Problem: Given the below context: Dorian's lifeboat was the smallest of the ship's boats and, with 26 crew and 5 passengers on board, had only a few inches of freeboard. In worsening weather, Dorian improvised a rough sea anchor, which enabled the boat to ride the waves through the night and following day without being swamped. In the late afternoon of September 28 they sighted a distant sail, which proved to be the Canadian bark Huron, bound for Quebec. As they rowed towards their rescuer, they passed Peter McCabe, still clinging to the makeshift raft, the only one of its 72 occupants to have survived the night; he, too was taken on board Huron. McCabe later recalled that he thought he was within ten minutes of death when he was rescued.On the following day Huron encountered another sailing ship, the Lebanon, heading for New York. Dorian, the five passengers and twelve of the crew chose to transfer to Lebanon. The other crewmen, possibly anticipating a hostile reception in their home port, chose to remain with Huron and proceed to Quebec, where she arrived on October 13.The ordeal of Captain Luce, and others who survived on assorted wreckage, lasted for two days. Around noon on September 29, the sailing ship Cambria, out of Glasgow and heading for Quebec, spotted Francois Jassonet, the Vesta fisherman who had been rescued by the Arctic after the collision. In the following few hours, Cambria picked up nine more survivors; these included Luce and two companions, the only survivors of the eleven who had found refuge on the remains of the paddlebox. The last to be picked up by Cambria was James Smith, a businessman from Scotland, who had survived on a raft constructed from planking and a tin-lined wicker basket. He had seen at least one ship pass in the distance during his ordeal, and had almost given up hope when Cambria arrived. Once satisfied there were no further survivors in the area, Cambria continued its journey to Quebec. Luce spent much of the voyage preparing a report of the disaster, ready to wire to Edward Collins in New York... Guess a valid title for it!

A: SS Arctic disaster
Problem: Given the question: Given the below context: George Frideric Handel was born on 23 February 1685 in the German city of Halle. It is unclear what initial musical education he received; his father, Georg Handel, was not a music lover, and did not at first appreciate or encourage his son's precocious talents. Nevertheless, by the age of ten Handel had become an accomplished organist; his playing in the royal chapel at Weissenfels, where his half-brother Karl was in the service of the Duke of Saxe-Weissenfels, impressed the duke, who persuaded Handel senior that the boy should have a proper musical education. As a result, Handel began formal study under Friedrich Zachow, the organist of the Lutheran church at Halle.Handel's biographer Jonathan Keates writes that: "From [Zachow] Handel learned not only a great deal about the line and shape of an aria, about strong, adventurous bass lines and solid choral writing, but also about those delicacies of instrumental colouring which he later perfected in his own style". Handel's musical development also benefited from an early and lasting friendship with Georg Philipp Telemann, whom he met in 1700. In February 1702 Handel enrolled at the University of Halle, perhaps intending to study law. In March he took up the post of organist at Halle's Calvinist cathedral (Domkirche), a prestigious appointment for one so young and indicative of his burgeoning musical reputation in the city.At some time, possibly in late 1702 or early 1703, Handel visited Berlin, where his father had held an honorary post as physician to the elector who, in 1701, had become the Prussian king Frederick I. In Berlin Handel first experienced Italian opera, and may have met the Italian composers Giovanni Bononcini and Attilio Ariosti, who were writing operas for Frederick's court. The king heard of Handel's abilities, and wanted him to train as a future court composer, but Handel's horizons had been broadened by his sojourn in Berlin and he was developing his own ideas for his future. He declined the king's offer, and returned to Halle to fulfil... Guess a valid title for it!
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The answer is:
Handel's lost Hamburg operas
input question: Given the below context: Carson Morris is a former straight-A student that has been using drugs for the past year, having begun shortly after she enrolled in a prestigious Catholic high school. She has agreed, albeit reluctantly, to allow a film crew to monitor her for an Intervention-esque documentary show as she checks into a rehab clinic. Carson is quickly made a target of ridicule by the other patients, as she has been taking drugs because she believes that she has been demonically possessed. Jason, a production assistant for the film crew, is sympathetic and quickly bonds with Carson - even going so far as to believe her claims after her behavior turns increasingly erratic. During all of this Carson also has several displays of supernatural behavior that is captured on camera but only when she is alone. There are suggestions of bringing in an exorcist, however the clinic's physician Dean Pretiss thinks that this would be detrimental to Carson's mental well being. When Carson attacks Jason the show's producer Suzanne begins to push Pretiss for an exorcist, only for him to state that he wants to transfer Carson to a mental institution. Guess a valid title for it!???
output answer: Inner Demons
[Q]: Given the below context: While students at South London's Elliott School in 2005, childhood friends Romy Madley Croft and Oliver Sim formed the xx with Jamie Smith and Baria Qureshi. Croft and Sim played guitar and bass, respectively, and dueted as the band's vocalists, while Smith programmed electronic beats for their songs, and Qureshi doubled as a keyboardist and additional guitarist. During late nights, Croft and Sim either shared lyrics with each other through instant messaging or rehearsed quietly with Smith and Qureshi in their bedrooms so they would not disturb the rest of the household. The xx were greatly influenced by American R&B producers such as The Neptunes and Timbaland, whose minimalist productions incorporated vocal harmonies, clapping percussion, unconventional samples, and pronounced beats. The band covered Aaliyah's "Hot Like Fire" (1997), Womack & Womack's "Teardrops" (1988), and other past R&B hits when they performed live and recorded their demos.After posting the demos on their Myspace page, the xx drew the interest of Young Turks, an imprint label of XL Recordings. They submitted the demos to XL's head office at Ladbroke Grove and were subsequently signed to a recording contract. The group worked with producers such as Diplo and Kwes, to no success before they were introduced to audio engineer Rodaidh McDonald by the xx's manager Caius Pawson, who gave him three CDs of demos titled "Early Demos", "Recorded in Rehearsal Space", and "What Producers Did Wrong". McDonald was impressed by the intimate quality and use of silence on the demos, which both he and the band felt may have challenged other producers who wanted to incorporate their individual tastes: "They'd worked with about four other producers before then that hadand no discredit to themI guess they'd seen a lot of space to add a kind of stamp on. There was a lot of empty space in the xx's music, even then, in the 'Early Demos'. But we just found that the best stuff was the most sparse." Guess a valid title for it!
****
[A]:
Xx (album) 1