Q: Given the below context:  Paul Helfeld (also given as Hefeld), aged 21 in 1909, and Jacob Lepidus (also reported as Lapidus), who was 25 the same year, were Jewish-Latvian immigrants. They had been members of the Latvian Socialist Party and, although they had not held positions of responsibility, they had smuggled revolutionary literature into Russia for the party. The pair had been living in Paris in 1907, along with Lepidus's brother Paul, a revolutionary bomber who went under the nom de guerre "Strygia"; Jacob was described in The Times as a "member of a notorious Russian revolutionary family". On 1 May 1907 Paul Lepidus was killed when a bomb he was carrying to assassinate Armand Fallières, the President of France, exploded prematurely. Lepidus and Helfeld fled the country and lived in Scotland for a year, before moving to Tottenham.Both men joined a small group of Latvian agitators living in north London; according to other members of the group, the pair had criminal records and had joined as a cover for the robberies they carried out. Lepidus was employed, briefly, at a furniture factory, while Helfeld took a job at the Schnurmann rubber factory in Tottenham. Helfeld refused to give his name when he joined the company, so he was listed on the time sheets as "Elephant" in reference to his bulk. Situated on the corner of Tottenham High Road and Chesnut Road, the factory sat opposite Tottenham Police Station, which was under the control of the Metropolitan Police.Special Branch suspected another individual, the Russian revolutionary Christian Salnish, of having organised the robbery. Salnish, who often went under the name Jacob Fogel, had been an active revolutionary since the age of 13. He participated in the 1905 Russian Revolution and afterwards helped to build resistance groups in the Baltic states and Saint Petersburg, then the capital of Imperial Russia. Special Branch suspected a political element to the crime based on Salnish's involvement, but as both Helfeld and Lepidus died during the chase, the motivation for the crime...  Guess a valid title for it!
A: Tottenham Outrage

Q: Given the below context:  From the moment the three were grounded on 14 July, Strindberg's highly specialized cartographic camera, which had been brought to map the region from the air, became instead a means of recording daily life in the icescape and the constant danger and drudgery of the trek. Strindberg took about 200 photos with his seven-kilogram (15 lb) camera over the course of the three months they spent on the pack ice, one of the most famous being his picture of Andrée and Frænkel contemplating the fallen Eagle (see image above).Andrée and Frænkel also kept meticulous records of their experiences and geographical positions, Andrée in his "main diary," Frænkel in his meteorological journal. Strindberg's own stenographic diary was more personal in content, and included his general reflections on the expedition, as well as several messages to his fiancée Anna Charlier. All three manuscripts were eventually retrieved from the ice on Kvitøya in 1930. The Eagle had been stocked with safety equipment such as guns, snowshoes, sleds, skis, a tent, a small boat (in the form of a bundle of bent sticks, to be assembled and covered with balloon silk), most of it stored not in the basket but in the storage space arranged above the balloon ring. These items had not been put together with great care, or with any acknowledgment of adopting indigenous peoples' techniques for dealing with the extreme environment. In this, Andrée contrasted not only with later but also with many earlier explorers. Sven Lundström points to the agonizing extra efforts that became necessary for the team due to Andrée's mistaken design of the sleds, with a rigid construction that borrowed nothing from the long proven Inuit sleds, and were so impractical for the difficult terrain. Andrée called it "dreadful terrain", with channels separating the ice floes, high ridges, and partially iced-over melt ponds. The men's clothes included no furs but were woolen coats and trousers, plus oilskins. They wore the oilskins but the explorers reported always seeming to be damp...  Guess a valid title for it!
A: Andrée's Arctic balloon expedition

Q: Given the below context:  Minogue's efforts to be taken seriously as a recording artist were initially hindered by the perception that she had not "paid her dues" and was no more than a manufactured pop star exploiting the image she had created during her stint on Neighbours. Minogue acknowledged this viewpoint, saying, "If you're part of a record company, I think to a degree it's fair to say that you're a manufactured product. You're a product and you're selling a product. It doesn't mean that you're not talented and that you don't make creative and business decisions about what you will and won't do and where you want to go."In 1993, Baz Luhrmann introduced Minogue to photographer Bert Stern, notable for his work with Marilyn Monroe. Stern photographed her in Los Angeles and, comparing her to Monroe, commented that Minogue had a similar mix of vulnerability and eroticism. Throughout her career, Minogue has chosen photographers who attempt to create a new "look" for her, and the resulting photographs have appeared in a variety of magazines, from the cutting edge The Face to the more traditionally sophisticated Vogue and Vanity Fair, making the Minogue face and name known to a broad range of people. Stylist William Baker has suggested that this is part of the reason she entered mainstream pop culture in Europe more successfully than many other pop singers who concentrate solely on selling records.By 2000, Minogue was considered to have achieved a degree of musical credibility for having maintained her career longer than her critics had expected. Her progression from the wholesome "girl next door" to a more sophisticated performer with a flirtatious and playful persona attracted new fans. Her "Spinning Around" video led to some media outlets referring to her as "SexKylie", and sex became a stronger element in her subsequent videos. William Baker described her status as a sex symbol as a "double edged sword", observing that "we always attempted to use her sex appeal as an enhancement of her music and to sell a record. But now it has...  Guess a valid title for it!
A:
Kylie Minogue