input question: Given the below context:  Roy "Tin Cup" McAvoy is a former golf prodigy who has little ambition. He owns a driving range in West Texas, where he drinks and hangs out with his pal Romeo Posar and their friends. Dr. Molly Griswold, a clinical psychologist, wants a golf lesson. She asks Roy because he knows her boyfriend David Simms, a top professional golfer. They were both on the golf team at the University of Houston. Roy is immediately attracted to Molly, but she sees through Roy's charm and resists. The next day David Simms shows up at Roy's trailer ahead of a local benefit tournament. Roy thinks he is being invited to play, but Simms actually wants to hire him as a caddy (since Roy knows the course). During the round, Roy needles Simms about "laying up" instead of having the nerve to take a 230-yard shot over a water hazard. Simms fires back that Roy's problem is playing recklessly instead of playing the percentages. Roy brags that he could make the shot, and spectators begin making bets among themselves. Simms warns Roy that he'll fire him if he attempts the shot, and Roy does, hitting a brilliant shot onto the green. Simms immediately fires Roy.  Guess a valid title for it!???
output answer: Tin Cup

input question: Given the below context:  In Las Meninas, the king and queen are supposedly "outside" the painting, yet their reflection in the back wall mirror also places them "inside" the pictorial space.Snyder proposes it is "a mirror of majesty" or an allusion to the mirror for princes. While it is a literal reflection of the king and queen, Snyder writes "it is the image of exemplary monarchs, a reflection of ideal character"  Later he focuses his attention on the princess, writing that Velázquez's portrait is "the painted equivalent of a manual for the education of the princess—a mirror of the princess". The painting is likely to have been influenced by Jan van Eyck's Arnolfini Portrait, of 1434. At the time, van Eyck's painting hung in Philip's palace, and would have been familiar to Velázquez. The Arnolfini Portrait also has a mirror positioned at the back of the pictorial space, reflecting two figures who would have the same angle of vision as does the viewer of Velázquez's painting; they are too small to identify, but it has been speculated that one may be intended as the artist himself, though he is not shown in the act of painting. According to Lucien Dällenbach: The mirror [in Las Meninas] faces the observer as in Van Eyck's painting. But here the procedure is more realistic to the degree that the "rearview" mirror in which the royal couple appears is no longer convex but flat. Whereas the reflection in the Flemish painting recomposed objects and characters within a space that is condensed and deformed by the curve of the mirror, that of Velázquez refuses to play with the laws of perspective: it projects onto the canvas the perfect double of the king and queen positioned in front of the painting. Moreover, in showing the figures whom the painter observes, and also, through the mediation of the mirror, the figures who are observing him, the painter achieves a reciprocity of gazes that makes the interior oscillate with the exterior and which causes the image to "emerge from its frame" at the same time that it invites the visitors to enter...  Guess a valid title for it!???
output answer: Las Meninas

input question: Given the below context:  Wood was born in Oxford Street, London, the only child of Henry Joseph Wood and his wife Martha, née Morris. Wood senior had started in his family's pawnbroking business, but by the time of his son's birth he was trading as a jeweller, optician and engineering modeller, much sought-after for his model engines. It was a musical household: Wood senior was an amateur cellist and sang as principal tenor in the choir of St Sepulchre-without-Newgate, known as "the musicians' church".   His wife played the piano and sang songs from her native Wales. They encouraged their son's interest in music, buying him a Broadwood piano, on which his mother gave him lessons. The young Wood also learned to play the violin and viola. Wood received little religious inspiration at St Sepulchre, but was deeply stirred by the playing of the resident organist, George Cooper, who allowed him into the organ loft and gave him his first lessons on the instrument. Cooper died when Wood was seven, and the boy took further lessons from Cooper's successor, Edwin M. Lott, for whom Wood had much less regard. At the age of ten, through the influence of one of his uncles, Wood made his first paid appearance as an organist at St Mary Aldermanbury, being paid half a crown.  In June 1883, visiting the Fisheries Exhibition at South Kensington with his father, Wood was invited to play the organ in one of the galleries, making a good enough impression to be engaged to give recitals at the exhibition building over the next three months. At this time in his life, painting was nearly as strong an interest as music, and he studied in his spare time at the Slade School of Fine Art. He remained a life-long amateur painter.After taking private lessons from the musicologist Ebenezer Prout, Wood entered the Royal Academy of Music at the age of seventeen, studying harmony and composition with Prout, organ with Charles Steggall, and piano with Walter Macfarren. It is not clear whether he was a member of Manuel Garcia's singing class, but it is certain that he...  Guess a valid title for it!???
output answer: Henry Wood

input question: Given the below context:  St Botolph's Church is an Anglican place of worship in the village of Quarrington, part of the civil parish of Sleaford in Lincolnshire, England. The area has been settled since at least the Anglo-Saxon period, and a church existed at Quarrington by the time Domesday was compiled in 1086, when it formed part of Ramsey Abbey's fee. It was granted to Haverholme Priory about 1165, and the Abbey claimed the right to present the rector in the 13th century. This right was claimed by the Bishop of Lincoln during the English Reformation in the early 16th century, and then passed to Robert Carre and his descendants after Carre acquired a manor at Quarrington. With capacity for 124 people, the church serves the ecclesiastic parish of Quarrington with Old Sleaford and, as of 2009, had an average congregation of 50. Recognised for its age and tracery, the church has been designated a grade II* listed building. It has a tower and spire with a nave and north aisle ending at a chancel at the east end. The oldest parts of the building date to the 13th century, although substantial rebuilding took place over the following century. Renovations followed, and the local architect Charles Kirk the Younger carried out restoration work in 1862–63, when he added the chancel in his parents' memory. The high interior's three bays of arcading correspond to the three windows in the nave's south wall and the north aisle wall; those on the south wall are unusual for the hexagons and trefoils in the reticulated designs.  Guess a valid title for it!???
output answer:
St Botolph's Church, Quarrington 0