[Q]: Given the below context:  In London, Grainger's charm, good looks and talent (with some assistance from the local Australian community) ensured that he was quickly taken up as a pianist by wealthy patrons. He was soon performing in concerts in private homes. The Times critic reported after one such appearance that Grainger's playing "revealed rare intelligence and a good deal of artistic insight".  In 1902 he was presented by the socialite Lillith Lowrey to Queen Alexandra, who thereafter frequently attended his London recitals. Lowrey, 20 years Grainger's senior, traded patronage and contacts for sexual favours – he termed the relationship a "love-serve job". She was the first woman with whom he had sex; he later wrote of this initial encounter that he had experienced "an overpowering landslide" of feeling, and that "I thought I was about to die. If I remember correctly, I only experienced fear of death. I don't think that any joy entered into it".In February 1902 Grainger made his first appearance as a piano soloist with an orchestra, playing Tchaikovsky's first piano concerto with the Bath Pump Room Orchestra. In October of that year he toured Britain in a concert party with Adelina Patti, the Italian-born opera singer. Patti was greatly taken by the young pianist and prophesied a glorious career for him. The following year he met the German-Italian composer and pianist Ferruccio Busoni. Initially the two men were on cordial terms (Busoni offered to give Grainger lessons free of charge) and, as a result, Grainger spent part of the 1903 summer in Berlin as Busoni's pupil.  However, the visit was not a success; as Bird notes, Busoni had expected "a willing slave and adoring disciple", a role Grainger was not willing to fulfill. Grainger returned to London in July 1903; almost immediately he departed with Rose on a 10-month tour of Australia, New Zealand and South Africa, as a member of a party organised by the Australian contralto Ada Crossley.  Guess a valid title for it!
****
[A]: Percy Grainger


[Q]: Given the below context:  In early August 1943, Lieutenant General George S. Patton slapped two United States Army soldiers under his command during the Sicily Campaign of World War II. Patton's hard-driving personality and lack of belief in the medical condition combat stress reaction, then known as "battle fatigue" or "shell shock", led to the soldiers becoming the subject of his ire in incidents on 3 and 10 August, when Patton struck and berated them after discovering they were patients at evacuation hospitals away from the front lines without apparent physical injuries. Word of the incidents spread, eventually reaching Patton's superior, General Dwight D. Eisenhower, who ordered him to apologize to the men. Patton's actions were initially suppressed in the news until journalist Drew Pearson publicized them in the United States. While the U.S. Congress and the general public expressed both support and disdain for Patton's actions, Eisenhower and Army Chief of Staff George Marshall opted not to fire Patton as a commander. He was nonetheless sidelined from combat command for almost a year. Seizing the opportunity the predicament presented, Eisenhower used Patton as a decoy in Operation Fortitude, sending faulty intelligence to German agents that Patton was leading the Invasion of Europe. While Patton eventually returned to combat command in the European Theater in mid-1944, the slapping incidents were seen by Eisenhower, Marshall, and other leaders to be examples of Patton's brashness and impulsiveness. Patton's career was halted as former subordinates such as Omar Bradley became his superiors.  Guess a valid title for it!
****
[A]: George S. Patton slapping incidents


[Q]: Given the below context:  Home from the war, Captain Tony Travis eyes an estate in Santa Barbara and wonders what it must be like to be that rich. It is the property of the fabulously wealthy Nora Hunter, who has secretary and friend Sylvia Lockwood impersonate her in public. Longtime guardian Jonathan Connors protects his ward's privacy zealously. During a ship launching, a press photographer takes Nora's picture, but Connors sees to it that the camera film is ruined. Sylvia tells Nora that she is quitting so that she can accompany her husband, Phil Vernon, whose job requires him to move to Washington. Nora decides to marry her fiance Donald so that Sylvia can be her maid of honor at her wedding, but when Donald returns from military duty, he breaks the news that he has fallen in love with someone else. Nora hosts a tea, but has Sylvia again pretend to be her. There she meets and takes a liking to Tony, but he is more interested in Sylvia. On hearing him vow that love is more important to him than money, Nora and Sylvia invite him to a weekend at Nora's beach house. Nora helps Tony court Sylvia, so that if he does genuinely love the real Nora, it will not be because of her money. All of her friends tell her she is being foolish, that nobody can resist that much temptation, but she stubbornly persists.  Guess a valid title for it!
****
[A]: Bride by Mistake


[Q]: Given the below context:  Stefan Lochner (the Dombild Master or Master Stefan; c. 1410 – late 1451) was a German painter working in the late "soft style" of the International Gothic. His paintings combine that era's tendency toward long flowing lines and brilliant colours with the realism, virtuoso surface textures and innovative iconography of the early Northern Renaissance. Based in Cologne, a commercial and artistic hub of northern Europe, Lochner was one of the most important German painters before Albrecht Dürer. Extant works include single-panel oil paintings, devotional polyptychs and illuminated manuscripts, which often feature fanciful and blue-winged angels. Today some thirty-seven individual panels are attributed to him with confidence. Less is known of his life. Art historians associating the Dombild Master with the historical Stefan Lochner believe he was born in Meersburg in south-west Germany around 1410, and that he spent some of his apprenticeship in the Low Countries. Records further indicate that his career developed quickly but was cut short by an early death. We know that he was commissioned around 1442 by the Cologne council to provide decorations for the visit of Emperor Frederick III, a major occasion for the city. Records from the following years indicate growing wealth and the purchase of a number of properties around the city. Thereafter he seems to have over-extended his finances and fallen into debt. Plague hit Cologne in 1451 and there, apart from the records of creditors, mention of Stephan Lochner ends; it is presumed he died that year, aged around 40. Lochner's identity and reputation were lost until a revival of 15th-century art during the early 19th-century romantic period. Despite extensive historical research, attribution remains difficult; for centuries a number of associated works were grouped and loosely attributed to the Dombild Master, a notname taken from the Dombild Altarpiece (in English cathedral picture, also known as the Altarpiece of the City's Patron Saints) still in Cologne Cathedral....  Guess a valid title for it!
****
[A]:
Stefan Lochner