input: Please answer the following: Given the below context:  Andrew Larabee teaches at a school run by his headmaster father Matthew, a traditional man who disapproves of his son's unconventional methods despite their popularity with the students. Andrew's special interest is archaeology, and he hopes to earn his father's respect through this field of study. During the school holidays, Andrew bicycles to ancient ruins in Sussex where he believes a statue of Pan (which had been left behind by a Roman legion) can be found. Such a discovery would enable him to publish and subsequently wed Letitia Fairchild, his fiancée of five years, who insists he earn a promotion before she marries him. At the site he encounters the Gallini family traveling circus, which has been ordered to pack up and leave by the local police since the land is now property of dairy farmer Lord Elmwood. The five Gallini brothers and their cousin Selena mistake Andrew for a contractor, and when he tells them he doesn't mind if they remain, the Gallinis halt their "pulling up stakes". Lord Elmwood arrives and threatens to remove both Andrew and the circus, but Andrew realizes he's a former fellow Oxford University student with a checkered romantic past. Chastened by Andrew's subtle threat of blackmail, Lord Elmwood agrees to give Andrew and the Gallinis a week before he starts construction on the land.  Guess a valid title for it!
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output: Merry Andrew (film)


input: Please answer the following: 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!
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output: Alan Bush


input: Please answer the following: Given the below context:  El Greco was disdained by the immediate generations after his death because his work was opposed in many respects to the principles of the early baroque style which came to the fore near the beginning of the 17th century and soon supplanted the last surviving traits of the 16th-century Mannerism. El Greco was deemed incomprehensible and had no important followers. Only his son and a few unknown painters produced weak copies of his works. Late 17th- and early 18th-century Spanish commentators praised his skill but criticized his antinaturalistic style and his complex iconography. Some of these commentators, such as Antonio Palomino and Juan Agustín Ceán Bermúdez, described his mature work as "contemptible", "ridiculous" and "worthy of scorn". The views of Palomino and Bermúdez were frequently repeated in Spanish historiography, adorned with terms such as "strange", "queer", "original", "eccentric" and "odd". The phrase "sunk in eccentricity", often encountered in such texts, in time developed into "madness".With the arrival of Romantic sentiments in the late 18th century, El Greco's works were examined anew. To French writer Théophile Gautier, El Greco was the precursor of the European Romantic movement in all its craving for the strange and the extreme. Gautier regarded El Greco as the ideal romantic hero (the "gifted", the "misunderstood", the "mad"), and was the first who explicitly expressed his admiration for El Greco's later technique. French art critics Zacharie Astruc and Paul Lefort helped to promote a widespread revival of interest in his painting. In the 1890s, Spanish painters living in Paris adopted him as their guide and mentor. However, in the popular English-speaking imagination he remained the man who "painted horrors in the Escorial" in the words of Ephraim Chambers' Cyclopaedia in 1899.In 1908, Spanish art historian Manuel Bartolomé Cossío published the first comprehensive catalogue of El Greco's works; in this book El Greco was presented as the founder of the Spanish School. The same year...  Guess a valid title for it!
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output: El Greco


input: Please answer the following: Given the below context:  Morello and Cornell initially disagreed over the particulars of Cornell quitting the group, with Morello claiming that Cornell did not communicate directly with him about leaving, while Cornell countered: "Tom and I did have communications about the fact that I was gonna go make a record, and that I was tired of what ended up seeming like political negotiations toward how we were gonna do Audioslave business and getting nowhere with it." He also added that this process of "doing Audioslave business" led him to go solo. Cornell has said that the breakup was not about money, but that he was just not getting along with the other members during their later years. Said Cornell, "Getting along as people is one thing. Getting along as a group of people that can work together in a band situation...We weren't particularly getting along well, no. Bands work in a way where everyone at some point has to have a similar idea of how you do things...Three albums into it, it started to seem like our interests weren't as conjoined anymore."In 2011, Cornell revealed further information about the band's breakup; "Personally a lot of it was me trying to land on my feet again. I went through a lot of personal turmoil right around the time Audioslave formed and unfortunately I think that affected the band a little bit in terms of me not really being grounded.... I think there was stuff that could have been resolved, and there was drama that was probably unnecessary, typical rock band stuff. I certainly played a role in it. I definitely feel like I was part of a lot of unnecessary stuff. It didn't need to become what it became. You learn with experience."In 2012, Tom Morello said that unreleased material that was not on the three albums could be released in the future at an unspecified point. Chris Cornell and Tom Morello shared the stage together for the first time in seven years, among many musicians, at the 2013 Rock and Roll Hall of Fame concert. Cornell also joined Morello on stage on September 26, 2014, guesting on his solo...  Guess a valid title for it!
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output:
Audioslave