Please answer this: Given the below context:  Having been tried and found guilty of murder, Nero has now been hanged and his body taken for the ignominious process of public dissection. The year after the prints were issued, the Murder Act 1752 would ensure that the bodies of murderers could be delivered to the surgeons so they could be "dissected and anatomised". It was hoped this further punishment on the body and denial of burial would act as a deterrent. At the time Hogarth made the engravings, this right was not enshrined in law, but the surgeons still removed bodies when they could.A tattoo on his arm identifies Tom Nero, and the rope still around his neck shows his method of execution. The dissectors, their hearts hardened after years of working with cadavers, are shown to have as much feeling for the body as Nero had for his victims; his eye is put out just as his horse's was, and a dog feeds on his heart, taking a poetic revenge for the torture inflicted on one of its kind in the first plate. Nero's face appears contorted in agony and although this depiction is not realistic, Hogarth meant it to heighten the fear for the audience. Just as his murdered mistress's finger pointed to Nero's destiny in Cruelty in Perfection, in this print Nero's finger points to the boiled bones being prepared for display, indicating his ultimate fate. While the surgeons working on the body are observed by the mortar-boarded academics in the front row, the physicians, who can be identified by their wigs and canes, largely ignore the dissection and consult among themselves. The president has been identified as John Freke, president of the Royal College of Surgeons at the time. Freke had been involved in the high-profile attempt to secure the body of condemned rioter Bosavern Penlez for dissection in 1749. Aside from the over-enthusiastic dissection of the body and the boiling of the bones in situ, the image portrays the procedure as it would have been carried out.Two skeletons to the rear left and right of the print are labelled as James Field, a well-known boxer who...  Guess a valid title for it!
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Answer: The Four Stages of Cruelty


Problem: Given the below context:  On March 19, 2002, Audioslave was confirmed for the seventh annual Ozzfest; despite, at that time, having neither an official name nor a release date for their debut album. A few days later, reports surfaced that the band had broken up before they had played for a public audience. Cornell's manager confirmed that the frontman had left the band, with no explanation given.Initial rumors suggested that Cornell took issue with having two managers actively involved in the project (Jim Guerinot of Rebel Waltz represented Cornell, and Peter Mensch of Q Prime handled Rage Against the Machine). According to the band, however, the split was not triggered by personal conflicts, but by their quarreling managers. After the mixing of the album was finished, roughly six weeks later, the group reformed and simultaneously fired their former management companies and hired another, The Firm. Their previous labels, Epic and Interscope, settled their differences by agreeing to alternate who released the band's albums.Meanwhile, 13 rough mixes of songs the band had created months previously were leaked to peer-to-peer filesharing networks in May 2002, under the name "Civilian" (or "The Civilian Project"). According to Morello, the songs were unfinished and, in some cases, "weren't even the same lyrics, guitar solos, performances of any kind." To MTV, he described them as "inferior sketches of works-in-progress, sent to Seattle for Chris to work on. Someone at that studio helped themselves to a copy and, after eight months, it made its way to an Italian website. Then it went global and everyone thought they had the record, which was so frustrating."  Guess a valid title for it!

A: Audioslave


Problem: Given the question: Given the below context:  In 1861, it was announced that a Provisional Theatre would be built in Prague, as a home for Czech opera. Smetana saw this as an opportunity to write and stage opera that would reflect Czech national character, similar to the portrayals of Russian life in Mikhail Glinka's operas. He hoped that he might be considered for the theatre's conductorship, but the post went to Jan Nepomuk Maýr, apparently because the conservative faction in charge of the project considered Smetana a "dangerous modernist", in thrall to avant garde composers such as Liszt and Wagner. Smetana then turned his attention to an opera competition, organised by Count Jan von Harrach, which offered prizes of 600 gulden each for the best comic and historical operas based on Czech culture. With no useful model on which to base his work—Czech opera as a genre scarcely existed—Smetana had to create his own style. He engaged Karel Sabina, his comrade from the 1848 barricades, as his librettist, and received Sabina's text in February 1862, a story of the 13th century invasion of Bohemia by Otto of Brandenburg. In April 1863 he submitted the score, under the title of The Brandenburgers in Bohemia. At this stage in his career, Smetana's command of the Czech language was poor. His generation of Czechs was educated in German, and he had difficulty expressing himself in what was supposedly his native tongue. To overcome these linguistic deficiencies he studied Czech grammar, and made a point of writing and speaking in Czech every day. He had become Chorus Master of the nationalistic Hlahol Choral Society soon after his return from Sweden, and as his fluency in the Czech language developed he composed patriotic choruses for the Society; The Three Riders and The Renegade were performed at concerts in early 1863. In March of that year Smetana was elected president of the music section of Umělecká Beseda, a society for Czech artists. By 1864 he was proficient enough in the Czech language to be appointed as music critic to the main Czech language newspaper...  Guess a valid title for it!
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The answer is:
Bedřich Smetana


Q: Given the below context:  The album cover features a photograph of Dylan with Suze Rotolo. It was taken in February 1963—a few weeks after Rotolo had returned from Italy—by CBS staff photographer Don Hunstein at the corner of Jones Street and West 4th Street in the West Village, New York City, close to the apartment where the couple lived at the time. In 2008, Rotolo described the circumstances surrounding the famous photo to The New York Times: "He wore a very thin jacket, because image was all. Our apartment was always cold, so I had a sweater on, plus I borrowed one of his big, bulky sweaters. On top of that I put on a coat. So I felt like an Italian sausage. Every time I look at that picture, I think I look fat." In her memoir, A Freewheelin' Time, Rotolo analyzed the significance of the cover art: It is one of those cultural markers that influenced the look of album covers precisely because of its casual down-home spontaneity and sensibility. Most album covers were carefully staged and controlled, to terrific effect on the Blue Note jazz album covers ... and to not-so great-effect on the perfectly posed and clean-cut pop and folk albums. Whoever was responsible for choosing that particular photograph for The Freewheelin' Bob Dylan really had an eye for a new look.  Critic Janet Maslin summed up the iconic impact of the cover as "a photograph that inspired countless young men to hunch their shoulders, look distant, and let the girl do the clinging".The cover photo is recreated in the 2001 Tom Cruise film Vanilla Sky.  Guess a valid title for it!
A:
The Freewheelin' Bob Dylan