Problem: Given the below context:  Despite the grandeur of Florence, Etty was severely depressed, writing to his brother on 5 October that "I feel so lonely, it is impossible for me to be happy" and complaining of "the vermin in the bed, the dirt and the filth" which he considered "such as no Englishman can have any idea of, who has not witnessed it". His emotional state made it impossible for him to study, and within a month of his arrival in Italy, he began the journey back to England, stopping in Paris on 26 October 1816. There he enrolled in the atelier of Jean-Baptiste Regnault but found the atmosphere rowdy and the studio too full of Frenchmen, and he left after a week. While in Paris he also attended the Académie des Beaux-Arts, and amassed a large quantity of prints from the art shops of Paris. Still homesick, Etty left Paris, returning to London in November.Notwithstanding his unhappiness, Etty appears to have developed as a painter during his travels. For the first time, his two paintings exhibited at the 1817 Summer Exhibition (Bacchanalians: a Sketch and Cupid and Euphrosyne) attracted a favourable review in the press, in this case from William Paulet Carey writing in the Literary Gazette who considered Bacchanalians "a fine classical invention" and Cupid as showing "splendid promise". Carey was later to take great pride in being the first critic to recognise Etty's potential, and continued to champion him throughout his career. In 1818 Etty entered a copy of Damiano Mazza's The Rape of Ganymede—at the time thought to be by Titian—in one of the Royal Academy's painting competitions. Easily the most accomplished entry in the competition, Etty was due to win until two of the other contestants complained that he had technically breached RA rules by briefly removing the painting from Academy premises to work on it at home; they further complained that Etty was technically a professional artist and thus ineligible for the contest despite his still being a student. Etty was disqualified from the competition, but the high quality of his...  Guess a valid title for it!

A: William Etty


Problem: Given the below context:  The film begins at The House of Marvels, a doll museum, with André Toulon's puppets in a cage, watching their current master, a man named Dr. Magrew, stuffing something into a crate. Before leaving, he promises the puppets that things will be different next time. He drives into the woods, where he puts down the crate and douses it with gasoline, then sets it on fire. From inside the crate, faint screaming can be heard. The next morning, Dr. Magrew's daughter, Jane, has just returned home from college. She asks her father about Matt, his assistant. Her father tells her that Matt left, since his father was ill. He and Jane decide to drive into town to take their minds off things. Robert "Tank" Winsley, a very tall but meek young man, works at the gas station in town. He passes his time by carving small wooden statues. He is frequently harassed by bully Joey Carp. Jane and Dr. Magrew arrive and tell Joey to get lost. Jane finds one of the statues that Robert was carving and complements him on it, then shows it to her father. Dr. Magrew introduces himself and Jane to Robert, and offers Robert a job helping him with the Marvel show. Robert accepts and they drive back to the house.  Guess a valid title for it!

A: Curse of the Puppet Master


Problem: Given the below context:  Hubert Humphrey was a Minnesotan who became a nationally prominent politician. He first ran for mayor of Minneapolis in 1943, but lost the election to the Republican candidate by just a few thousand votes.  As a Democrat, Humphrey recognized that his best chance for political success was to obtain the support of the Minnesota Farmer-Labor Party.  Other members of the Farmer-Labor Party had been considering the idea, as encouraged by Franklin D. Roosevelt, but the merger only became reality after Humphrey traveled to Washington, D.C. to discuss the issue.  Rather than simply absorbing the Farmer-Labor party, with its constituency of 200,000 voters, Humphrey suggested calling the party the Minnesota Democratic-Farmer-Labor Party.  He was elected mayor of Minneapolis in 1945, and one of his first actions was to propose an ordinance making racial discrimination by employers subject to a fine.  This ordinance was adopted in 1947, and although few fines were issued, the city's banks and department stores realized that public relations would improve by hiring blacks in increasing numbers. Humphrey delivered an impassioned speech at the 1948 Democratic National Convention encouraging the party to adopt a civil rights plank in their platform.  He was elected to the United States Senate in 1948 and was re-elected in 1954 and 1960.In the early 1960s, the topic of civil rights was coming to national prominence with sit-ins and marches organized by Martin Luther King Jr. and other black leaders.  In 1963, President John F. Kennedy sent a comprehensive civil rights bill to Congress, based largely on the ideas that Humphrey had been placing before the Senate for the previous fifteen years.  The bill passed the House in early 1964, but passage through the Senate was more difficult, due to southern segregationists who filibustered for 75 days.  Finally, in June 1964, the Civil Rights Act of 1964 became law.  Humphrey called this his greatest achievement. Lyndon B. Johnson recruited Humphrey for his running mate in the 1964...  Guess a valid title for it!

A: History of Minnesota


Problem: Given the below context:  Upon its release, Pru received positive feedback from music critics. Ed Hogan praised Pru's experimentation with musical genres. In discussing its many influences, Colin Ross wrote that the album never sounded uneven or disjointed. He commended the singer for communicating a range of emotions, by turns seeming "innocent, self-assured, uncertain, elated and vulnerable", praising in particular the album's instrumentation and lyrics. A Billboard writer described Pru as "sparkl[ing] with colorfully imaged songs about love won, lost and anticipated". USA Today's Steve Jones praised the performer for the "remarkable depth in her poetics about joy and heartbreak". Jones wrote that the album demonstrated that Pru had a clear sense of what she wanted to achieve for her career and sound. Ebony's Lynn Norment described her as possessing a "rich, earthy voice and lyrical talent", responding positively to the artist's influences from scripture and poetry. A writer for Sister 2 Sister commended Pru for her ability to convey emotion to the listener, and identified "Prophecy of a Flower" as their favorite track from the album. The Houston Press' Craig D. Lindsey praised Pru's music and live performances, describing her songs as "soulful, earthy and organic" and the antithesis to music such as Destiny's Child's 1999 single "Bills, Bills, Bills". The album was called "[a]rtful ... stunning ... sexy" by a reviewer from People.Several media outlets compared Pru to other artists, with a Billboard reviewer attributing the singer as writing in the same style as contemporary neo soul performers. The singer's voice was compared to Lauryn Hill, Macy Gray, and Erykah Badu by AllMusic's Stacia Proefrock. She was classified as part of an "emerging school of poetics" by Ross, who said that she was "subtly changing the landscape of contemporary R&B lyricism". A Billboard reviewer also placed the singer as a member of "the new soul movement", and compared her work to that of Angie Stone, Amel Larrieux, Jill Scott, and Badu. A writer from...  Guess a valid title for it!

A:
Pru (album)