Given the below context:  Two men named Ty and Vachel are hunting in a forest and come across an abandoned church, which they go in to explore. After Ty sees their truck being crashed into a tree, Vachel is stabbed with a serrated machete by a chuckling assailant who then dons Vachel's hat and jacket. Ty, seeing the murderer come out of the church, quietly flees off into the forest. Meanwhile, forest ranger Roy McLean is at his home, where he encounters a van of five college-aged adults heading to rural property which one of them has inherited. Despite his insistence that they not venture up the mountain, the five continue along. Among them are Warren; his girlfriend Constance; Jonathan, and his girlfriend, Megan; and Daniel, Jonathan's brother. On their way up the mountain, they hit a deer, and encounter Ty stumbling through the woods on his way down the mountain; they dismiss his warnings of "demons," as he is visibly drunk. After reaching a point where the van cannot drive any further, the group set out on foot and make a campsite; at night, while around the fire, Constance, Megan, and Daniel hear noises around them and become frightened, only to find that Jonathan and Warren are playing a joke on them. The next morning, they hike along Silver Creek to a waterfall, where they see a young girl named Merry Cat Logan singing before noticing their presence and running into the woods. Megan and Jonathan go skinny dipping at the bottom of the falls, unaware that someone else has entered the water. Megan feels hands touching her and assumes it's Jonathan, until she sees him on shore, whereupon she panics and swims to safety.  Guess a valid title for it!
Ans: Just Before Dawn (1981 film)

Given the below context:  Warrack emphasises that Holst acquired an instinctive understanding—perhaps more so than any English composer—of the importance of folksong. In it he found "a new concept not only of how melody might be organized, but of what the implications were for the development of a mature artistic language". Holst did not found or lead a school of composition; nevertheless, he exercised influences over both contemporaries and successors. According to Short, Vaughan Williams described Holst as "the greatest influence on my music", although Matthews asserts that each influenced the other equally. Among later composers, Michael Tippett is acknowledged by Short as Holst's "most significant artistic successor", both in terms of compositional style and because Tippett, who succeeded Holst as director of music at Morley College, maintained the spirit of Holst's music there. Of an early encounter with Holst, Tippett later wrote: "Holst seemed to look right inside me, with an acute spiritual vision". Kennedy observes that "a new generation of listeners ... recognized in Holst the fount of much that they admired in the music of Britten and Tippett". Holst's pupil Edmund Rubbra acknowledged how he and other younger English composers had adopted Holst's economy of style: "With what enthusiasm did we pare down our music to the very bone".Short cites other English composers who are in debt to Holst, in particular William Walton and Benjamin Britten, and suggests that Holst's influence may have been felt further afield. Above all, Short recognises Holst as a composer for the people, who believed it was a composer's duty to provide music for practical purposes—festivals, celebrations, ceremonies, Christmas carols or simple hymn tunes. Thus, says Short, "many people who may never have heard any of [Holst's] major works ... have nevertheless derived great pleasure from hearing or singing such small masterpieces as the carol 'In the Bleak Midwinter'".On 27 September 2009, after a weekend of concerts at Chichester Cathedral in memory of...  Guess a valid title for it!
Ans: Gustav Holst

Given the below context:  Pod was released in the UK on May 29, 1990 by 4AD. Watts-Russell planned the date to be not too close to the release of the Pixies' Bossanova two and a half months later, for more effective publicity of both albums.  Watts-Russell believed the album would be better suited to a US independent distribution label rather than the Pixies' American distributor Elektra, and licensed Pod to Rough Trade America. When this division of Rough Trade went bankrupt, Elektra assumed distribution of Pod in the US. Deal has noted that the Breeders did not receive any royalties from initial US sales because of Rough Trade's bankruptcy.The album was widely anticipated by the British music press due to the involvement of Deal and Donelly—known from their highly regarded work with the Pixies and Throwing Muses, respectively—and Albini, who likewise had a strong reputation for his previous engineering work. It reached number 22 in the UK, where it was promoted by a full-page ad in Melody Maker, and number 73 in the Netherlands. Pod sold moderately well, although Deal has noted it "never sold [anything]" compared to their next album, Last Splash (1993), which was certified platinum in the US and silver in the UK.Deal took the idea for the album's title from a painting that she saw in Boston; for her, the word "pod" evoked a uterus, which Wiggs has noted relates to the theme of fertility and the group's name. The cover art was designed by longtime 4AD album designer Vaughan Oliver and employs photography by Kevin Westenberg. Oliver, in an attempt to seduce Deal, whom he believed would appreciate the humor, attached a belt of dead eels over his underwear, which he intended as phallic symbols. He performed a fertility dance, while Westenberg took pictures of him using a long exposure to achieve the blurring and other visual effects.  Guess a valid title for it!
Ans: Pod (The Breeders album)

Given the below context:  Ferrier gave her first London recital on 28 December 1942 at the National Gallery, in a lunch-time concert organised by Dame Myra Hess. Although she wrote "went off very well" in her diary, Ferrier was disappointed with her performance, and concluded that she needed further voice training. She approached the distinguished baritone Roy Henderson with whom, a week previously, she had sung in Mendelssohn's Elijah. Henderson agreed to teach her, and was her regular voice coach for the remainder of her life. He later explained that her "warm and spacious tone" was in part due to the size of the cavity at the back of her throat: "one could have shot a fair-sized apple right to the back of the throat without obstruction". However, this natural physical advantage was not in itself enough to ensure the quality of her voice; this was due, Henderson says, to "her hard work, artistry, sincerity, personality and above all her character". Ferrier's performances in the Glyndebourne run, which began on 12 July 1946, earned her favourable reviews, although the opera itself was less well received. On the provincial tour which followed the festival it failed to attract the public and incurred heavy financial losses. By contrast, when the opera reached Amsterdam it was greeted warmly by the Dutch audiences who showed particular enthusiasm for Ferrier's performance. This was Ferrier's first trip abroad, and she wrote an excited letter to her family: "The cleanest houses and windows you ever did see, and flowers in the fields all the way!" Following her success as Lucretia she agreed to return to Glyndebourne in 1947, to sing Orfeo in Gluck's opera Orfeo ed Euridice. She had often sung Orfeo's aria Che farò ("What is life") as a concert piece, and had recently recorded it with Decca. At Glyndebourne, Ferrier's limited acting abilities caused some difficulties in her relationship with the conductor, Fritz Stiedry; nevertheless her performance on the first night, 19 June 1947, attracted warm critical praise.Ferrier's association...  Guess a valid title for it!
Ans: Kathleen Ferrier