input: Please answer the following: Given the below context: Nigel Reuben Rook Williams (15 July 1944 21 April 1992) was an English conservator and expert on the restoration of ceramics and glass. From 1961 until his death he worked at the British Museum, where he became the Chief Conservator of Ceramics and Glass in 1983. There his work included the successful restorations of the Sutton Hoo helmet and the Portland Vase. Joining as an assistant at age 16, Williams spent his entire career, and most of his life, at the British Museum. He was one of the first people to study conservation, not yet recognised as a profession, and from an early age was given responsibility over high-profile objects. In the 1960s he assisted with the re-excavation of the Sutton Hoo ship-burial, and in his early- to mid-twenties he conserved many of the objects found therein: most notably the Sutton Hoo helmet, which occupied a year of his time. He likewise reconstructed other objects from the find, including the shield, drinking horns, and maplewood bottles. The "abiding passion of his life" was ceramics, and the 1970s and 1980s gave Williams ample opportunities in that field. After nearly 31,000 fragments of shattered Greek vases were found in 1974 amidst the wreck of HMS Colossus, Williams set to work piecing them together. The process was televised, and turned him into a television personality. A decade later, in 1988 and 1989, Williams's crowning achievement came when he took to pieces the Portland Vase, one of the most famous glass objects in the world, and put it back together. The reconstruction was again televised for a BBC programme, and as with the Sutton Hoo helmet, took nearly a year to complete. Williams died at age 47 of a heart attack while in Aqaba, Jordan, where he was working on a British Museum excavation. The Ceramics & Glass group of the Institute of Conservation awards a biennial prize in his honour, recognising his significant contributions in the field of conservation. Guess a valid title for it!
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output: Nigel Williams (conservator)

input: Please answer the following: Given the below context: Don Diego Vega is urgently called home by his father. To all outward appearances, he is the foppish son of wealthy ranchero and former Alcade Don Alejandro Vega, having returned to California after his military education in Spain. Don Diego is horrified at the way the common people are now mistreated by the corrupt Alcalde, Luis Quintero, who had forced his father from the position of Alcalde. Don Diego adopts the guise of El Zorro ("The Fox"), a masked outlaw dressed entirely in black, who becomes the defender of the common people and a champion for justice. In the meantime he romances the Alcalde's beautiful and innocent niece, Lolita, whom he grows to love. As part of his plan, Don Diego simultaneously flirts with the Alcalde's wife Inez, filling her head with tales of Madrid fashion and culture and raising her desire to move there with her corrupt husband, Luis. In both his guises Don Diego must contend with the governor's ablest henchman, the malevolent Captain Esteban Pasquale. He eventually dispatches the Captain in a fast-moving rapier duel-to-the-death, forcing a regime change; Don Diego's plan all along. Guess a valid title for it!
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output: The Mark of Zorro (1940 film)

input: Please answer the following: Given the below context: In August 2015, it was announced that Bowie was writing songs for a Broadway musical based on the SpongeBob SquarePants cartoon series. Bowie wrote and recorded the opening title song to the television series The Last Panthers, which aired in November 2015. The theme that was used for The Last Panthers was also the title track for his January 2016 release Blackstar which is said to take cues from his earlier krautrock influenced work. According to The Times: "Blackstar may be the oddest work yet from Bowie". On 7 December 2015, Bowie's musical Lazarus debuted in New York. His last public appearance was at opening night of the production.Blackstar was released on 8 January 2016, Bowie's 69th birthday, and was met with critical acclaim. Following his death on 10 January, producer Tony Visconti revealed that Bowie had planned the album to be his swan song, and a "parting gift" for his fans before his death. Several reporters and critics subsequently noted that most of the lyrics on the album seem to revolve around his impending death, with CNN noting that the album "reveals a man who appears to be grappling with his own mortality". Visconti later said that Bowie had been planning a post-Blackstar album, and had written and recorded demo versions of five songs in his final weeks, suggesting that Bowie believed he had a few months left. The day following his death, online viewing of Bowie's music skyrocketed, breaking the record for Vevo's most viewed artist in a single day. On 15 January, Blackstar debuted at number one on the UK Albums Chart; nineteen of his albums were in the UK Top 100 Albums Chart, and thirteen singles were in the UK Top 100 Singles Chart. Blackstar also debuted at number one on album charts around the world, including Australia, France, Germany, Italy, New Zealand, and the US Billboard 200.As of 11 January 2016, more than 1.3 million people had visited the David Bowie Is exhibit, making it the most successful exhibition ever staged by the Victoria and Albert Museum in terms of worldwide... Guess a valid title for it!
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output: David Bowie

input: Please answer the following: Given the below context: The first attempt at reclaiming Chat Moss took place at the start of the 19th century. In 1793 William Roscoe began work on reclaiming the smaller Trafford Moss, now part of Trafford Park. By 1798 that work was sufficiently advanced for Roscoe to enter into a lease of part of Chat Moss from the de Trafford family, but no reclamation work was carried out until 1805.Reclamation methods varied somewhat during the 19th century, but three basic operations featured; constructing drains at appropriate intervals; building a system of roads to allow access to the land so that materials such as clay, lime or marl could be dumped on it, to give it body; and fertilising the land by adding manure, often in the form of the euphemistically named night soil, collected from neighbouring towns. The reclamation of Chat Moss and Trafford Moss was innovative in that instead of constructing roads to give access for the material to be dumped onto the bog, a movable light railway was developed. Narrow gauge track which allowed the weight of the wagons to be spread evenly across an area of the bog was temporarily laid down and then picked up and relaid elsewhere as needed. Roscoe was declared bankrupt in 1821, but the reclamation work continued under the stewardship of others who took over his leasehold interest, amongst them William Baines, the anti-Corn Law MP and owner of the Leeds Mercury newspaper.Between 1831 and 1851, the population of nearby Manchester increased by more than 150 per cent, putting considerable pressure on refuse disposal. The problem was exacerbated by a gradual switch from the 1870s onwards from the older cesspit methods of sewage disposal to pail closets, which required regular emptying. By the 1880s, Manchester was producing more than 200,000 tons (203,209 t) of refuse annually, about 75 per cent of that being night soil. In 1895, Manchester Corporation purchased 2,502 acres (1,013 ha) of Chat Moss known as Chat Moss Estate from Sir Humphrey de Trafford, with a view to using the moss as a refuse... Guess a valid title for it!
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output:
Chat Moss