Problem: Given the below context:  Born in Germany, Isaac Oscherwitz was a butcher who emigrated to America in the 1880s because of oppression and poverty. When he arrived in Cincinnati, he started his own sausage factory, which created jobs and a delicious product for the city's surprisingly well-populated Jewish community. But the Oscherwitzes also established their public face to the community through a family-run storefront shop, where they sold their meats and other classic Jewish delicacies. Decades later, Isaac's five sons extended the business to Chicago, which had become the center of the meat packing industry, and today the Oscherwitz family is responsible for well-known brands such as Best Kosher, Shofar, and Sinai. This familial intimacy extends beyond the immediate family members to the way they treat everyone involved in the business, from factory workers to customers. "I don't think my husband ever felt like his customers were his customers," one woman says, "they were his friends." Another man, who took a job with the Oscherwitzes after he lost everything to the Holocaust, speaks highly of his employers. "It was such a family feeling," he explaining how warm and welcoming his coworkers have been. The appeal of a family-owned product helped make the Oscherwitz brand popular, but fiscal success also jeopardized the family-run nature of the business. Before the swell of success, business meetings between the Oscherwitz brothers were a literal yelling contest, where arguments were won by the most powerful voice and, despite all the screaming, everyone left on good terms. But a big business couldn't run in the same way. The documentary shares the Oscherwitzes' inside struggles to keep their booming business family-run and shows the effects on everyone when they were bought out by a subsidiary of the Sara Lee Corporation  Guess a valid title for it!

A: Divine Food


Problem: Given the below context:  Kennedy learned of the deaths on the following morning when National Security Council staffer Michael Forrestal rushed into the cabinet room with a telegram reporting the Ngô brothers' alleged suicides. According to General Maxwell Taylor, "Kennedy leaped to his feet and rushed from the room with a look of shock and dismay on his face which I had never seen before." Kennedy had planned that Ngô Đình Diệm would be safely exiled and Arthur M. Schlesinger, Jr. recalled that the US President was "somber and shaken". Kennedy later penned a memo, lamenting that the assassination was "particularly abhorrent" and blaming himself for approving Cable 243, which had authorised Lodge to explore coup options in the wake of Nhu's attacks on the Buddhist pagodas. Forrestal said that "It shook him personally ... bothered him as a moral and religious matter. It shook his confidence, I think, in the kind of advice he was getting about South Vietnam." When Kennedy was consoled by a friend who told him he need not feel sorry for the Ngô brothers on the grounds of despotism, Kennedy replied "No. They were in a difficult position. They did the best they could for their country."Kennedy's reaction did not draw sympathy from his entire administration. Some believed that he should not have supported the coup and that as coups were uncontrollable, assassination was always a possibility. Kennedy was skeptical about the story and suspected that a double assassination had taken place. He reasoned the devoutly Catholic Ngô brothers would not have taken their own lives, but Roger Hilsman rationalised the possibility of suicide by asserting that Diệm and Nhu would have interpreted the coup as Armageddon. US officials soon became aware of the true reasons for the deaths of Diệm and Nhu. Lucien Conein had left the rebel headquarters as the generals were preparing to bring in the Ngô brothers for the press conference which announced the handover of power. Upon returning to his residence, Conein received a phone call from Saigon's CIA station...  Guess a valid title for it!

A: Arrest and assassination of Ngo Dinh Diem


Problem: Given the below context:  Celia Crowson and her family go on holiday to the south coast of England in the summer of 1939. Soon afterwards the Second World War breaks out and Celia's father joins what was to become the Home Guard and her more confident sister Phyllis joins the Auxiliary Territorial Service.  Fearing her father's disapproval if she moves away from home, Celia hesitates about joining up but eventually her call-up papers arrive. Hoping to join the WAAF or one of the other services, Celia instead gets posted to a factory making aircraft components, where she meets her co-workers, including her Welsh room-mate Gwen Price and the vain upper middle class Jennifer Knowles. Knowles dislikes the work they have to do at the factory, causing friction with their supervisor Charlie Forbes which eventually blossoms into a verbally combative romance. A nearby RAF bomber station sends some of its men to a staff dance at the factory, during which Celia meets and falls in love with an equally shy young Scottish flight sergeant Fred Blake. Their relationship encounters a crisis when Fred refuses to tell Celia when he is sent out on his first mission, but soon afterwards they meet and make up, with Fred asking Celia to marry him. After the wedding they spend their honeymoon at the same south coast resort as the Crowsons went to in 1939, finding it much changed with minefields and barbed wire defending against the expected German invasion.  Guess a valid title for it!

A: Millions Like Us


Problem: Given the below context:  Discounting his collaboration with Dukas in the completion of Guiraud's unfinished Frédégonde, Saint-Saëns wrote twelve operas, two of which are opéras comiques. During the composer's lifetime his Henry VIII became a repertory piece; since his death only Samson et Dalila has been regularly staged, although according to Schonberg, Ascanio (1890) is considered by experts to be a much finer work. The critic Ronald Crichton writes that for all his experience and musical skill, Saint-Saëns "lacked the 'nose' of the theatre animal granted, for example, to Massenet who in other forms of music was his inferior". In a 2005 study, the musical scholar Steven Huebner contrasts the two composers: "Saint-Saëns obviously had no time for Massenet's histrionics". Saint-Saëns's biographer James Harding comments that it is regrettable that the composer did not attempt more works of a light-hearted nature, on the lines of La princesse jaune, which Harding describes as like Sullivan "with a light French touch".Although most of Saint-Saëns's operas have remained neglected, Crichton rates them as important in the history of French opera, as "a bridge between Meyerbeer and the serious French operas of the early 1890s". In his view, the operatic scores of Saint-Saëns have, in general, the strengths and weaknesses of the rest of his music – "lucid Mozartian transparency, greater care for form than for content ... There is a certain emotional dryness; invention is sometimes thin, but the workmanship is impeccable." Stylistically, Saint-Saëns drew on a range of models. From Meyerbeer he drew the effective use of the chorus in the action of a piece; for Henry VIII he included Tudor music he had researched in London; in La princesse jaune he used an oriental pentatonic scale; from Wagner he derived the use of leitmotifs, which, like Massenet, he used sparingly. Huebner observes that Saint-Saëns was more conventional than Massenet so far as through composition is concerned, more often favouring discrete arias and ensembles, with less...  Guess a valid title for it!

A:
Camille Saint-Saëns