input question: Given the below context: Hope is a Symbolist oil painting by the English painter George Frederic Watts, who completed the first two versions in 1886. Radically different from previous treatments of the subject, it shows a lone blindfolded female figure sitting on a globe, playing a lyre that has only a single string remaining. The background is almost blank, its only visible feature a single star. Watts intentionally used symbolism not traditionally associated with hope to make the painting's meaning ambiguous. While his use of colour in Hope was greatly admired, at the time of its exhibition many critics disliked the painting. Hope proved popular with the Aesthetic Movement, who considered beauty the primary purpose of art and were unconcerned by the ambiguity of its message. Reproductions in platinotype, and later cheap carbon prints, soon began to be sold. Although Watts received many offers to buy the painting, he had agreed to donate his most important works to the nation and felt it would be inappropriate not to include Hope. Consequently, later in 1886 Watts and his assistant Cecil Schott painted a second version. On its completion Watts sold the original and donated the copy to the South Kensington Museum (now the Victoria and Albert Museum); thus, this second version is better known than the original. He painted at least two further versions for private sale. As cheap reproductions of Hope, and from 1908 high-quality prints, began to circulate in large quantities, it became a widely popular image. President Theodore Roosevelt displayed a copy at his Sagamore Hill home in New York; reproductions circulated worldwide; and a 1922 film depicted Watts's creation of the painting and an imagined story behind it. By this time Hope was coming to seem outdated and sentimental, and Watts was rapidly falling out of fashion. In 1938 the Tate Gallery ceased to keep their collection of Watts's works on permanent display. Despite the decline in Watts's popularity, Hope remained influential. Martin Luther King Jr. based a 1959 sermon, now... Guess a valid title for it!???
output answer: Hope (painting)

input question: Given the below context: Tuesday, 4 September was the day of greatest destruction. The Duke of York's command post at Temple Bar, where Strand meets Fleet Street, was supposed to stop the fire's westward advance towards the Palace of Whitehall. He hoped that the River Fleet would form a natural firebreak, making a stand with his firemen from the Fleet Bridge and down to the Thames. However, early on Tuesday morning, the flames jumped over the Fleet and outflanked them, driven by the unabated easterly gale, forcing them to run for it. There was consternation at the palace as the fire continued implacably westward; "Oh, the confusion there was then at that court!" wrote Evelyn. Working to a plan at last, James's firefighters had also created a large firebreak to the north of the conflagration. It contained the fire until late afternoon, when the flames leapt across and began to destroy the wide affluent luxury shopping street of Cheapside. Everybody had thought St. Paul's Cathedral a safe refuge, with its thick stone walls and natural firebreak in the form of a wide empty surrounding plaza. It had been crammed full of rescued goods and its crypt filled with the tightly packed stocks of the printers and booksellers in adjoining Paternoster Row. However, the building was covered in wooden scaffolding, undergoing piecemeal restoration by Christopher Wren, who was relatively unknown then. The scaffolding caught fire on Tuesday night. Leaving school, young William Taswell stood on Westminster Stairs a mile away and watched as the flames crept round the cathedral and the burning scaffolding ignited the timbered roof beams. Within half an hour, the lead roof was melting, and the books and papers in the crypt caught with a roar. "The stones of Paul's flew like grenados," reported Evelyn in his diary, "the melting lead running down the streets in a stream, and the very pavements glowing with fiery redness, so as no horse, nor man, was able to tread on them." The cathedral was quickly a ruin. In St.Paul's, falling heavy masonry broke through... Guess a valid title for it!???
output answer: Great Fire of London

input question: Given the below context: Jack Dempsey starts out fighting in bars for half the take. He wins his first professional fight. After a later bout, he and his manager are held up at gunpoint and robbed of the purse. He sees the thieves later and beats them up to recover the cash. Jack meets Maxine Cates, but goes to New York to box. After a bout with John Lester Johnson is a draw, he breaks with his manager and goes back to Salt Lake City and marries Maxine. After money disputes with her Maxine leaves and Dempsey goes to San Francisco. Kerns becomes his manager. He wins fights goes to New York and divorces Maxine. He beats Jess Willard by a TKO and becomes heavyweight champ. He goes to Hollywood to make films and gets sued for non-support by Maxine. He fights Luis Firpo and is knocked out of the ring, but still wins. He is sick (perhaps poisoned), but still fights Gene Tunney and loses a decision. On September 22, 1927 he fights Tunney again. Dempsey knocks Tunney down, but the count doesn't start until Dempsey goes to a neutral corner. This gives Tunney time to recover and get up when the count reaches 9. In this famous "long count" fight Tunney wins by decision. Guess a valid title for it!???
output answer: Dempsey (film)

input question: Given the below context: The Museum Of Bad Art (MOBA) is a privately owned museum whose stated aim is "to celebrate the labor of artists whose work would be displayed and appreciated in no other forum". It was originally in Dedham with current branches in Somerville, Brookline, and South Weymouth in Massachusetts. Its permanent collection includes over 700 pieces of "art too bad to be ignored", 25 to 35 of which are on public display at any one time.MOBA was founded in 1994, after antique dealer Scott Wilson showed a painting he had recovered from the trash to some friends, who suggested starting a collection. Within a year, receptions held in Wilson's friends' home were so well-attended that the collection needed its own viewing space. The museum then moved to the basement of a theater in Dedham. Explaining the reasoning behind the museum's establishment, co-founder Jerry Reilly said in 1995: "While every city in the world has at least one museum dedicated to the best of art, MOBA is the only museum dedicated to collecting and exhibiting the worst." To be included in MOBA's collection, works must be original and have serious intent, but they must also have significant flaws without being boring; curators are not interested in displaying deliberate kitsch. MOBA has been mentioned in dozens of off-the-beaten-path guides to Boston, featured in international newspapers and magazines, and has inspired several other collections throughout the world that set out to rival its own visual atrocities. Deborah Solomon of The New York Times Magazine noted that the attention the Museum Of Bad Art receives is part of a wider trend of museums displaying "the best bad art". The museum has been criticized for being anti-art, but the founders deny this, responding that its collection is a tribute to the sincerity of the artists who persevered with their art despite something going horribly wrong in the process. According to co-founder Marie Jackson, "We are here to celebrate an artist's right to fail, gloriously." Guess a valid title for it!???
output answer:
Museum of Bad Art