuguese cifrao ().To the Ancient Romans, Gibraltar was known as Mons Calpe, a name perhaps derived from the Phoenician word kalph, "hollowed out", presumably in reference to the many limestone caves in the Rock. It was well-known to ancient geographers, but there is no known archaeological evidence of permanent settlements from the ancient period. According to the Roman writer Avienus, the ancient Greek traveller Euctemon recorded that thirty stadia separate [the Pillars of Hercules]; [Euctemon] says that they bristle with woods all over and are always unwelcoming to seamen. Indeed he says that on those are both temples and altars to Hercules. He says that strangers sail there by boat to make offerings to the gods and depart hot foot thinking it wrong to linger ... Guess a valid title for it!
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[A]: History of Gibraltar

[Q]: Given the below context: The Sitwells looked after their protege both materially and culturally, giving him not only a home but a stimulating cultural education. He took music lessons with Ernest Ansermet, Ferruccio Busoni and Edward J. Dent. He attended the Russian ballet, met Stravinsky and Gershwin, heard the Savoy Orpheans at the Savoy Hotel and wrote an experimental string quartet heavily influenced by the Second Viennese School that was performed at a festival of new music at Salzburg in 1923. Alban Berg heard the performance and was impressed enough to take Walton to meet Arnold Schoenberg, Berg's teacher and the founder of the Second Viennese School.In 1923, in collaboration with Edith Sitwell, Walton had his first great success, though at first it was a succes de scandale. Facade was first performed in public at the Aeolian Hall, London, on 12 June. The work consisted of Edith's verses, which she recited through a megaphone from behind a screen, while Walton conducted an ensemble of six players in his accompanying music. The press was generally condemnatory. Walton's biographer Michael Kennedy cites as typical a contemporary headline: "Drivel That They Paid to Hear". The Daily Express loathed the work, but admitted that it was naggingly memorable. The Manchester Guardian wrote of "relentless cacophony". The Observer condemned the verses and dismissed Walton's music as "harmless". In The Illustrated London News, Dent was much more appreciative: "The audience was at first inclined to treat the whole thing as an absurd joke, but there is always a surprisingly serious element in Miss Sitwell's poetry and Mr Walton's music ... which soon induced the audience to listen with breathless attention." In The Sunday Times, Ernest Newman said of Walton, "as a musical joker he is a jewel of the first water".Among the audience were Evelyn Waugh, Virginia Woolf and Noel Coward. The last was so outraged by the avant-garde nature of Sitwell's verses and the staging, that he marched out ostentatiously during the performance. The players did... Guess a valid title for it!
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[A]: William Walton

[Q]: Given the below context: In the West of the 1890s, a trio of outlaws, Bill Bowdre, Jesse Coe, and Tom Fitch, robs, tortures and brutally kills the white father and Indian mother of young Max Sand. The outlaws have stolen the father's grey horse with a double SS brand. Max sets out to avenge their deaths and uses this clue to trail the men. During his travels in the desert, Max uncovers an old and rusty gun. When he comes upon Jonas Cord, Sr, a traveling gunsmith, he tries to rob him. Cord, recognizing that Max's revolver is not loaded and is useless, convinces Max that his plan has failed. Max tells Cord of his vengeful journey. Cord takes pity on him, takes him in, feeds him and teaches him how to shoot. Max hunts the killers, who have separated. He tracks down Jesse Coe to Abilene, Texas. With the help of dancehall girl Neesa, a woman from the same tribe as his mother, he confronts him in a salon. Coe escapes and a knife fight ensues in a nearby corral. Coe is killed but Max is severely wounded. Neesa takes him to her tribe's camp, where she nurses him back to health. They become lovers. Once he recovers, Max leaves Neesa to continue his pursuit. He reads that Bowdre is in a prison camp in Louisiana for a failed bank robbery. He commits a bank robbery, deliberately gets caught, and is sent to the same prison where Bowdre is serving time. Bowdre does not recognize Max whose plan is to convince Bowdre to join him in an escape attempt and kill him in the swamp. Pilar, a local Cajun girl working in the rice fields near the convicts' camp, gives Max comfort. She knows nothing about Max's plan to kill Bowdre but knows her way around the swamp. She finds a boat and joins the escape. The boat capsizes early on and Pilar is bitten by a snake. Max kills Bowdre and Pilar dies of the snakebite. Guess a valid title for it!
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[A]:
Nevada Smith