Problem: Given the question: Given the below context: James Longacre died suddenly at his home in Philadelphia on January 1, 1869. A memorial meeting was held at the Philadelphia Mint on January 5, attended by the facility's employees. The Director of the Mint, Henry Linderman, delivered a speech in praise of Longacre prior to the formal eulogy, which was given by Longacre's assistant, William Barber, who would be appointed as Longacre's successor. Like each of his predecessors, Longacre died in office.Longacre was recognized in an exhibit of 100 notable American engravers sponsored by the New York Public Library in 1928. In 1970, art historian Cornelius Vermeule, in his volume on U.S. coins, viewed Longacre and his works less favorably, "uniform in their dullness, lack of inspiration, and even quaintness, Longacre's contributions to patterns and regular coinage were a decided step backwards from the art of [Thomas] Sully, [Titian] Peale, [Robert] Hughes, and Gobrecht" and "whatever his previous qualities as an engraver of portraits, he seems not to have brought much imagination to his important post at the Philadelphia Mint." However, Vermeule considered the Flying Eagle cent more of a work of art, far above the mundane.In his 1991 article, McKenzie notes Vermeule's concerns, but considers Longacre's work important for its use of American symbols, including the representations of Native Americans. He believes Longacre's use of such symbols influenced later coin designers, such as George T. Morgan, Victor D. Brenner, and Augustus Saint-Gaudens. He particularly praises the ornate scroll on the reverse of the double eagle, calling it "unique in American numismatic art and enhances the elegance of a design befitting the highest-denomination U.S. coin", and applauds "the exciting innovation in symbolism and expression of national sentiment that he brought to U.S. numismatic art".According to Bowers, "Today, Longacre is widely admired by numismatists." Lange notes that Longacre's "artistic vision graced 60 years of American coins". Snow writes, In view of the... Guess a valid title for it!
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The answer is:
James B. Longacre

Problem: Given the question: Given the below context: M.I.A. opted to sing, as opposed to rap, on several tracks on the album, telling Rolling Stone in early 2010 that she wished to produce something different from her previous album, which had "more emphasis on production". In a January 2010 interview with NME she spoke of being inspired by the film Food, Inc. and described the album as being about "exploring our faults and flaws" and being proud of them. The closing track, "Space", which was reportedly recorded using an iPhone app, is a ballad which Mikael Wood, writing in Billboard, described as "dreamy" and "sound[ing] like a Sega Genesis practicing its pillow talk". In contrast, Greg Kot of the Chicago Tribune described "Lovalot" as sounding "like it was recorded in a dank alley, the singer's voice reverberating amid percussion that sounds like doors creaking and rats scurrying across garbage cans". "XXXO" draws its inspiration from M.I.A.'s "cheesy pop side", and is based on the theme of the creation of a sex symbol. "Teqkilla" is the only track to address her relationship with Bronfman, through a reference to Seagram, the company owned by his family. "It Takes a Muscle" is a cover version of a track originally recorded in 1982 by Dutch group Spectral Display, and is performed in a reggae style.The opening track "The Message", featuring a male lead vocalist, parodies the words of the traditional song "Dem Bones" to link Google to "the government". Kitty Empire wrote in The Observer that these conspiratorial government connections to Google and the thoughts of Dzhennet Abdurakhmanova, the Russian teenager who bombed Moscow's tube system in revenge for the death of her husband, were inner-world issues pondered in "Lovalot" with "a mixture of nonsense rhyme, militant posturing and pop-cultural free-flow; her London glottal stop mischievously turns 'I love a lot' into 'I love Allah' ". Ann Powers in the Los Angeles Times said that "M.I.A. turns a call to action into a scared girl's nervous tic. Synths click out a jittery, jagged background. The song doesn't... Guess a valid title for it!
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The answer is:
Maya (M.I.A. album)

Problem: Given the question: Given the below context: Philip Arnold Heseltine (30 October 1894 17 December 1930), known by the pseudonym Peter Warlock, was a British composer and music critic. The Warlock name, which reflects Heseltine's interest in occult practices, was used for all his published musical works. He is best known as a composer of songs and other vocal music; he also achieved notoriety in his lifetime through his unconventional and often scandalous lifestyle. As a schoolboy at Eton College, Heseltine met the British composer Frederick Delius, with whom he formed a close friendship. After a failed student career in Oxford and London, Heseltine turned to musical journalism, while developing interests in folk-song and Elizabethan music. His first serious compositions date from around 1915. Following a period of inactivity, a positive and lasting influence on his work arose from his meeting in 1916 with the Dutch composer Bernard van Dieren; he also gained creative impetus from a year spent in Ireland, studying Celtic culture and language. On his return to England in 1918, Heseltine began composing songs in a distinctive, original style, while building a reputation as a combative and controversial music critic. During 192021 he edited the music magazine The Sackbut. His most prolific period as a composer came in the 1920s, when he was based first in Wales and later at Eynsford in Kent. Through his critical writings, published under his own name, Heseltine made a pioneering contribution to the scholarship of early music. In addition, he produced a full-length biography of Frederick Delius and wrote, edited, or otherwise assisted the production of several other books and pamphlets. Towards the end of his life, Heseltine became depressed by a loss of his creative inspiration. He died in his London flat of coal gas poisoning in 1930, probably by his own hand. Guess a valid title for it!
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The answer is:
Peter Warlock