Question: Given the below context:  "Don't Stop the Music" debuted at number 94 on the US Billboard Hot 100 chart in the issue dated December 8, 2007, and peaked at number three on February 16, 2008, becoming Rihanna's fourth top-three single. It topped the US Dance Club Songs chart (Rihanna's sixth number-one single), reached number two on the Pop Songs chart and number 74 on the Hot R&B/Hip Hop Songs chart. "Don't Stop the Music" had sold 3.7 million digital copies in the US as of June 2015, and has been certified four-times platinum from the Recording Industry Association of America (RIAA). The song reached number two on the Canadian Hot 100, remaining on the chart for a total of 52 weeks. It was Rihanna's second song to reach the chart's top three, following "Umbrella".In Australia, "Don't Stop the Music" debuted at number 22 on February 3, 2008. After three weeks, on February 24, the song peaked at number one and remained there for four weeks. It was Rihanna's third number-one single in the country, after "SOS" and "Umbrella", remaining on the chart for 27 weeks. "Don't Stop the Music" charted at number 12 on the 2008 year-end Australian Singles Chart. In 2015, the song was certified five times platinum by the Australian Recording Industry Association (ARIA) for sales of over 350,000 digital copies. The single debuted at number 31 in New Zealand on October 12, 2007. After fluctuating for four weeks, it peaked at number three for a week and spent a total of 22 weeks on the chart. "Don't Stop the Music" was certified gold by the Recording Industry Association of New Zealand (RIANZ) in April 2008 for sales of over 7,500 digital copies.In the United Kingdom, the song debuted at number 68 on December 15, 2007. After seven weeks on the chart, it peaked at number four. In July 2013, the song was certified gold by the British Phonographic Industry (BPI) for sales of over 400,000 digital copies. The single was 24 on the 2008 year-end UK Singles Chart. "Don't Stop the Music" debuted atop the French Singles Chart on October 27, 2007, Rihanna's first...  Guess a valid title for it!
Answer: "Don't Stop the Music" (Rihanna song)

Question: Given the below context:  "Raining Blood" was covered by Tori Amos on her 2001 album Strange Little Girls. King has admitted that he thought the cover was odd: "It took me a minute and a half to find a spot in the song where I knew where she was. It's so weird. If she had never told us, we would have never known. You could have played it for us and we'd have been like, 'What's that?' Like a minute and a half through I heard a line and was like, 'I know where she's at!'". The band, however, liked the cover enough to send Slayer T-shirts to her. The song was also covered by Malevolent Creation, Chimaira, Vader, Dokaka, Reggie and the Full Effect and Killick Erik Hinds, who covered the entire album on a H'arpeggione. "Raining Blood" was also covered by the New Zealand drum and bass band Concord Dawn on their 2003 album Uprising, and by Nashville, Tennessee band Asschapel on their 7" "Satanation". A medley of "Raining Blood" and "Postmortem" appears on Body Count's 2016 album Bloodlust, preceded by a short monologue by lead singer Ice-T where he names Slayer as both a major influence on Body Count and as one of his favorite bands of all time "and always will be"; a video for Body Count's version was released in August 2017.  In 2005, the Slayer tribute band Dead Skin Mask released an album with eight Slayer tracks, including "Angel of Death". The death metal band Monstrosity covered the song in 1999, while the track was featured on the classical band Apocalyptica's 2006 album Amplified / A Decade of Reinventing the Cello. A Slayer tribute album titled Al Sur del Abismo (Tributo Argentino a Slayer), compiled by Hurling Metal Records, featured sixteen tracks covered by Argentina metal bands, including Asinesia's version of "Angel of Death".  Guess a valid title for it!
Answer: Reign in Blood

Question: Given the below context:  Poulenc made his début as a composer in 1917 with his Rapsodie nègre, a ten-minute, five-movement piece for baritone and chamber group; it was dedicated to Satie and premiered at one of a series of concerts of new music run by the singer Jane Bathori. There was a fashion for African arts in Paris at the time, and Poulenc was delighted to run across some published verses purportedly Liberian, but full of Parisian boulevard slang. He used one of the poems in two sections of the rhapsody. The baritone engaged for the first performance lost his nerve on the platform, and the composer, though no singer, jumped in. This jeu d'esprit was the first of many examples of what Anglophone critics came to call "leg-Poulenc". Ravel was amused by the piece and commented on Poulenc's ability to invent his own folklore. Stravinsky was impressed enough to use his influence to secure Poulenc a contract with a publisher, a kindness that Poulenc never forgot. In completely arbitrary fashion Collet chose the names of six composers, Auric, Durey, Honegger, Poulenc, Tailleferre and myself, for no other reason than that we knew each other, that we were friends and were represented in the same programmes, but without the slightest concern for our different attitudes and our different natures. Auric and Poulenc followed the ideas of Cocteau, Honegger was a product of German Romanticism and my leanings were towards a Mediterranean lyrical art ... Collet's article made such a wide impression that the Groupe des Six had come into being. Cocteau, though similar in age to Les Six, was something of a father-figure to the group. His literary style, "paradoxical and lapidary" in Hell's phrase, was anti-romantic, concise and irreverent. It greatly appealed to Poulenc, who made his first setting of Cocteau's words in 1919 and his last in 1961. When members of Les Six collaborated with each other, they contributed their own individual sections to the joint work. Their 1920 piano suite L'Album des Six consists of six separate and unrelated pieces....  Guess a valid title for it!
Answer:
Francis Poulenc