Problem: Given the below context:  On the evening of 13 December Mawson and Mertz rearranged the sledges. The rear-most sledge, which had carried the most weight, was well-worn, and they decided to abandon it. The remaining supplies were re-distributed between the remaining two sledges. Most of the important supplies—the tent and most of the food—were stored on the new rear sledge; if they were to lose a sledge down a crevasse, they reasoned, it would be the front, less-vital sledge. As the rear sledge was heavier, the strongest of remaining dogs were assigned to pull it. At the camp they left a small amount of supplies, including the abandoned sledge and a tent cover, without the floor or poles.By noon the next day they had covered 311 miles (501 km) from the Cape Denison hut. Mertz was ahead on skis, breaking trail. Mawson sat on the first sledge; Ninnis walked beside the second. In his diary that night, Mertz recounted: Around 1 pm, I crossed a crevasse, similar to the hundred previous ones we had passed during the last weeks. I cried out "crevasse!", moved at right angle, and went forward. Around five minutes later, I looked behind. Mawson was following, looking at his sledge in front of him. I couldn't see Ninnis, so I stopped to have a better look. Mawson turned round to know the reason I was looking behind me. He immediately jumped out of his sledge, and rushed back. When he nodded his head, I followed him, driving back his sledge. Ninnis, his sledge and dog team had fallen through a crevasse 11 feet (3.4 m) wide with straight, ice walls. On a ledge deep in the hole, Mawson and Mertz could see the bodies of two dogs—one still alive, but seriously injured—and the remains of Ninnis' sledge. There was no sign of their companion. They measured the distance to the ledge as 150 feet (46 m), too far for their ropes to reach. "Dog ceased to moan shortly", wrote Mawson in his diary that night. "We called and sounded for three hours, then went a few miles to a hill and took position observations. Came back, called & sounded for an hour. Read the...  Guess a valid title for it!

A: Far Eastern Party


Problem: Given the below context:  While songs such as "Overcome" and "Suffocated Love" dealt with themes of "sexual paranoia and male dread of intimacy", the rest of Maxinquaye explored the psychological tolls of the British recreational drug culture, which Reynolds said served as a "temporary utopia" for a generation of users who otherwise lacked a "constructive outlet for its idealism". He felt the album's cover art, featuring rusting metal surfaces, represented the cultural decline explored in the music's themes. Tricky drew on Rastafarian ideas about end time for the record, although unlike adherents to that movement he did not disassociate himself from "Babylon", or the degenerate qualities of Western society, writing lyrics such as "my brain thinks bomb-like/beware of our appetite" on "Hell Is Round the Corner". He later told Reynolds, "I'm part of this fuckin' psychic pollution ... It's like, I can be as greedy as you. The conditioned part of me says 'yeah, I'm gonna go out and make money, I'm going to rule my own little kingdom.'" Christgau deemed the album's songs "audioramas of someone who's signed on to work for the wages of sin and lived to cash the check", while O'Hagan said Tricky's "impressionistic prose poems" were written from the deviant perspective of the urban hedonist: "Maxinquaye is the sound of blunted Britain, paranoid and obsessive ... This was the inner-city blues, Bristol style".The songs "Ponderosa", "Strugglin'", and "Hell Is Round the Corner" were inspired by Tricky's experiences with marijuana, alcohol, cocaine, and ecstasy, particularly a two-year binge and consequent state of despondency while on Massive Attack's payroll after the completion of Blue Lines. His stream-of-consciousness lyrics on Maxinquaye explore the delirious, despondent, and emotionally unstable state associated with drug use while offering a pessimistic view of the drug culture, as Tricky viewed the high of cocaine undeserved and the depth of thought achieved through ecstasy unsubstantial. In Reynolds' opinion, Tricky's experiences with...  Guess a valid title for it!

A: Maxinquaye


Problem: Given the below context:  In 1859 Burges began work with Ambrose Poynter on the Maison Dieu, Dover, which was completed in 1861. Emulation of the original medieval style can be seen in his renovation of the grotesque animals and in the coats of arms incorporated into his new designs. Burges later designed the Council Chamber, added in 1867, and in 1881 began work on Connaught Hall in Dover, a town meeting and concert hall. The new building contained meeting rooms and mayoral and official offices. Although Burges designed the project, most of it was completed after his death by his partners, Pullan and Chapple. The listed status of the Maison Dieu was reclassified as Grade I in 2017 and Dover District Council, the building's owner, is seeking grant funding to enable a restoration, focussing on Burges's work.In 1859–60, Burges took over the restoration of Waltham Abbey from Poynter, working with Poynter's son Edward Poynter and with furniture makers Harland and Fisher. He commissioned Edward Burne-Jones of James Powell & Sons to make three stained-glass windows for the east end, representing the Tree of Jesse. The Abbey is a demonstration of Burges's skills as a restorer, with "a profound sensitivity towards medieval architecture." Mordaunt Crook wrote of Burges's interior that, "it meets the Middle Ages as an equal." In 1861–2, Burges was commissioned by Charles Edward Lefroy, secretary to the Speaker of the House of Commons, to build All Saints Church, Fleet, as a memorial to Lefroy's wife. She was the daughter of James Walker, who established the marine engineering company of Walker and Burges with Burges's father Alfred, and this family connection brought Burges the commission. Pevsner says of Fleet that "it has no shape, nor character nor notable buildings, except one," that one being All Saints. The church is of red brick and Pevsner considered it "astonishingly restrained." The interior too is simply decorated but the massive sculpture, particularly of the tomb of the Lefroys and of the gabled arch below which the tomb originally...  Guess a valid title for it!

A:
William Burges