Q: Given the below context:  It's Christmas Eve and Richie Rich, the world's richest kid, is all excited to spend the day with his friends. While racing wildly with his friends in the snow, Richie's butler, Herbert Cadbury, controls the cars using a remote and guides the children back to Richie's house. He then reminds him about his responsibilities that are due to be executed on Christmas Eve, and instructs him to change his clothes and get ready for tea. Before going to do so, he visits his home scientist, Professor Keanbean, who shows him his recent invention, a wishing machine which works only on Christmas Eve. The day being that, Richie wishes for a "big pie" from it, and is given a "pig sty" instead. Cadbury is disgusted seeing this, and sends him off to change his clothes. He meets his parents, Richard and Regina Rich, to ask what they would like to have for Christmas. While with them, he also tries out his father's new fishing rod invented by Keanbean, which hooks on to a tuna sandwich in the vicinity. He then goes on to change his clothes. During tea, Richie meets his spoiled cousin, Reggie Van Dough, who wishes that he was as rich as Richie. Later, he dresses up like an elf with Cadbury as Santa Claus to distribute Christmas presents to the orphanage. While getting ready, Cadbury tells Richie about how he was a rock star in his youth days, in a band called Root Canal. When they take off in the sleigh with Richie driving it, Reggie takes control of it using the remote invented by Keanbean that Cadbury used earlier. He guides it through streets by shops, houses, and people, thus nearly destroying everything in the whole process. Richie and Cadbury end up in an accident in which the sleigh falls and literally explodes along with the presents, while Cadbury hurts his ankle badly. Richie runs off to fetch help, but once he enters the city, he sees that the situation has changed dramatically. Reggie is cooking up rumors about him, and all the people have turned against him.  Guess a valid title for it!
A: Richie Rich's Christmas Wish


Question: Given the below context:  From the days of 78 rpm discs, when relatively little modern music was being put on record, Walton was favoured by the record companies. In 1929 the small, new Decca company recorded eleven movements from Façade, with the composer conducting a chamber ensemble, with the speakers Edith Sitwell and Walton's friend and colleague Constant Lambert.       In the 1930s, Walton also had two of his major orchestral works on disc, both on Decca, the First Symphony recorded by Harty and the London Symphony Orchestra, and the Viola Concerto with Frederick Riddle and the LSO conducted by the composer. In the 1940s Walton moved from Decca to its older, larger rival, EMI. The EMI producer Walter Legge arranged a series of recordings of Walton's major works and many minor ones over the next twenty years; a rival composer expressed the view that if Walton had an attack of flatulence (he used an earthier expression), Walter Legge would record it.Walton himself, although a reluctant conductor, conducted many of the EMI recordings, and some for other labels. He made studio recordings of the First Symphony, the Viola Concerto, the Violin Concerto, the Sinfonia Concertante, the Façade Suites, the Partita, Belshazzar's Feast, and suites from his film scores for Shakespeare plays and The First of the Few. Some live performances conducted by Walton were recorded and have been released on compact disc, including the Cello Concerto and the Coronation Te Deum.Almost all Walton's works have been recorded for commercial release. EMI published a "Walton Edition" of his major works on CD in the 1990s, and the recording of the Chandos Records "Walton Edition" of his works was completed in 2010. His best-known works have been recorded by performers from many countries. Among the frequently recorded are Belshazzar's Feast, the Viola and Violin Concertos and the First Symphony, which has had more than twenty recordings since Harty's 1936 set.  Guess a valid title for it!
Answer: William Walton


Question: Given the below context:  A number of plates in this group reveal a scepticism towards idolatry of religious images. There are instances in the group where early Christian iconography, in particular statues and processional images, are mocked and denigrated. Plate 67, Esta no lo es menos (This is no less curious), shows two statues carried by two stooped members of clergy. One statue is recognisable as the "Virgin of Solitude". In Goya's image, the statue is not carried vertically in processional triumph, rather it lies flat and undignified on the backs of the two almost crouched men. Shown horizontal, the object loses its aura, and becomes a mere everyday object. Art critics Victor Stoichita and Anna Maria Coderch wrote, "It is in effect a deposed, toppled image, stripped of its powers and its connotations." Goya is making a general statement: that the Church's attempts to support and restore the Bourbons were "illusory, since what they proposed was nothing more than the adoration of an empty form".The published edition of The Disasters of War ends as it begins; with the portrayal of a single, agonized figure. The last two plates show a woman wearing a wreath, intended as a personification of Spain, Truth, or the Constitution of 1812—which Ferdinand had rejected in 1814. In plate 79, Murió la Verdad (The Truth has died), she lies dead. In plate 80, Si resucitará? (Will she live again?), she is shown lying on her back with breasts exposed, bathed in a halo of light before a mob of "monks and monsters". In plate 82, Esto es lo verdadero (This is the true way), she is again bare-breasted and apparently represents peace and plenty. Here, she lies in front of a peasant.  Guess a valid title for it!
Answer:
The Disasters of War