Problem: Background: Enrique Martin Morales (born December 24, 1971), commonly known as Ricky Martin, is a Puerto Rican singer, actor and author. Martin began his career at age 12 with the all-boy pop group Menudo. After five years with the group, he released several Spanish-language solo albums throughout the 1990s. He also acted on stage and on TV in Mexico, where he achieved modest stardom.
Context: After receiving commercial success throughout Asia, Europe, and Latin America, Martin prepared his first English album in 1999 in an attempt to cross over to the United States market. The self-titled album, which debuted at number one on the Billboard 200 and sold 661,000 copies in its first week of release, became the most successful album debut on the Billboard charts by a Hispanic artist. It contained material by writers and producers such as Desmond Child, Diane Warren, William Orbit, George Noriega and his longtime childhood friend Draco Rosa. The album also featured special guests: Madonna on the Spanish-English duet "Be Careful (Cuidado con mi Corazon)" and Meja on "Private Emotion". Two weeks after the album's release, Martin was featured on the cover of Time with the title "Latin Music Goes Pop!". Before the album's release, Janet Jackson collaborated with Ricky Martin for the Latin American version of "Ask for More", a promotional single and commercial released as part of an advertising campaign for soft drink company Pepsi.  The first and most prominent single was "Livin' la Vida Loca", which reached number one in many countries around the world, including the United States, United Kingdom, Canada, Ireland and New Zealand. "Livin' la Vida Loca" is Ricky Martin's biggest hit. The video for "Livin 'La Vida Loca" was directed by Wayne Isham and starring model Nina Moric. It was followed by "She's All I Ever Had" which peaked at number two on the Billboard Hot 100. Both tracks peaked at number one on the Hot Latin Songs. "Livin' la Vida Loca" is generally seen as the song that began the Latin pop explosion of 1999 and made the transition of other Latin artists (first Jennifer Lopez and Enrique Iglesias, then later Shakira) into the English-speaking market easier. Ricky Martin became one of the top-selling albums of 1999, and was certified 7x platinum in the United States, selling over 22 million copies worldwide. In October 1999, Martin embarked on a very successful year-long Livin' la Vida Loca Tour.  After this success, a new English-language album, Sound Loaded, was released in November 2000. It debuted at number four on the Billboard 200 and was certified 2x platinum by the RIAA. "She Bangs" and "Nobody Wants to Be Lonely" (duet with Christina Aguilera) peaked at number twelve and thirteen on the Billboard Hot 100, respectively. Both singles reached number one on the Hot Latin Songs. Sound Loaded has sold over 8 million copies worldwide.  In February 2001, Martin released a Spanish greatest hits album entitled La Historia, which went to number one for five weeks on the Billboard Top Latin Albums and debuted at number eighty-three on the Billboard 200. It also topped the chart in Sweden for three weeks. The album contained reworkings of two of his early songs "Fuego Contra Fuego" and "El Amor de Mi Vida". In November 2001, an English-language greatest hits album, The Best of Ricky Martin was released outside North America. It contained two new remixes of "Amor".
Question: What other songs made title tracks
Answer: Nobody Wants to Be Lonely" (duet with Christina Aguilera)

Problem: Background: The Beatles were an English rock band formed in Liverpool in 1960. With members John Lennon, Paul McCartney, George Harrison and Ringo Starr, they became widely regarded as the foremost and most influential music band. Rooted in skiffle, beat and 1950s rock and roll, the Beatles later experimented with several musical styles, ranging from pop ballads and Indian music to psychedelia and hard rock, often incorporating classical elements and unconventional recording techniques in innovative ways. In 1963 their enormous popularity first emerged as "Beatlemania"; as the group's music grew in sophistication, led by primary songwriters Lennon and McCartney, the band were integral to pop music's evolution into an art form and to the development of the counterculture of the 1960s.
Context: Touring internationally in June and July, the Beatles staged 37 shows over 27 days in Denmark, the Netherlands, Hong Kong, Australia and New Zealand. In August and September they returned to the US, with a 30-concert tour of 23 cities. Generating intense interest once again, the month-long tour attracted between 10,000 and 20,000 fans to each 30-minute performance in cities from San Francisco to New York.  In August, journalist Al Aronowitz arranged for the Beatles to meet Bob Dylan. Visiting the band in their New York hotel suite, Dylan introduced them to cannabis. Gould points out the musical and cultural significance of this meeting, before which the musicians' respective fanbases were "perceived as inhabiting two separate subcultural worlds": Dylan's audience of "college kids with artistic or intellectual leanings, a dawning political and social idealism, and a mildly bohemian style" contrasted with their fans, "veritable 'teenyboppers' - kids in high school or grade school whose lives were totally wrapped up in the commercialised popular culture of television, radio, pop records, fan magazines, and teen fashion. To many of Dylan's followers in the folk music scene, the Beatles were seen as idolaters, not idealists." Within six months of the meeting, according to Gould, "Lennon would be making records on which he openly imitated Dylan's nasal drone, brittle strum, and introspective vocal persona"; and six months after that, Dylan began performing with a backing band and electric instrumentation, and "dressed in the height of Mod fashion". As a result, Gould continues, the traditional division between folk and rock enthusiasts "nearly evaporated", as the Beatles' fans began to mature in their outlook and Dylan's audience embraced the new, youth-driven pop culture.  During the 1964 US tour, the group were confronted with the reality of racial segregation in the country at the time, particularly in the South. When informed that the 11 September show at the Gator Bowl in Jacksonville, Florida was to be held at a segregated venue, the Beatles expressed astonishment and announced that they would refuse to perform unless the show become integrated. Lennon stated: "We never play to segregated audiences and we aren't going to start now ... I'd sooner lose our appearance money." The group's stand drew controversy in the local media, but city officials relented and agreed to allow an integrated show. On the tour the group also refused to stay in segregated hotels. Documents reveal that for their subsequent US tours in 1965 and 1966, the Beatles included clauses in contracts stipulating that shows be integrated.
Question: Is there anything else interesting?
Answer:
Documents reveal that for their subsequent US tours in 1965 and 1966, the Beatles included clauses in contracts stipulating that shows be integrated.