Given the below context:  After the Great War, Moore received an ex-serviceman's grant to continue his education and in 1919 he became a student at the Leeds School of Art (now Leeds College of Art), which set up a sculpture studio especially for him. At the college, he met Barbara Hepworth, a fellow student who would also become a well-known British sculptor, and began a friendship and gentle professional rivalry that lasted for many years. In Leeds, Moore also had access to the modernist works in the collection of Sir Michael Sadler, the University Vice-Chancellor, which had a pronounced effect on his development. In 1921, Moore won a scholarship to study at the Royal College of Art in London, along with Hepworth and other Yorkshire contemporaries. While in London, Moore extended his knowledge of primitive art and sculpture, studying the ethnographic collections at the Victoria and Albert Museum and the British Museum. The student sculptures of both Moore and Hepworth followed the standard romantic Victorian style, and included natural forms, landscapes and figurative modelling of animals. Moore later became uncomfortable with classically derived ideals; his later familiarity with primitivism and the influence of sculptors such as Constantin Brâncuși, Jacob Epstein, Henri Gaudier-Brzeska and Frank Dobson led him to the method of direct carving, in which imperfections in the material and marks left by tools became part of the finished sculpture. Having adopted this technique, Moore was in conflict with academic tutors who did not appreciate such a modern approach. During one exercise set by Derwent Wood (the professor of sculpture at the Royal College), Moore was asked to reproduce a marble relief of Domenico Rosselli's The Virgin and Child by first modelling the relief in plaster, then reproducing it in marble using the mechanical aid known as a "pointing machine", a technique called "pointing". Instead, he carved the relief directly, even marking the surface to simulate the prick marks that would have been left by the pointing...  Guess a valid title for it!
----
Answer: Henry Moore


Q: Given the below context:  Almost as soon as they returned home, the Beatles faced a fierce backlash from US religious and social conservatives (as well as the Ku Klux Klan) over a comment Lennon had made in a March interview with British reporter Maureen Cleave. "Christianity will go," Lennon had said. "It will vanish and shrink. I needn't argue about that; I'm right and I will be proved right. ... Jesus was alright but his disciples were thick and ordinary. It's them twisting it that ruins it for me." The comment went virtually unnoticed in England, but when US teenage fan magazine Datebook printed it five months later – on the eve of the group's August US tour – it sparked a controversy with Christians in the American "Bible Belt". The Vatican issued a protest, and bans on Beatles' records were imposed by Spanish and Dutch stations and South Africa's national broadcasting service. Epstein accused Datebook of having taken Lennon's words out of context; at a press conference Lennon pointed out, "If I'd said television was more popular than Jesus, I might have got away with it." Lennon claimed that he was referring to how other people viewed their success, but at the prompting of reporters, he concluded: "If you want me to apologise, if that will make you happy, then okay, I'm sorry."As preparations were made for the US tour, the Beatles knew that their music would hardly be heard. Having originally used Vox AC30 amplifiers, they later acquired more powerful 100-watt amplifiers, specially designed by Vox for them as they moved into larger venues in 1964, but these were still inadequate. Struggling to compete with the volume of sound generated by screaming fans, the band had grown increasingly bored with the routine of performing live. Recognising that their shows were no longer about the music, they decided to make the August tour their last. Rubber Soul had marked a major step forward; Revolver, released in August 1966 a week before the Beatles' final tour, marked another. Pitchfork's Scott Plagenhoef identifies it as "the sound of a...  Guess a valid title for it!
A: The Beatles


Given the below context:  The Kannada poets and scholars of the empire produced important writings supporting the Vaishnava Bhakti movement heralded by the Haridasas (devotees of Vishnu), Brahminical and Veerashaiva (Lingayatism) literature. The Haridasa poets celebrated their devotion through songs called Devaranama (lyrical poems) in the native meters of Sangatya (quatrain), Suladi (beat based), Ugabhoga (melody based) and Mundige (cryptic). Their inspirations were the teachings of Madhvacharya and Vyasatirtha. Purandaradasa and Kanakadasa are considered the foremost among many Dasas (devotees) by virtue of their immense contribution. Kumara Vyasa, the most notable of Brahmin scholars wrote Gadugina Bharata, a translation of the epic Mahabharata. This work marks a transition of Kannada literature from old Kannada to modern Kannada. Chamarasa was a famous Veerashaiva scholar and poet who had many debates with Vaishnava scholars in the court of Devaraya II. His Prabhulinga Leele, later translated into Telugu and Tamil, was a eulogy of Saint Allama Prabhu (the saint was considered an incarnation of Lord Ganapathi while Parvati took the form of a princess of Banavasi).At this peak of Telugu literature, the most famous writing in the Prabandha style was Manucharitamu. King Krishnadevaraya was an accomplished Telugu scholar and wrote the celebrated Amuktamalyada. Amuktamalyada ("One who wears and gives away garlands") narrates the story of the wedding of the god Vishnu to Andal, the Tamil Alvar saint poet and the daughter of Periyalvar at Srirangam. In his court were eight famous scholars regarded as the pillars (Ashtadiggajas) of the literary assembly. The most famous among them were Allasani Peddana who held the honorific Andhrakavitapitamaha (lit, "father of Telugu poetry") and Tenali Ramakrishna, the court jester who authored several notable works. The other six poets were Nandi Thimmana (Mukku Timmana), Ayyalaraju Ramabhadra, Madayyagari Mallana, Bhattu Murthi (Ramaraja Bhushana), Pingali Surana, and Dhurjati. This was the age of...  Guess a valid title for it!
----
Answer:
Vijayanagara Empire