Please answer this: Given the below context:  In 1919 Monteux was appointed chief conductor of the Boston Symphony Orchestra. The orchestra was going through difficult times; its conductor, Karl Muck, had been forced by anti-German agitation to step down in 1917. Sir Henry Wood turned down the post, and despite press speculation neither Sergei Rachmaninoff nor Arturo Toscanini was appointed. At least twenty-four players of German heritage had been forced out with Muck, and orchestral morale was low. Shortly before Monteux took up the conductorship the autocratic founder and proprietor of the orchestra, Henry Lee Higginson, died. He had steadfastly resisted unionisation, and after his death a substantial minority of the players resumed the struggle for union recognition. More than thirty players, including two important principals, resigned over the matter. Monteux set about rebuilding the orchestra, auditioning players from all kinds of musical background, some of whom had not played symphonic music before. By the end of his first season he had restored the orchestra to something approaching its normal complement. He trained the orchestra to a high standard; according to the critic Neville Cardus, Monteux's musicianship "made the Boston Symphony Orchestra the most refined and musical in the world."Monteux regularly introduced new compositions in Boston, often works by American, English and French composers.  He was proud of the number of novelties presented in his years at Boston, and expressed pleasure that his successors continued the practice. He was dismayed when it was announced that his contract would not be renewed after 1924. The official explanation was that the orchestra's policy had always been to appoint conductors for no more than five years. It is unclear whether that was genuinely the reason. One suggested possibility is that the conductor chosen to replace him, Serge Koussevitzky, was thought more charismatic, with greater box-office appeal. Another is that the primmer members of Boston society disapproved of Monteux's morals: he and his...  Guess a valid title for it!
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Answer: Pierre Monteux


Please answer this: Given the below context:  Murder suspect James Reid is pursued by Los Angeles police detective Dearborn to a construction site. After avoiding capture, James is hired under an alias by construction boss Pop Hansford, whose daughter Jerry helps run the business. James's skill at construction impresses the bosses, who ask worker Sam Payne to take the new man under his wing. Payne soon becomes jealous over Jerry's obvious romantic attraction to James. Pop decides to fire James after a scaffolding accident nearly causes Payne's death, but he lends him money and reveals that Detective Dearborn had come around asking questions. James explains how he was falsely accused of his previous construction boss's murder after witnessing a welder, Frosty Davenport, flee the crime scene. Pop places an ad for a welder, hoping Frosty might apply for the job, which he does. An on-site accident leaves Pop pinned beneath a girder. James is able to save him, as well as to force a confession from Frosty and clear his name with the police.  Guess a valid title for it!
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Answer: Disaster (film)


Please answer this: Given the below context:  The Rhinemaidens are the three water-nymphs (Rheintöchter or "Rhine daughters") who appear in Richard Wagner's opera cycle Der Ring des Nibelungen. Their individual names are Woglinde, Wellgunde and Flosshilde (Floßhilde), although they are generally treated as a single entity and they act together accordingly. Of the 34 characters in the Ring cycle, they are the only ones who did not originate in the Old Norse Eddas. Wagner created his Rhinemaidens from other  legends and myths, most notably the Nibelungenlied which contains stories involving water-sprites (nixies) or mermaids. The key concepts associated with the Rhinemaidens in the Ring operas—their flawed guardianship of the Rhine gold, and the condition (the renunciation of love) through which the gold could be stolen from them and then transformed into a means of obtaining world power—are wholly Wagner's own invention, and are the elements that initiate and propel the entire drama. The Rhinemaidens are the first and the last characters seen in the four-opera cycle, appearing both in the opening scene of Das Rheingold, and in the final climactic spectacle of Götterdämmerung, when they rise from the Rhine waters to reclaim the ring from Brünnhilde's ashes.  They have been described as morally innocent, yet they display a range of sophisticated emotions, including some that are far from guileless. Seductive and elusive, they have no relationship to any of the other characters, and no indication is given as to how they came into existence, beyond occasional references to an unspecified "father". The various musical themes associated with the Rhinemaidens are regarded as among the most lyrical in the entire Ring cycle, bringing to it rare instances of comparative relaxation and charm. The music contains important melodies and phrases which are reprised and developed elsewhere in the operas to characterise other individuals and circumstances, and to relate plot developments to the source of the narrative. It is reported that Wagner played the Rhinemaidens'...  Guess a valid title for it!
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Answer: