Given the below context:  When Muggs refuses to train for the Golden Gloves match unless he has his own private camp in the country, Danny placates his pal by enlisting members of the Vassey Street Boys' Club in the Civilian Conservation Corps. Arriving at the camp, Muggs refuses to accept the authority of Allen, the leader of the boys, and treats the facility as if it was his own private property. Later, Muggs has a chance to demonstrate his true nature when he risks his own life to save Al from being crushed by a falling tree. The camp captain praises Muggs for his courage, and as a reward, Muggs requests a boxing match with Al. Norton, a small-time boxing promoter, comes to watch the fight, which ends in a draw. Furious at the outcome, Muggs refuses to shake his opponent's hand, an act which earns the enmity of the other boys. When the captain fails to remove the chip from Muggs' shoulder, his daughter, Elaine, tries to reform him through kindness. Meanwhile, Willie, one of the boys, steals one hundred dollars from the camp cash box and confides to Muggs that he needed the money for his poor aunt. To get the money back for Willie, Muggs has Norton arrange a fight, and although he takes a beating in the ring, Muggs earns the one hundred dollars. While returning the money to the cash box, Muggs is caught and accused of theft. He refuses to inform on Willie, though and instead runs away. Danny then forces the truth from Willie, thus proving Muggs' true sportsmanship.  Guess a valid title for it!
Ans: Pride of the Bowery

Given the below context:  Sean was Lennon's only child with Ono. Sean was born on 9 October 1975 (Lennon's thirty-fifth birthday), and John took on the role of househusband. Lennon began what would be a five-year hiatus from the music industry, during which time he gave all his attention to his family. Within the month, he fulfilled his contractual obligation to EMI/Capitol for one more album by releasing Shaved Fish, a compilation album of previously recorded tracks. He devoted himself to Sean, rising at 6 am daily to plan and prepare his meals and to spend time with him. He wrote "Cookin' (In the Kitchen of Love)" for Starr's Ringo's Rotogravure (1976), performing on the track in June in what would be his last recording session until 1980. He formally announced his break from music in Tokyo in 1977, saying, "we have basically decided, without any great decision, to be with our baby as much as we can until we feel we can take time off to indulge ourselves in creating things outside of the family." During his career break he created several series of drawings, and drafted a book containing a mix of autobiographical material and what he termed "mad stuff", all of which would be published posthumously. Lennon emerged from his five-year interruption in music recording in October 1980, when he released the single "(Just Like) Starting Over". The following month saw the release of Double Fantasy, which contained songs written during a June 1980 journey to Bermuda on a 43-foot sailing boat. The music reflected Lennon's fulfilment in his new-found stable family life. Sufficient additional material was recorded for a planned follow-up album Milk and Honey, which was released posthumously, in 1984. Double Fantasy was jointly released by Lennon and Ono very shortly before his death;  the album was not well received and drew comments such as Melody Maker's "indulgent sterility ... a godawful yawn".  Guess a valid title for it!
Ans: John Lennon

Given the below context:  The vocals were taped in Britannia Row and Protocol studios between May and June 1991, the first time vocalist Bilinda Butcher was involved in the recording. Shields and Butcher hung curtains on the window between the studio control room and the vocal booth, and only communicated with the engineers when they would acknowledge a good take by opening the curtain and waving. According to engineer Guy Fixsen, "We weren't allowed to listen while either of them were doing a vocal. You'd have to watch the meters on the tape machine to see if anyone was singing. If it stopped, you knew you had to stop the tape and take it back to the top." On most days, the couple arrived without having written the lyrics for the song they were to record. Dutt recalled: "Kevin would sing a track, and then Bilinda would get the tape and write down words she thought he might have sung".In July 1991, Creation agreed to relocate the production to Eastcote studio, following unexplained complaints from Shields. However, the cash-poor Creation Records was unable to pay the bill for their time at Britannia Row, and the studio refused to return the band's equipment. Dutt recalled, "I don't know what excuse Kevin gave them for leaving. He had to raise the money himself to get the gear out." Shields' unpredictable behaviour, the constant delays, and studio changes were having a material effect on Creation's finances and the health of their staff. Dutt later said he had been desperate to leave the project, while Creation's second-in-command Dick Green had a nervous breakdown. Green recalled, "It was two years into the album, and I phoned Shields up in tears. I was going 'You have to deliver me this record'."Shields and Butcher became afflicted with tinnitus, and had to delay recording for further weeks while they recovered. Concerned friends and band members suggested this was a result of the unusually loud volumes the group played at their shows, which Shields dismissed as "Ill-informed hysteria." Although Alan McGee was still positive about...  Guess a valid title for it!
Ans: Loveless (My Bloody Valentine album)

Given the below context:  The Catacombs of Rome contain most of the surviving Christian art of the Early Christian period, mainly in the form of frescos and sculpted sarcophagi. They show a Christian iconography emerging, initially from Roman popular decorative art, but later borrowing from official imperial and pagan motifs.  Initially, Christians avoided iconic images of religious figures, and sarcophagi were decorated with ornaments, Christian symbols like the Chi Rho monogram and, later, narrative religious scenes. The Early Christians' habit, after the end of their persecution, of building churches (most famously St Peter's, Rome) over the burial places of martyrs who had originally been buried discreetly or in a mass grave perhaps led to the most distinctive feature of Christian funerary art, the church monument, or tomb inside a church. The beliefs of many cultures, including Judaism and Hinduism as well as classical paganism, consider the dead ritually impure and avoid mixing temples and cemeteries (though see above for Moche, and below for Islamic culture). In the late Middle Ages, influenced by the Black Death and devotional writers, explicit memento mori imagery of death in the forms of skulls or skeletons, or even decomposing corpses overrun with worms in the transi tomb, became common in northern Europe, and may be found in some funerary art, as well as motifs like the Dance of Death and works like the Ars moriendi, or "Art of Dying".  It took until the Baroque period for such imagery to become popular in Italy, in works like the tomb of Pope Urban VIII by Bernini (1628–1647), where a bronze winged skeleton inscribes the Pope's name on a tablet below his enthroned effigy.  As cities became more crowded, bones were sometimes recovered after a period, and placed in ossuaries where they might be arranged for artistic effect, as at the Capuchin Crypt in Rome or the Czech Sedlec Ossuary, which has a chandelier made of skulls and bones.  Guess a valid title for it!
Ans: Funerary art