Q: Given the below context: In a room at a university campus in 1970, white and black students argue about an impending student strike. Mark leaves the meeting after saying he is "willing to die, but not of boredom" for the cause, which draws criticism from the young white radicals. Following a mass arrest at the campus protest, Mark visits a police station hoping to bail his roommate out of jail. He is told to wait but goes to the lock-up area, asks further about bail for his roommate, is rebuffed, calls out to the arrested students and faculty and is arrested. He gives his name as Karl Marx, which a duty officer types as "Carl Marx". After he is released from jail, Mark and another friend buy firearms from a Los Angeles gun shop, saying they need them for "self-defense" to "protect our women." In a downtown Los Angeles office building, successful real estate executive Lee Allen reviews a television commercial for Sunny Dunes, a new resort-like real estate development in the desert. Instead of actors or models, the slickly produced commercial features casually dressed, smiling mannequins. In the next scene Allen talks with his associate about the greater Los Angeles area's very rapid growth as the two drive through crowded streets. Mark goes to a bloody campus confrontation between students and police. Some students are tear-gassed and at least one is shot. As Mark reaches for a gun in his boot, a Los Angeles policeman is seen being fatally shot, although it is unclear by whom. Mark flees the campus and rides a city bus to suburban Hawthorne where, after failing to buy a sandwich on credit from a local blue-collar delicatessen, he walks to Hawthorne Municipal Airport, steals a small Cessna 210 aircraft and flies into the desert. Guess a valid title for it!
A: Zabriskie Point (film)
Question: Given the below context: Alan Dudley Bush (22 December 1900 31 October 1995) was a British composer, pianist, conductor, teacher and political activist. A committed communist, his uncompromising political beliefs were often reflected in his music. He composed prolifically across a range of genres, but struggled through his lifetime for recognition from the British musical establishment, which largely ignored his works. Bush, from a prosperous middle-class background, enjoyed considerable success as a student at the Royal Academy of Music (RAM) in the early 1920s, and spent much of that decade furthering his compositional and piano-playing skills under distinguished tutors. A two-year period in Berlin in 1929 to 1931, early in the Nazi Party's rise to power, cemented Bush's political convictions and moved him from the mainstream Labour Party to the Communist Party of Great Britain which he joined in 1935. He wrote several large-scale works in the 1930s, and was heavily involved with workers' choirs for whom he composed pageants, choruses and songs. His pro-Soviet stance led to a temporary ban on his music by the BBC in the early years of the Second World War, and his refusal to modify his position in the postwar Cold War era led to a more prolonged semi-ostracism of his music. As a result, the four major operas he wrote between 1950 and 1970 were all premiered in East Germany. In his prewar works, Bush's style retained what commentators have described as an essential Englishness, but was also influenced by the avant-garde European idioms of the inter-war years. During and after the war he began to simplify this style, in line with his Marxism-inspired belief that music should be accessible to the mass of the people. Despite the difficulties he encountered in getting his works performed in the West he continued to compose until well into his eighties. He taught composition at the RAM for more than 50 years, published two books, was the founder and long-time president of the Workers' Music Association, and served as chairman and... Guess a valid title for it!
Answer: Alan Bush
Question: Given the below context: Sir Edwin Lutyens was among the most distinguished architects for war memorials in Britain. He became a nationally renowned designer of war memorials following his work as an adviser to (and later one of the principal architects for) the Imperial War Graves Commission and his design for the Cenotaph on London's Whitehall. As well as dozens of public war memorials in towns and cities across Britain, Lutyens designed several private memorials to individual casualties, usually the sons of friends or clients. Many were heirs to the country houses Lutyens had built earlier in his career, as in Mells where he renovated the manor at the beginning of the 20th century. His work in Mells arose through his friend and collaborator Gertrude Jekyll, who introduced him to the Horners through a family connection. Lutyens established a friendship which led to multiple commissions in the village. In addition to his work on the manor, he redesigned its gardens and worked on several related buildings and structures, and after the war was responsible for a tribute to Raymond Asquith (Edward's brother-in-law), also located in St Andrew's Church, and the village war memorial. Lutyens designed two other memorials to Horner: a wooden board featuring a description of the events leading up to his death, which was placed on a wall in the family chapel in St Andrew's Church; and a stone tablet in Cambrai Cathedral.Alfred Munnings was a painter specialising in horses. He volunteered for military service at the outbreak of war but was deemed unfit due to lack of sight in one eye. He volunteered to tend to army horses and was later recruited as a civilian war artist attached to Canadian cavalry. In 1919, he was beginning to move into sculpture. The Horner memorial was his first public work of sculpture, for which Lutyens commissioned him based on a pre-existing friendship. The work led to several further commissions for equine statues, including from the Jockey Club for a sculpture of the racehorse Brown Jack at Epsom Downs Racecourse.... Guess a valid title for it!
Answer:
Equestrian statue of Edward Horner