Given the below context:  Mr. Peabody is a gifted anthropomorphic dog who lives in a penthouse in New York City and raises his adopted human son, 7-year-old Sherman, and tutors him travelling throughout history using the WABAC, a time machine. They visit Marie Antoinette in Versailles during the French Revolution in 1789. Getting caught in the Reign of Terror, Peabody is nearly sent to the guillotine to be executed by Maximilien Robespierre, but escapes with Sherman through the Paris sewers. In the present day, Sherman attends the Susan B. Anthony School on his first day of school. His knowledge of the apocryphal nature of the George Washington cherry-tree anecdote leads to a fight with one of his classmates, a girl named Penny Peterson, in the cafeteria where she treats him like a dog and puts him in a choke hold, humiliating him. Peabody is called in by Principal Purdy as Sherman had bit Penny in retaliation, and also confronted by Ms. Grunion, a Child Protective Services agent, who suspects that Sherman's behavior is due to being raised by a dog and plans to visit to their home to investigate whether he is an unfit parent. Peabody then invites Penny and her parents, Paul and Patty over for dinner to reconcile before Ms. Grunion arrives. Penny calls Sherman a liar for claiming first-hand knowledge of history. Despite Peabody's contrary instructions, Sherman shows Penny the WABAC to show proof and takes her into the past, where she stays in Ancient Egypt in 1332 BCE to marry King Tut. Sherman returns to get Mr. Peabody's help. Peabody hypnotises the Petersons and manages to retrieve Penny.  Guess a valid title for it!
Ans: Mr. Peabody & Sherman

Given the below context:  Zappa expressed opinions on censorship when he appeared on CNN's Crossfire TV series and debated issues with Washington Times commentator John Lofton in 1986. On September 19, 1985, Zappa testified before the United States Senate Commerce, Technology, and Transportation committee, attacking the Parents Music Resource Center or PMRC, a music organization co-founded by Tipper Gore, wife of then-senator Al Gore. The PMRC consisted of many wives of politicians, including the wives of five members of the committee, and was founded to address the issue of song lyrics with sexual or satanic content. During Zappa's testimony, he stated that there was a clear conflict of interest between the PMRC due to the relations of its founders to the politicians who were then trying to pass what he referred to as the "Blank Tape Tax." Kandy Stroud, a spokeswoman for the PMRC, announced that Senator Gore (who co-founded the committee) was a co-sponsor of that legislation. Zappa suggested that record labels were trying to get the bill passed quickly through committees, one of which was chaired by Senator Strom Thurmond, who was also affiliated with the PMRC. Zappa further pointed out that this committee was being used as a distraction from that bill being passed, which would lead only to the benefit of a select few in the music industry.Zappa saw their activities as on a path towards censorship, and called their proposal for voluntary labelling of records with explicit content "extortion" of the music industry.In his prepared statement, he said: The PMRC proposal is an ill-conceived piece of nonsense which fails to deliver any real benefits to children, infringes the civil liberties of people who are not children, and promises to keep the courts busy for years dealing with the interpretational and enforcemental problems inherent in the proposal's design. It is my understanding that, in law, First Amendment issues are decided with a preference for the least restrictive alternative. In this context, the PMRC's demands are the...  Guess a valid title for it!
Ans: Frank Zappa

Given the below context:  Holst's absorption of folksong, not only in the melodic sense but in terms of its simplicity and economy of expression, helped to develop a style that many of his contemporaries, even admirers, found austere and cerebral. This is contrary to the popular identification of Holst with The Planets, which Matthews believes has masked his status as a composer of genuine originality. Against charges of coldness in the music, Imogen cites Holst's characteristic "sweeping modal tunes mov[ing] reassuringly above the steps of a descending bass", while Michael Kennedy points to the 12 Humbert Wolfe settings of 1929, and the 12 Welsh folksong settings for unaccompanied chorus of 1930–31, as works of true warmth.Many of the characteristics that Holst employed — unconventional time signatures, rising and falling scales, ostinato, bitonality and occasional polytonality — set him apart from other English composers. Vaughan Williams remarked that Holst always said in his music what he wished to say, directly and concisely; "He was not afraid of being obvious when the occasion demanded, nor did he hesitate to be remote when remoteness expressed his purpose". Kennedy has surmised that Holst's economy of style was in part a product of the composer's poor health: "the effort of writing it down compelled an artistic economy which some felt was carried too far". However, as an experienced instrumentalist and orchestra member, Holst understood music from the standpoint of his players and made sure that, however challenging, their parts were always practicable. According to his pupil Jane Joseph, Holst fostered in performance "a spirit of practical comradeship ... none could know better than he the boredom possible to a professional player, and the music that rendered boredom impossible".  Guess a valid title for it!
Ans: Gustav Holst

Given the below context:  In 1918, while teaching in Geneva, Szigeti met and fell in love with Wanda Ostrowska. She was born in Russia and had been stranded by the Russian Revolution of 1917 with her sister at a finishing school in Geneva. In 1919, Szigeti and Ostrowska decided to get married, but due to the turbulent political situation in Europe, many unexpected bureaucratic obstacles were thrown up in their path. The first problem was the impossibility of contacting Ostrowska's family, and the couple were forced to go ahead without parental consent, with the permission only of Ostrowska's sister and the headmistress of the finishing school. Further bureaucratic entanglements threatened the young couple's hopes, but eventually the officials responsible granted them a dispensation to marry. Szigeti recalls in his memoirs the words of Consul General Baron de Montlong at the critical moment: Let us not, if we can avoid it, fall victim to the dead letter of the law. I don't want to postpone the happiness of these two youngsters if we can help it. All laws have been twisted and tortured out of semblance of law, what with war and revolutions. For once let's twist and turn one for a good cause, yes? Just before the birth of their only child, daughter Irene, Szigeti found himself stuck in Berlin during the Kapp Putsch of 1920, unable to return to Geneva. The entire city had been paralyzed by a general strike, and the trains were not running. His scheduled concert could not go on as planned, but he was forced to stay in Berlin for "interminable days" while the Putsch ran its course. Szigeti writes: "... the impossibility of communicating by phone or wire with my wife--whose condition I pictured with the somewhat lurid pessimism usual to young prospective fathers--was certainly a greater torment to me than all the other discomforts put together". By 1940, the outbreak of World War II forced the Szigetis to leave Europe for the United States. (Irene remained in Switzerland, having married pianist Nikita Magaloff earlier that year.) They...  Guess a valid title for it!
Ans: Joseph Szigeti