[Q]: Given the below context:  Thomson's most famous paintings are his depictions of pine trees, particularly The Jack Pine and The West Wind. David Silcox has described these paintings as "the visual equivalent of a national anthem, for they have come to represent the spirit of the whole country, notwithstanding the fact that vast tracts of Canada have no pine trees", and as "so majestic and memorable that nearly everyone knows them". Arthur Lismer described them similarly, saying that the tree in The West Wind was a symbol of the Canadian character, unyielding to the wind and emblematic of steadfastness and resolution.Thomson had a great enthusiasm for trees and worked to capture their forms, their surrounding locations, and the effect of the seasons on them. He normally depicted trees as amalgamated masses, giving "form structure and colour by dragging paint in bold strokes over an underlying tone". His favourite motif was of a slight hill next to a body of water. His enthusiasm is especially apparent in an anecdote from Ernest Freure, who invited Thomson to camp on an island on Georgian Bay: One day while we were together on my island, I was talking to Tom about my plans for cleaning up the dead wood and trees and I said I was going to cut down all the trees but he said, "No, don't do that, they are beautiful." The theme of the single tree is common in Art Nouveau, while the motif of the lone, heroic tree goes back even further to at least Caspar David Friedrich and early German Romanticism. Thomson may also have been influenced by the work of MacDonald while working at Grip Limited. MacDonald in turn was influenced by the landscape art of John Constable, whose work he likely saw while in England from 1903 to 1906. Constable's art influenced Thomson's as well, something apparent when Constable's Stoke-by-Nayland (c. 1810–11) is compared with Thomson's Poplars by a Lake.Thomson's earlier paintings were closer to literal renderings of the trees in front of him, and as he progressed the trees became more expressive as Thomson amplified...  Guess a valid title for it!
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[A]: Tom Thomson


[Q]: Given the below context:  In 1959, Stafford was offered a contract to perform at Las Vegas, but declined it to concentrate on her family life. Because she disliked continuously traveling for television appearances that took her away from her children, and no longer found the music business fun, she went into semi-retirement in the mid-1960s. She retired fully in 1975. Except for the Jonathan and Darlene Edwards material, and re-recording  her favorite song "Whispering Hope" with her daughter Amy in 1978, Stafford did not perform again until 1990, at a ceremony honoring Frank Sinatra. The Westons devoted more time to Share Inc.—a charity aiding people with developmental disabilities—in which they had been active for many years. In or around 1983, Concord Records tried to persuade Stafford to change her mind and come out of retirement, but although an album was planned, she did not feel she would be satisfied with the finished product, and the project was shelved.Stafford won a breach-of-contract lawsuit against her former record label Columbia in the early 1990s. Because of a clause concerning the payment of royalties in her contract, she secured the rights to all of the recordings she made with the company, including those Weston and she made as Jonathan and Darlene Edwards. After the lawsuit was settled, Stafford and her son Tim reactivated Corinthian Records, which Weston—a devout Christian—had started as a label for religious music in the 1970s, and they began releasing some of her old material.In 1996, Paul Weston died of natural causes; Stafford continued to operate Corinthian Records. In 2006, she donated the couple's library—including music arrangements, photographs, business correspondence and recordings—to the University of Arizona. Stafford began suffering from congestive heart failure in October 2007, from which she died aged 90 on July 16, 2008. She was buried with her husband at the Holy Cross Cemetery in Culver City, California.  Guess a valid title for it!
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[A]: Jo Stafford


[Q]: Given the below context:  The first single from the album was "The Day You Come", a politically and socially influenced song. The band did not intend for it to be the first single, and released it only when they could not decide on anything else. Haug said it being "a pretty inoffensive song musically" helped Powderfinger make that decision. "The Day You Come" spent nine weeks on the ARIA Charts, peaking at #25.The second single was the double a-side, "Don't Wanna Be Left Out/Good-Day Ray", released on 9 November 1998. "Don't Wanna Be Left Out", a song about a friend of Fanning's who had difficulty in social situations, was one of the roughest Powderfinger songs to date. 'Don't Wanna Be Left Out' could be comfortably ranked with other Powderfinger songs such as 'Lighten My Load' and 'Rise Up'. Drummer Jon Coghill described it as the most difficult Powderfinger song to play live at the time, because it was so "fast and offbeat". The music video for "Don't Wanna Be Left Out" was unpopular and drew criticism from band members. "Good-Day Ray" was dedicated to Australian television presenter Ray Martin and his public disagreements with former Media Watch host Stuart Littlemore. Its lyrics verged on punk, though Coghill denied that Powderfinger were a punk band. He also described the music video for "Good-Day Ray" as being one of the better videos the band had made.Internationalist's third single was "Already Gone", released on 12 February 1999. The song was a tribute to the Beatles and their influence on Powderfinger's music. The fourth and final single from the album was "Passenger", released on 9 August 1999.  "Passenger" was influenced by Elvis Presley, and included a big horn section, as well as backing vocals from folk group Tiddas. "Passenger" won the ARIA Award for "Song Of The Year" in 1999. The song's music video was one of Powderfinger's first to feature computer graphics, and was produced by Fifty Fifty Films. "Passenger" spent 11 weeks on the ARIA Charts, peaking at #30. It appeared at #48 on Max's top 100 songs from the 1990s list.  Guess a valid title for it!
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[A]:
Internationalist (album) 1