Q: Given the below context:  Given the standings of the two men, the painting was received in both social and political terms. A number of writers mentioned Bertin's eventful career, in tones that were, according to art historian Andrew Carrington Shelton, either "bitingly sarcastic [or] fawningly reverential". There were many satirical reproductions and pointed editorials in the following years. Aware of Bertin's support of the July Monarchy, writers at the La Gazette de France viewed the portrait as the epitome of the "opportunism and cynicism" of the new regime. Their anonymous critic excitedly wondered "what bitter irony it expresses, what hardened skepticism, sarcasm and ... pronounced cynicism".Several critics mentioned Bertin's hands. Twentieth-century art historian Albert Boime described them as "powerful, vulturine ... grasping his thighs in a gesture ... projecting ... enormous strength controlled". Some contemporary critics were not so kind. The photographer and critic Félix Tournachon was harshly critical, and disparaged what he saw as a "fantastical bundle of flesh ... under which, instead of bones and muscles, there can only be intestines – this flatulent hand, the rumbling of which I can hear!" Bertin's hands made a different impression on the critic F. de Lagenevais, who remarked: "A mediocre artist would have modified them, he would have replaced those swollen joints with the cylindrical fingers of the first handy model; but by this single alteration he would have changed the expression of the whole personality ... the energetic and mighty nature".The work's realism attracted a large amount of commentary when it was first exhibited. Some saw it as an affront to Romanticism, others said that its small details not only showed an acute likeness, but built a psychological profile of the sitter. Art historian Geraldine Pelles sees Bertin as "at once intense, suspicious, and aggressive". She notes that there is a certain amount of projection of the artist's personality and recalls Théophile Silvestre's description of Ingres;...  Guess a valid title for it!
A: Portrait of Monsieur Bertin


Question: Given the below context:  "The Thing That Should Not Be" was inspired by the Cthulhu Mythos created by famed horror writer H.P. Lovecraft, with notable direct references to The Shadow Over Innsmouth and to Cthulhu himself, who is the subject matter of the song's chorus.  It is considered the heaviest track on the album, with the main riff emulating a beast dragging itself into the sea. The Black Sabbath-influenced guitars are downtuned, creating slow and moody ambiance. "Welcome Home (Sanitarium)" was based on Ken Kesey's novel One Flew Over the Cuckoo's Nest and conveys the thoughts of a patient unjustly caged in a mental institution. The song opens with a section of clean single strings and harmonics. The clean, arpeggiated main riff is played in alternating 44 and 64 time signatures. The song is structured with alternating somber clean guitars in the verses, and distorted heavy riffing in the choruses, unfolding into an aggressive finale. This structure follows a pattern of power ballads Metallica set with "Fade to Black" on Ride the Lightning and would revisit with "One" on ...And Justice for All."Disposable Heroes" is an anti-war song about a young soldier whose fate is controlled by his superiors. With sections performed at 220 beats per minute, it is one of the most intense tracks on the record. The guitar passage at the end of each verse was Hammett's imitation of the sort of music he found in war films. The syncopated riffing of "Leper Messiah" challenges the hypocrisy of the televangelism that emerged in the 1980s. The song describes how people are willingly turned into blind religious followers who mindlessly do whatever they are told. The 136 beats per minute mid-tempo riffing of the verses culminates in a descending chromatic riff in the chorus; it increases to a galloping 184 beats per minute for the middle section that climaxes in a distorted scream of "Lie!". The title derives from the lyrics to the David Bowie song "Ziggy Stardust". "Orion" is a multipart instrumental highlighting Burton's bass playing. It opens with...  Guess a valid title for it!
Answer: Master of Puppets


Question: Given the below context:  The film shows a scene of a girl being kidnapped from a charity plane by Vietnamese rebels (a U.N. supplies [as in food and medicine] plane) in Vietnam.  Then we are taken to the United States to a detention center in Los Angeles where the warden of the center and 6 of the toughest prisoners are hired to rescue the girl, whose name is Gabrielle Presscott, daughter of Jameson Prescott, CEO and billionaire.  Warden Toliver and prisoners (by last name only, their first names are never revealed) Butts and Monster (black youths), Lopez and Vasquez (Latino youths, with Vasquez being a girl), and Brophy and Lamb (white youths). The group travels to Vietnam with three days to rescue Gabrielle, spending one day to train and the rest of the days to find her. After winning a battle the group spends the night at a village brothel and has a small celebration, with Brophy sneaking away into the night.  The group awakens to find the rebels with Brophy as a hostage and asking the villagers to hand over the rest of the Americans.  The group decides to attempt a rescue for Brophy and are successful, however, Lopez and Monster are both killed during the fight. The group runs away into the jungle and is tiredly marching along when Lamb steps on a landmine.  While Toliver is trying to disarm the mine, some rebels are slowly getting nearer and nearer to the group.  Brophy once again sneaks away but sacrifices himself, bringing another death to the group.  Toliver and his men finally arrive at the rebel base camp, with Toliver combing the camp for Gabrielle.  After he finds her he returns to the others and hands each of them a set of explosives to be detonated by a timer.  Guess a valid title for it!
Answer:
Soldier Boyz