Q: Given the below context:  Grunge guitarists "flatly rejected" the virtuoso "shredding" guitar solos that had become the centerpiece of heavy metal songs, instead opting for melodic, blues-inspired solos – focusing "on the song, not the guitar solo". Jerry Cantrell of Alice in Chains stated that solos should be to serve the song, rather than to show off a guitarist's technical skill. In place of the strutting guitar heroes of metal, grunge had "guitar anti-heroes" like Cobain, who showed little interest in mastering the instrument.In Will Byers' article "Grunge committed a crime against music—it killed the guitar solo", in The Guardian, he states that while the guitar solo managed to survive through the punk rock era, it was weakened by grunge. He states that when Kurt Cobain played guitar solos that were a restatement of the main vocal melody, fans realized that they did not need to be a Jimi Hendrix-level virtuoso to play the instrument; he says this approach helped to make music feel accessible by fans in a way not seen since the 1960s folk music movement. The producer of Nirvana's Nevermind, Butch Vig, stated that this album and Nirvana "killed the guitar solo". Soundgarden guitarist Kim Thayil stated he feels in part to be responsible for the "death of the guitar solo"; he said that his punk rocker aspects made him feel that he did not want to solo, so in the 1980s, he preferred to make noise and do feedback during the guitar solo. Baeble Music calls the grunge guitar solos of the 1990s "..raw", "sloppy" and "basic".Not all sources support the "grunge killed the guitar solo" argument. Sean Gonzalez states that Pearl Jam has plentiful examples of guitar solos. Michael Azerrad praises the guitar playing of Mudhoney's Steve Turner, calling him the "... Eric Clapton of grunge", a reference to the British blues guitarist  who Time magazine has named as number five in their list of "The 10 Best Electric Guitar Players". Pearl Jam guitarist Mike McCready has been praised for his blues-influenced, rapid licks. The Smashing Pumpkins'...  Guess a valid title for it!
A: Grunge


Question: Given the below context:  Joey and Turkey are members of the Wanderers, an all-Italian-American street gang. In the Bronx, New York, Joey tries to dissuade Turkey from joining a rival gang, the Fordham Baldies. Before Turkey can ask, Terror's girlfriend Peewee overhears Joey insulting the Baldies, calling them a "bunch of pricks with ears". Joey and Turkey flee and the Baldies chase them. Richie—the leader of the Wanderers—and Buddy come to help but they also flee from the Baldies. After being cornered, the Wanderers are helped by a tough stranger named Perry, who has recently moved to the Bronx from New Jersey. After much persuasion, Perry joins the Wanderers. In school, the Wanderers get into a racial dispute with another gang, the Del Bombers who are all African-American. Both gangs agree to settle their dispute, seemingly a street fight, but the Wanderers struggle to find a gang willing to back them. With no other options, Richie asks his girlfriend's father, local mafia boss Chubby Galasso, who agrees to help solve the gangs' dispute. During a game of "elbow-tit", Richie gropes a woman called Nina. He feels ashamed of himself, apologizes for his actions and persuades Nina to accept Joey's telephone number. The Wanderers then decide to follow Nina in Perry's car. After Perry becomes lost, the Wanderers are attacked by an all-Irish-American street gang called the Ducky Boys. They escape after Perry's arm is broken. While drunk, the Baldies are tricked into joining the Marines. Before reporting for training, they decide to crash Despie's party, where Turkey—who has recently joined the Baldies—is told to draw the Wanderers outside. After drawing them out, Turkey realizes the Baldies have abandoned him. He tries to chase them but fails. Upset, Turkey visits a nearby Catholic church. After being spotted by a member of the Ducky Boys attending mass, Turkey is chased down the street. After climbing a fire escape ladder in an attempt to escape, he falls to his death.  Guess a valid title for it!
Answer: The Wanderers (1979 film)


Question: Given the below context:  Detroit techno is an offshoot of Chicago house music which developed in the early and mid-1980s. One of the earliest hits was "Big Fun" by Inner City. Detroit techno developed as the DJ The Electrifying Mojo did his radio program, which fused eclectic sounds into the signature Detroit techno sound. This sound, also influenced by European electronica (Kraftwerk, Art of Noise), Japanese synthpop (Yellow Magic Orchestra), early B-boy (breakdancing) Hip-Hop (Man Parrish, Soul Sonic Force) and Italo disco (Doctor's Cat, Ris, Klein M.B.O.), was further pioneered by Juan Atkins, Derrick May, and Kevin Saunderson, known as the Belleville Three. Derrick May a.k.a. "MAYDAY" and Thomas Barnett released "Nude Photo" in 1987 on May's label "Transmat Records", which helped start the Detroit techno music scene. This record was played on Chicago's Hot Mix 5 Radio DJ mix show and in Chicago clubs. A year later, Transmat released "Strings of Life". Transmat Records also released such as 1988's "Wiggin". As well, Derrick May had releases on Kool Kat Records and many remixes for underground and mainstream recording artists. Kevin Saunderson's company KMS Records contributed many releases that were as much house music as they were techno. These tracks were well received in Chicago and played on Chicago radio and in clubs.Blake Baxter's 1986 recording, "When we Used to Play / Work your Body", 1987's "Bounce Your Body to the Box" and "Force Field", "The Sound / How to Play our Music" and "the Groove that Won't Stop" and a remix of "Grooving Without a Doubt". In 1988, as house music became more popular among general audiences, Kevin Saunderson's group Inner City with Paris Gray released the 1988 hits "Big Fun" and "Good Life", which eventually were picked up by Virgin Records. Each EP / 12 inch single sported remixes by Mike "Hitman" Wilson and Steve "Silk" Hurley of Chicago and Derrick "Mayday" May and Juan Atkins of Detroit. In 1989, KMS had another hit release of "Rock to the Beat" which was a theme in Chicago dance clubs.The...  Guess a valid title for it!
Answer:
House of Music