Problem: Given the below context: In Santa Monica, California, a pair of Mormon missionariesby-the-book Elder Farrell, and his soon-to-leave companion, Elder Lozano (Ignacio Serricchio)proselytize until they are caught between a gang drive-by shooting targeting nearby thugs. The shootout kills one thug and wounds another, Carl, whom Elder Lozano saves. After being released from the hospital, Carl tracks down the two missionaries, thanking Lozano for saving his life, who gives Carl a Book of Mormon. Later, the missionaries notice an unconscious street preacher lying behind a Dumpster. Despite Farrell's hesitation, the missionaries bring the manlater identified as Louis (Jo-sei Ikeda)to rest in their apartment. Meanwhile, Carl, who has been reading the Bible and Book of Mormon, is eager to be baptized and begins taking lessons from the missionaries. While they do so, the missionaries ask their next-door neighbor, Holly, to check on the homeless preacher in their home. Upon their return, they have dinner with Holly and Louis and continue to do so for a few days. In this time, the missionaries learn that Louis once was a preacher who lost his congregation due to alcoholism and that Hollya struggling actressacted in a few adult movies, her parents back home discovering and cutting off contact with her as a result. Elder Farrell promises that God will never stop loving her regardless of her mistakes. At a local ward luau, another missionary interviews Carl for baptism, teaching him the story of Ammon, a missionary who teaches a group of people to give up their weapons and bury them deep in the ground, vowing never to use them again. The night before his baptism, Carl buries his weapons in the yard and Elder Lozano baptizes him the following day. Guess a valid title for it!

A: States of Grace
Problem: Given the question: Given the below context: In writing Young Modern, Johns tried to make the music sound very simple, despite a complex musical structure. The lyrics were written after the music was created, sometimes as late as the day of recording. As Johns dreads writing lyrics, he suggested that the band could produce an instrumental album at some stage in the future. Johns is the band's primary songwriter, and notes that while Joannou and Gillies do not have significant influence on what he writes, they are key to the band's overall sound. For that album, Hamilton co-wrote four songs with Johns including the APRA Award-winning "Straight Lines". Joannou believed that Young Modern was simpler than Diorama but "still as complex underneath with simple pop song elements". He said that much of the band's success resulted from trying to push themselves harder in recording and writing. Self-producing has allowed the band to do so without the pressures of a record label.Gillies notes that Silverchair will often "run the risk of losing fans" with their work, and this was evident in the changes in musical direction in Diorama and Young Modern. However, he described this as a good thing, describing the fact "that we haven't been pigeonholed, and people really don't know what to expect" as one of the attractive elements of the band. Despite the ups and downs of success at a young age, Gillies says the band "appreciate what we've achieved and what we've got" in their careers. The band have received six APRA Awards with Johns winning three songwriting awards at the 2008 ceremony. Guess a valid title for it!
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The answer is:
Silverchair
input question: Given the below context: Beswick's mummified body was initially kept at Ancoats Hall, the home of another Beswick family member, but it was soon moved to a room in Dr White's home in Sale, Manchester, where it was stored in an old clock case. Beswick's apparently eccentric will made her a celebrity; the author Thomas de Quincey was one of those who went to view her at White's house. Following White's death in 1813, Beswick's body was bequeathed to a Dr Ollier, on whose death in 1828 it was donated to the Museum of the Manchester Natural History Society, where she became known as the Manchester Mummy, or the Mummy of Birchin Bower. She was displayed in the museum's entrance hall, next to a Peruvian and an Egyptian mummy, and her relatives were allowed free access to visit her as they wished. She was described by a visitor in 1844 as "one of the most remarkable objects in the museum". The "cold dark shadow of her mummy hung over Manchester in the middle of the eighteenth century", according to writer Edith Sitwell.There are no pictures of Hannah Beswick. One of the few contemporary accounts of her is provided by Philip Wentworth, a local historian: The body was well preserved but the face was shrivelled and black. The legs and trunks were tightly bound in a strong cloth such as is used for bed ticks [a stiff kind of mattress cover material] and the body, which was that of a little old woman, was in a glass coffin-shaped case. Shortly after the museum's transfer to Manchester University in 1867 it was decided that as Beswick was "irrevocably and unmistakably dead", the time had come for her to be buried. But since 1837 UK law had required that a medical examiner issue a certificate of death before a burial could take place; as Beswick had died in 1758 an appeal had to be made to the Secretary of State, who issued an order for her burial. With the permission of the Bishop of Manchester, Hannah Beswick was interred in an unmarked grave in Harpurhey Cemetery on 22 July 1868, more than 110 years after her death. Guess a valid title for it!???
output answer: Manchester Mummy
[Q]: Given the below context: Despite the grandeur of Florence, Etty was severely depressed, writing to his brother on 5 October that "I feel so lonely, it is impossible for me to be happy" and complaining of "the vermin in the bed, the dirt and the filth" which he considered "such as no Englishman can have any idea of, who has not witnessed it". His emotional state made it impossible for him to study, and within a month of his arrival in Italy, he began the journey back to England, stopping in Paris on 26 October 1816. There he enrolled in the atelier of Jean-Baptiste Regnault but found the atmosphere rowdy and the studio too full of Frenchmen, and he left after a week. While in Paris he also attended the Academie des Beaux-Arts, and amassed a large quantity of prints from the art shops of Paris. Still homesick, Etty left Paris, returning to London in November.Notwithstanding his unhappiness, Etty appears to have developed as a painter during his travels. For the first time, his two paintings exhibited at the 1817 Summer Exhibition (Bacchanalians: a Sketch and Cupid and Euphrosyne) attracted a favourable review in the press, in this case from William Paulet Carey writing in the Literary Gazette who considered Bacchanalians "a fine classical invention" and Cupid as showing "splendid promise". Carey was later to take great pride in being the first critic to recognise Etty's potential, and continued to champion him throughout his career. In 1818 Etty entered a copy of Damiano Mazza's The Rape of Ganymedeat the time thought to be by Titianin one of the Royal Academy's painting competitions. Easily the most accomplished entry in the competition, Etty was due to win until two of the other contestants complained that he had technically breached RA rules by briefly removing the painting from Academy premises to work on it at home; they further complained that Etty was technically a professional artist and thus ineligible for the contest despite his still being a student. Etty was disqualified from the competition, but the high quality of his... Guess a valid title for it!
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[A]:
William Etty