Problem: Given the question: Given the below context:  At 53°29′38″N 2°6′11″W (53.4941°, −2.1032°), and 160 miles (257 km) north-northwest of London, Ashton-under-Lyne stands on the north bank of the River Tame, about 35 feet (11 m) above the river. Described in Samuel Lewis's A Topographical Dictionary of England (1848) as situated "on a gentle declivity", Ashton-under-Lyne lies on undulating ground by the Pennines, reaching a maximum elevation of about 1,000 feet (305 m) above sea level. It is 6.2 miles (10.0 km) east of Manchester city centre, and is bound on all sides by other towns: Audenshaw, Droylsden, Dukinfield, Mossley, Oldham and Stalybridge, with little or no green space between them. Ashton experiences a temperate maritime climate, like much of the British Isles. Generally the bedrock of the west of the town consists of coal measures, which were exploited by the coal mining industry, while the east is mainly millstone grit. Overlying the bedrock are deposits of glacial sand and gravel, clay, and some alluvial deposits. Ashton Moss, a peat bog, lies to the west of the town and was originally much larger. The River Tame forms part of the southern boundary, dividing the town from Stalybridge and Dukinfield, and the River Medlock runs to the west. Ashton's built environment is similar to the urban structure of most towns in England, consisting of residential dwellings centred on a market square and high street in the town centre, which is the local centre of commerce. There is a mixture of low-density urban areas, suburbs, semi-rural and rural locations in Ashton-under-Lyne, but overwhelmingly the land use in the town is residential; industrial areas and terraced houses give way to suburbs and rural greenery as the land rises out of the town in the east. The older streets are narrow and irregular, but those built more recently are spacious, lined by "substantial and handsome houses". Areas and suburbs of Ashton-under-Lyne include Cockbrook, Crowhill, Guide Bridge, Hartshead, Hazelhurst, Hurst, Limehurst, Ryecroft, Taunton and Waterloo.  Guess a valid title for it!
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The answer is:
Ashton-under-Lyne


Problem: Given the question: Given the below context:  Makeba was among the most visible people campaigning against the apartheid system in South Africa, and was responsible for popularising several anti-apartheid songs, including "Meadowlands" by Strike Vilakezi and "Ndodemnyama we Verwoerd" (Watch out, Verwoerd) by Vuyisile Mini. Due to her high profile, she became a spokesperson of sorts for Africans living under oppressive governments, and in particular for black South Africans living under apartheid. When the South African government prevented her from entering her home country, she became a symbol of "apartheid's cruelty", and she used her position as a celebrity by testifying against apartheid before the UN in 1962 and 1964. Many of her songs were banned within South Africa, leading to Makeba's records being distributed underground, and even her apolitical songs being seen as subversive. She thus became a symbol of resistance to the white-minority government both within and outside South Africa. In an interview in 2000, Masekela said that "there [was] nobody in Africa who made the world more aware of what was happening in South Africa than Miriam Makeba."Makeba has also been associated with the movement against colonialism, with the civil rights and black power movements in the US, and with the Pan-African movement. She called for unity between black people of African descent across the world: "Africans who live everywhere should fight everywhere. The struggle is no different in South Africa, the streets of Chicago, Trinidad or Canada. The Black people are the victims of capitalism, racism and oppression, period". After marrying Carmichael she often appeared with him during his speeches; Carmichael later described her presence at these events as an asset, and Feldstein wrote that Makeba enhanced Carmichael's message that "black is beautiful". Along with performers such as Simone, Lena Horne, and Abbey Lincoln, she used her position as a prominent musician to advocate for civil rights. Their activism has been described as simultaneously calling attention to...  Guess a valid title for it!
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The answer is:
Miriam Makeba


Problem: Given the question: Given the below context:  In May 1836 Bennett travelled to Düsseldorf in the company of Davison to attend the Lower Rhenish Music Festival for the first performance of Mendelssohn's oratorio St Paul. Bennett's visit was enabled by a subsidy by the piano-making firm of John Broadwood & Sons. Inspired by his journey up the Rhine, Bennett began work on his overture The Naiads (Op. 15). After Bennett left for home, Mendelssohn wrote to their mutual friend, the English organist and composer Thomas Attwood, "I think him the most promising young musician I know, not only in your country but also here, and I am convinced if he does not become a very great musician, it is not God's will, but his own". After Bennett's first visit to Germany there followed three extended visits to work in Leipzig. He was there from October 1836 to June 1837, during which time he made his debut at the Gewandhaus as the soloist in his Third Piano Concerto with Mendelssohn conducting. He later conducted his Naiads overture. During this visit he also arranged the first cricket match ever played in Germany, ("as fitting a Yorkshireman" as the musicologist Percy M. Young comments). At this time Bennett wrote to Davison:[Mendelssohn] took me to his house and gave me the printed score of [his overture] 'Melusina', and afterwards we supped at the 'Hôtel de Bavière', where all the musical clique feed ... The party consist[ed] of Mendelssohn, [Ferdinand] David, Stamity [sic] ... and a Mr. Schumann, a musical editor, who expected to see me a fat man with large black whiskers.  Bennett had been at first slightly in awe of Mendelssohn, but no such formality ever attached to Bennett's friendship with Robert Schumann, with whom he went on long country walks by day and visited the local taverns by night. Each dedicated a large-scale piano work to the other: in August 1837 Schumann dedicated his Symphonic Studies to Bennett, who reciprocated the dedication a few weeks later with his Fantasie, Op. 16. Schumann was eloquently enthusiastic about Bennett's music; in 1837 he devoted...  Guess a valid title for it!
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The answer is:
William Sterndale Bennett