Q: Given the below context: In London, Grainger's charm, good looks and talent (with some assistance from the local Australian community) ensured that he was quickly taken up as a pianist by wealthy patrons. He was soon performing in concerts in private homes. The Times critic reported after one such appearance that Grainger's playing "revealed rare intelligence and a good deal of artistic insight". In 1902 he was presented by the socialite Lillith Lowrey to Queen Alexandra, who thereafter frequently attended his London recitals. Lowrey, 20 years Grainger's senior, traded patronage and contacts for sexual favours he termed the relationship a "love-serve job". She was the first woman with whom he had sex; he later wrote of this initial encounter that he had experienced "an overpowering landslide" of feeling, and that "I thought I was about to die. If I remember correctly, I only experienced fear of death. I don't think that any joy entered into it".In February 1902 Grainger made his first appearance as a piano soloist with an orchestra, playing Tchaikovsky's first piano concerto with the Bath Pump Room Orchestra. In October of that year he toured Britain in a concert party with Adelina Patti, the Italian-born opera singer. Patti was greatly taken by the young pianist and prophesied a glorious career for him. The following year he met the German-Italian composer and pianist Ferruccio Busoni. Initially the two men were on cordial terms (Busoni offered to give Grainger lessons free of charge) and, as a result, Grainger spent part of the 1903 summer in Berlin as Busoni's pupil. However, the visit was not a success; as Bird notes, Busoni had expected "a willing slave and adoring disciple", a role Grainger was not willing to fulfill. Grainger returned to London in July 1903; almost immediately he departed with Rose on a 10-month tour of Australia, New Zealand and South Africa, as a member of a party organised by the Australian contralto Ada Crossley. Guess a valid title for it!
A: Percy Grainger
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!
Answer: Nigel Williams (conservator)
Question: Given the below context: Gloria, a downtrodden housewife, lives with her husband Antonio, mother-in-law and two sons in a small, shabby and overcrowded apartment located by the Madrid motorway. Besides taking care of her home and family, Gloria also works as a cleaning lady to make ends meet and takes amphetamines to keep going. Her marriage to Antonio, a male chauvinist taxi driver, is on the rocks. Fifteen years earlier, in Germany, Antonio worked as a driver for Ingrid Muller, a German singer with whom he had a brief affair. His only mementos of their liaison are a signed photograph and a tape of her song Nur nicht aus Liebe Weinen which he constantly plays and which Gloria detests. Antonio's services for Ingrid involved copying letters that she had allegedly received from Hitler himself. In his taxi Antonio meets the writer Lucas and Antonio casually mentions this fact to Lucas, who suggests that they forge Hitler's diaries for big profit. There is also a book of Ingrid's memoirs written by a friend which contains letters from Hitler which Antonio helped forge. Antonio is trying to teach the art of forgery to one of his sons, as this talent will be his only inheritance. The younger son, Miguel, who is twelve, sleeps around with older men. When Gloria confronts Miguel, telling him she knows he has been sleeping with older men (including his friend's father), Miguel responds: "I'm the master of my own body." Gloria's eldest son, Toni, who is fourteen, wants to become a farmer and is saving up enough money to buy a farm by peddling heroin. The grandmother, who is addicted to soft drinks, shares the same dream of returning to her native village. Gloria's friends are her two neighbors: Cristal and Juani. Cristal is a prostitute with a heart of gold. Juani, is a bitter woman obsessed with cleanliness and vulgar ornaments, her daughter, Vanesa, has telekinetic powers, which she uses to destroy their apartment. Guess a valid title for it!
Answer:
What Have I Done to Deserve This? (film)