input question: Given the below context:  "Shine" received mixed reviews from music critics. E! News' Bruna Nessif gave the single a positive review, stating: "When it comes to feel-good music, leave it up to Gwen Stefani and Pharrell to get the job done". A reviewer from Vibe praised it as "the perfect theme song". Abe Dewing, a member of the Cambridge Symphony Orchestra, described it as a "sharp, hip tune" in the Boston Herald. He compared its opening trumpet riff to music by British composer Herbert Chappell, who created the theme for the 1975 television series Paddington. Chappell also composed music for the 1986 concerto "Paddington Bear's First Concert". Dewing praised Stefani and Willams' ability "to compose new music for existing source material intended for children". A reviewer from the website antiMusic described the recording as "even more feel good" than the pair's collaboration on "Spark the Fire". Daniel Sannwald gave it three and a half stars out of five, favorably comparing its melody to the chorus of Irish rock band The Cranberries's 1994 single "Zombie". He felt that it would appeal to both children and their parents.Some reviewers criticized "Shine" for lacking the energy of Williams' and Stefani's previous releases. MTV's John Walker questioned whether it could repeat the success of Williams' previous single "Happy" from the 2013 animated film Despicable Me 2. In response to the leaked version, Carolyn Menyes wrote that it was too slow in comparison to the "crazy, happy beats and earwormmy hand claps" of "Happy" and the "inane catchiness" of Stefani's previous singles "Spark the Fire" and "Baby Don't Lie" (2014). Menyes was critical of Stefani's vocals, saying she used "an oddly harsh tone" throughout the track. Steven Pond of TheWrap wrote that Stefani's vocal delivery "never quite crosses the line to catchy".  Guess a valid title for it!???
output answer: "Shine" (Gwen Stefani song)

input question: Given the below context:  Young lawyer Emily Reed travels to New York City for an interview with an international law firm, which immediately offers her a job on the condition that she can fly to Rio de Janeiro the following morning. Emily agrees and is introduced to Claudia Dennis, one of the firm's top executives. They arrive in Rio to finalize the purchase of a hotel, but angry Claudia must fly to Buenos Aires, Argentina, to meet the hotel's owner. Claudia instructs Emily to cover her date for the night. While viewing the hotel, Emily sees two locals having animalistic sex, which unnerves her and she returns to her own hotel. She meets Claudia's date; a wealthy man named James Wheeler. They have dinner, accompanied by James' bodyguards. James intrigues Emily; he is quiet and asks personal questions without being demanding or rude. After dinner, they attend a street carnival; Emily leaves after a masked man who looks like James tries to seduce her. The next morning, Emily wakes to find James watching her. He gives her a bouquet of orchids and denies making advances to her the previous evening, and as an apology, he offers to show her the city. She is initially reluctant but consents; they attend a party with a married couple that they noticed in the restaurant the night before. Some navy sailors at the party try to make advances on the wife; James fights them and he, Emily, and the couple leave quickly in his limousine. The married couple is having marital problems because of the wife's infidelity. She wants to reconcile with her husband. James encourages the couple to have sex in the limo, which they do. Emily finds their actions disturbing. Emily and James then visit the hotel that her firm wants to buy, and she tells James that she fears he would disappear if she touched him. When Emily hugs James, he pulls away from her, telling her that he does not like to be touched.  Guess a valid title for it!???
output answer: Wild Orchid (film)

input question: Given the below context:  It is not clear why, in 1873, Alkan decided to emerge from his self-imposed obscurity to give a series of six Petits Concerts at the Érard piano showrooms. It may have been associated with the developing career of Delaborde, who, returning to Paris in 1867, soon became a concert fixture, including in his recitals many works by his father, and who was at the end of 1872 given the appointment that had escaped Alkan himself, Professor at the Conservatoire. The success of the Petits Concerts led to them becoming an annual event (with occasional interruptions caused by Alkan's health) until 1880 or possibly beyond. The Petits Concerts featured music not only by Alkan but of his favourite composers from Bach onwards, played on both the piano and the pédalier, and occasionally with the participation of another instrumentalist or singer. He was assisted in these concerts by his siblings, and by other musicians including Delaborde, Camille Saint-Saëns, and Auguste Franchomme.Those encountering Alkan at this phase included the young Vincent d'Indy, who recalled Alkan's "skinny, hooked fingers" playing Bach on an Érard pedal piano: "I listened, riveted to the spot by the expressive, crystal-clear playing." Alkan later played Beethoven's Op. 110 sonata, of which d'Indy said: "What happened to the great Beethovenian poem ... I couldn't begin to describe – above all in the Arioso and the Fugue, where the melody, penetrating the mystery of Death itself, climbs up to a blaze of light, affected me with an excess of enthusiasm such as I have never experienced since. This was not Liszt—perhaps less perfect, technically—but it had greater intimacy and was more humanly moving ..."The biographer of Chopin, Frederick Niecks, sought Alkan for his recollections in 1880 but was sternly denied access by Alkan's concierge – "To my ... enquiry when he could be found at home, the reply was a ... decisive 'Never'." However, a few days later he found Alkan at Érard's, and Niecks writes of their meeting that "his reception of me was not...  Guess a valid title for it!???
output answer:
Charles-Valentin Alkan