input: Please answer the following: Given the below context:  Jackson explored genres including pop, soul, rhythm and blues, funk, rock, disco, post-disco, dance-pop and new jack swing. Steve Huey of AllMusic wrote that Thriller refined the strengths of Off the Wall; the dance and rock tracks were more aggressive, while the pop tunes and ballads were softer and more soulful. Its tracks included the ballads "The Lady in My Life", "Human Nature", and "The Girl Is Mine", the funk pieces "Billie Jean" and "Wanna Be Startin' Somethin'", and the disco set "Baby Be Mine" and "P.Y.T. (Pretty Young Thing)".With Off the Wall, Jackson's "vocabulary of grunts, squeals, hiccups, moans, and asides" vividly showed the singer's maturation into an adult, Robert Christgau wrote in Christgau's Record Guide: Rock Albums of the Seventies (1981). The album's title track suggested to the critic a parallel between Jackson and Stevie Wonder's "oddball" music personas: "Since childhood his main contact with the real world has been on stage and in bed." With Thriller, Christopher Connelly of Rolling Stone commented that Jackson developed his long association with the subliminal theme of paranoia and darker imagery. AllMusic's Stephen Thomas Erlewine noted this on the songs "Billie Jean" and "Wanna Be Startin' Somethin'". In "Billie Jean", Jackson depicts an obsessive fan who alleges he has fathered her child, and in "Wanna Be Startin' Somethin'" he argues against gossip and the media. "Beat It" decried gang violence in a homage to West Side Story, and was Jackson's first successful rock cross-over piece, according to Huey. He also observed that the title track "Thriller" began Jackson's interest with the theme of the supernatural, a topic he revisited in subsequent years. In 1985, Jackson co-wrote the charity anthem "We Are the World"; humanitarian themes later became a recurring theme in his lyrics and public persona.  Guess a valid title for it!
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output: Michael Jackson


Please answer this: Given the below context:  Smetana's biographers describe him as physically frail and unimpressive in appearance yet, at least in his youth, he had a joie-de-vivre that women evidently found attractive. He was also excitable, passionate and strong-willed, determined to make his career in music whatever the hardships, over the wishes of his father who wanted him to become a brewer or a civil servant. Throughout his career he stood his ground; when under the severest of criticism for the "Wagnerism" in Dalibor he responded by writing Libuše, even more firmly based on the scale and concept of Wagnerian music drama. His personal life became stressful; his marriage to Bettina was loveless, and effectively broke down altogether in the years of illness and relative poverty towards the end of his life. Little of his relationships with his children is on record, although   on the day that he was transferred to the asylum, Žofie was "crying as though her heart would break". There is broad agreement among most commentators that Smetana created a canon of Czech opera where none had previously existed, and that he developed a style of music in all his compositions that equated with the emergent Czech national spirit. A modified view is presented by the  music writer Michael Steen, who questions whether "nationalistic music" can in fact exist: "We should recognise that, whereas music is infinitely expressive, on its own it is not good at describing concrete, earthly objects or concepts." He concludes that much is dependent upon what listeners are conditioned to hear.According to the musicologist John Tyrrell, Smetana's close identification with Czech nationalism and the tragic circumstances of his last years, have affected the objectivity of assessments of his work, particularly in his native land. Tyrrell argues that the almost iconic status awarded to Smetana in his homeland "monumentalized him into a figure where any criticism of his life or work was discouraged" by the Czech authorities, even as late as the last part of the 20th century. As a...  Guess a valid title for it!
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Answer: Bedřich Smetana


Problem: Given the below context:  Alice Kinney is the daughter of film director John Kinney, who made several prominent personal-focused films in his life but passed away some years ago. As she hits her fortieth birthday, Alice is currently separated from her husband Austen, who has stayed in New York in his role as a music producer while Alice has moved back into her father's Los Angeles home with her daughters, Isabel and Rosie, to be near to her mother, Lillian. Alice is also attempting to start her own interior design business. While out for a drink with her friends, Alice encounters Harry, George and Teddy, three aspiring filmmakers in LA to make a pitch to possible producers after a short film they presented at a film festival received positive acclaim. Despite the three being in their late twenties, they hit it off with Alice and her friends, with Alice nearly sleeping with Harry before he passes out from intoxication. The next morning, George discovers a room containing John Kinney's old scripts and awards and realizes Alice's family history just as Lillian, Isabel and Rosie return from the girls' night with their grandmother. Alice takes the girls to school while Lillian offers the young men breakfast, and is so won over by their compliments of John's old films that she offers them the guest house while they make their pitch.  Guess a valid title for it!

A: Home Again (2017 film)


input question: Given the below context:  The Monadnock was commissioned by Boston real estate developers Peter and Shepherd Brooks in the building boom following the Depression of 1873–79. The Brooks family, which had amassed a fortune in the shipping insurance business and had been investing in Chicago real estate since 1863, had retained Chicago property manager Owen F. Aldis to manage the construction of the seven-story Grannis Block on Dearborn Street in 1880. It was Aldis, one of two men Louis Sullivan credited with being "responsible for the modern office building", who convinced investors such as the Brooks brothers to build new skyscrapers in Chicago. By the end of the century, Aldis would create over 1,000,000 square feet (93,000 m2) of new office space and manage nearly one fifth of the office space in the Loop.Daniel Burnham and John Wellborn Root met as young draftsmen in the Chicago firm of Carter, Drake, and Wight in 1872 and left to form Burnham & Root the following year. At Aldis's urging, the Brooks brothers had retained the then-fledgling firm to design the Grannis Block, which was their first major commission. Burnham and Root would become the architects of choice for the Brooks family, for whom they would complete the first high-rise building in Chicago, the 10-story Montauk Building, in 1883, and the 11-story Rookery Building in 1888.  Guess a valid title for it!???
output answer:
Monadnock Building