Question: 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!
Answer: This Gun for Hire


[Q]: Given the below context:  While Raff was able to offer "practical suggestions [in orchestration] which were of great value to Liszt", there may have been "a basic misunderstanding" of the nature of their collaboration. Liszt wanted to learn more about instrumentation and acknowledged Raff's greater expertise in this area. Hence, he gave Raff piano sketches to orchestrate, just as he had done earlier with Conradi—"so that he might rehearse them, reflect on them, and then, as his confidence in the orchestra grew, change them." Raff disagreed, having the impression that Liszt wanted him on equal terms as a full collaborator. While attending an 1850 rehearsal of Prometheus, he told Bernhard Cossmann, who sat next to him, "Listen to the instrumentation. It is by me."Raff continued making such claims about his role in Liszt's compositional process. Some of these accounts, published posthumously by Die Musik in 1902 and 1903, suggest that he was an equal collaborator with Liszt. Raff's assertions were supported by Joachim, who had been active in Weimar at approximately the same time as Raff. Walker writes that Joachim later recalled to Raff's widow "that he had seen Raff 'produce full orchestral scores from piano sketches.'" Joachim also told Raff's biographer Andreas Moser that "the E-flat-major Piano Concerto was orchestrated from beginning to end by Raff." Raff's and Joachim's statements effectively questioned the authorship of Liszt's orchestral music, especially the symphonic poems. This speculation was debased when composer and Liszt scholar Peter Raabe carefully compared all sketches then known of Liszt's orchestral works with the published versions of the same works. Raabe demonstrated that, regardless of the position with first drafts, or of how much assistance Liszt may have received from Raff or Conradi at that point, every note of the final versions represents Liszt's intentions.  Guess a valid title for it!
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[A]: Symphonic poems (Liszt)


input: Please answer the following: Given the below context:  In September 2010, Mikael Åkerfeldt stated that he was writing for a new Opeth album. The band announced on their website that they would start recording their tenth album on January 31, 2011, at the Atlantis/Metronome studios in Stockholm, once again with Jens Bogren (engineering) and Steven Wilson from Porcupine Tree as co-producer.Shortly after mixing was complete on the new album in April 2011, Opeth announced that Per Wiberg was relieved of his duties in the band. In the press statement, Mikael Åkerfeldt explained the decision, saying, "Mendez, Axe and Fredrik and I came to the decision that we should find a replacement for Per right after the recordings of the new album, and this came as no surprise to Per. He had, in turn, been thinking about leaving, so you could say it was a mutual decision. There's no bad blood, just a relationship that came to an end, and that's that."Opeth's tenth album, Heritage, was released on September 14, 2011, to generally favorable reviews. The album sold 19,000 copies in the United States in its first week of release and debuted at number 19 on the Billboard 200 chart. Heritage debuted at number four in the band's native country of Sweden.Heritage became the second Opeth album to not feature any death growls and had a much more progressive style than previous albums from the band, something that Åkerfeldt had been wanting to do for some time.The first two songs Åkerfeldt wrote for Heritage were in the style of Watershed. After hearing the songs for the first time, Martín Méndez told Åkerfeldt that he would be disappointed if the album continued in that direction. Relieved that Méndez was not interested in doing another conventional Opeth album, Åkerfeldt scrapped the two songs and started the writing process over in a different style. In the press release for Heritage, Mikael Åkerfeldt revealed that he felt as though he had been building to write the album since he was 19 years old. In a review for Allmusic, Thom Jurek called Heritage the band's most adventurous album,...  Guess a valid title for it!
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output:
Opeth