[Q]: Given the below context:  James Barton Longacre (August 11, 1794 – January 1, 1869) was an American portraitist and engraver, and the fourth Chief Engraver of the United States Mint from 1844 until his death. Longacre is best known for designing the Indian Head cent, which entered commerce in 1859, and for the designs of the Shield nickel, Flying Eagle cent and other coins of the mid-19th century. Longacre was born in Delaware County, Pennsylvania, in 1794. He ran away to Philadelphia at age 12, where he became an apprentice in a bookstore. His artistic talent developed and he was released to apprentice in an engraving firm.  He struck out on his own in 1819, making a name providing illustrations for popular biographical books. He portrayed the leading men of his day; support from some of them, such as South Carolina Senator John C. Calhoun, led to his appointment as chief engraver after the death of Christian Gobrecht in 1844. In Longacre's first years as a chief engraver, the Philadelphia Mint was dominated by Mint Director Robert M. Patterson and Chief Coiner Franklin Peale. Conflict between Longacre and the two men developed after Congress ordered a new gold dollar and double eagle, with both to be designed by Longacre.  Peale and Patterson nearly had Longacre fired, but the chief engraver was able to convince Treasury Secretary William M. Meredith that he should be retained.  Both Patterson and Peale left the Mint in the early 1850s, ending the conflict. In 1856, Longacre designed the Flying Eagle cent. When that design proved difficult to strike, Longacre was responsible for the replacement, the Indian Head cent, issued beginning in 1859. Other coins designed by Longacre include the silver and nickel three-cent pieces, the Shield nickel, the pattern Washington nickel, and the two-cent piece.  In 1866–1867, he redesigned the coins of Chile. Longacre died suddenly on New Year's Day 1869; he was succeeded by William Barber.  Longacre's coins are generally well-regarded today, although they have been criticized for lack of artistic...  Guess a valid title for it!
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[A]: James B. Longacre


input: Please answer the following: Given the below context:  Detroit techno is an offshoot of Chicago house music which developed in the early and mid-1980s. One of the earliest hits was "Big Fun" by Inner City. Detroit techno developed as the DJ The Electrifying Mojo did his radio program, which fused eclectic sounds into the signature Detroit techno sound. This sound, also influenced by European electronica (Kraftwerk, Art of Noise), Japanese synthpop (Yellow Magic Orchestra), early B-boy (breakdancing) Hip-Hop (Man Parrish, Soul Sonic Force) and Italo disco (Doctor's Cat, Ris, Klein M.B.O.), was further pioneered by Juan Atkins, Derrick May, and Kevin Saunderson, known as the Belleville Three. Derrick May a.k.a. "MAYDAY" and Thomas Barnett released "Nude Photo" in 1987 on May's label "Transmat Records", which helped start the Detroit techno music scene. This record was played on Chicago's Hot Mix 5 Radio DJ mix show and in Chicago clubs. A year later, Transmat released "Strings of Life". Transmat Records also released such as 1988's "Wiggin". As well, Derrick May had releases on Kool Kat Records and many remixes for underground and mainstream recording artists. Kevin Saunderson's company KMS Records contributed many releases that were as much house music as they were techno. These tracks were well received in Chicago and played on Chicago radio and in clubs.Blake Baxter's 1986 recording, "When we Used to Play / Work your Body", 1987's "Bounce Your Body to the Box" and "Force Field", "The Sound / How to Play our Music" and "the Groove that Won't Stop" and a remix of "Grooving Without a Doubt". In 1988, as house music became more popular among general audiences, Kevin Saunderson's group Inner City with Paris Gray released the 1988 hits "Big Fun" and "Good Life", which eventually were picked up by Virgin Records. Each EP / 12 inch single sported remixes by Mike "Hitman" Wilson and Steve "Silk" Hurley of Chicago and Derrick "Mayday" May and Juan Atkins of Detroit. In 1989, KMS had another hit release of "Rock to the Beat" which was a theme in Chicago dance clubs.The...  Guess a valid title for it!
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output: House of Music


Problem: Given the below context:  Holst was given a spectacular send-off. The conductor Adrian Boult recalled, "Just before the Armistice, Gustav Holst burst into my office: 'Adrian, the YMCA are sending me to Salonica quite soon and Balfour Gardiner, bless his heart, has given me a parting present consisting of the Queen's Hall, full of the Queen's Hall Orchestra for the whole of a Sunday morning. So we're going to do The Planets, and you've got to conduct'." There was a burst of activity to get things ready in time. The girls at St Paul's helped to copy out the orchestral parts, and the women of Morley and the St Paul's girls learned the choral part in the last movement.The performance was given on 29 September to an invited audience including Sir Henry Wood and most of the professional musicians in London. Five months later, when Holst was in Greece, Boult introduced The Planets to the general public, at a concert in February 1919; Holst sent him a long letter full of suggestions, but failed to convince him that the suite should be played in full. The conductor believed that about half an hour of such radically new music was all the public could absorb at first hearing, and he gave only five of the seven movements on that occasion.Holst enjoyed his time in Salonica, from where he was able to visit Athens, which greatly impressed him. His musical duties were wide-ranging, and even obliged him on occasion to play the violin in the local orchestra: "it was great fun, but I fear I was not of much use". He returned to England in June 1919.  Guess a valid title for it!

A:
Gustav Holst