[Q]: Given the below context:  The album  was recorded in Los Angeles, California with Reign in Blood producer Rick Rubin. PopMatters reviewer Adrien Begrand observed that Rubin's production "shoves [Dave] Lombardo's drumming right up front in the mix". Guitarist Jeff Hanneman has since said that South of Heaven was the only album the band members discussed before writing the music. Aware that they "couldn't top Reign in Blood", and that whatever they recorded would be "compared to that album", he believed they "had to slow down", something Slayer had never done on albums before, or since. Guitarist Kerry King cited the need to "keep people guessing" as another reason for the musical shift. "In order to contrast the aggressive assault put forth on Reign in Blood, Slayer consciously slowed down the tempo of the album as a whole", according to Slayer's official biography. "They also added elements like undistorted guitars and toned-down vocal styles not heard on previous albums."King has since been critical of his performance, which he describes as his "most lackluster". King attributes this to the fact he had recently married, and moved to Phoenix, Arizona. Describing himself as "probably the odd man out at that point", he stated he "didn't participate as much because of that".  Hanneman said: "We go through dry spells sometimes, but the good thing about having two guitar players that can write music is that you are never gonna go without. I guess at that time, Kerry was hitting a dry spell." King has also been critical of the album in general, describing it as one of his least favorite Slayer albums. He feels  vocalist Tom Araya moved too far away from his regular vocal style, and "added too much singing". Drummer Dave Lombardo has since observed: "There was fire on all the records, but it started dimming when South of Heaven came into the picture. And that's me personally. Again, I was probably wanting something else."Judas Priest's "Dissident Aggressor" is the first cover version to appear on a Slayer studio album. The song was chosen...  Guess a valid title for it!
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[A]: South of Heaven


[Q]: Given the below context:  The hartebeest (; Alcelaphus buselaphus), also known as kongoni, is an African antelope. Eight subspecies have been described, including two sometimes considered to be independent species. A large antelope, the hartebeest stands just over 1 m (3.3 ft) at the shoulder, and has a typical head-and-body length of 200 to 250 cm (79 to 98 in). The weight ranges from 100 to 200 kg (220 to 440 lb). It has a particularly elongated forehead and oddly shaped horns, short neck, and pointed ears. Its legs, which often have black markings, are unusually long. The coat is generally short and shiny. Coat colour varies by the subspecies, from the sandy brown of the western hartebeest to the chocolate brown of the Swayne's hartebeest. Both sexes of all subspecies have horns, with those of females being more slender. Horns can reach lengths of 45–70 cm (18–28 in). Apart from its long face, the large chest and the sharply sloping back differentiate the hartebeest from other antelopes. Gregarious animals, hartebeest form herds of 20 to 300 individuals. They are very alert and non-aggressive. They are primarily grazers, with their diets consisting mainly of grasses. Mating in hartebeest takes place throughout the year with one or two peaks, and depends upon the subspecies and local factors. Both males and females reach sexual maturity at one to two years of age. Gestation is eight to nine months long, after which a single calf is born. Births usually peak in the dry season. The lifespan is 12 to 15 years.  Guess a valid title for it!
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[A]: Hartebeest 0


[Q]: Given the below context:  The charting and conquest of this new world made real regions previously only idealised in the imagination of artists and poets. At the same time, the certainty of the old biblical paradise began to slip from the grasp of thinkers into the realms of mythology. In response, treatment of the Paradise in literature, poetry and art shifted towards a self-consciously fictional Utopian representation, as exemplified by the writings of Thomas More (1478–1535).Albrecht Dürer was an avid student of exotic animals, and drew many sketches based on his visits to European zoos. Dürer visited 's-Hertogenbosch during Bosch's lifetime, and it is likely the two artists met, and that Bosch drew inspiration from the German's work.Attempts to find sources for the work in literature from the period have not been successful. Art historian Erwin Panofsky wrote in 1953 that, "In spite of all the ingenious, erudite and in part extremely useful research devoted to the task of "decoding Jerome Bosch", I cannot help feeling that the real secret of his magnificent nightmares and daydreams has still to be disclosed. We have bored a few holes through the door of the locked room; but somehow we do not seem to have discovered the key." The humanist Desiderius Erasmus has been suggested as a possible influence; the writer lived in 's-Hertogenbosch in the 1480s, and it is likely he knew Bosch. Glum remarked on the triptych's similarity of tone with Erasmus's view that theologians "explain (to suit themselves) the most difficult mysteries ... is it a possible proposition: God the Father hates the Son? Could God have assumed the form of a woman, a devil, an ass, a gourd, a stone?"  Guess a valid title for it!
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[A]:
The Garden of Earthly Delights