Given the below context:  Britomart Redeems Faire Amoret illustrates a scene from book III of The Faerie Queene, a 16th-century allegorical epic poem by Edmund Spenser, in which Busirane, an evil sorcerer, abducts the beautiful Amoret (representing married virtue), and tortures her to the point of death. The heroic female warrior Britomart (representing both chastity and Elizabeth I) battles through obstacles to reach the chamber in which Amoret is being held, and slays Busirane moments before he is able to kill Amoret.Britomart Redeems Faire Amoret was intended by Etty to illustrate the virtues of chastity and honour. It shows the moment in which Busirane is interrupted by Britomart as he prepares to kill Amoret. Amoret is chained to a gilded Solomonic column, carved with depictions of Venus, and her clothes fall from her shoulders as she struggles. Britomart, clad in armour, enters Busirane's Moorish chamber, and tramples a blood-stained grimoire as she swings her sword. Busirane, naked from the waist up and with Chinese-style trousers and queue, falls to the floor, his blade still pointing at Amoret's heart. Unusually for Etty, Britomart is painted very thinly, with the canvas weave still visible through the paint. Art historian Alison Smith considers that this was likely inspired by Henry Fuseli, who painted a depiction of Britomart using the same style of painting.In the original poem, Busirane had tortured and cut out the heart of the still-living Amoret by the time of her rescue. When he came to paint Britomart Redeems Faire Amoret Etty had created numerous scenes of combat and death, and would later achieve a degree of critical approbation when it became known that he visited mortuaries to sketch cadavers to ensure the accuracy of his depictions of bodies in varying stages of decomposition. However, he had an aversion to "the offensive and revolting butchery, some have delighted and even revelled in", and disliked the depiction of gratuitous violence. Consequently, in Etty's work Amoret is depicted as physically unharmed by...  Guess a valid title for it!
Ans: Britomart Redeems Faire Amoret

Given the below context:  In 1985, Tim Gane formed McCarthy, a band from Essex, England, known for their left-wing politics. Gane met Lætitia Sadier, born in France, at a McCarthy concert in Paris and the two quickly fell in love. The musically-inclined Sadier was disillusioned with the rock scene in France and soon moved to London to be with Gane and pursue her career. In 1990, after three albums, McCarthy broke up and Gane immediately formed Stereolab with Sadier (who had also contributed vocals to McCarthy's final album), ex-Chills bassist Martin Kean and Gina Morris on backing vocals. Stereolab's name was taken from a division of Vanguard Records demonstrating hi-fi effects. Gane and Sadier, along with future band manager Martin Pike, created a record label called Duophonic Super 45s which, along with later offshoot Duophonic Ultra High Frequency Disks, would become commonly known as "Duophonic". Gane said that their "original plan" was to distribute multiple 7 and 10 inch records "–to just do one a month and keep doing them in small editions". The 10 inch vinyl EP Super 45, released in May 1991, was the first release for both Stereolab and the label, and was sold through mail order and through the Rough Trade Shop in London. Super 45's band-designed album art and packaging was the first of many customised and limited-edition Duophonic records. In a 1996 interview in The Wire, Gane calls the "do-it-yourself" aesthetic behind Duophonic "empowering", and said that by releasing one's own music "you learn; it creates more music, more ideas".Stereolab released the EP, Super-Electric in September 1991, and a single, titled Stunning Debut Album, followed in November 1991 (which was neither debut nor album). The early material was rock and guitar-oriented; of Super-Electric, Jason Ankeny wrote in AllMusic that "Droning guitars, skeletal rhythms, and pop hooks—not vintage synths and pointillist melodies—were their calling cards ..." Under the independent label Too Pure, the group's first full-length album, Peng! was released in May 1992. A...  Guess a valid title for it!
Ans: Stereolab

Given the below context:  After the band released two slow-paced albums in a row, R.E.M.'s 1994 album Monster was, as Buck said, "a 'rock' record, with the rock in quotation marks." In contrast to the sound of its predecessors, the music of Monster consisted of distorted guitar tones, minimal overdubs, and touches of 1970s glam rock. Like Out of Time, Monster topped the charts in both the US and UK. The record sold about nine million copies worldwide. The singles "What's the Frequency, Kenneth?" and "Bang and Blame" were the band's last American Top 40 hits, although all the singles from Monster reached the Top 30 on the British charts. Warner Bros. assembled the music videos from the album as well as those from Automatic for the People for release as Parallel in 1995.In January 1995, R.E.M. set out on its first tour in six years. The tour was a huge commercial success, but the period was difficult for the group. On March 1, Berry collapsed on stage during a performance in Lausanne, Switzerland, having suffered a brain aneurysm. He had surgery immediately and recovered fully within a month. Berry's aneurysm was only the beginning of a series of health problems that plagued the Monster tour. Mills had to undergo abdominal surgery to remove an intestinal adhesion in July; a month later, Stipe had to have an emergency surgery to repair a hernia. Despite all the problems, the group had recorded the bulk of a new album while on the road. The band brought along eight-track recorders to capture its shows, and used the recordings as the base elements for the album. The final three performances of the tour were filmed at the Omni Coliseum in Atlanta, Georgia and released in home video form as Road Movie.R.E.M. re-signed with Warner Bros. Records in 1996 for a reported $80 million (a figure the band constantly asserted originated with the media), rumored to be the largest recording contract in history at that point. The group's 1996 album New Adventures in Hi-Fi debuted at number two in the US and number one in the UK. The five million copies...  Guess a valid title for it!
Ans: R.E.M.