Please answer this: Given the below context:  Like other Spanish liberals, Goya was left in a difficult position after the French invasion. He had supported the initial aims of the French Revolution, and hoped its ideals would help liberate Spain from feudalism to become a secular, democratic political system. There were two conflicts being fought in Spain: the resistance against the French threat, and a domestic struggle between the ideals of liberal modernisation and the pre-political incumbent ruling class. The latter divide became more pronounced—and the differences far more entrenched—following the eventual withdrawal of the French.Several of Goya's friends, including the poets Juan Meléndez Valdés and Leandro Fernández de Moratín, were overt afrancesados: the supporters (or collaborators, in the view of many) of Joseph Bonaparte. He maintained his position as court painter, for which an oath of loyalty to Joseph was necessary. However, Goya had an instinctive dislike of authority, and witnessed first-hand the subjugation of his countrymen by French troops. During these years he painted little aside from portraits of figures from all parties, including an allegorical painting of Joseph Bonaparte in 1810, Wellington from 1812 to 1814, and French and Spanish generals. Meanwhile, Goya was working on drawings that would form the basis for The Disasters of War. He visited many battle sites around Madrid to witness the Spanish resistance. The final plates are testament to what he described as "el desmembramiento d'España"—the dismemberment of Spain.  Guess a valid title for it!
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Answer: The Disasters of War


Please answer this: Given the below context:  Johnny and girlfriend Frankie are performers on a Mississippi River riverboat, which also has a casino. Johnny is a compulsive gambler who is down on his luck and in debt. Johnny and his friend Cully, a musician and composer, visit a gypsy camp to get his fortune told. A lady reads tea leaves and tells Johnny that he will soon meet a red-haired woman who will bring him luck. Back on the boat, Johnny and Cully promptly encounter Nellie Bly, their boss Clint Braden's on-again, off-again girlfriend. Nellie has just caught Braden seducing another singer, Mitzi. Since she has red hair, Nellie is persuaded by Johnny to touch his chips for luck. After he wins, Johnny is convinced that the gypsy must be correct. Frankie finds out and becomes jealous, as does Johnny's boss. In a bit of musical theatre, Frankie shoots Johnny for dancing with Nellie Bly while singing Cully's latest song. A Broadway recruiter sees the riverboat show and buys the rights to this new song, suggesting that Frankie and Johnny should work together with him in New York City. Landing in New Orleans, the musical cast and riverboat crew attend a masked ball. Frankie, Nellie and Mitzi all rent the same Madame Pompadour costume. Johnny is eager for the luck of redhead Nellie to win more money, contrary to Frankie's expressed wishes. Being masked and in costume, Frankie and Nellie scheme to switch places to test Johnny's lucky-redhead theory. Johnny wins $10,000 at roulette, but when he kisses the woman he believes to be Nellie, he discovers the switch. Frankie is furious and throws all the winnings out of a window, into the street. Blackie, a dim-witted stooge who works for the boss, hears Braden drunkenly complain about how he has lost Nellie. Thinking he can be of help, Blackie switches the blank cartridge in Frankie's stage gun for a real bullet.  Guess a valid title for it!
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Answer: Frankie and Johnny (1966 film)


Please answer this: Given the below context:  The dignitaries and canons constituted the chapter and had the primary role of aiding the bishop in the governance of the diocese. Often the bishop was the titular head of the chapter only and was excluded from its decision-making processes, the chapter being led by the dean as its superior. As the diocese of Moray based its constitution on that of Lincoln Cathedral, the bishop was allowed to participate within the chapter but only as an ordinary canon. Moray was not unique in this: the bishops of Aberdeen, Brechin, Caithness, Orkney and Ross were also canons in their own chapters. Each morning, the canons held a meeting in the chapterhouse where a chapter from the canonical rulebook of St Benedict was read before the business of the day was discussed. Bishop Brice's chapter of eight clerics consisted of the dean, precentor, treasurer, chancellor, archdeacon and three ordinary canons. His successor, Bishop Andrew de Moravia, greatly expanded the chapter to cater for the much-enlarged establishment by creating two additional hierarchical posts (succentor and subdean) and added 16 more prebendary canons. In total, 23 prebendaries had been created by the time of Andrew's death, and a further two were added just before the Scottish Reformation. Prebendary churches were at the bestowal of the bishop as the churches either were within the diocesan lands or had been granted to the bishop by a landowner as patronage. In the case of Elgin Cathedral, the de Moravia family, of which Bishop Andrew was a member, is noted as having the patronage of many churches given as prebends.Rural Deans, or deans of Christianity as they were known in the Scottish Church, supervised the priests in the deaneries and implemented the bishop's edicts. There were four deaneries in the Moray diocese—Elgin, Inverness, Strathspey and Strathbogie, and these provided the income not only for the cathedral and chapter but also for other religious houses within and outside the diocese. Many churches were allocated to support designated canons, and...  Guess a valid title for it!
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Answer:
Elgin Cathedral