Question: Given the below context:  The first single from the album was "The Day You Come", a politically and socially influenced song. The band did not intend for it to be the first single, and released it only when they could not decide on anything else. Haug said it being "a pretty inoffensive song musically" helped Powderfinger make that decision. "The Day You Come" spent nine weeks on the ARIA Charts, peaking at #25.The second single was the double a-side, "Don't Wanna Be Left Out/Good-Day Ray", released on 9 November 1998. "Don't Wanna Be Left Out", a song about a friend of Fanning's who had difficulty in social situations, was one of the roughest Powderfinger songs to date. 'Don't Wanna Be Left Out' could be comfortably ranked with other Powderfinger songs such as 'Lighten My Load' and 'Rise Up'. Drummer Jon Coghill described it as the most difficult Powderfinger song to play live at the time, because it was so "fast and offbeat". The music video for "Don't Wanna Be Left Out" was unpopular and drew criticism from band members. "Good-Day Ray" was dedicated to Australian television presenter Ray Martin and his public disagreements with former Media Watch host Stuart Littlemore. Its lyrics verged on punk, though Coghill denied that Powderfinger were a punk band. He also described the music video for "Good-Day Ray" as being one of the better videos the band had made.Internationalist's third single was "Already Gone", released on 12 February 1999. The song was a tribute to the Beatles and their influence on Powderfinger's music. The fourth and final single from the album was "Passenger", released on 9 August 1999.  "Passenger" was influenced by Elvis Presley, and included a big horn section, as well as backing vocals from folk group Tiddas. "Passenger" won the ARIA Award for "Song Of The Year" in 1999. The song's music video was one of Powderfinger's first to feature computer graphics, and was produced by Fifty Fifty Films. "Passenger" spent 11 weeks on the ARIA Charts, peaking at #30. It appeared at #48 on Max's top 100 songs from the 1990s list.  Guess a valid title for it!
Answer: Internationalist (album) 1

Question: Given the below context:  The splendid fairywren is one of eleven species of the genus Malurus, commonly known as fairywrens, found in Australia and lowland New Guinea. Within the genus it is most closely related to the superb fairywren. These two "blue wrens" are closely related to the purple-crowned fairywren of north-western Australia.Specimens were initially collected at King George Sound, and the splendid fairywren then described as Saxicola splendens by the French naturalists Jean René Constant Quoy and Joseph Paul Gaimard in 1830, three years before John Gould gave it the scientific name of Malurus pectoralis and vernacular name of banded superb-warbler. Though he correctly placed it in the genus Malurus, the specific name of the former authors took priority. The specific epithet is derived from the Latin splendens, which means "shining". Like other fairywrens, the splendid fairywren is unrelated to the true wren. It was first classified as a member of the Old World flycatcher family Muscicapidae by Richard Bowdler Sharpe, though it was later placed in the warbler family Sylviidae by the same author, before being placed in the newly recognised family Maluridae in 1975. More recently, DNA analysis has shown the family Maluridae to be related to the family Meliphagidae (the honeyeaters), and the family Pardalotidae within a large superfamily, Meliphagoidea.The splendid fairywren is also alternatively named the splendid blue wren.  Guess a valid title for it!
Answer: Splendid fairywren 1

Question: Given the below context:  At Eynsford, with Moeran as his co-tenant, Heseltine presided over a bohemian household with a flexible population of artists, musicians and friends. Moeran had studied at the Royal College of Music before and after the First World War; he avidly collected folk music and had admired Delius during his youth. Although they had much in common, he and Heseltine rarely worked together, though they did co-write a song, "Maltworms". The other permanent Eynsford residents were Barbara Peache, Heseltine's long-term girlfriend whom he had known since the early 1920s, and Hal Collins, a New Zealand Māori who acted as a general factotum. Peache was described by Delius's assistant Eric Fenby as "a very quiet, attractive girl, quite different from Phil's usual types". Although not formally trained, Collins was a gifted graphic designer and occasional composer, who sometimes assisted Heseltine. The household was augmented at various times by the composers William Walton and Constant Lambert, the artist Nina Hamnett, and sundry acquaintances of both sexes.The ambience at Eynsford was one of alcohol (the "Five Bells" public house was conveniently across the road) and uninhibited sexual activity. These years are the primary basis for the Warlock legends of wild living and debauchery. Visitors to the house left accounts of orgies, all-night drunken parties, and rough horseplay that at least once brought police intervention. However, such activities were mainly confined to weekends; within this unconventional setting Heseltine accomplished much work, including settings from the Jacobean dramatist John Webster and the modern poet Hilaire Belloc, and the Capriol Suite in versions for string and full orchestra. Heseltine continued to transcribe early music, wrote articles and criticism, and finished the book on Gesualdo. He attempted to restore the reputation of a neglected Elizabethan composer, Thomas Whythorne, with a long pamphlet which, years later, brought significant amendments to Whythorne's entry in The History of Music in...  Guess a valid title for it!
Answer:
Peter Warlock