Problem: Given the question: Given the below context: Tom is sleeping near the fireplace, and Jerry carefully sneaks past him. He goes up onto the dinner table and tries to reach for the food, but Tom attempts to slice him with a knife and he retreats, running up the staircase. Tom pulls the carpet off the staircase to catch Jerry, but also pulls down a large upright piano. While Jerry gets out of the piano's path, the piano crushes Tom to death. Tom's spirit ascends to the "Heavenly Express", a steam train that sends dead cats to Heaven. Several cats are waiting to enter and the gatekeeper goes though their lives. The cats include Butch, who has lost a fight with a bulldog. Frankie, who was struck with a flat iron while singing on a backyard fence. Aloysius, who was run over and flattened by a steamroller. Even Fluff, Muff and Puff, a trio of kittens who were drowned after being thrown into a river. The gatekeeper allows them all through, as their deaths were untimely. However, he catches Tom trying to sneak past him to board the train and tells him to stand in line. The gatekeeper looks through his personal records and is disappointed by what he sees in it. Having learned that the main cause of Tom's death has been attributed to him persecuting "an innocent little mouse" all of his life and not from an accidental crushing of the piano, the gatekeeper refuses has entry to him for that action alone. He apologizes for this inconvenience, but the gatekeeper gives him a chance for a reprieve; should Tom have Jerry sign a certificate of forgiveness, he will be able to board the "Heavenly Express", which leaves in one hour. If he fails, Tom will be banished to hell where the hellhound devil awaits. Guess a valid title for it!
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The answer is:
Heavenly Puss
input question: Given the below context: In Icons of Rock: An Encyclopedia of the Legends Who Changed Music Forever, Scott Schinder and Andy Schwartz describe the Beatles' musical evolution: In their initial incarnation as cheerful, wisecracking moptops, the Fab Four revolutionised the sound, style, and attitude of popular music and opened rock and roll's doors to a tidal wave of British rock acts. Their initial impact would have been enough to establish the Beatles as one of their era's most influential cultural forces, but they didn't stop there. Although their initial style was a highly original, irresistibly catchy synthesis of early American rock and roll and R&B, the Beatles spent the rest of the 1960s expanding rock's stylistic frontiers, consistently staking out new musical territory on each release. The band's increasingly sophisticated experimentation encompassed a variety of genres, including folk-rock, country, psychedelia, and baroque pop, without sacrificing the effortless mass appeal of their early work. In The Beatles as Musicians, Walter Everett describes Lennon and McCartney's contrasting motivations and approaches to composition: "McCartney may be said to have constantly developed as a means to entertain a focused musical talent with an ear for counterpoint and other aspects of craft in the demonstration of a universally agreed-upon common language that he did much to enrich. Conversely, Lennon's mature music is best appreciated as the daring product of a largely unconscious, searching but undisciplined artistic sensibility."Ian MacDonald describes McCartney as "a natural melodist a creator of tunes capable of existing apart from their harmony". His melody lines are characterised as primarily "vertical", employing wide, consonant intervals which express his "extrovert energy and optimism". Conversely, Lennon's "sedentary, ironic personality" is reflected in a "horizontal" approach featuring minimal, dissonant intervals and repetitive melodies which rely on their harmonic accompaniment for interest: "Basically a realist, he... Guess a valid title for it!???
output answer: The Beatles
Given the below context: The Italian composer Claudio Monteverdi (15671643), in addition to a large output of church music and madrigals, wrote prolifically for the stage. His theatrical works were written between 1604 and 1643 and included ten operas, of which threeL'Orfeo (1607), Il ritorno d'Ulisse in patria (1640) and L'incoronazione di Poppea (1643)have survived with their music and librettos intact. In the case of the other seven operas, the music has disappeared almost entirely, although some of the librettos exist. The loss of these works, written during a critical period of early opera history, has been much regretted by commentators and musicologists. Opera, as a musical and theatrical genre, began to emerge during the early part of Monteverdi's career, initially as a form of courtly entertainment. With other composers, he played a leading part in its development into the main form of public musical theatre. His first opera, L'Orfeo, written in 1607 for the Mantuan court, which employed him, was a major success. In the years that followed, at Mantua and in his later capacity as maestro di cappella (director of music) at St Mark's Basilica in Venice, Monteverdi continued to write theatrical music in various genres, including operas, dances, and intermedi (short musical interludes inserted into straight plays). Because in Monteverdi's times stage music was rarely thought to have much utility after its initial performance, much of this music vanished shortly after its creation. Most of the available information relating to the seven lost operas has been deduced from contemporary documents, including the many letters that Monteverdi wrote. These papers provide irrefutable evidence that four of these worksL'Arianna, Andromeda, Proserpina rapita and Le nozze d'Enea con Laviniawere completed and performed in Monteverdi's lifetime, but of their music, only the famous lament from L'Arianna and a trio from Proserpina are known to have survived. The other three lost operasLe nozze di Tetide, La finta pazza Licori and Armida... Guess a valid title for it!
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Answer: Lost operas by Claudio Monteverdi
Please answer this: Given the below context: In contemporary wartime San Francisco, chemist and blackmailer Albert Baker is killed by hit man Philip Raven, who recovers a stolen chemical formula. Raven is double-crossed by his employer, Willard Gates who pays him with marked bills and reports them to the Los Angeles Police Department as stolen from his company, Nitro Chemical Corporation of Los Angeles. Raven learns of the setup and decides to get revenge. LAPD detective lieutenant Michael Crane, who is vacationing in San Francisco to visit his girlfriend, nightclub singer Ellen Graham, is immediately assigned the case. He goes after Raven, but the assassin eludes him. Meanwhile, Gates hires Ellen to work in his LA nightclub after an audition where she sings and performs magic tricks. Then she is taken to a clandestine meeting with Senator Burnett, where she learns that Gates and Nitro Chemical are under investigation as suspected traitors, and is recruited to spy on Gates. Unknown to each other, she and Gates board a train for Los Angeles, followed by Raven. By chance, Raven and Ellen sit next to each other. The next morning, Gates is alarmed when he sees them asleep with Raven's head on her shoulder. He wires ahead to alert the police, but Raven forces Ellen at gunpoint to help him elude them again. He is about to kill her but is interrupted by workmen, allowing Ellen to flee. From Gates's club, she tries to contact Crane, but he has left San Francisco to return to LA. Guess a valid title for it!
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Answer:
This Gun for Hire