Problem: Given the below context: Marquee Moon is the debut album by American rock band Television. It was released on February 8, 1977, by Elektra Records. In the years leading up to the album, Television had become a prominent act on the New York music scene and generated interest from a number of record labels, eventually signing a record deal with Elektra. The group rehearsed extensively in preparation for Marquee Moon before recording it at A & R Recording in September 1976. It was produced by the band's frontman Tom Verlaine and sound engineer Andy Johns. For Marquee Moon, Verlaine and fellow guitarist Richard Lloyd abandoned contemporary punk rock's power chords in favor of rock and jazz-inspired interplay, melodic lines, and counter-melodies. Verlaine's lyrics combined urban and pastoral imagery, references to Lower Manhattan, themes of adolescence, and influences from French poetry. He also used puns and double entendres to give his songs an impressionistic quality in describing his perception of an experience. Marquee Moon was met with widespread acclaim and was hailed by critics as an original musical development in rock music. The critical recognition helped the album achieve unexpected commercial success in the United Kingdom, but it sold poorly in the United States. The record has since been viewed by critics as one of the greatest albums of all time and a foundational record of alternative rock. Television's innovative post-punk instrumentation on Marquee Moon strongly influenced the new wave and indie rock movements of the 1980s. Guess a valid title for it!

A: Marquee Moon
Problem: Given the question: Given the below context: Bart, a used car salesman in the midst of realizing his life is a failure, kills the obnoxious parents of what he believes is an abused 12-year-old brat, Melissa, as he tries to close them in the sale of the only car he has left on his lot. Despite witnessing this, Melissa refuses to shoot him when he hands her the gun and tells her he would "understand", then promises to take her cross-country to Texas to live with her only surviving family, Aunt Betty, in what he believes will be a final act of salvation - one last good deed. With his two salesmen, Dwight and Derrick in tow, they take flight from the murders and one Quinton Bendick, Bart's sadistic mentor, former friend and creditor, and become an odd family with Derrick serving as a father figure for Bart and Dwight, while Bart becomes father and friend to this tough, intelligent 12-year-old. At a river bed Bart dances a 70's line dance with Melissa in front of the car that contains the bodies of her parents, just before he dumps it into a river. In an accident of fate, the group discovers Melissa's prowess with a gun, and Bart teaches her about life, wearing the white hat, doing the right thing, and Annie Oakley, whom she comes to idolize. Bart and Melissa team up to do a trade to a small town used car salesman as Melissa comes to Bart's aid for the first time. A small town bartender matches bravado with Derrick with disastrous results for Dwight when he hits him in the head with a beer mug, wounding him severely. Stopping in a lounge Bart dances with Melissa again, and as she begins to feel her youth and freedom we watch her through Bart's not so parental eyes. In a seedy small-town motel it becomes apparent Dwight's head wound is too severe to ignore, and Derrick and Dwight leave the group to take Dwight to a hospital. Guess a valid title for it!
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The answer is:
The Seller
input question: Given the below context: Young David Balfour arrives at a bleak Scottish house, the House of Shaws, to claim his inheritance after his father. The house and land have been under the custodianship of his father's brother, Ebeneezer Balfour, but on reaching adulthood, the land and property become David's. Ebeneezer is having none of it, however, so he first tries to murder him, then has him kidnapped by sea captain Hoseason, with whom he has "a venture for trade in the West Indies". David is shipped off to be sold as a slave in the Carolinas. He strikes up a friendship with Alan Breck, escaping from Prince Charles Edward Stuart's defeat at Culloden. Breck is in a cobble which is run down in the fog by Hoseason's ship and once aboard, asks Hoseason to take him to France. When Hoseason refuses, Breck offers him 60 guineas to put him down on Loch Linnhe. On discovering that Breck has a money belt full of Jacobite gold, Hoseason and his crew try to kill Breck, but he is forewarned by David and the two kill half a dozen of the crew before the others retreat. Hoseason offers terms to end the fighting, but the ship runs aground. Only Breck and Balfour appear to survive and they manage to get to land. They set out for Edinburgh, dodging the ruthless Redcoats. Numerous adventures follow as they meet up with Breck's family, friends and foes alike. These include Breck's cousin, James Stewart, and his daughter Catriona, with whom David falls in love. Guess a valid title for it!???
output answer: Kidnapped (1971 film)
[Q]: Given the below context: "The Thing That Should Not Be" was inspired by the Cthulhu Mythos created by famed horror writer H.P. Lovecraft, with notable direct references to The Shadow Over Innsmouth and to Cthulhu himself, who is the subject matter of the song's chorus. It is considered the heaviest track on the album, with the main riff emulating a beast dragging itself into the sea. The Black Sabbath-influenced guitars are downtuned, creating slow and moody ambiance. "Welcome Home (Sanitarium)" was based on Ken Kesey's novel One Flew Over the Cuckoo's Nest and conveys the thoughts of a patient unjustly caged in a mental institution. The song opens with a section of clean single strings and harmonics. The clean, arpeggiated main riff is played in alternating 44 and 64 time signatures. The song is structured with alternating somber clean guitars in the verses, and distorted heavy riffing in the choruses, unfolding into an aggressive finale. This structure follows a pattern of power ballads Metallica set with "Fade to Black" on Ride the Lightning and would revisit with "One" on ...And Justice for All."Disposable Heroes" is an anti-war song about a young soldier whose fate is controlled by his superiors. With sections performed at 220 beats per minute, it is one of the most intense tracks on the record. The guitar passage at the end of each verse was Hammett's imitation of the sort of music he found in war films. The syncopated riffing of "Leper Messiah" challenges the hypocrisy of the televangelism that emerged in the 1980s. The song describes how people are willingly turned into blind religious followers who mindlessly do whatever they are told. The 136 beats per minute mid-tempo riffing of the verses culminates in a descending chromatic riff in the chorus; it increases to a galloping 184 beats per minute for the middle section that climaxes in a distorted scream of "Lie!". The title derives from the lyrics to the David Bowie song "Ziggy Stardust". "Orion" is a multipart instrumental highlighting Burton's bass playing. It opens with... Guess a valid title for it!
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[A]:
Master of Puppets