Given the below context: Following a brief post-war downturn, boom times returned to Jerome in the 1920s. Copper prices rose to 24 cents a pound in 1929, and United Verde and UVX operated at near capacity. Wages rose, consumers spent, and the town's businessesincluding five automobile dealershipsprospered. United Verde, seeking stable labor relations, added disability and life insurance benefits for its workers and built a baseball field, tennis courts, swimming pools, and a public park in Jerome. Both companies donated to the Jerome Public Library and helped finance projects for the town's schools, churches, and hospitals.In 1930, after the start of the Great Depression, the price of copper fell to 14 cents a pound. In response, United Verde began reducing its work force; UVX operated at a loss, and the third big mine, Verde Central, closed completely. The price of copper fell further in 1932 to 5 cents a pound, leading to layoffs, temporary shut-downs, and wage reductions in the Verde District. In 1935, the Clark family sold United Verde to Phelps Dodge, and in 1938 UVX went out of business. Meanwhile, a subsidence problem that had irreparably damaged at least 10 downtown buildings by 1928 worsened through the 1930s. Dozens of buildings, including the post office and jail, were lost as the earth beneath them sank away. Contributing causes were geologic faulting in the area, blast vibrations from the mines, and erosion that may have been exacerbated by vegetation-killing smelter smoke.Mining continued at a reduced level in the Verde District until 1953, when Phelps Dodge shut down the United Verde Mine and related operations. Jerome's population subsequently fell below 100. To prevent the town from disappearing completely, its remaining residents turned to tourism and retail sales. They organized the Jerome Historical Society in 1953 and opened a museum and gift shop.To encourage tourism, the town's leaders sought National Historic Landmark status for Jerome; it was granted by the federal government in 1967. In 1962, the heirs of... Guess a valid title for it!
Ans: Jerome, Arizona

Given the below context: Wood was born in Oxford Street, London, the only child of Henry Joseph Wood and his wife Martha, nee Morris. Wood senior had started in his family's pawnbroking business, but by the time of his son's birth he was trading as a jeweller, optician and engineering modeller, much sought-after for his model engines. It was a musical household: Wood senior was an amateur cellist and sang as principal tenor in the choir of St Sepulchre-without-Newgate, known as "the musicians' church". His wife played the piano and sang songs from her native Wales. They encouraged their son's interest in music, buying him a Broadwood piano, on which his mother gave him lessons. The young Wood also learned to play the violin and viola. Wood received little religious inspiration at St Sepulchre, but was deeply stirred by the playing of the resident organist, George Cooper, who allowed him into the organ loft and gave him his first lessons on the instrument. Cooper died when Wood was seven, and the boy took further lessons from Cooper's successor, Edwin M. Lott, for whom Wood had much less regard. At the age of ten, through the influence of one of his uncles, Wood made his first paid appearance as an organist at St Mary Aldermanbury, being paid half a crown. In June 1883, visiting the Fisheries Exhibition at South Kensington with his father, Wood was invited to play the organ in one of the galleries, making a good enough impression to be engaged to give recitals at the exhibition building over the next three months. At this time in his life, painting was nearly as strong an interest as music, and he studied in his spare time at the Slade School of Fine Art. He remained a life-long amateur painter.After taking private lessons from the musicologist Ebenezer Prout, Wood entered the Royal Academy of Music at the age of seventeen, studying harmony and composition with Prout, organ with Charles Steggall, and piano with Walter Macfarren. It is not clear whether he was a member of Manuel Garcia's singing class, but it is certain that he... Guess a valid title for it!
Ans: Henry Wood

Given the below context: Scary Monsters and Super Creeps (1980) produced the number-one hit "Ashes to Ashes", featuring the textural work of guitar-synthesist Chuck Hammer and revisiting the character of Major Tom from "Space Oddity". The song gave international exposure to the underground New Romantic movement when Bowie visited the London club "Blitz"the main New Romantic hangoutto recruit several of the regulars (including Steve Strange of the band Visage) to act in the accompanying video, renowned as one of the most innovative of all time. While Scary Monsters used principles established by the Berlin albums, it was considered by critics to be far more direct musically and lyrically. The album's hard rock edge included conspicuous guitar contributions from Robert Fripp, Chuck Hammer, and Pete Townshend. As "Ashes to Ashes" hit number one on the UK charts, Bowie opened a three-month run on Broadway on 24 September, starring as John Merrick in The Elephant Man.Bowie paired with Queen in 1981 for a one-off single release, "Under Pressure". The duet was a hit, becoming Bowie's third UK number-one single. Bowie was given the lead role in the BBC's 1982 televised adaptation of Bertolt Brecht's play Baal. Coinciding with its transmission, a five-track EP of songs from the play, recorded earlier in Berlin, was released as David Bowie in Bertolt Brecht's Baal. In March 1982, the month before Paul Schrader's film Cat People came out, Bowie's title song, "Cat People (Putting Out Fire)", was released as a single, becoming a minor US hit and entering the UK Top 30.Bowie reached his peak of popularity and commercial success in 1983 with Let's Dance. Co-produced by Chic's Nile Rodgers, the album went platinum in both the UK and the US. Its three singles became Top 20 hits in both countries, where its title track reached number one. "Modern Love" and "China Girl" each made No. 2 in the UK, accompanied by a pair of "absorbing" promotional videos that biographer David Buckley said "activated key archetypes in the pop world. 'Let's Dance', with... Guess a valid title for it!
Ans: David Bowie

Given the below context: Sherlock Holmes and Dr. Watson are called to Whitechapel after learning about a series of strange murders only two years after the Jack the Ripper murders in the same neighborhood. The local belief is that the killings are the work of a vampire brought back from a recent mission in Guyana. As they investigate the deaths, they engage in an ongoing debate about the supernatural, with Watson believing in the possibility of vampires and Holmes remaining skeptical until he is able to prove the murders are the works of a living human, rather than any undead creature. At one point, the investigation leads them to the psychic Madame Karasky, who says that Holmes will be saved by the church. Shortly thereafter, Holmes is pushed in front of a moving carriage by the supposed vampire, only to be saved by a pedestrian. In order to catch the murderer, Holmes disguises himself as a monk and reveals that the vampire was Brother Abel, who hoped to get revenge on the monks who didn't listen to him when he believed that the bats were causing rabies in the South American mission, when he was infected. The film ends at Baker Street, when Mrs. Hudson gives Holmes his pipe, delivered by the same man that saved Holmes from being run over. When Holmes asks his name, Mrs. Hudson says his name was Reginald Church. Guess a valid title for it!
Ans: The Case of the Whitechapel Vampire