Q: Given the below context:  At the outbreak of the First World War, Holst tried to enlist but was rejected as unfit for military service. He felt frustrated that he could not contribute to the war effort. His wife became a volunteer ambulance driver; Vaughan Williams went on active service to France as did Holst's brother Emil; Holst's friends the composers George Butterworth and Cecil Coles were killed in battle. He continued to teach and compose; he worked on The Planets and prepared his chamber opera Savitri for performance. It was first given in December 1916 by students of the London School of Opera at the Wellington Hall in St John's Wood. It attracted no attention at the time from the main newspapers, though when professionally staged five years later it was greeted as "a perfect little masterpiece." In 1917 he wrote The Hymn of Jesus for chorus and orchestra, a work which remained unperformed until after the war.In 1918, as the war neared its end, Holst finally had the prospect of a job that offered him the chance to serve. The music section of the YMCA's education department needed volunteers to work with British troops stationed in Europe awaiting demobilisation. Morley College and St Paul's Girls' School offered him a year's leave of absence, but there remained one obstacle: the YMCA felt that his surname looked too German to be acceptable in such a role. He formally changed "von Holst" to "Holst" by deed poll in September 1918. He was appointed as the YMCA's musical organiser for the Near East, based in Salonica.  Guess a valid title for it!
A: Gustav Holst

Q: Given the below context:  By the time El Greco arrived in Rome, Michelangelo and Raphael were dead, but their example continued to be paramount, and somewhat overwhelming for young painters. El Greco was determined to make his own mark in Rome defending his personal artistic views, ideas and style. He singled out Correggio and Parmigianino for particular praise, but he did not hesitate to dismiss Michelangelo's Last Judgment in the Sistine Chapel; he extended an offer to Pope Pius V to paint over the whole work in accord with the new and stricter Catholic thinking. When he was later asked what he thought about Michelangelo, El Greco replied that "he was a good man, but he did not know how to paint". And thus we are confronted by a paradox: El Greco is said to have reacted most strongly or even condemned Michelangelo, but found it impossible to withstand his influence. Michelangelo's influence can be seen in later El Greco works such as the Allegory of the Holy League. By painting portraits of Michelangelo, Titian, Clovio and, presumably, Raphael in one of his works (The Purification of the Temple), El Greco not only expressed his gratitude but also advanced the claim to rival these masters. As his own commentaries indicate, El Greco viewed Titian, Michelangelo and Raphael as models to emulate. In his 17th century Chronicles, Giulio Mancini included El Greco among the painters who had initiated, in various ways, a re-evaluation of Michelangelo's teachings.Because of his unconventional artistic beliefs (such as his dismissal of Michelangelo's technique) and personality, El Greco soon acquired enemies in Rome. Architect and writer Pirro Ligorio called him a "foolish foreigner", and newly discovered archival material reveals a skirmish with Farnese, who obliged the young artist to leave his palace. On 6 July 1572, El Greco officially complained about this event. A few months later, on 18 September 1572, he paid his dues to the Guild of Saint Luke in Rome as a miniature painter. At the end of that year, El Greco opened his own workshop and...  Guess a valid title for it!
A: El Greco

Q: Given the below context:  On their way back from whitewater rafting with Juno and Beth, Sarah, along with Sarah's husband Paul and their daughter Jessica, are involved in a car accident when Paul is distracted. Paul and Jessica are killed, but Sarah survives. One year later, Sarah, Juno, and Beth, as well as friends Sam, Rebecca, and newcomer Holly are reunited at a cabin in the Appalachian Mountains of North Carolina for a spelunking (caving) adventure. The next day, they hike up to a cave entrance and descend. While in the cave, Juno apologises to Sarah for not being there for her after the accident, but Sarah is distant. After the group moves through a narrow passage, it collapses behind them, trapping them. After a heated discussion, Juno admits that she has led the group into an unknown cave system instead of the fully explored cave system that they had originally planned to visit, and that rescue is, therefore, impossible. She then tells Sarah that she led them into the unknown cave in the hopes of restoring their relationship, but Sarah rebuffs her.  Guess a valid title for it!
A: The Descent

Q: Given the below context:  Doménikos Theotokópoulos (Greek: Δομήνικος Θεοτοκόπουλος [ðoˈminikos θeotoˈkopulos]; October 1541 –  7 April 1614), most widely known as El Greco ("The Greek"), was a Greek painter, sculptor and architect of the Spanish Renaissance. "El Greco" was a nickname, a reference to his Greek origin, and the artist normally signed his paintings with his full birth name in Greek letters, Δομήνικος Θεοτοκόπουλος, Doménikos Theotokópoulos, often adding the word Κρής Krēs, Cretan. El Greco was born in the Kingdom of Candia, which was at that time part of the Republic of Venice, and the center of Post-Byzantine art. He trained and became a master within that tradition before traveling at age 26 to Venice, as other Greek artists had done. In 1570 he moved to Rome, where he opened a workshop and executed a series of works. During his stay in Italy, El Greco enriched his style with elements of Mannerism and of the Venetian Renaissance taken from a number of great artists of the time, notably Tintoretto. In 1577, he moved to Toledo, Spain, where he lived and worked until his death. In Toledo, El Greco received several major commissions and produced his best-known paintings. El Greco's dramatic and expressionistic style was met with puzzlement by his contemporaries but found appreciation in the 20th century. El Greco is regarded as a precursor of both Expressionism and Cubism, while his personality and works were a source of inspiration for poets and writers such as Rainer Maria Rilke and Nikos Kazantzakis. El Greco has been characterized by modern scholars as an artist so individual that he belongs to no conventional school. He is best known for tortuously elongated figures and often fantastic or phantasmagorical pigmentation, marrying Byzantine traditions with those of Western painting.  Guess a valid title for it!
A:
El Greco