Please answer this: Given the below context: Olivier Eugene Prosper Charles Messiaen (French: [livje msj]; December 10, 1908 April 27, 1992) was a French composer, organist, and ornithologist, one of the major composers of the 20th century. His music is rhythmically complex; harmonically and melodically he employs a system he called modes of limited transposition, which he abstracted from the systems of material generated by his early compositions and improvisations. He wrote music for chamber ensembles and orchestra, vocal music, as well as for solo organ and piano, and also experimented with the use of novel electronic instruments developed in Europe during his lifetime. He travelled widely and wrote works inspired by diverse influences ranging from Japanese music, the landscape of Bryce Canyon in Utah and the life of St. Francis of Assisi. He said he perceived colours when he heard certain musical chords (a phenomenon known as synaesthesia in its literal manifestation); combinations of these colours, he said, were important in his compositional process. For a short period Messiaen experimented with the parametrisation associated with "total serialism", in which field he is often cited as an innovator. His style absorbed many global musical influences such as Indonesian gamelan (tuned percussion often features prominently in his orchestral works). Messiaen entered the Paris Conservatoire at the age of 11 and was taught by Paul Dukas, Maurice Emmanuel, Charles-Marie Widor and Marcel Dupre, among others. He was appointed organist at the Eglise de la Sainte-Trinite, Paris, in 1931, a post held until his death. He taught at the Schola Cantorum de Paris during the 1930s. On the fall of France in 1940, Messiaen was made a prisoner of war, during which time he composed his Quatuor pour la fin du temps ("Quartet for the end of time") for the four available instrumentspiano, violin, cello and clarinet. The piece was first performed by Messiaen and fellow prisoners for an audience of inmates and prison guards. He was appointed professor of harmony soon... Guess a valid title for it!
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Answer: Olivier Messiaen

Please answer this: Given the below context: The unnamed Narrator is an automobile recall specialist who is unfulfilled by his job and possessions, and has developed severe insomnia. He finds catharsis by posing as a sufferer of testicular cancer and other afflictions in support groups, remedying his insomnia. His bliss is disturbed by another impostor, Marla Singer, whose presence reminds him he is attending these groups dishonestly. The two agree to split which groups they attend, but not before they exchange contact details on the premise of switching groups at short notice. On a flight home from a business trip, the Narrator meets and interacts with soap salesman Tyler Durden. The Narrator returns home to find that his apartment has been destroyed by an explosion. Deciding against asking Marla for help, he calls Tyler, and they meet at a bar. Tyler says the Narrator is beholden to consumerism. In the parking lot, he asks the Narrator to hit him, and they begin a fistfight. The Narrator is invited to move into Tyler's home: a large, dilapidated house in an industrial area. They have further fights outside the bar, which attract growing crowds of men. The fights move to the bar's basement where the men form Fight Club, which routinely meets for the men to fight recreationally. Marla overdoses on pills and telephones the Narrator for help; he ignores her, but Tyler picks up the phone and goes to her apartment to save her. Tyler and Marla get sexually involved, and Tyler warns the Narrator never to talk to Marla about him. The Narrator blackmails his boss and quits his job. Guess a valid title for it!
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Answer: Fight Club

Please answer this: Given the below context: Although Sylvain said Rundgren was not an interfering producer, he occasionally involved himself to improve a take. Sylvain recalled moments when Rundgren went into the isolation booth with Nolan when he struggled keeping a beat and drummed out beats on a cowbell for him to use as a click track. During another session, he stopped a take and walked out of the control room to plug in Kane's bass cabinet. Scoppa, who paid afternoon visits to the studio, overheard Rundgren say, "Yeah, that's all you needed. Okay, let's try it again!", and ultimately found the exchange funny and indicative of Rundgren's opinion of the band: "Todd was such a 'musician' while they were just getting by on attitude and energy. But as disdainful as he appeared to be at some points he got the job done really well." Rundgren felt Johansen's wild singing often sounded screamed or drunken but were eloquent in the sense that Johansen demonstrated a "propensity to incorporate certain cultural references into the music", particularly on "Personality Crisis". While recording the song, Johansen walked back into the control room and asked Rundgren if his vocals sounded "ludicrous enough".Because the New York Dolls had little money, Sylvain and Thunders played the austerely designed and affordable Gibson Les Paul Junior guitars on the record. They jokingly referred to them as "automatic guitars" due to their limited sound shaping features. To amplify their guitars, they ran a Marshall Plexi standalone amplifier through the speaker cabinets of a Fender Dual Showman, and occasionally used a Fender Twin Reverb. Some songs were embellished with additional instruments, including Buddy Bowser's brassy saxophone on "Lonely Planet Boy". Johansen sang into distorted guitar pickups for additional vocals and overdubbed them into the song. He also played an Asian gong for "Vietnamese Baby" and harmonica on "Pills". For "Personality Crisis", Sylvain originally played on The Record Plant's Yamaha grand piano before Rundgren added his own piano flourishes to... Guess a valid title for it!
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Answer:
New York Dolls (album)