Given the below context:  To have reached its enormous size within its relatively short (geologically speaking) 600,000 to 1,000,000 years of life, Mauna Loa would logically have had to have grown extremely rapidly through its developmental history, and extensive charcoal-based radiocarbon dating (perhaps the most extensive such prehistorical eruptive dating on Earth) has amassed a record of almost two hundred reliably dated extant flows confirming this hypothesis.The oldest exposed flows on Mauna Loa are thought to be the Ninole Hills on its southern flank, subaerial basalt rock dating back approximately 100 to 200 thousand years. They form a terrace against which younger flows have since banked, heavily eroded and incised against its slope in terms of direction; this is believed to be the result of a period of erosion because of a change in the direction of lava flow caused by the volcano's prehistoric slump. These are followed by two units of lava flows separated by an intervening ash layer known as the Pāhala ash layer: the older Kahuka basalt, sparsely exposed on the lower southwest rift, and the younger and far more widespread Kaʻu basalt, which appear more widely on the volcano. The Pāhala ashes themselves were produced over a long period of time circa 13 to 30 thousand years ago, although heavy vitrification and interactions with post and pre- creation flows has hindered exact dating. Their age roughly corresponding with the glaciation of Mauna Loa during the last ice age, raising the distinct possibility that it is the product of phreatomagmatic interaction between the long-gone glaciers and Mauna Loa's eruptive activities.Studies have shown that a cycle occurs in which volcanic activity at the summit is dominant for several hundred years, after which activity shifts to the rift zones for several more centuries, and then back to the summit again. Two cycles have been clearly identified, each lasting 1,500–2,000 years. This cyclical behavior is unique to Mauna Loa among the Hawaiian volcanoes. Between about 7,000 and 6,000...  Guess a valid title for it!
Ans: Mauna Loa

Given the below context:  Lazar Markovich Lissitzky (Russian: Ла́зарь Ма́ркович Лиси́цкий, listen ; November 23 [O.S. November 11] 1890 – December 30, 1941), known as El Lissitzky (Russian: Эль Лиси́цкий, Yiddish: על ליסיצקי‎), was a Russian artist, designer, photographer, typographer, polemicist and architect. He was an important figure of the Russian avant-garde, helping develop suprematism with his mentor, Kazimir Malevich, and designing numerous exhibition displays and propaganda works for the Soviet Union. His work greatly influenced the Bauhaus and constructivist movements, and he experimented with production techniques and stylistic devices that would go on to dominate 20th-century graphic design.Lissitzky's entire career was laced with the belief that the artist could be an agent for change, later summarized with his edict, "das zielbewußte Schaffen" (goal-oriented creation). Lissitzky, of Lithuanian Jewish оrigin, began his career illustrating Yiddish children's books in an effort to promote Jewish culture in Russia. When only 15 he started teaching, a duty he would maintain for most of his life. Over the years, he taught in a variety of positions, schools, and artistic media, spreading and exchanging ideas. He took this ethic with him when he worked with Malevich in heading the suprematist art group UNOVIS, when he developed a variant suprematist series of his own, Proun, and further still in 1921, when he took up a job as the Russian cultural ambassador to Weimar Germany, working with and influencing important figures of the Bauhaus and De Stijl movements during his stay. In his remaining years he brought significant innovation and change to typography, exhibition design, photomontage, and book design, producing critically respected works and winning international acclaim for his exhibition design. This continued until his deathbed, where in 1941 he produced one of his last works – a Soviet propaganda poster rallying the people to construct more tanks for the fight against Nazi Germany. In 2014, the heirs of the artist, in...  Guess a valid title for it!
Ans: El Lissitzky

Given the below context:  Title TK is the third studio album by American alternative rock band the Breeders, released on May 20 and 21, 2002 by 4AD in the United Kingdom and Elektra Records in the United States, and on May 10 by P-Vine Records in Japan. The album—whose name means "title to come" in journalistic shorthand—generated three singles: "Off You", "Huffer", and "Son of Three". Title TK reached the top 100 in France, Germany, the UK, and Australia, and number 130 in the US. Following multiple changes in personnel after the release of Last Splash (1993), singer and songwriter Kim Deal was the only remaining constant member of the Breeders by 1996. The next year, she returned to the studio in an attempt to record a follow-up album, but her behavior—including drug use and demanding expectations—alienated many of the musicians and engineers with whom she worked. In 1999, joined by her sister Kelley, Deal began recording sessions with engineer Steve Albini in Chicago. Fear members Mando Lopez and Richard Presley, and musician Jose Medeles, joined the line-up. The group continued recording with Albini in 2001. Title TK was compiled from the output of these sessions and supplemented with two tracks recorded in Los Angeles with engineers Andrew Alekel and Mark Arnold. Of the twelve songs on the album, ten are credited solely to Kim Deal; the other two were written by all five band members. Commentary on the album has included discussion of its minimal instrumentation and the interjection of unexpected sounds. Reviewers have described the lyrics on the songs as unconventional and dark, and noted the prominence of vocal harmonies between the Deal sisters. The reception of Title TK has been generally positive; appraisal has included commendation for Albini's contributions to the sound of the album, and for how the recordings isolate individual instruments.  Guess a valid title for it!
Ans: Title TK

Given the below context:  During Prohibition, Laurel and Hardy are sent to prison for concocting and selling their own home brew. They are put in a cell with "Tiger" Long, the roughest, toughest and meanest of all inmates. Stan has a loose tooth that causes him to emit a razzberry at the end of every sentence; the inmate interprets this as a coolly defiant attitude and is impressed—nobody else ever stood up to him like that. He and Stan become fast friends. Laurel & Hardy are assigned to attend prison school with James Finlayson being the teacher. The vaudeville routine that follows ends with a spitball meant for somebody else hitting the teacher in the face and the boys wind up in solitary. There is a sustained scene of the bleak cells with the unseen boys conversing through the walls. After a prison break, the boys escape to a cotton plantation, where they hide out undetected, in blackface. The boys sing "Lazy Moon". When they attempt to repair the warden's car, they are discovered and are sent back to prison. The prison authorities decide to send Laurel to the prison dentist to have the offending tooth pulled, but the dentist is incompetent and the procedure goes awry. Tricked by a prison guard into calling off a hunger strike by being promised a thanksgiving-style feast, they go to the mess hall, only to be served the usual drab fare. Laurel causes a disturbance by protesting the absence of the feast, but is threatened by the guards. Soon after, as guns are being passed around under the tables, Laurel sets off his gun and causes an uproar. They inadvertently break up the prison riot and the grateful warden issues them a pardon. Laurel unintentionally "razzes" the warden and their exit from the prison has to be a very fast one.  Guess a valid title for it!
Ans: Pardon Us