Q: Given the below context:  In mid-1917 nine-year-old Frances Griffiths and her mother—both newly arrived in the UK from South Africa—were staying with Frances' aunt, Elsie Wright's mother, in the village of Cottingley in West Yorkshire; Elsie was then 16 years old. The two girls often played together beside the beck (stream) at the bottom of the garden, much to their mothers' annoyance, because they frequently came back with wet feet and clothes. Frances and Elsie said they only went to the beck to see the fairies, and to prove it, Elsie borrowed her father's camera, a Midg quarter-plate. The girls returned about 30 minutes later, "triumphant".Elsie's father, Arthur, was a keen amateur photographer, and had set up his own darkroom. The picture on the photographic plate he developed showed Frances behind a bush in the foreground, on which four fairies appeared to be dancing. Knowing his daughter's artistic ability, and that she had spent some time working in a photographer's studio, he dismissed the figures as cardboard cutouts. Two months later the girls borrowed his camera again, and this time returned with a photograph of Elsie sitting on the lawn holding out her hand to a 1-foot-tall (30 cm) gnome. Exasperated by what he believed to be "nothing but a prank", and convinced that the girls must have tampered with his camera in some way, Arthur Wright refused to lend it to them again. His wife Polly, however, believed the photographs to be authentic. Towards the end of 1918, Frances sent a letter to Johanna Parvin, a friend in Cape Town, South Africa, where Frances had lived for most of her life, enclosing the photograph of herself with the fairies. On the back she wrote "It is funny, I never used to see them in Africa. It must be too hot for them there."The photographs became public in mid-1919, after Elsie's mother attended a meeting of the Theosophical Society in Bradford. The lecture that evening was on "fairy life", and at the end of the meeting Polly Wright showed the two fairy photographs taken by her daughter and niece to the...  Guess a valid title for it!
A: Cottingley Fairies


Question: Given the below context:  Hundreds of songs and performers have entered Melodifestivalen since its debut. Although songwriters living outside Sweden were once not allowed to enter Melodifestivalen, the 2012 contest marked the first time foreign songwriters could submit entries, provided that they collaborated with a Swedish songwriter. To be eligible, songwriters and performers must be at least sixteen years of age on the day of the first Eurovision semi-final.Until 2001, participation in the festival was limited to a single night. The number of contestants ranged from five to twelve. A two-round system was used intermittently between 1981 and 1998, in which all but five of the contestants were eliminated in a first round of voting. Failure to reach the second round under this system was seen as a major failure for a prominent artist; when Elisabeth Andreassen failed to qualify in 1984, it almost ended her career. The introduction of weekly semi-finals in 2002 increased the number of contestants to thirty-two. At least ten of the contestants must perform in Swedish. A CD of each year's competing songs has been released since 2001, and a DVD of the semi-finals and final since 2003. Melodifestivalen has been the launch-pad for the success of popular local acts, such as Anne-Lie Rydé, Tommy Körberg, and Lisa Nilsson. The competition has played host to performers from outside Sweden, including Baccara, Alannah Myles, Katrina Leskanich, and Cornelis Vreeswijk. Melodifestivalen participants have also represented—and unsuccessfully tried to represent—other countries at Eurovision. While local success for Melodifestivalen winners is common, most contestants return to obscurity and few have major international success. The impact that the competition makes on the Swedish charts means an artist need not win the competition to earn significant domestic record sales. For example, the song which finished last at Melodifestivalen 1990, "Symfonin" by Loa Falkman, topped the Swedish singles chart. The most recent occurrence was 2016 with Samir &...  Guess a valid title for it!
Answer: Melodifestivalen


Question: Given the below context:  On 12 January 2010, M.I.A. posted a video clip on Twitter, which featured a new song, but revealed no information about it other than the heading "Theres space for ol dat I see" (sic). The following day her publicist confirmed that the track was entitled "Space Odyssey" and had been produced in collaboration with Rusko to protest a travel piece about Sri Lanka printed in The New York Times.  The track made it onto the final album under the revised title "Space". The same month, she filmed a short film for the song "Born Free". At the end of April the track was released as a promotional single, and the short film accompanying the song was released. The film, directed by Romain Gavras, depicts a military unit rounding up red-headed young men who are then shot or forced to run across a minefield. The film, which also features nudity and scenes of drug use, caused widespread controversy and was either removed or labelled with an age restriction on YouTube. In the weeks following the release of the film, M.I.A. was the most blogged about artist on the Internet, according to MP3 blog aggregator The Hype Machine. M.I.A. found the controversy "ridiculous", saying that videos of real-life executions had not generated as much controversy as her video. In the run-up to the album's release, "XXXO", which Entertainment Weekly described as the "first official single" from the forthcoming album, "Steppin Up", "Teqkilla" and "It Takes a Muscle" were released online. On 6 July 2010 she made the entire album available via her Myspace page. On 20 September, "Story To Be Told" received a video, on its own website, featuring the song's lyrics in CAPTCHA formatting. In December, "It Takes a Muscle" was released as a two-track promotional single.  Guess a valid title for it!
Answer:
Maya (M.I.A. album)