input question: Given the below context: In a letter to his friend and landlord Johann Lorenz Hagenauer (17121792), a prominent Salzburg merchant, written after the tour, Leopold quotes the German diplomat Friedrich Melchior, Baron von Grimm, who after hearing the children play had said: "Now for once in my life I have seen a miracle: this is the first". Leopold believed that it was his duty to proclaim this miracle to the world, otherwise he would be "the most ungrateful creature". He was said to have described Wolfgang as "The miracle which God let be born in Salzburg." Mozart biographer Wolfgang Hildesheimer has suggested that, at least in the case of Wolfgang, this venture was premature: "Too soon, [the] father dragged [the] son all over Western Europe for years. This continual change of scene would have worn out even a robust child..." However, there is little evidence to suggest that Wolfgang was physically harmed or musically hindered by these childhood exertions; it seems that he felt equal to the challenge from the start.Leopold wanted to begin the tour as soon as possiblethe younger the children were, the more spectacular would be the demonstration of their gifts. The route he intended to take included southern Germany, the Austrian Netherlands, Paris, Switzerland and possibly northern Italy. The London leg was only added after urgings during the Paris visit, and the eventual Dutch trip was an unplanned detour. The plan was to take in as many princely European courts as possible, as well as the great cultural capitalsLeopold was relying on his professional musical network and on his more recent social contacts to obtain invitations from the royal courts. Practical assistance came from Hagenauer, whose trading connections in the major cities would supply the Mozarts with what were effectively banking facilities. These would enable them to obtain money en route, while waiting for the proceeds from their performances to accumulate.Wolfgang prepared for the tour by perfecting himself on the violin, which he had learned to play apparently... Guess a valid title for it!???
output answer: Mozart family grand tour

input question: Given the below context: During the spring of 1990, Anjali Dutt was hired to replace Moulder, who had left to work with the bands Shakespears Sister and Ride. Dutt assisted in the recording of vocals and several guitar tracks. During this period, the band recorded in various studios, often spending a single day at a studio before deciding it was unsuitable. In May 1990, My Bloody Valentine settled on Protocol in Holloway as their primary location, and work began in earnest on the album, as well as a second EP titled Tremolo. Like Glider, Tremolo contained a song"To Here Knows When"that later appeared on Loveless. The band stopped recording during the summer of 1990 to tour in support of the release of Glider. When Moulder returned to the project in August, he was surprised by how little work had been completed. By that point, Creation was concerned by how much the album was costing. Moulder left again in March 1991 to work for the the Jesus and Mary Chain. In an interview with Select, Shields explained the stop-start nature of his recording, using "When You Sleep" as an example:We recorded the drums in September '89. The guitar was done in December. The bass was done in April. 1990 we're in, now. Then nothing happens for a year really." So it doesn't have vocals at this stage? "No." Does it have words? "No." Does it even have a title? "No. It has a song number. 'Song 12' it was called. And I'm trying to remember the melody line was done in '91. The vocals were '91. There were huge gaps though. Months and months of not touching songs. Years. I used to forget what tunings I'd used. Guess a valid title for it!???
output answer: Loveless (My Bloody Valentine album)

input question: Given the below context: "Freedom of the seas" is a principle in international law dating from the seventeenth century. It stresses freedom to navigate the oceans and disapproves of war fought in international waters. Today, this concept is enshrined in the United Nations Convention on the Law of the Sea (UNCLOS), the third version of which came into force in 1994. Article 87(1) states: "The high seas are open to all states, whether coastal or land-locked." Article 87(1) (a) to (f) gives a non-exhaustive list of freedoms including navigation, overflight, the laying of submarine cables, building artificial islands, fishing and scientific research. The safety of shipping is regulated by the International Maritime Organization. Its objectives include developing and maintaining a regulatory framework for shipping, maritime safety, environmental concerns, legal matters, technical co-operation and maritime security.UNCLOS defines various areas of water. "Internal waters" are on the landward side of a baseline and foreign vessels have no right of passage in these. "Territorial waters" extend to 12 nautical miles (22 kilometres; 14 miles) from the coastline and in these waters, the coastal state is free to set laws, regulate use and exploit any resource. A "contiguous zone" extending a further 12 nautical miles allows for hot pursuit of vessels suspected of infringing laws in four specific areas: customs, taxation, immigration and pollution. An "exclusive economic zone" extends for 200 nautical miles (370 kilometres; 230 miles) from the baseline. Within this area, the coastal nation has sole exploitation rights over all natural resources. The "continental shelf" is the natural prolongation of the land territory to the continental margin's outer edge, or 200 nautical miles from the coastal state's baseline, whichever is greater. Here the coastal nation has the exclusive right to harvest minerals and also living resources "attached" to the seabed. Guess a valid title for it!???
output answer: Sea

input question: Given the below context: In 2001, M.I.A. (Mathangi "Maya" Arulpragasam) had worked exclusively in the visual arts. While filming a documentary on Elastica's 2001 tour of the US, she was introduced to the Roland MC-505 sequencer/drum machine by electroclash artist Peaches, whose minimalistic approach to music inspired her. She found Peaches' decision to perform without additional instrumentation to be brave and liberating and felt that it emphasised the artist. Returning to London, she unexpectedly gained access to a 505 owned by her friend, former Elastica singer Justine Frischmann. M.I.A. used the 505 to make demo recordings in her bedroom. She initially planned to work as a producer. To this end, she approached Caribbean girls in clubs to see if they would provide vocals for the songs, but without success. M.I.A. secured a record deal with XL Recordings after Frischmann's manager overheard the demo. M.I.A. began work on the album by composing lyrics and melodies, and she programmed drum beats at home on the drum machine. Having produced rough tracks via trial and error, she honed the finished songs in collaboration with other writer-producers. Through these collaborations, she sought to produce a diverse style and "drag [her collaborators] out of their boxes, musically".DJ Diplo introduced elements of Brazilian baile funk to "Bucky Done Gun". Fellow composer-producer Richard X worked on the track "Hombre", which featured a drum pattern created from the sounds made by toys that M.I.A. had bought in India, augmented with sounds produced by objects such as pens and mobile phones. Steve Mackey and Ross Orton, known professionally as Cavemen, worked on "Galang", which M.I.A. had initially produced with her 505 and a basic four-track tape recorder. Working with Cavemen in a professional studio, she added a bass line and new vocals to give the song "a more analogue sound" than was possible with the 505. The track was co-written by Frischmann, whose input M.I.A. described as "refreshing". She initially hoped to feature guest vocalists on... Guess a valid title for it!???
output answer:
Arular