Given the below context:  In 1968, Pink Floyd returned to Abbey Road Studios to record their second album, A Saucerful of Secrets. The album included Barrett's final contribution to their discography, "Jugband Blues". Waters began to develop his own songwriting, contributing "Set the Controls for the Heart of the Sun", "Let There Be More Light" and "Corporal Clegg". Wright composed "See-Saw" and "Remember a Day". Norman Smith encouraged them to self-produce their music, and they recorded demos of new material at their houses. With Smith's instruction at Abbey Road, they learned how to use the recording studio to realise their artistic vision. However, Smith remained unconvinced by their music, and when Mason struggled to perform his drum part on "Remember a Day", Smith stepped in as his replacement. Wright recalled Smith's attitude about the sessions, "Norman gave up on the second album ... he was forever saying things like, 'You can't do twenty minutes of this ridiculous noise'". As neither Waters nor Mason could read music, to illustrate the structure of the album's title track, they invented their own system of notation. Gilmour later described their method as looking "like an architectural diagram".Released in June 1968, the album featured a psychedelic cover designed by Storm Thorgerson and Aubrey Powell of Hipgnosis. The first of several Pink Floyd album covers designed by Hipgnosis, it was the second time that EMI permitted one of their groups to contract designers for an album jacket. The release peaked at number 9, spending 11 weeks on the UK chart. Record Mirror gave the album an overall favourable review, but urged listeners to "forget it as background music to a party". John Peel described a live performance of the title track as "like a religious experience", while NME described the song as "long and boring ... [with] little to warrant its monotonous direction". On the day after the album's UK release, Pink Floyd performed at the first ever free concert in Hyde Park. In July 1968, they returned to the US for a second...  Guess a valid title for it!
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Answer: Pink Floyd


Q: Given the below context:  The identity of the donor has not been established, although a number of suggestions have been advanced over the last 200 years. Harbison suggests the work's small scale indicates that it functioned as a portable altarpiece rather than as a private devotional work, and thus was commissioned by or for a member of the clergy. Other art historians have argued that the donor may have been a Genoese merchant. This belief has been fed by the triptych's similarity to Giovanni Mazone's Virgin and Child altarpiece in Pontremoli, Tuscany, which may place it in the Italian region of Liguria at latest by the end of the 15th century. Damaged coats of arms on the inner frames have been linked to the Giustiniani family, known for establishing trade links with Bruges in the 14th and 15th centuries. If not commissioned by that family, historical record place the work at least in their possession by the end of the century. In the early 1800s, Frances Weale attempted to place Michele Giustiniani as the donor, however later historical research has been unable to verify his presence in Bruges around 1437, and he seems to have returned to Italy by 1430.Mid-twentieth century technical examination revealed the Giustiniani coats of arms may have been painted over an earlier heraldic design, perhaps as early as the 15th century, whose signifiance and history is now lost. Dhanens theorises that a member of the Giustiniani family may have established other associations with St. Michael and St. Catherine, advancing that they were a member of the Italian Rapondi family, whose trading house in Paris was named after St. Catherine. Their daughter, also named Catherine, married the Italian merchant Michel Burlamacchi (Bollemard in Flemish) from Lucca, who was active in Bruges. From this Dhanens theorises the piece was commissioned as a wedding gift for the couple. Documents show weavers in Wervik paid taxes to Catherine Rapondi and in September 1434, when Michele Burlamacchi was tax collector in that town, van Eyck received a stipend funded...  Guess a valid title for it!
A: Dresden Triptych


Question: Given the below context:  In 1973, Major Charles Rane  returns home to San Antonio with Sergeant Johnny Vohden, and two other soldiers, after spending seven years as a POW in Hanoi. He finds a home very different from the one he left when he meets his wife Janet, his son Mark, and local policeman Cliff, waiting to drive him home. Rane soon realizes that his son does not remember him, and that Cliff seems overly familiar with Janet and Mark. Janet admits that she has become engaged to Cliff and has no plans to break it off, despite still having feelings for Rane. Rane stoically accepts this, but privately reacts by self-imposing the same institutionalized daily regime he had in captivity. The town is intent on giving Rane a hero's homecoming, and at a grand celebration, he is presented with a red Cadillac and 2,555 silver dollars – one for every day he was a captive plus one for luck – by the 'Texas belle' Linda Forchet, who has worn his ID bracelet since he left. Shortly after, Cliff attempts to make peace with Rane; the latter, however, seems resigned to losing his wife, but he is determined not to lose his son and makes efforts to build a relationship. Linda spots Rane in his new Cadillac at a gas station and invites him to have a drink at the bar where she works.  She makes advances toward him, but Rane is emotionally distant and perhaps even unable to connect with anyone.  Guess a valid title for it!
Answer: Rolling Thunder (film)


Given the below context:  From the days of 78 rpm discs, when relatively little modern music was being put on record, Walton was favoured by the record companies. In 1929 the small, new Decca company recorded eleven movements from Façade, with the composer conducting a chamber ensemble, with the speakers Edith Sitwell and Walton's friend and colleague Constant Lambert.       In the 1930s, Walton also had two of his major orchestral works on disc, both on Decca, the First Symphony recorded by Harty and the London Symphony Orchestra, and the Viola Concerto with Frederick Riddle and the LSO conducted by the composer. In the 1940s Walton moved from Decca to its older, larger rival, EMI. The EMI producer Walter Legge arranged a series of recordings of Walton's major works and many minor ones over the next twenty years; a rival composer expressed the view that if Walton had an attack of flatulence (he used an earthier expression), Walter Legge would record it.Walton himself, although a reluctant conductor, conducted many of the EMI recordings, and some for other labels. He made studio recordings of the First Symphony, the Viola Concerto, the Violin Concerto, the Sinfonia Concertante, the Façade Suites, the Partita, Belshazzar's Feast, and suites from his film scores for Shakespeare plays and The First of the Few. Some live performances conducted by Walton were recorded and have been released on compact disc, including the Cello Concerto and the Coronation Te Deum.Almost all Walton's works have been recorded for commercial release. EMI published a "Walton Edition" of his major works on CD in the 1990s, and the recording of the Chandos Records "Walton Edition" of his works was completed in 2010. His best-known works have been recorded by performers from many countries. Among the frequently recorded are Belshazzar's Feast, the Viola and Violin Concertos and the First Symphony, which has had more than twenty recordings since Harty's 1936 set.  Guess a valid title for it!
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Answer:
William Walton