input: Please answer the following: Given the below context:  Minogue's efforts to be taken seriously as a recording artist were initially hindered by the perception that she had not "paid her dues" and was no more than a manufactured pop star exploiting the image she had created during her stint on Neighbours. Minogue acknowledged this viewpoint, saying, "If you're part of a record company, I think to a degree it's fair to say that you're a manufactured product. You're a product and you're selling a product. It doesn't mean that you're not talented and that you don't make creative and business decisions about what you will and won't do and where you want to go."In 1993, Baz Luhrmann introduced Minogue to photographer Bert Stern, notable for his work with Marilyn Monroe. Stern photographed her in Los Angeles and, comparing her to Monroe, commented that Minogue had a similar mix of vulnerability and eroticism. Throughout her career, Minogue has chosen photographers who attempt to create a new "look" for her, and the resulting photographs have appeared in a variety of magazines, from the cutting edge The Face to the more traditionally sophisticated Vogue and Vanity Fair, making the Minogue face and name known to a broad range of people. Stylist William Baker has suggested that this is part of the reason she entered mainstream pop culture in Europe more successfully than many other pop singers who concentrate solely on selling records.By 2000, Minogue was considered to have achieved a degree of musical credibility for having maintained her career longer than her critics had expected. Her progression from the wholesome "girl next door" to a more sophisticated performer with a flirtatious and playful persona attracted new fans. Her "Spinning Around" video led to some media outlets referring to her as "SexKylie", and sex became a stronger element in her subsequent videos. William Baker described her status as a sex symbol as a "double edged sword", observing that "we always attempted to use her sex appeal as an enhancement of her music and to sell a record. But now it has...  Guess a valid title for it!
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output: Kylie Minogue


input: Please answer the following: Given the below context:  Practical Pig, Fiddler Pig and Fifer Pig are three brothers who build their own houses with bricks, sticks and straw respectively. Practical Pig warns his brothers to build their house with "War Savings Certificate" bricks so that the house will be a solid defence against the marauding Wolf. Fifer and Fiddler ignore him and continue to play, singing "Who's Afraid of the Big Bad Wolf?". As they are singing, the Big Bad Wolf in Nazi swastika regalia, attacks the two spendthrifts, and blows Fifer's straw house down. Fifer manages to escape and hides at Fiddler's stick house but the Wolf also blows it down. The two pigs run and hide at Practical's brick house. The Wolf then tries to blow down the strong brick house (losing his clothing in the process), but is unable to make much progress as the bricks have made a strong foundation. Finally, Practical Pig chases the wolf away in a flurry of bricks that unerringly hit the Nazi marauder in his rear. The three pigs then sing "Who's Afraid of the Big Bad Wolf?" but with the caution that their house has to be in order to keep the wolf away. A pastiche of war scenes follows, each of which ends with a message, such as an aircraft shooting out the message, "Invest in Victory". Other messages show the importance of spending less, and lending savings to create the weapons of war. Purchasing war savings certificates, are sold in a "Five for Four" arrangement,  Guess a valid title for it!
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output: The Thrifty Pig


input: Please answer the following: Given the below context:  Head VI is an oil-on-canvas painting by the Irish-born figurative artist Francis Bacon, the last of six panels making up his "1949 Head" series. It shows a bust view of a single figure, modeled on Diego Velázquez's Portrait of Innocent X. Bacon applies forceful, expressive brush strokes, and places the figure within a glass cage structure, behind curtain-like drapery. This gives the effect of a man trapped and suffocated by his surroundings, screaming into an airless void. Head VI was the first of Bacon's paintings to reference Velázquez, whose portrait of Pope Innocent X haunted him throughout his career and inspired his series of "screaming popes", a loose series of which there are around 45 surviving individual works. Head VI contains many motifs that were to reappear in Bacon's work. The hanging object, which may be a light switch or curtain tassel, can be found even in his late paintings. The geometric cage is a motif that appears as late as his 1985–86 masterpiece Study for a Self-Portrait—Triptych. Head VI was first exhibited in November 1949 at the Hanover Gallery in London, in a showing organised by one of the artist's early champions, Erica Brausen. At the time, Bacon was a highly controversial but respected artist, best known for his 1944 Three Studies for Figures at the Base of a Crucifixion, which made him the enfant terrible of British art. Head VI drew a mixed reaction from art critics; John Russell, later Bacon's biographer, at the time dismissed it as a cross between "an alligator shorn of its jaws and an accountant in pince-nez who has come to a bad end". In 1989 Lawrence Gowing wrote that the "shock of the picture, when it was seen with a whole series of heads ... was indescribable. It was everything unpardonable. The paradoxical appearance at once of pastiche and iconoclasm was indeed one of Bacon's most original strokes." Art critic and curator David Sylvester described it as a seminal piece from Bacon's unusually productive 1949–50 period, and one of Bacon's finest popes.  Guess a valid title for it!
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output:
Head VI