input question: Given the below context:  Trafford Park was largely turned over to the production of war materiel during the Second World War, such as the Avro Manchester and Avro Lancaster heavy bombers, and the Rolls-Royce Merlin engines used to power the Spitfire, Hurricane, Mosquito and the Lancaster. The engines were made by Ford, under licence. The 17,316 workers employed in Ford's purpose-built factory had produced 34,000 engines by the war's end. The facility was designed in two separate sections to minimise the impact of bomb damage on production. The wood-working factory of F. Hills & Sons built more than 800 Percival Proctor aircraft for the RAF between 1940 and 1945, which were flight tested at the nearby Barton Aerodrome. Other companies produced gun bearings, steel tracks for Churchill tanks, munitions, Bailey bridges, and much else. ICI built and operated the first facility in the UK able to produce penicillin in quantity.As an important industrial area, the park suffered from extensive bombing, particularly during the Manchester Blitz of December 1940. On the night of 23 December 1940, the Metropolitan-Vickers aircraft factory in Mosley Road was badly damaged, with the loss of the first 13 MV-built Avro Manchester bombers in final assembly. The new Ford factory producing aircraft engines was bombed only a few days after its opening in May 1941. Trafford Hall was severely damaged by bombing, and was demolished shortly after the war ended.In the December 1940 air raids, stray bombs aiming for Trafford Park landed on Old Trafford football stadium, the nearby home of Manchester United, but this air raid only resulted in minor damage and matches were soon being played at the stadium again. On 11 March 1941, however, stray bombs aimed at Trafford Park fell onto Old Trafford for a second time, causing serious damage to the stadium. It was comprehensively rebuilt after the war and re-opened in 1949, until which time Manchester United played their home games at Maine Road, the stadium of Manchester City in Moss Side.At the outbreak of war in...  Guess a valid title for it!???
output answer: Trafford Park

input question: Given the below context:  The year 1960 marked another turning point in Shostakovich's life: he joined the Communist Party. The government wanted to appoint him General Secretary of the Composers' Union, but in order to hold that position he was required to attain Party membership. It was understood that Nikita Khrushchev, the First Secretary of the Communist Party from 1953 to 1964, was looking for support from the leading ranks of the intelligentsia in an effort to create a better relationship with the Soviet Union's artists. This event has been interpreted variously as a show of commitment, a mark of cowardice, the result of political pressure, or his free decision. On the one hand, the apparat was undoubtedly less repressive than it had been before Stalin's death. On the other, his son recalled that the event reduced Shostakovich to tears, and he later told his wife Irina that he had been blackmailed. Lev Lebedinsky has said that the composer was suicidal. From 1962, he served as a delegate in the Supreme Soviet of the USSR. Once he joined the Party, several articles he did not write denouncing individualism in music were published in Pravda under his name. In joining the party, Shostakovich was also committing himself to finally writing the homage to Lenin that he had promised before. His Twelfth Symphony, which portrays the Bolshevik Revolution and was completed in 1961, was dedicated to Vladimir Lenin and called "The Year 1917." Around this time, his health began to deteriorate. Shostakovich's musical response to these personal crises was the Eighth String Quartet, composed in only three days. He subtitled the piece "To the victims of fascism and war", ostensibly in memory of the Dresden fire bombing that took place in 1945. Yet, like the Tenth Symphony, this quartet incorporates quotations from several of his past works and his musical monogram. Shostakovich confessed to his friend Isaak Glikman, "I started thinking that if some day I die, nobody is likely to write a work in memory of me, so I had better write one myself."...  Guess a valid title for it!???
output answer: Dmitri Shostakovich

input question: Given the below context:  18-year-old Joy starts her catalogue of bad choices by running away from home with Tom. They marry and have a son, Johnny. When Tom, a thief who mentally and physically abuses Joy, is jailed for four years after attempting a big robbery, she is left on her own with their son. After briefly sharing a room with her Aunt Emm, an aging prostitute, she moves in with Dave, one of Tom's former associates. Dave is tender and understanding in his treatment of Johnny and Joy, but the idyll is punctured when Dave gets 12 years for robbery. Intending to be faithful, Joy writes to him constantly, moves back with Aunt Emm, and initiates divorce proceedings against Tom. She takes a job as a barmaid, starts modelling for a seedy photographers' club and drifts into promiscuity. But when Tom is released, Joy agrees to go back to him for Johnny's sake. One evening, after Tom has beaten her up, she runs out of their flat and returns to discover that Johnny is missing. After a frantic search, she finds him on a demolition site. Realising how much Johnny means to her, she accepts the need of compromise and stays with Tom, but she continues to dream of a distant future with Dave.  Guess a valid title for it!???
output answer: Poor Cow

input question: Given the below context:  El Greco was disdained by the immediate generations after his death because his work was opposed in many respects to the principles of the early baroque style which came to the fore near the beginning of the 17th century and soon supplanted the last surviving traits of the 16th-century Mannerism. El Greco was deemed incomprehensible and had no important followers. Only his son and a few unknown painters produced weak copies of his works. Late 17th- and early 18th-century Spanish commentators praised his skill but criticized his antinaturalistic style and his complex iconography. Some of these commentators, such as Antonio Palomino and Juan Agustín Ceán Bermúdez, described his mature work as "contemptible", "ridiculous" and "worthy of scorn". The views of Palomino and Bermúdez were frequently repeated in Spanish historiography, adorned with terms such as "strange", "queer", "original", "eccentric" and "odd". The phrase "sunk in eccentricity", often encountered in such texts, in time developed into "madness".With the arrival of Romantic sentiments in the late 18th century, El Greco's works were examined anew. To French writer Théophile Gautier, El Greco was the precursor of the European Romantic movement in all its craving for the strange and the extreme. Gautier regarded El Greco as the ideal romantic hero (the "gifted", the "misunderstood", the "mad"), and was the first who explicitly expressed his admiration for El Greco's later technique. French art critics Zacharie Astruc and Paul Lefort helped to promote a widespread revival of interest in his painting. In the 1890s, Spanish painters living in Paris adopted him as their guide and mentor. However, in the popular English-speaking imagination he remained the man who "painted horrors in the Escorial" in the words of Ephraim Chambers' Cyclopaedia in 1899.In 1908, Spanish art historian Manuel Bartolomé Cossío published the first comprehensive catalogue of El Greco's works; in this book El Greco was presented as the founder of the Spanish School. The same year...  Guess a valid title for it!???
output answer:
El Greco