[Q]: Given the below context:  Sydney Morning Herald commentator Bernard Zuel described Dream Days at the Hotel Existence as Powderfinger's first dull album, noting that on numerous songs "It promises to become exciting but never quite gets there." He complained that most of the songs were uneventful, or uninspiring, and that they do not "lift you as a listener." PerthNow's Jay Hanna disagreed, claiming the album was "rippling with emotions". He said the album contained some "incredible moments", praising "Head Up in the Clouds", and calling "Nobody Sees" "Powderfinger at their devastating best", while giving the album four stars.Cameron Adams of Herald Sun HiT stated that the album contained no new directions for the band, and was highly consistent. He noted that the album contained less "rough edges and attitude" than predecessor Vulture Street, and likening the album more to Odyssey Number Five. Sputnikmusic's James Bishop agreed, claiming the band should be concerned by the "lack of experimentation or ambition" on the album. He again stated that the album was consistent, noting that "there actually isn't a bad song present". The review, which gave the album three and a half stars, commented that it seemed the band were trying to move towards the bluegrass genre, and "edging their way into the adult-contemporary section" of a music store, something they had not shown on their previous works.AllMusic's Clayton Bolger drew comparisons to Internationalist in his review, which gave the album 3 and a half stars. He said the album contained "all the trademarks of classic Powderfinger", praising Fanning's vocals, Middleton and Haug's "twin-guitar attack", Collins' basslines and Coghill's "powerhouse drum work". While praising "I Don't Remember" as an excellent anthem, and "Surviving" for containing "a sonic blast of rock", he was critical of "Lost and Running", which he said felt "tired and sluggish", while "Ballad of a Dead Man" was described as "tedious".  Guess a valid title for it!
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[A]: Dream Days at the Hotel Existence 1


[Q]: Given the below context:  This article is about the residential palace. For the other palace on the same grounds, see Schloss Favorite, Ludwigsburg. For the city, see Ludwigsburg. For the porcelain manufactory, see Ludwigsburg porcelain. Ludwigsburg Palace (Residenzschloss Ludwigsburg), also known as the "Versailles of Swabia", is a 452-room palace complex of 18 buildings located in Ludwigsburg, Baden-Württemberg, Germany. Its total area, including the gardens, is 32 ha (79 acres)—the largest palatial estate in the country. The palace has four wings: the northern wing, the Alter Hauptbau, is the oldest and was used as a ducal residence; the east and west wings were used for court purposes and housing guests and courtiers; the southern wing, the Neuer Hauptbau, was built to house more court functions and was later used as a residence. Eberhard Louis, Duke of Württemberg, appointed Philipp Joseph Jenisch to direct the work and construction began in 1704. In 1707, Jenisch was replaced with Johann Friedrich Nette, who completed the majority of the palace and surrounding gardens. Nette died in 1714, and Donato Giuseppe Frisoni finished much of the palace facades. In the final year of construction, Eberhard Louis died and the Neue Hauptbau's interiors were left incomplete. Charles Eugene's court architect, Philippe de La Guêpière, completed and refurbished parts of the New Hauptbau in the Rococo style, especially the palace theatre. Charles Eugene abandoned the palace for Stuttgart in 1775. Duke Frederick II, later King Frederick I, began using Ludwigsburg as his summer residence in the last years of Charles Eugene's reign. Frederick and his wife Charlotte, Princess Royal, resided at Ludwigsburg and employed Nikolaus Friedrich von Thouret to renovate the palace in the Neoclassical style. Thouret converted much of Ludwigsburg's interiors over the reign of Frederick and later life of Charlotte. As a result of each architect's work, Ludwigsburg is a combination of Baroque, Rococo, Neoclassical, and Empire style architecture. The constitutions...  Guess a valid title for it!
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[A]: Ludwigsburg Palace


[Q]: 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!
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[A]:
Pardon Us