Given the below context:  It was probably William the Conqueror who gave the city and its castle to Bishop Odo of Bayeux, the king's half brother. On William's death in September 1087 his territories were divided between his two sons. Robert, the elder, inherited the title of Duke of Normandy and William Rufus became King of England. A significant number of Norman barons objected to dividing Normandy and England, and Bishop Odo supported Robert's claim to the English throne. Several others, including the earls of Northumberland and Shrewsbury and the Bishop of Coutances came out in support of Robert. Odo prepared Rochester Castle for war and it became one of the headquarters of the rebellion. Its position in Kent made it a suitable base for raids on London and its garrison could harry William's forces in the county. William set off from London and marched towards Rochester to deal with the threat. Before he arrived, news reached the king that Odo had gone to Pevensey Castle, which was under the control of Robert, Count of Mortain. William turned away from Rochester and seized Pevensey. The captured Odo was forced to swear to hand over Rochester to William's men. The king despatched a force with Odo in tow to demand Rochester's surrender. Instead of yielding, the garrison sallied and captured the entire party. In response William laid siege to the city and castle. Contemporary chronicler Orderic Vitalis recorded that the siege began in May 1088. Two siege-castles were built to cut off the city's supply lines and to protect the besiegers from sorties. Conditions within the city were dire: disease was rampant, exacerbated by the heat and flies. The garrison ultimately capitulated and terms were agreed. Odo, Eustace, Count of Boulogne, and Robert de Belleme, son of the Earl of Shrewsbury, were allowed to march away with their weapons and horses but their estates in England were confiscated. This marked the end of the castle's role in the rebellion, and the fortification was probably abandoned shortly afterwards. The siege-castles were...  Guess a valid title for it!
Ans: Rochester Castle

Given the below context:  American singer Prudencesa Renfro, professionally known as Pru, was signed through Warner/Chappell Music Publishing by Capitol Records' executive Roy Lott, who said that he was "drawn to" her songwriting and voice. Jack Ponti, of Cazzy Dog Management, had helped Pru produce a demo tape to secure the record deal. Lott had noted Pru's potential as an artist through her lyrics. He worked closely with her to match her songwriting to the most appropriate sound, serving as the executive producer for her debut studio album Pru.Prior to securing a record deal, Pru had found inspiration for her music in artists such as Cassandra Wilson and Dianne Reeves. She wrote song lyrics and poetry while attending high school and then Texas Southern University, coupling her lyrics with the music of other artists such as Michael Jackson, Rachelle Ferrell, Sade, Naughty by Nature, the Isley Brothers, and Miles Davis. While discussing her approach to songwriting, Pru elaborated: "From a word, I can get a whole picture, a visual. The song becomes a poem, almost like a thesis." She considered her music as a form of poetry, citing the album track "Hazy Shades" as an example of a poem turned into a song.Pru stated that she wanted her songs to bring variety to contemporary R&B, and described the material as the opposite of the formulaic music typically found on radio. On her official website, the singer identified her style as connected with the soul. Though AllMusic gives the singer songwriting credit on twelve of the tracks, Pru is only credited for co-writing "Aaroma" on the album's liner notes. The record was completed at Studio 57 and Weight Room in New York City, with mixing handled by Mike Shipley and Tony Maserati. Following release of the album, Pru spoke highly of her experiences with the producers and felt that they "la[id] a good bed around the lyrics and the melodies".  Guess a valid title for it!
Ans: Pru (album)

Given the below context:  Gary Mulholland of The Observer considers the release of Is This It a "world-changing moment" and notes that its impact was "immediate and dramatic" on both music and attire. BBC Radio 1's Zane Lowe suggests that the album moved popular opinion from DJs and pop music to "skinny jeans and guitars", "the template for rock 'n' roll in the modern day". Tam Gunn of FACT agrees and explains that it "caused a sea change" in mainstream music in the US and the UK, while Anthony Miccio of Stylus points out that the Strokes' success created the commercial context for "other new-wavers" to flourish. Rolling Stone writes that Is This It inspired "a ragged revolt" in Britain, led by the Libertines and Arctic Monkeys, and continued its influence in the US on the success of bands like Kings of Leon. The Observer shares a similar view and concludes that "a fine brood of heirs", like the Libertines and Franz Ferdinand, would not have existed and been successful if the Strokes had not reinvigorated "rock's obsession with having a good time". Jared Followill of Kings of Leon notes that the album was one of the main reasons that he wanted to get into a band; he states, "The title track was one of the first basslines I learned ... I was just 15 at the time."Jed Gottlieb of the Boston Herald argues that, although Is This It provided substantial musical influence, its biggest success was in revamping the music industry and making A&R delegates scout and promote alternative bands. Gunn links the success of alternative music in British charts throughout the 2000s to the album, but notes that "the copyists" could never match the attention to detail and heartfelt emotion of the Strokes. Mulholland adds that even the pop stars of that decade who rediscovered disco, electro, and synthpop owe a debt to the record, because its commercial success "made every forgotten art-pop experiment of the late 70s and early 80s instantly hip and ripe for reinvention". Hamish MacBain of NME writes that "the western world has moved on, and is now swinging...  Guess a valid title for it!
Ans: Is This It

Given the below context:  The most important nautical innovation of the Song period seems to have been the introduction of the magnetic mariner's compass, which permitted accurate navigation on the open sea regardless of the weather. The magnetized compass needle – known in Chinese as the "south-pointing needle" – was first described by Shen Kuo in his 1088 Dream Pool Essays and first mentioned in active use by sailors in Zhu Yu's 1119 Pingzhou Table Talks. There were other considerable advancements in hydraulic engineering and nautical technology during the Song dynasty. The 10th-century invention of the pound lock for canal systems allowed different water levels to be raised and lowered for separated segments of a canal, which significantly aided the safety of canal traffic and allowed for larger barges. There was the Song-era innovation of watertight bulkhead compartments that allowed damage to hulls without sinking the ships. If ships were damaged, the Chinese of the 11th century employed drydocks to repair them while suspended out of the water. The Song used crossbeams to brace the ribs of ships in order to strengthen them in a skeletal-like structure. Stern-mounted rudders had been mounted on Chinese ships since the 1st century, as evidenced with a preserved Han tomb model of a ship. In the Song period, the Chinese devised a way to mechanically raise and lower rudders in order for ships to travel in a wider range of water depths. The Song arranged the protruding teeth of anchors in a circular pattern instead of in one direction. David Graff and Robin Higham state that this arrangement "[made] them more reliable" for anchoring ships.  Guess a valid title for it!
Ans: Song dynasty