Problem: Given the below context:  Frances died in 1986, and Elsie in 1988. Prints of their photographs of the fairies, along with a few other items including a first edition of Doyle's book The Coming of the Fairies, were sold at auction in London for £21,620 in 1998. That same year, Geoffrey Crawley sold his Cottingley Fairy material to the National Museum of Film, Photography and Television in Bradford (now the National Science and Media Museum), where it is on display. The collection included prints of the photographs, two of the cameras used by the girls, watercolours of fairies painted by Elsie, and a nine-page letter from Elsie admitting to the hoax. The glass photographic plates were bought for £6,000 by an unnamed buyer at a London auction held in 2001.Frances' daughter, Christine Lynch, appeared in an episode of the television programme Antiques Roadshow in Belfast, broadcast on BBC One in January 2009, with the photographs and one of the cameras given to the girls by Doyle. Christine told the expert, Paul Atterbury, that she believed, as her mother had done, that the fairies in the fifth photograph were genuine. Atterbury estimated the value of the items at between £25,000 and £30,000. The first edition of Frances' memoirs was published a few months later, under the title Reflections on the Cottingley Fairies. The book contains correspondence, sometimes "bitter", between Elsie and Frances. In one letter, dated 1983, Frances wrote: I hated those photographs from the age of 16 when Mr Gardner presented me with a bunch of flowers and wanted me to sit on the platform [at a Theosophical Society meeting] with him. I realised what I was in for if I did not keep myself hidden. The 1997 films FairyTale: A True Story and Photographing Fairies were inspired by the events surrounding the Cottingley Fairies. The photographs were parodied in a 1994 book written by Terry Jones and Brian Froud, Lady Cottington's Pressed Fairy Book.In 2017 a further two fairy photographs were presented as evidence that the girls' parents were part of the conspiracy....  Guess a valid title for it!

A: Cottingley Fairies


Problem: Given the below context:  Presley was a central figure in the development of rockabilly, according to music historians. "Rockabilly crystallized into a recognizable style in 1954 with Elvis Presley's first release, on the Sun label", writes Craig Morrison. Paul Friedlander describes the defining elements of rockabilly, which he similarly characterizes as "essentially ... an Elvis Presley construction": "the raw, emotive, and slurred vocal style and emphasis on rhythmic feeling [of] the blues with the string band and strummed rhythm guitar [of] country". In "That's All Right", the Presley trio's first record, Scotty Moore's guitar solo, "a combination of Merle Travis–style country finger-picking, double-stop slides from acoustic boogie, and blues-based bent-note, single-string work, is a microcosm of this fusion." While Katherine Charlton likewise calls Presley "rockabilly's originator", Carl Perkins has explicitly stated that "[Sam] Phillips, Elvis, and I didn't create rockabilly." and, according to Michael Campbell, "Bill Haley recorded the first big rockabilly hit." In Moore's view, too, "It had been there for quite a while, really. Carl Perkins was doing basically the same sort of thing up around Jackson, and I know for a fact Jerry Lee Lewis had been playing that kind of music ever since he was ten years old."At RCA, Presley's rock and roll sound grew distinct from rockabilly with group chorus vocals, more heavily amplified electric guitars and a tougher, more intense manner. While he was known for taking songs from various sources and giving them a rockabilly/rock and roll treatment, he also recorded songs in other genres from early in his career, from the pop standard "Blue Moon" at Sun to the country ballad "How's the World Treating You?" on his second LP to the blues of "Santa Claus Is Back in Town". In 1957, his first gospel record was released, the four-song EP Peace in the Valley. Certified as a million seller, it became the top-selling gospel EP in recording history. Presley would record gospel periodically for the rest of...  Guess a valid title for it!

A: Elvis Presley


Problem: Given the below context:  Solti recorded throughout his career for the Decca Record Company. He made more than 250 recordings, including 45 complete opera sets. During the 1950s and 1960s Decca had an alliance with RCA Victor, and some of Solti's recordings were first issued on the RCA label.Solti was one of the first conductors who came to international fame as a recording artist before being widely known in the concert hall or opera house. Gordon Parry, the Decca engineer who worked with Solti and Culshaw on the Ring recordings, observed, "Many people have said 'Oh well, of course John Culshaw made Solti.' This is not true. He gave him the opportunity to show what he could do."Solti's first recordings were as a piano accompanist, playing at sessions in Zurich for the violinist Georg Kulenkampff in 1947. Decca's senior producer, Victor Olof did not much admire Solti as a conductor (nor did Walter Legge, Olof's opposite number at EMI's Columbia Records), but Olof's younger colleague and successor, Culshaw, held Solti in high regard. As Culshaw, and later James Walker, produced his recordings, Solti's career as a recording artist flourished from the mid-1950s. Among the orchestras with whom Solti recorded were the Berlin Philharmonic, Chicago Symphony, London Philharmonic, London Symphony and Vienna Philharmonic orchestras. Soloists in his operatic recordings included Birgit Nilsson, Joan Sutherland, Régine Crespin, Plácido Domingo, Gottlob Frick, Carlo Bergonzi, Kiri Te Kanawa and José van Dam. In concerto recordings, Solti conducted for, among others, András Schiff, Julius Katchen, Clifford Curzon, Vladimir Ashkenazy and Kyung-wha Chung.Solti's most celebrated recording was Wagner's Der Ring des Nibelungen made in Vienna, produced by Culshaw, between 1958 and 1965. It has twice been voted the greatest recording ever made, the first poll being among readers of Gramophone magazine in 1999, and the second of professional music critics in 2011, for the BBC's Music Magazine.  Guess a valid title for it!

A:
Georg Solti