Given the below context:  In selecting his crew, De Long's priority was men with Arctic experience. For his second-in-command he chose lieutenant Charles W. Chipp, who had served with him on the Little Juniata adventure. Another veteran of the Polaris rescue mission, George W. Melville, was appointed as ship's engineer. Other experienced Arctic hands were William F. C. Nindemann, a Polaris survivor, and the ice pilot William Dunbar, who had many years' experience in whalers.The appointment of the expedition's navigating officer was problematic; John W. Danenhower, a young naval officer from a well-connected Washington family, was recommended to Bennett by the former president Ulysses S. Grant. Such sponsorship won Danenhower his place, despite a history of depression that had seen him briefly incarcerated at the Government Hospital for the Insane. On Bennett's request, Danenhower accompanied De Long on the voyage from Le Havre to San Francisco, during which he confided details of his medical history. The navigator's competent performance persuaded De Long that such troubles were in the past.The ship's surgeon, James Ambler, was assigned to the expedition by the Navy's Bureau of Medicine and Surgery, only because he was next on the list of medical officers available for sea duty. Ambler deduced from Danenhower's medical records that a probable cause of the navigator's medical lapses was syphilis, but Danenhower's influential connections ensured that he kept his place on the expedition.Two others from Jeannette's voyage from Le Havre, carpenter Albert Sweetman and boatswain John Cole, were enlisted, as was the Herald's meteorologist, Jerome Collins. Dubbed "chief scientist," he was in charge of the Edison apparatus and of a rudimentary telephone system that De Long hoped to utilize. The remaining places were filled from a long list of applicants; the cook and steward were recruited by Danenhower from San Francisco's Chinatown.  Guess a valid title for it!
----
Answer: Jeannette Expedition


Given the below context:  The Mothers of Invention played in New York in late 1966 and were offered a contract at the Garrick Theater (at 152 Bleecker Street, above the Cafe au Go Go) during Easter 1967. This proved successful and Herb Cohen extended the booking, which eventually lasted half a year. As a result, Zappa and his wife, along with the Mothers of Invention, moved to New York. Their shows became a combination of improvised acts showcasing individual talents of the band as well as tight performances of Zappa's music. Everything was directed by Zappa using hand signals. Guest performers and audience participation became a regular part of the Garrick Theater shows. One evening, Zappa managed to entice some U.S. Marines from the audience onto the stage, where they proceeded to dismember a big baby doll, having been told by Zappa to pretend that it was a "gook baby".Zappa uniquely contributed to the avant-garde, anti-establishment music scene of the 1960s, sampling radio tape recordings and incorporating his own philosophical ideals to music and freedom of expression in his pieces. Bands such as AMM and Faust also contributed to the radio sampling techniques of the 1960s. Situated in New York, and only interrupted by the band's first European tour, the Mothers of Invention recorded the album widely regarded as the peak of the group's late 1960s work, We're Only in It for the Money (released 1968). It was produced by Zappa, with Wilson credited as executive producer. From then on, Zappa produced all albums released by the Mothers of Invention and as a solo artist. We're Only in It for the Money featured some of the most creative audio editing and production yet heard in pop music, and the songs ruthlessly satirized the hippie and flower power phenomena. He sampled plundered surf music in We're only in It for the Money, as well as the Beatles' tape work from their song Tomorrow Never Knows. The cover photo parodied that of the Beatles' Sgt. Pepper's Lonely Hearts Club Band. The cover art was provided by Cal Schenkel whom Zappa met...  Guess a valid title for it!
----
Answer: Frank Zappa


Given the below context:  Seoba Srba (English: Migration of the Serbs) is a set of four similar oil paintings by the Serbian artist Paja Jovanović that depict Serbs, led by Archbishop Arsenije III, fleeing Old Serbia during the Great Serb Migration of 1690–91. The first was commissioned in 1895 by Georgije Branković, the Patriarch of Karlovci, to be displayed at the following year's Budapest Millennium Exhibition. In the view of the Serbian clergy, it would serve to legitimize Serb claims to religious autonomy and partial self-administration in Austria-Hungary by upholding the contention that Serbs left their homeland at the behest of the Holy Roman Emperor to protect the Habsburg Monarchy's borders. Measuring 380 by 580 centimetres (150 by 230 in), the first painting was completed in 1896, and presented to Patriarch Georgije later that year. Dissatisfied, the Patriarch asked Jovanović to adjust his work to conform with the Church's view of the migration. Though Jovanović made the changes relatively quickly, he could not render them in time for the painting to be displayed in Budapest, and it therefore had to be unveiled at the Archbishop's palace in Sremski Karlovci. Jovanović went on to complete a total of four versions of the painting, three of which survive. The first version is on display at the patriarchate building of the Serbian Orthodox Church in Belgrade, the second at the Pančevo Museum, and the fourth at Princess Ljubica's Residence, in Belgrade. Migration of the Serbs holds iconic status in Serbian popular culture, and several authors repute it to be one of Jovanović's finest achievements.  Guess a valid title for it!
----
Answer:
Migration of the Serbs