Q: Given the below context:  Mack "Truck" Turner is a former professional football player who becomes a Los Angeles-based bounty hunter after an injury. Truck visits his girlfriend, Annie, who is in jail and wants to leave LA when released. Truck and his partner Jerry Barnes go to collect their bounty from Nate Dinwiddie, a bail bondsman, who refers them to Fogarty, a bail bondsman after a pimp who skipped bail named Gator. The two visit Dorinda, who runs Gator's stable of prostitutes. Truck and Jerry wait for Gator to visit, and chase him, but Gator escapes.  A tip from Truck's friend Duke allows them to locate Gator again, and kill Gator when he attempts to shoot Truck. Dorinda threatens Gator's former whores to keep them in line. Dorinda offers Gator's competing pimps a deal: whoever kills Truck gets to replace Gator while she runs the stable. The only pimp interested in the violence is Harvard Blue. Truck survives several ambushes by Blue's goons.  When Blue points out that Dorinda will not be able to deal with Truck, they agree to share the cost of getting rid of Truck, and Blue will take over more control of Gator's stable. Blue's men force Nate to call Truck and tell him that there is a big job. Truck does not feel sober enough after a night of partying, so he calls Jerry, who dies in Blue's ambush. Nate warns Truck of the hit out on him. Truck frames Annie for shoplifting, and the police arrest her. Truck visits Nate again in the hospital.  Truck gives Nate Jerry's gun for protection, and then they shoot Blue's goons when they burst in. Blue flees, but Truck shoots him. Blue dies a few minutes later in the driver's seat of his car. Truck confronts Dorinda and more goons at her house, and kills her when she reaches for a gun.  Guess a valid title for it!
A: Truck Turner


Question: Given the below context:  The opening soprano solo in E major, "I know that my Redeemer liveth" is one of the few numbers in the oratorio that has remained unrevised from its original form. Its simple unison violin accompaniment and its consoling rhythms apparently brought tears to Burney's eyes. It is followed by a quiet chorus that leads to the bass's declamation in D major: "Behold, I tell you a mystery", then the long aria "The trumpet shall sound", marked pomposo ma non-allegro ("dignified but not fast"). Handel originally wrote this in da capo form, but shortened it to dal segno, probably before the first performance. The extended, characteristic trumpet tune that precedes and accompanies the voice is the only significant instrumental solo in the entire oratorio. Handel's awkward, repeated stressing of the fourth syllable of "incorruptible" may have been the source of the 18th-century poet William Shenstone's comment that he "could observe some parts in Messiah wherein Handel's judgements failed him; where the music was not equal, or was even opposite, to what the words required". After a brief solo recitative, the alto is joined by the tenor for the only duet in Handel's final version of the music, "O death, where is thy sting?"  The melody is adapted from Handel's 1722 cantata Se tu non-lasci amore, and is in Luckett's view the most successful of the Italian borrowings. The duet runs straight into the chorus "But thanks be to God".The reflective soprano solo "If God be for us" (originally written for alto) quotes Luther's chorale Aus tiefer Not. It ushers in the D major choral finale: "Worthy is the Lamb", leading to the apocalyptic "Amen" in which, says Hogwood, "the entry of the trumpets marks the final storming of heaven". Handel's first biographer, John Mainwaring, wrote in 1760 that this conclusion revealed the composer "rising still higher" than in "that vast effort of genius, the Hallelujah chorus". Young writes that the "Amen"  should, in the manner of Palestrina, "be delivered as though through the aisles and...  Guess a valid title for it!
Answer: Messiah (Handel)


Question: Given the below context:  In the autumn of 1927, Messiaen joined Dupré's organ course. Dupré later wrote that Messiaen, having never seen an organ console, sat quietly for an hour while Dupré explained and demonstrated the instrument, and then came back a week later to play Johann Sebastian Bach's Fantasia in C minor to an impressive standard. From 1929, Messiaen regularly deputised at the Église de la Sainte-Trinité, Paris, for the organist Charles Quef, who was ill at the time. The post became vacant in 1931 when Quef died, and Dupré, Charles Tournemire and Widor among others supported Messiaen's candidacy. His formal application included a letter of recommendation from Widor. The appointment was confirmed in 1931, and he remained the organist at the church for more than sixty years. He also assumed a post at the Schola Cantorum de Paris in the early 1930s. In 1932, he composed the Apparition de l'église éternelle for organ. He married the violinist and composer Claire Delbos also in 1932. Their marriage inspired him to both compose works for her to play (Thème et variations for violin and piano in the year they were married) and to write pieces to celebrate their domestic happiness, including the song cycle Poèmes pour Mi in 1936, which he orchestrated in 1937. Mi was Messiaen's affectionate nickname for his wife. In 1937 their son Pascal was born. The marriage turned to tragedy when Delbos lost her memory after an operation towards the end of World War II. She spent the rest of her life in mental institutions.In 1936, along with André Jolivet, Daniel-Lesur and Yves Baudrier, Messiaen formed the group La jeune France ("Young France"). Their manifesto implicitly attacked the frivolity predominant in contemporary Parisian music and rejected Jean Cocteau's 1918 Le coq et l'arlequin in favour of a "living music, having the impetus of sincerity, generosity and artistic conscientiousness". Messiaen's career soon departed from this polemical phase.  Guess a valid title for it!
Answer:
Olivier Messiaen