input question: 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!???
output answer: Nigel Williams (conservator)

input question: Given the below context: Since 2004, the municipal boundaries of Istanbul have been coincident with the boundaries of its province. The city, considered capital of Istanbul Province, is administered by the Istanbul Metropolitan Municipality (MMI), which oversees the 39 districts of the city-province.The current city structure can be traced back to the Tanzimat period of reform in the 19th century, before which Islamic judges and imams led the city under the auspices of the Grand Vizier. Following the model of French cities, this religious system was replaced by a mayor and a citywide council composed of representatives of the confessional groups (millet) across Istanbul. Beyoglu was the first area of the city to have its own director and council, with members instead being longtime residents of the neighborhood. Laws enacted after the Ottoman constitution of 1876 aimed to expand this structure across the city, imitating the twenty arrondissements of Paris, but they were not fully implemented until 1908, when Istanbul was declared a province with nine constituent districts. This system continued beyond the founding of the Turkish Republic, with the province renamed a belediye (municipality), but the municipality was disbanded in 1957. Small settlements adjacent to major population centers in Turkey, including Istanbul, were merged into their respective primary cities during the early 1980s, resulting in metropolitan municipalities. The main decision-making body of the Istanbul Metropolitan Municipality is the Municipal Council, with members drawn from district councils. The Municipal Council is responsible for citywide issues, including managing the budget, maintaining civic infrastructure, and overseeing museums and major cultural centers. Since the government operates under a "powerful mayor, weak council" approach, the council's leaderthe metropolitan mayorhas the authority to make swift decisions, often at the expense of transparency. The Municipal Council is advised by the Metropolitan Executive Committee, although the... Guess a valid title for it!???
output answer: Istanbul

input question: Given the below context: In South Africa within the Great Karoo, a half-striped zebra named Khumba is born into an insular isolated herd of all-striped zebras where his mother is Lungisa and his father is Seko. Rumors that the strange foal is cursed spread and before long he is blamed for the drought that sets into the Great Karoo. As he matures, Khumba is picked on and remains ostracized by most of the herd with the exception of Tombi, a young female zebra friend close in age - whom Khumba has a crush on - and uncomfortable in the herd due to her tomboyish manners. When a mystical African mantis appears to Khumba, he draws a map to what could be interpreted as either water or stripes between it. Khumba jeopardizes the herd and gets into trouble when he attempts to admit several gemsbok (Nhlanhla Mkhwanazi and Anele Matoti) into the watering-hole enclosure when their wise elderly healer needs water. He also nearly admits the ferocious half-blind African leopard Phango who warns Mkhulu that he and his zebra herd can't stay in their enclosure forever. Seko berates and scolds Khumba for putting the herd at risk and for the next week, he'll drink half of his rations. Lungisa tells the story of how a white horse got its stripes by swimming in a magic river and other horses wanted to have stripes like him, making the zebra we know today. Shortly after, Lungisa succumbs to her disease and dies. Then, Khumba leaves the confines of his home knowing that he cannot survive in the herd where it is viewed as only "half-a-zebra" even to his father. Guess a valid title for it!???
output answer: Khumba

input question: Given the below context: Tchaikovsky played the finale of his Second Symphony, subtitled the Little Russian, at a gathering at Rimsky-Korsakov's house in Saint Petersburg on January 7, 1873, before the official premiere of the entire work. To his brother Modest, he wrote, "[T]he whole company almost tore me to pieces with raptureand Madame Rimskaya-Korsakova begged me in tears to let her arrange it for piano duet". Rimskaya-Korsakova was a noted pianist, composer and arranger in her own right, transcribing works by other members of the kuchka as well as those of her husband and Tchaikovsky's Romeo and Juliet. Borodin was present and may have approved of the work himself. Also present was Vladimir Stasov. Impressed by what he had heard, Stasov asked Tchaikovsky what he would consider writing next, and would soon influence the composer in writing the symphonic poem The Tempest.What endeared the Little Russian to the kuchka was not simply that Tchaikovsky had used Ukrainian folk songs as melodic material. It was how, especially in the outer movements, he allowed the unique characteristics of Russian folk song to dictate symphonic form. This was a goal toward which the kuchka strived, both collectively and individually. Tchaikovsky, with his Conservatory grounding, could sustain such development longer and more cohesively than his colleagues in the kuchka. (Though the comparison may seem unfair, Tchaikovsky authority David Brown has pointed out that, because of their similar time-frames, the finale of the Little Russian shows what Mussorgsky could have done with "The Great Gate of Kiev" from Pictures at an Exhibition had he possessed academic training comparable to that of Tchaikovsky.) Guess a valid title for it!???
output answer:
Pyotr Ilyich Tchaikovsky and The Five