Given the below context:  In 1894 Wood went to the Wagner festival at Bayreuth where he met the conductor Felix Mottl, who subsequently appointed him as his assistant and chorus master for a series of Wagner concerts at the newly built Queen's Hall in London. The manager of the hall, Robert Newman, was proposing to run a ten-week season of promenade concerts and, impressed by Wood, invited him to conduct. There had been such concerts in London since 1838, under conductors from Louis Antoine Jullien to Arthur Sullivan. Sullivan's concerts in the 1870s had been particularly successful, because he offered his audiences something more than the usual light music. He introduced major classical works, such as Beethoven symphonies, normally restricted to the more expensive concerts presented by the Philharmonic Society and others. Newman aimed to do the same: "I am going to run nightly concerts and train the public by easy stages. Popular at first, gradually raising the standard until I have created a public for classical and modern music."Newman's determination to make the promenade concerts attractive to everyone led him to permit smoking during concerts, which was not formally prohibited at the Proms until 1971. Refreshments were available in all parts of the hall throughout the concerts, not only during intervals. Prices were considerably lower than those customarily charged for classical concerts: the promenade (the standing area) was one shilling, the balcony two shillings, and the grand circle (reserved seats) three and five shillings.Newman needed to find financial backing for his first season. Dr George Cathcart, a wealthy ear, nose and throat specialist, offered to sponsor it on two conditions: that Wood should conduct every concert, and that the pitch of the orchestral instruments should be lowered to the European standard diapason normal. Concert pitch in England was nearly a semitone higher than that used on the continent, and Cathcart regarded it as damaging for singers' voices. Wood, from his experience as a singing teacher,...  Guess a valid title for it!
Ans: Henry Wood

Given the below context:  Martin recalled that Sgt. Pepper "grew naturally out of Revolver", marking "an era of almost continuous technological experimentation". According to Geoff Emerick, the Beatles' recording engineer, the "major difference" between the two albums was that, with Sgt. Pepper, there was no absolute deadline for completion. Sessions began on 24 November 1966 in Studio Two at EMI Studios (subsequently Abbey Road Studios), marking the first time that the Beatles had come together since September. Afforded the luxury of a nearly limitless recording budget, the band booked open-ended sessions that started at 7 pm and allowed them to work as late as they wanted. They began with "Strawberry Fields Forever", followed by two other songs that were thematically linked to their childhoods: "When I'm Sixty-Four", the first session for which took place on 6 December, and "Penny Lane". "Strawberry Fields Forever" made prominent use of Mellotron, a keyboard instrument on which the keys triggered tape-recordings of a variety of instruments, enabling its user to play keyboard parts using those voices."Strawberry Fields Forever" and "Penny Lane" were subsequently released as a double A-side in February 1967 after EMI and Epstein pressured Martin for a single. When it failed to reach number one in the UK, British press agencies speculated that the group's run of success might have ended, with headlines such as "Beatles Fail to Reach the Top", "First Time in Four Years" and "Has the Bubble Burst?" In keeping with the band's approach to their previously issued singles, the songs were then excluded from Sgt. Pepper. Martin later described the decision to drop these two songs as "the biggest mistake of my professional life". In his judgment, "Strawberry Fields Forever", which he and the band spent an unprecedented 55 hours of studio time recording, "set the agenda for the whole album". He explained: "It was going to be a record ... [with songs that] couldn't be performed live: they were designed to be studio productions and that was the...  Guess a valid title for it!
Ans: Sgt. Pepper's Lonely Hearts Club Band

Given the below context:  Piggott claimed that Wheeler's appointment as Director-General of the Archaeological Survey of India represented "the most remarkable archaeological achievement of his career, an enormous challenge accepted and surmounted in the autocratic and authoritarian terms within which he could best deploy his powers as administrator and excavator. No other archaeologist of the time, it seems fair to remark, could have come near to attaining his command of incisive strategy and often ruthless tactics which won him the bewildered admiration and touching devotion of his Indian staff." The Indian archaeologist Dilip K. Chakrabarti later stated that Wheeler's accomplishments while in India were "considerable", particularly given the socio-political turmoil of independence and partition. Chakrabarti stated that Wheeler had contributed to South Asian archaeology in various ways: by establishing a "total view" of the region's development from the Palaeolithic onward, by introducing new archaeological techniques and methodologies to the subcontinent, and by encouraging Indian universities to begin archaeological research. Ultimately, Chakrabarti was of the opinion that Wheeler had "prepared the archaeology of the subcontinent for its transition to modernity in the post-Partition period." Similarly, Peter Johansen praised Wheeler for systematising and professionalising Indian archaeology and for "instituting a clearly defined body of techniques and methods for field and laboratory work and training."On Wheeler's death, H. D. Sankalia of Deccan College, Pune, described him as "well known among Old World archaeologists in the United States", particularly for his book Archaeology from the Earth and his studies of the Indus Valley Civilisation. In its 2013 obituary of the English archaeologist Mick Aston, British Archaeology magazine – the publication of the Council for British Archaeology – described Aston as "the Mortimer Wheeler of our times" because despite the strong differences between their personalities, both had done much...  Guess a valid title for it!
Ans: Mortimer Wheeler

Given the below context:  The film begins with the Descendents' origins in the neighboring communities of Hermosa Beach and Manhattan Beach, California in the late 1970s. Middle school friends Frank Navetta and Dave Nolte start the band in 1977 by writing songs together on guitar. Classmate Bill Stevenson impresses them with his musical talents and becomes their drummer. In 1979 they meet bassist Tony Lombardo in Long Beach and recruit him to the band. Nolte bows out to join his brothers in The Last, and Navetta, Stevenson, and Lombardo record the Descendents' debut single. Stevenson's high school classmate Milo Aukerman joins the band as lead singer, and the new lineup builds a local following through their catchy and melodic songs, energetic live shows, and Aukerman's image as a nerd. They release the Fat EP (1981) and their debut album Milo Goes to College (1982), so named because Aukerman leaves the band to study biology. Stevenson drums in Black Flag for the next few years. In 1985 the Descendents reconvene for a second album, I Don't Want to Grow Up. Navetta has burned all of his equipment and moved to Oregon, and is replaced by Ray Cooper. Stevenson pushes for the band to tour, but Lombardo declines and quits. He is replaced by Doug Carrion, and this lineup records 1986's Enjoy!, after which Cooper and Carrion both leave the band. Stevenson recruits bassist Karl Alvarez from Salt Lake City, who brings in his close friend Stephen Egerton to play guitar. The new lineup releases the 1987 album All, themed around the philosophical concept of "All" invented by Stevenson and friend Pat McCuistion. Aukerman leaves the band again to attend graduate school.  Guess a valid title for it!
Ans: Filmage