Given the below context:  Notorious mob boss James "Lucky" Lombardi looks back upon his life and career on the night of his execution. The flashbacks picks up when Lucky, born and raised on the Balkan Peninsula, tries to marry into money and goes to the U.S. to find himself a wealthy bride. He has no luck, despite his name, and instead makes an attempt to bluff his way forward, pretending to be count De Kloven, a rich aristocrat. As De Kloven, Lucky gets hired to escort the prominent socialite Mrs. Lola Morgan, but quits when she wants him to be her lover. Instead he tries a new disguise, as Rudolph Von Hertsen, and gets involved in another racket with a Dr. J.M. Randall, performing abortions and selling unwanted babies. When the racket is disclosed, Lucky moves on to the business of pimping young women  into prostitution. He goes as far as to trick naive young women into laying their lives in his hands, selling them as sex-slaves, thus entering into the business of white slavery. He soon becomes the head of such an organization. His right-arm man, Nick goes to lengths to get new merchandise for the business, and kidnaps Dorothy, a young, blonde schoolgirl. The election of a new ambitious district attorney causes Lucky problems, but he refuses to slow down. Lucky falls in love with a beautiful woman named Lois, but his affections are not returned, and she has to run for her life from his long lawless arms, with the help of one of Lucky's more goodhearted men, Harry. When Lucky discovers what Harry has done he has him killed, and is ultimately arrested and convicted of murder. The new district attorney manages to get him sentenced to death. We return from the flashbacks to present time, where Lucky has learned his lesson: that crime doesn't pay.  Guess a valid title for it!
Ans: Confessions of a Vice Baron

Given the below context:  Music critic J. D. Considine noted "on albums, Jackson's sound isn't defined by her voice so much as by the way her voice is framed by the lush, propulsive production of Jimmy Jam and Terry Lewis." Wendy Robinson of PopMatters said "the power of Janet Jackson's voice does not lie in her pipes. She doesn't blow, she whispers ... Jackson's confectionary vocals are masterfully complemented by gentle harmonies and balanced out by pulsing rhythms, so she's never unpleasant to listen to."Matthew Perpetus of Fluxblog suggested Jackson's vocal techniques as a study for indie rock music, considering it to possess "a somewhat subliminal effect on the listener, guiding and emphasizing dynamic shifts without distracting attention from its primal hooks." Perpetus added: "Her voice effortlessly transitions from a rhythmic toughness to soulful emoting to a flirty softness without overselling any aspect of her performance ... a continuum of emotions and attitudes that add up to the impression that we're listening to the expression of a fully-formed human being with contradictions and complexities."Jackson's music has encompassed a broad range of genres. Her records from the 1980s have been described as being influenced by Prince, as her producers are ex-members of the Time. Sal Cinquemani wrote that in addition to defining Top 40 radio, she "gave Prince's Minneapolis sound a distinctly feminine—and, with songs like 'What Have You Done for Me Lately?,' 'Nasty,' 'Control,' and 'Let's Wait Awhile,' a distinctly feminist—spin."On Control, Richard J. Ripani documented that she, Jam and Lewis had "crafted a new sound that fuses the rhythmic elements of funk and disco, along with heavy doses of synthesizers, percussion, sound effects, and a rap music sensibility." Author Rickey Vincent stated that she has often been credited for redefining the standard of popular music with the industrial-strength beats of the album. She is considered a trendsetter in pop balladry, with Richard Rischar stating "the black pop ballad of the mid-1980s...  Guess a valid title for it!
Ans: Janet Jackson

Given the below context:  Mother rodents provide both direct parental care, such as nursing, grooming, retrieving and huddling, and indirect parenting, such as food caching, nest building and protection to their offspring. In many social species, young may be cared for by individuals other than their parents, a practice known as alloparenting or cooperative breeding. This is known to occur in black-tailed prairie dogs and Belding's ground squirrels, where mothers have communal nests and nurse unrelated young along with their own. There is some question as to whether these mothers can distinguish which young are theirs. In the Patagonian mara, young are also placed in communal warrens, but mothers do not permit youngsters other than their own to nurse.Infanticide exists in numerous rodent species and may be practiced by adult conspecifics of either sex. Several reasons have been proposed for this behavior, including nutritional stress, resource competition, avoiding misdirecting parental care and, in the case of males, attempting to make the mother sexually receptive. The latter reason is well supported in primates and lions but less so in rodents. Infanticide appears to be widespread in black-tailed prairie dogs, including infanticide from invading males and immigrant females, as well as occasional cannibalism of an individual's own offspring. To protect against infanticide from other adults, female rodents may employ avoidance or direct aggression against potential perpetrators, multiple mating, territoriality or early termination of pregnancy. Feticide can also occur among rodents; in Alpine marmots, dominant females tend to suppress the reproduction of subordinates by being antagonistic towards them while they are pregnant. The resulting stress causes the fetuses to abort.  Guess a valid title for it!
Ans: Rodent 13

Given the below context:  Many critics have noted the extraordinary development of Dylan's songwriting immediately after completing his first album. One of Dylan's biographers Clinton Heylin connects the sudden increase in lyrics written along topical and political lines to the fact that Dylan had moved into an apartment on West 4th Street with his girlfriend Suze Rotolo in January 1962. Rotolo's family had strong left-wing political commitments; both of her parents were members of the American Communist Party. Dylan acknowledged her influence when he told an interviewer: "Suze was into this equality-freedom thing long before I was. I checked out the songs with her."Dylan's relationship with Rotolo also provided an important emotional dynamic in the composition of the Freewheelin' album. After six months of living with Dylan, Rotolo agreed to her mother's proposal that she travel to Italy to study art. Dylan missed her and wrote long letters to her conveying his hope that she would return soon to New York. She postponed her return several times, finally coming back in January 1963. Critics have connected the intense love songs expressing longing and loss on Freewheelin' to Dylan's fraught relationship with Rotolo. In her autobiography, Rotolo explains that musicians' girlfriends were routinely described as "chicks", and she resented being regarded as "a possession of Bob, who was the center of attention".The speed and facility with which Dylan wrote topical songs attracted the attention of other musicians in the New York folk scene. In a radio interview on WBAI in June 1962, Pete Seeger described Dylan as "the most prolific songwriter on the scene" and then asked Dylan how many songs he had written recently. Dylan replied, "I might go for two weeks without writing these songs. I write a lot of stuff. In fact, I wrote five songs last night but I gave all the papers away in some place called the Bitter End." Dylan also expressed the impersonal idea that the songs were not his own creation. In an interview with Sing Out! magazine, Dylan...  Guess a valid title for it!
Ans: The Freewheelin' Bob Dylan