Question: Given the below context:  American Ernest Fenollosa was the earliest Western devotee of Japanese culture, and did much to promote Japanese art—Hokusai's works featured prominently at his inaugural exhibition as first curator of Japanese art Museum of Fine Arts in Boston, and in Tokyo in 1898 he curated the first ukiyo-e exhibition in Japan. By the end of the 19th century, the popularity of ukiyo-e in the West drove prices beyond the means of most collectors—some, such as Degas, traded their own paintings for such prints.  Tadamasa Hayashi was a prominent Paris-based dealer of respected tastes whose Tokyo office was responsible for evaluating and exporting large quantities of ukiyo-e prints to the West in such quantities that Japanese critics later accused him of siphoning Japan of its national treasure.  The drain first went unnoticed in Japan, as Japanese artists were immersing themselves in the classical painting techniques of the West.Japanese art, and particularly ukiyo-e prints, came to influence Western art from the time of the early Impressionists.  Early painter-collectors incorporated Japanese themes and compositional techniques into their works as early as the 1860s: the patterned wallpapers and rugs in Manet's paintings were inspired by ukiyo-e's patterned kimonos, and Whistler focused his attention on ephemeral elements of nature as in ukiyo-e landscapes.  Van Gogh was an avid collector, and painted copies in oil of prints by Hiroshige and Eisen.  Degas and Cassatt depicted fleeting, everyday moments in Japanese-influenced compositions and perspectives.  Ukiyo-e's flat perspective and unmodulated colours were a particular influence on graphic designers and poster makers.  Toulouse-Lautrec's lithographs displayed his interest not only in ukiyo-e's flat colours and outlined forms, but also in their subject matter: performers and prostitutes.  He signed much of this work with his initials in a circle, imitating the seals on Japanese prints.  Other artists of the time who drew influence from ukiyo-e include Monet, La Farge,...  Guess a valid title for it!
Answer: Ukiyo-e

Question: Given the below context:  Meek California Fidelity Trust teller Johnny Dalton asks his boss J. L. McKissack for a raise so he can marry fellow teller Mildred "Mibs" Goodhue. Though Johnny is turned down, Mibs wants to get married anyway. Emile J. Keck, a friend and waiter at an Italian restaurant they frequent, also urges Johnny to take a chance, even facetiously suggesting he rob the bank where he works. When he insists on waiting, Mibs storms out. While returning to work, Johnny intervenes when he spots two men beating up a third in an alley. The victim, "Hot Horse" Harris, turns out to be a bookie. To show his gratitude, Harris gives a stunned Johnny $1000, but Johnny refuses to accept it. To make it easier, Harris changes it to a "loan", then promptly bets the entire amount on a sure thing in a fixed race, making sure to place the bet at the bookie joint run by his competitor (the one who had him beaten up). From the winnings, Harris takes back the loan, and Johnny is left with $5000. Harris then makes two more bets for Johnny, both winners. Johnny now has won $60,000. Harris only has $40,000 on hand, so he tells Johnny he will send him the rest later. Johnny rushes off to share the good news with Emile, but Emile believes he took his advice about bank robbery. As it turns out, the bank's auditors have discovered that there is $75,000 missing. Fearing that he will be suspected of the crime, Johnny enlists Emile's help in hiding the money. When he tells Mibs about his windfall, she does not believe his story either. She finds $20,000, the remainder of what Harris owes Johnny, and goes to see Bob Pulsifer, Jr., the lazy, lecherous son of the bank's founder. She offers it to him on condition that he not inform the police about Johnny, but he telephones them anyway.  Guess a valid title for it!
Answer: Double Dynamite

Question: Given the below context:  Despite Anthony Field's expressed dislike of the term, preferring to refer to it as "preserving the good name of The Wiggles", the group has stressed the importance of their brand and were protective of it.  They remained as independent as possible, and retained full creative control and ownership of every aspect of their business.  As Field stated, The Wiggles Pty Ltd was "not your regular 'corporate culture'".  They made decisions by consensus and made business decisions based upon their experience as performers and their knowledge of early childhood education.  They made careful decisions regarding their endorsements of toys and other products, and avoided over-extending their brand by only licensing products that correlated with their image.  They had high expectations regarding the behaviour and attitude of everyone associated with the group.The Wiggles became formally consolidated in 2005. The group's board of directors consisted of the original three members, Paul Field, who has been general manager of operations since the group was formed and their manager since the mid-1990s, and Mike Conway, who had worked for Ernst & Young in England and become their general manager in 2001.  In 2009, the Australian rock band AC/DC knocked The Wiggles, who earned A$45 million, from the top of Business Review Weekly's  (BRW) list of top entertainment earners for the first time in four years.  In 2011, the worldwide recession hit The Wiggles, as it had done for many Australian entertainers; they earned A$28 million, but they still appeared second on the BRW's list that year.  By 2012, founding members Anthony Field, Cook, and Fatt retained 30% ownership of their brand, and Paul Field and Conway each owned 5%.  It was reported that as part owner of The Wiggles, Page was given a A$20 million payout when he left the group in 2006.  Other ventures of The Wiggles Pty Ltd included franchising their concept to South America, Taiwan, and other countries, opening "Wiggles World" sections in theme parks, and online offerings.  Guess a valid title for it!
Answer:
The Wiggles