Given the below context:  In December 1775, Cletus Moyer is a free black Northerner in colonial America, working with a pre-Underground Railroad network to help slaves escape captivity. In the days just prior to Christmas, a group of bounty hunters led by Hattie Carraway captures Moyer near the Parker plantation in Spotsylvania County, Virginia. Because of his capture, dozens of slaves who have already left their plantations in escape attempts are in danger of being captured as well. Moyer implores two slaves from the nearby Reynolds plantation to take his place: Kunta Kinte, a Mandinka in his mid-twenties who was captured in what is now the Gambia, and Fiddler, an elderly man who was born into slavery. Kunta is eager to help (and to escape himself), but Fiddler is unwilling, fearful of the consequences if they are caught. After an unsuccessful slave revolt elsewhere in the colony, Moyer and two slaves are hanged by Carraway's men on Christmas Eve, prompting Fiddler to set aside his fear and help Kunta lead the runaway slaves to freedom. Although the pair successfully leads the runaways that night to their next stop on the escape route (a boat waiting at the river) there is only room for one of them, and since neither one wants to go without the other, they both decide to stay.  That choice forces them to return to the Parker plantation and manufacture an excuse for their temporary absence. Nevertheless, Kunta and Fiddler are left with the satisfaction of knowing that they helped to give a group of fellow slaves the best Christmas gift of all: freedom.  Guess a valid title for it!
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Answer: Roots: The Gift


Q: Given the below context:  In 2001, M.I.A. (Mathangi "Maya" Arulpragasam) had worked exclusively in the visual arts. While filming a documentary on Elastica's 2001 tour of the US, she was introduced to the Roland MC-505 sequencer/drum machine by electroclash artist Peaches, whose minimalistic approach to music inspired her. She found Peaches' decision to perform without additional instrumentation to be brave and liberating and felt that it emphasised the artist. Returning to London, she unexpectedly gained access to a 505 owned by her friend, former Elastica singer Justine Frischmann. M.I.A. used the 505 to make demo recordings in her bedroom. She initially planned to work as a producer. To this end, she approached Caribbean girls in clubs to see if they would provide vocals for the songs, but without success. M.I.A. secured a record deal with XL Recordings after Frischmann's manager overheard the demo. M.I.A. began work on the album by composing lyrics and melodies, and she programmed drum beats at home on the drum machine. Having produced rough tracks via trial and error, she honed the finished songs in collaboration with other writer-producers. Through these collaborations, she sought to produce a diverse style and "drag [her collaborators] out of their boxes, musically".DJ Diplo introduced elements of Brazilian baile funk to "Bucky Done Gun". Fellow composer-producer Richard X worked on the track "Hombre", which featured a drum pattern created from the sounds made by toys that M.I.A. had bought in India, augmented with sounds produced by objects such as pens and mobile phones. Steve Mackey and Ross Orton, known professionally as Cavemen, worked on "Galang", which M.I.A. had initially produced with her 505 and a basic four-track tape recorder. Working with Cavemen in a professional studio, she added a bass line and new vocals to give the song "a more analogue sound" than was possible with the 505. The track was co-written by Frischmann, whose input M.I.A. described as "refreshing". She initially hoped to feature guest vocalists on...  Guess a valid title for it!
A: Arular


Given the below context:  In the opinion of Robin Fedden, a diplomat, and later Deputy General Secretary of the National Trust and author of the Trust's first guidebook for Chartwell, the house became "the most important country house in Europe". A stream of friends, colleagues, disgruntled civil servants and concerned military officers came to the house to provide information to support Churchill's struggle against appeasement. At Chartwell, he developed what Fedden calls, his own "little Foreign Office ... the hub of resistance". The Chartwell visitors' book, meticulously maintained from 1922, records some 780 house guests, not all of them friends, but all grist to Churchill's mill. An example of the latter was Sir Maurice Hankey, Clerk of the Privy Council, who was Churchill's guest for dinner in April 1936. Hankey subsequently wrote, "I do not usually make a note of private conversations but some points arose which gave an indication of the line which Mr Churchill is likely to take in forthcoming debates (on munitions and supply) in Parliament". A week later, Reginald Leeper, a senior Foreign Office official and confident of Robert Vansittart, visited Churchill to convey their views on the need to use the League of Nations to counter German aggression. Vansittart wrote, "there is no time to lose. There is indeed a great danger that we shall be too late".Churchill also recorded visits to Chartwell by two more of his most important suppliers of confidential governmental information, Desmond Morton and Ralph Wigram, information which he used to "form and fortify my opinion about the Hitler Movement". Chartwell was also the scene of more direct attempts to prepare Britain for the coming conflict; in October 1939, when reappointed First Lord of the Admiralty on the outbreak of war, Churchill suggested an improvement for anti-aircraft shells; "Such shells could be filled with zinc ethyl which catches fire spontaneously ... A fraction of an ounce was demonstrated at Chartwell last summer".In 1938, Churchill, beset by financial concerns,...  Guess a valid title for it!
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Answer:
Chartwell