Please answer this: Given the below context:  In 1967 Solti was invited to become music director of the Chicago Symphony Orchestra. It was the second time he had been offered the post. The first had been in 1963 after the death of the orchestra's conductor, Fritz Reiner, who made its reputation in the previous decade. Solti told the representatives of the orchestra that his commitments at Covent Garden made it impossible to give Chicago the eight months a year they sought. He suggested giving them three and a half months a year and inviting Carlo Maria Giulini to take charge for a similar length of time. The orchestra declined to proceed on these lines. When Solti accepted the orchestra's second invitation it was agreed that Giulini should be appointed to share the conducting. Both conductors signed three-year contracts with the orchestra, effective from 1969.One of the members of the Chicago Symphony described it to Solti as "the best provincial orchestra in the world." Many players remained from its celebrated decade under Reiner, but morale was low, and the orchestra was $5m in debt. Solti concluded that it was essential to raise the orchestra's international profile. He ensured that it was engaged for many of his Decca sessions, and he and Giulini led it in a European tour in 1971, playing in ten countries. It was the first time in its 80-year history that the orchestra had played outside of North America. The orchestra received plaudits from European critics, and was welcomed home at the end of the tour with a ticker-tape parade.The orchestra's principal flute player, Donald Peck, commented that the relationship between a conductor and an orchestra is difficult to explain: "some conductors get along with some orchestras and not others. We had a good match with Solti and he with us." Peck's colleague, the violinist Victor Aitay said, "Usually conductors are relaxed at rehearsals and tense at the concerts. Solti is the reverse. He is very tense at rehearsals, which makes us concentrate, but relaxed during the performance, which is a great asset to the...  Guess a valid title for it!
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Answer: Georg Solti


Problem: Given the below context:  Agent Bart Langner finds Elsa Brinkmann, a would-be actress who looks and sounds just like  Lylah Clare, a flamboyant star who fell to her death in suspicious circumstances 20 years ago. He persuades arrogant director Lewis Zarkan, who had been married to Lylah, to see her. The two men then convince brash studio head Barney Sheean, who is equally struck, to back a picture with her as Lylah.  Besides coping with the tyrannical Zarkan and easy access to alcohol and drugs, Elsa also has to contend with other hazards of Hollywood like malicious journalist Molly Luther and lesbian admirer Rossella. As filming continues, her identification with her rôle gets more intense. She also begins to fall in love with Zarkan, who is happy to sleep with her but his priority is to get his film finished.  By the last day of shooting, her personality seems to have merged with that of the outrageous Lylah whose fatal fall, we learn, was prompted by the jealous Zarkan. To antagonise him, she first lets him find her in bed with the gardener. Then, as he directs her in a circus scene, she leaps to her death from the high-wire. The resulting publicity makes his film a huge success. Tragedy later comes when Zarkan himself is shot and killed by Rossella. A final sequence (in this case, a TV commercial for dog food that interrupts the film itself) suggests that the world of Hollywood is literally one of dog eats dog.  Guess a valid title for it!

A: The Legend of Lylah Clare


Problem: Given the question: Given the below context:  The story begins in the 1960s with three inmates in a New York prison — Earl, Rocco, and Carlito — controlling their criminal empire within their cell. Upon their release, they all look to control the drug trade in Harlem, which is currently in a power dispute between the Italian Bottolota crime family and black gangsters led by Hollywood Nicky. Rocco takes them to Artie Bottolota who at first is reluctant to work with blacks and Puerto Ricans, but who eventually cuts a deal with them in heroin distribution. The friends also meet Artie's son, Artie Jr. Soon, Earl's troubled younger brother Reggie joins them. It does not take long for Reggie to cause trouble; eventually endangering both himself and Carlito's deal with the Bottolotas. Artie Jr. attempts to kill Reggie with a straight razor, while Carlito is restrained. Rocco pulls up and tells Artie Jr. to let him go, reasoning they will "take care of him." Carlito also meets a young lady named Leticia and meets her brother Sigfredo. Sigfredo knows who and what Carlito really is, which leads to confrontation. Carlito eventually proves himself to Leticia's family, but Sigfredo leaves. Reggie, after being kicked off the crew by Carlito, attacks and kidnaps Artie Jr. outside of his house, with the help of two other thugs. After Reggie gets the ransom, Artie Jr. is released by police and returns to his family. The Bottolotta Family blames Carlito, Rocco, and Earl for assisting Reggie in the kidnapping. Artie Sr. puts out a contract on the trio.  The hitman contracted to kill them, Nacho Reyes, and Carlito's accomplice, Colorado help them find the hoodlums with Reggie. Reggie's location is learned.  Guess a valid title for it!
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The answer is:
Carlito's Way: Rise to Power


Q: Given the below context:  Stefan Lochner (the Dombild Master or Master Stefan; c. 1410 – late 1451) was a German painter working in the late "soft style" of the International Gothic. His paintings combine that era's tendency toward long flowing lines and brilliant colours with the realism, virtuoso surface textures and innovative iconography of the early Northern Renaissance. Based in Cologne, a commercial and artistic hub of northern Europe, Lochner was one of the most important German painters before Albrecht Dürer. Extant works include single-panel oil paintings, devotional polyptychs and illuminated manuscripts, which often feature fanciful and blue-winged angels. Today some thirty-seven individual panels are attributed to him with confidence. Less is known of his life. Art historians associating the Dombild Master with the historical Stefan Lochner believe he was born in Meersburg in south-west Germany around 1410, and that he spent some of his apprenticeship in the Low Countries. Records further indicate that his career developed quickly but was cut short by an early death. We know that he was commissioned around 1442 by the Cologne council to provide decorations for the visit of Emperor Frederick III, a major occasion for the city. Records from the following years indicate growing wealth and the purchase of a number of properties around the city. Thereafter he seems to have over-extended his finances and fallen into debt. Plague hit Cologne in 1451 and there, apart from the records of creditors, mention of Stephan Lochner ends; it is presumed he died that year, aged around 40. Lochner's identity and reputation were lost until a revival of 15th-century art during the early 19th-century romantic period. Despite extensive historical research, attribution remains difficult; for centuries a number of associated works were grouped and loosely attributed to the Dombild Master, a notname taken from the Dombild Altarpiece (in English cathedral picture, also known as the Altarpiece of the City's Patron Saints) still in Cologne Cathedral....  Guess a valid title for it!
A:
Stefan Lochner