input: Please answer the following: Given the below context:  Arizona, 1897: A female outlaw, Abby Nixon, warns a lawman, Billy Reynolds, that her accomplices Bud and Cole Gorman are nearby. Reynolds manages to kill both in a gunfight, but finds himself arrested for murder, convicted and sentenced to a desert prison known as Devil's Canyon. One of the prisoners there is a third Gorman brother, the ruthless Jesse, who intends to gain revenge for Reynolds having killed his kin. Jesse is also romantically involved with Abby, but is unaware that she's the one who tipped off Reynolds as to his brothers' whereabouts. Reynolds is treated fairly by Morgan, the warden, but not by Captain Wells, a sadistic guard. Abby ends up sent to Devil's Canyon herself for a robbery. To keep her as far as possible from the male inmates, Abby is assigned to work with Dr. Betts in the prison infirmary. She treats Reynolds' wounds after Jesse injures him in a fight. Abby plots a jailbreak. Sneaking guns to Joe and Red, outlaw partners of Jesse, she tries to persuade Reynolds to join them. He refuses, respecting the law and also not trusting Jesse a bit. Wells finds knives in Reynolds' cell, planted there by Jesse. The warden and Wells are tipped off about the breakout, but Jesse guns down Wells in cold blood. Guards are taken hostage and the other prisoners are set free. Abby, now afraid of Jesse and his violent ways, is slapped by him and left behind. She manages to free Reynolds, who takes over the guards' machine-gun nest, kills Jesse and orders the others back to their cells. The warden vows to do everything in his power to grant Reynolds and Abby a pardon for their crimes.  Guess a valid title for it!
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output: Devil's Canyon (1953 film)


Please answer this: Given the below context:  Monteux made a large number of recordings throughout his career. His first recording was as a violist in "Plus blanche que la blanche hermine" from Les Huguenots by Meyerbeer in 1903 for Pathé with the tenor Albert Vaguet. It is possible that Monteux played in the Colonne Orchestra's 20 early cylinders recorded around 1906–07. His recording debut as a conductor was the first of his five recordings of The Rite of Spring, issued in 1929. The first of these, with the OSP, is judged by Canarina to be indifferently played; recordings by Monteux of music by Ravel and Berlioz made in 1930 and 1931, Canarina believes, were more impressive. Stravinsky, who also recorded The Rite in 1929, was furious that Monteux had made a rival recording; he made vitriolic comments privately, and for some time his relations with Monteux remained cool.Monteux's final studio recordings were with the London Symphony Orchestra in works by Ravel at the end of February 1964. In the course of his career he recorded works by more than fifty composers. In Monteux's lifetime it was rare for record companies to issue recordings of live concerts, although he would much have preferred it, he said, "if one could record in one take in normal concert-hall conditions". Some live performances of Monteux conducting the Metropolitan Opera, and among others the San Francisco Symphony, Boston Symphony, BBC Symphony and London Symphony orchestras survive alongside his studio recordings, and some have been issued on compact disc. It has been argued that these reveal even more than his studio recordings "a conductor at once passionate, disciplined, and tasteful; one who was sometimes more vibrant than the Monteux captured in the studio, and yet, like that studio conductor, a cultivated musician possessing an extraordinary ear for balance, a keen sense of style and a sure grasp of shape and line."Many of Monteux's recordings have remained in the catalogues for decades, notably his RCA Victor recordings with the Boston Symphony and Chicago Symphony orchestras;...  Guess a valid title for it!
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Answer: Pierre Monteux


input question: Given the below context:  Another major influence in his work was the rise of interest in vernacular architecture. By the time Douglas moved to Chester, the black-and-white revival using half-timbering was well under way, and Douglas came to incorporate this style in his buildings in Chester and elsewhere. The black-and-white revival did not start in Chester, but it did become Chester's speciality. The first Chester architect involved in the revival had been Thomas Mainwaring Penson, whose first work in this genre was the restoration of a shop in Eastgate Street in the early 1850s. Other early Chester architects involved in the revival were T. A. Richardson and James Harrison and it came to be developed mainly by T. M. Lockwood and by Douglas. Part of Douglas's earliest work for the Grosvenor family, the entrance lodge to Grosvenor Park, used half-timbering in its upper storey; this is the first known use by Douglas of black-and-white. Other vernacular motifs were taken from earlier styles of English architecture, in particular, the Tudor style. These include tile-hanging, pargetting and massive brick ribbed chimney stacks. In this style, Douglas was influenced by the architects Nesfield and Shaw. Douglas also used vernacular elements from the continent, especially the late medieval brickwork of Germany and the Low Countries.A characteristic of Douglas's work is his attention to both external and internal detailing. Such detailing was not derived from any particular style and Douglas chose elements from whichever style suited his purpose for each specific project. His detailing applied particularly to his joinery, perhaps inspired by his experience in his father's workshop, and was applied both to wooden fittings and to the furniture he designed. A further Continental influence was his use of a Dutch gable. The most important and consistently used element in Douglas's vernacular buildings was his use of half-timbering, which was usually used for parts of the building. However, in the cases of Rowden Abbey and St Michael and All Angels...  Guess a valid title for it!???
output answer:
John Douglas (architect)