Given the below context:  In 1919 Monteux was appointed chief conductor of the Boston Symphony Orchestra. The orchestra was going through difficult times; its conductor, Karl Muck, had been forced by anti-German agitation to step down in 1917. Sir Henry Wood turned down the post, and despite press speculation neither Sergei Rachmaninoff nor Arturo Toscanini was appointed. At least twenty-four players of German heritage had been forced out with Muck, and orchestral morale was low. Shortly before Monteux took up the conductorship the autocratic founder and proprietor of the orchestra, Henry Lee Higginson, died. He had steadfastly resisted unionisation, and after his death a substantial minority of the players resumed the struggle for union recognition. More than thirty players, including two important principals, resigned over the matter. Monteux set about rebuilding the orchestra, auditioning players from all kinds of musical background, some of whom had not played symphonic music before. By the end of his first season he had restored the orchestra to something approaching its normal complement. He trained the orchestra to a high standard; according to the critic Neville Cardus, Monteux's musicianship "made the Boston Symphony Orchestra the most refined and musical in the world."Monteux regularly introduced new compositions in Boston, often works by American, English and French composers.  He was proud of the number of novelties presented in his years at Boston, and expressed pleasure that his successors continued the practice. He was dismayed when it was announced that his contract would not be renewed after 1924. The official explanation was that the orchestra's policy had always been to appoint conductors for no more than five years. It is unclear whether that was genuinely the reason. One suggested possibility is that the conductor chosen to replace him, Serge Koussevitzky, was thought more charismatic, with greater box-office appeal. Another is that the primmer members of Boston society disapproved of Monteux's morals: he and his...  Guess a valid title for it!
Ans: Pierre Monteux

Given the below context:  Larry Wilson and Richard Parker are at a Manhattan morgue where they see their deceased CEO Bernie Lomax. Larry falsely claims Bernie as his uncle, so he can get some of Bernie's possessions including Bernie's credit card. At the insurance company, Larry and Richard are quizzed by their boss and Arthur Hummel, the company's internal investigator, who ask the two if they have the US$2 million that Bernie embezzled. They deny knowing where the money is, but their boss believes they're lying and fires them. He also sends Hummel after them, giving him two weeks to prove their guilt. Over dinner (paid for with Bernie's credit card, in one of its many uses), Larry tells Richard he found a key to a safe deposit box in St. Thomas, U.S. Virgin Islands and asks Richard if he will use the computer at work to see if the $2 million is in Bernie's account. At first Richard refuses but ultimately gives in. Meanwhile, in the Virgin Islands, a voodoo queen named Mobu is hired by mobsters to find the money Bernie stole. She sends two servants—Henry and Charles (Tom Wright)—to go to New York, get Bernie's body, use a voodoo ceremony to reanimate him, and bring him back to her so he can lead her to the money. Their attempts to bring Bernie back are plagued by accidents. They prepare in a bathroom at a sleazy porno theater for the voodoo ceremony, but having lost the sacrificial chicken, they use a pigeon instead. This limits Bernie's ability to walk toward the hidden money: he only moves when he hears music. At the 42nd St-Grand Central subway station, Henry and Charles soon abandon him to chase a man who stole their boombox.  Guess a valid title for it!
Ans: Weekend at Bernie's II

Given the below context:  "Jihad"—alongside fellow Christ Illusion album tracks "Eyes of the Insane" and "Cult"—was made available for streaming on June 26, 2006, via the Spanish website Rafabasa.com. The album was Slayer's ninth studio recording, and was released on August 8, 2006. During reviews "Jihad" received a mixed reception. Blabbermouth's Don Kaye gave the opinion that "a handful of songs" on Christ Illusion "are either too generic or the arrangements are too clumsy to work well", and specifically singled out the track: "I'm looking at you, 'Jihad' and 'Skeleton Christ'." Ben Ratliff of New York Times remarked that the song is "predictably tough stuff, but let's put it on a scale. It is tougher, and less reasoned, than Martin Amis's recent short story 'The Last Days of Muhammad Atta.' It is no tougher than a taped message from Al Qaeda." Peter Atkinson of KNAC.com was equally unimpressed, describing the group's choice of song climax as: ..the same sort of detached, matter-of-fact tactic Hanneman and Araya have employed for "difficult" subjects in the past—Josef Mengele's Nazi atrocities in "Angel of Death" or Jeffrey Dahmer/Ed Gein's ghoulish proclivities in "213" and "Dead Skin Mask"—with great effect. But here it feels atypically crass and exploitative, as if it was done purely to get a rise out of people... And Slayer's usually a lot more clever than that. Not all reviews were so negative. Thom Jurek of Allmusic observed that "the band begins to enter and twist and turn looking for a place to create a new rhythmic thrash that's the most insane deconstruction of four/four time on tape." The Austin Chronicle's Marc Savlov asked readers to "listen to the eerie, stop-start cadence of lunacy in 'Jihad,' with Araya playing the role of a suicide bomber almost too convincingly."King would have appointed "Jihad" as the group's nomination in the "Best Metal Performance" award category at the 49th Grammy Awards, deeming the chosen track "Eyes of the Insane" "the poorest representations" of the group on ninth studio album Christ...  Guess a valid title for it!
Ans: "Jihad" (song) 1