Question: Given the below context:  Deena Marten is a 15-year-old who has become a rebel since dating Garret Lexau, another rebellious teen who was suspended from school for hitting a teacher. Deena no longer keeps any of her promises, skips school and leaves the family home whenever she pleases. Her newfound harsh attitude upsets her mother, Cynthia, who once enjoyed a close relationship with her daughter. Cynthia is frustrated because the lines of communication have broken down between mother and daughter. Cynthia's relationship with her own mother is not entirely pleasant. Although Cynthia's alcoholic mother advises her daughter to be stricter with Deena, Cynthia does not  heed the advice. For example, she tidies Deena's bedroom, a chore which Cynthia has consistently and politely reminded her daughter to do. When Deena discovers what Cynthia has done, she is less than grateful and reacts violently and ends up pushing her mother. Adam, Deena's younger brother notices the impact that Deena's behavior has upon his mother and drinks alcohol in order to forget about the family problems. At one point, Cynthia and Deena's relationship seems to improve, until Cynthia finds out that she has been skipping school. Her confrontation leads to an argument, during which Deena slaps her. Although she admits to Garret that she liked hitting her, Deena later apologizes to her mother, only to ask her to cover for her absence at school.  Guess a valid title for it!
Answer: Terror in the Family

Question: Given the below context:  The term "Viking metal" has sometimes been used as a nickname for the 1990s Norwegian black metal scene, which was "noisy, chaotic, and often augmented by sorrowful keyboard melodies". It has also been variously described as a subgenre of black metal, albeit one that abandoned black metal's Satanic imagery, "slow black metal" with influences from Nordic folk music, straddling black metal and folk metal almost equally, or running the gamut from "folk to black to death metal". Typically, Viking metal artists rely extensively on keyboards, which are often played at a "swift, galloping pace". These artists often add "local cultural flourishes" such as traditional instruments and ethnic melodies. It is similar to folk metal, and is sometimes categorized as such, but it uses folk instruments less extensively. For vocals, Viking metal incorporates both singing and the typical black metal screams and growls. Overall, Viking metal is hard to define since, apart from certain elements like anthem-like choruses, it is not based entirely on musical features and overlaps with other metal genres, with origins in black and death metal Some bands, such as Unleashed and Amon Amarth, play death metal, but incorporate Viking themes and thus are labeled as part of the genre. Generally, Viking metal is defined more by its thematic material and imagery than musical qualities. Rather than being a mock-up of medieval music, "it is in the band names, album titles, artwork of album covers and, especially, in the song lyrics that Viking themes are so evident." Viking metal, and the closely related style pagan metal, is more of a term or "etiquette" than a musical style. Since they are defined chiefly by lyrical focus, any musical categorizations of these two styles is controversial. Thus, Viking metal is more of a cross-genre term than a descriptor of a certain sound. Ashby and Schofield write that "The term 'Viking metal' is one of many that falls within a complex web of genres and subgenres, the precise form of which is constantly...  Guess a valid title for it!
Answer: Viking metal

Question: Given the below context:  Bellette and Haefliger returned to Australia just before the outbreak of World War II. Shortly after her arrival, Bellette held an exhibition at Sydney's Macquarie Galleries. The couple became influential members of the Sydney Art Group, a network of "fashionable" moderns whose membership included William Dobell and Russell Drysdale. Bellette painted and held regular shows – "a solo show every second year and a group show every year at the Macquarie Galleries". Her husband served as art critic for The Sydney Morning Herald for a decade and a half.In 1942, Bellette won the Sir John Sulman Prize with For Whom the Bell Tolls. She won it again in 1944 with her painting Iphigenia in Tauris, inspired by Euripides' play. The composition is set in a dry, open landscape, with several riders on horses whose appearance suggests "the Australian present, rather than Greek antiquity". The judge awarding the prize actually preferred another of her entries, Electra, depicting the sister of Iphigenia also prominent in Greek tragedy – but it failed to meet the size requirements. Both Iphigenia in Tauris and Electra were among the many works created by Bellette in the 1940s that were inspired by the tragedies of Euripides, Sophocles and Homer. Her choice of subject matter and approach placed her at odds with mainstream modernism, while she seemed to shun explicit links between the classical and the Australian. Bellette reasoned that she preferred to choose her palette and the spatial arrangements of her compositions to evoke a place's atmosphere. Critics identified the influence of European modernists Aristide Maillol and Giorgio de Chirico, as well as Italian Quattrocento painters Masaccio and Piero della Francesca, about some of whom Bellette wrote articles in the journal Art in Australia.The most distinctive feature of the artist's work was this choice of classical subjects. In 1946, Bellette's paintings were hung in at least four separate exhibitions. Reviewers commented on her synthesis of "the impulsiveness of romanticism...  Guess a valid title for it!
Answer:
Jean Bellette