Given the below context: The music on Slay Tracks was written entirely by Malkmus, and he stated his influences on the record included Chrome, Swell Maps, and The Fall. The songs on the EP drew comparisons to the likes of R.E.M., Pixies, and Sonic Youth by Stephen Thomas Erlewine and Heather Phares of AllMusic. Radio static and noise are prominently used on the EP, techniques which are characteristic of the lo-fi and noise pop genres that Pavement are frequently associated with. According to Malkmus, "We decided to use static as the third instrument. .... It was pretty exciting to be so experimental." Young played drums on "Box Elder" and "Price Yeah!", and frequently improvised. Malkmus played drums on "Maybe Maybe", while both Malkmus and Kannberg drummed on "She Believes"."You're Killing Me", the longest song on the EP at three minutes and 20 seconds, is an example of the impact punk rock had on Pavement. The song features fuzz effects, repetitive lyrics, and no percussion or drums. "Box Elder", an ironic song about someone wanting to move to Box Elder, Montana, was considered by Gerard Cosloy to be an example of Malkmus's "honest, direct, and simplistic" lyrical style, and features greater influence from pop music than the rest of the EP. "Maybe Maybe" features distorted guitars and indiscernible vocals, and "Price Yeah!" has a sound typical of hardcore punk. The band's hometown of Stockton inspired the band's lyrics and sound. Malkmus stated that "There's something empty about Stockton. I wanted to convey that in our music." Malkmus told Melody Maker in 1992 that "Pavement was originally a pathetic effort by us to do something to escape the terminal boredom we were experiencing in Stockton." Guess a valid title for it!
Ans: Slay Tracks: 19331969

Given the below context: American World War II veteran Jerry Mulligan is an exuberant expatriate in Paris trying to make a reputation as a painter. His friend and neighbor, Adam Cook, is a struggling concert pianist and longtime associate of a French singer, Henri Baurel. At the ground-floor bar, Henri tells Adam about his cultured girlfriend, Lise Bouvier. Jerry joins them later, before going out to sell his art. A lonely society woman and heiress, Milo Roberts, finds Jerry displaying his paintings in Montmartre and takes an interest in him and his art. She brings him to her apartment to pay for his works, and invites him to a dinner party she is throwing later that night. After singing with French children on the way home ("I Got Rhythm"), Jerry goes up to Milo's apartment. He quickly finds out the "party" is actually a one-on-one date, and tells Milo he has no interest in being a paid escort. When he attempts to leave after giving her money back, she insists she is only interested in his art. They go to a crowded bar, and Milo offers to sponsor an art show for Jerry as a friendly gesture. Some of Milo's friends arrive, and while sitting with them, Jerry sees Lise seated with friends at the next table, and is instantly smitten. He ignores Milo and her acquaintances, and instead pretends to know Lise already and dances with her. She is standoffish and gives Jerry a wrong phone number, but is innocently corrected by someone at her table. Milo is upset by Jerry's behaviour and suddenly decides to go home. On their way home she tells Jerry he was very rude cavorting with a girl he does not know while in her presence; tired of Milo, Jerry gets out of the car and bids her farewell. Guess a valid title for it!
Ans: An American in Paris (film)

Given the below context: Little is known for certain of the life of Hieronymus Bosch or of the commissions or influences that may have formed the basis for the iconography of his work. His birthdate, education and patrons remain unknown. There is no surviving record of Bosch's thoughts or evidence as to what attracted and inspired him to such an individual mode of expression. Through the centuries art historians have struggled to resolve this question yet conclusions remain fragmentary at best. Scholars have debated Bosch's iconography more extensively than that of any other Netherlandish artist. His works are generally regarded as enigmatic, leading some to speculate that their content refers to contemporaneous esoteric knowledge since lost to history. Although Bosch's career flourished during the High Renaissance, he lived in an area where the beliefs of the medieval Church still held moral authority. He would have been familiar with some of the new forms of expression, especially those in Southern Europe, although it is difficult to attribute with certainty which artists, writers and conventions had a bearing on his work.Jose de Siguenza is credited with the first extensive critique of The Garden of Earthly Delights, in his 1605 History of the Order of St. Jerome. He argued against dismissing the painting as either heretical or merely absurd, commenting that the panels "are a satirical comment on the shame and sinfulness of mankind". The art historian Carl Justi observed that the left and center panels are drenched in tropical and oceanic atmosphere, and concluded that Bosch was inspired by "the news of recently discovered Atlantis and by drawings of its tropical scenery, just as Columbus himself, when approaching terra firma, thought that the place he had found at the mouth of the Orinoco was the site of the Earthly Paradise". The period in which the triptych was created was a time of adventure and discovery, when tales and trophies from the New World sparked the imagination of poets, painters and writers. Although the triptych... Guess a valid title for it!
Ans: The Garden of Earthly Delights

Given the below context: William Etty (17871849), the seventh child of a York baker and miller, began his career as an apprentice printer in Hull at the age of 11. On completing his seven-year apprenticeship he moved to London "with a few pieces of chalk crayons", with the intention of becoming a history painter in the tradition of the Old Masters, and studied under renowned artist Thomas Lawrence. Strongly influenced by the works of Titian and Rubens, Etty submitted numerous paintings to the Royal Academy of Arts and the British Institution, all of which were either rejected or received little attention when exhibited.In 1821 the Royal Academy accepted and exhibited one of Etty's works, The Arrival of Cleopatra in Cilicia (also known as The Triumph of Cleopatra), which depicted a large number of nude figures. Cleopatra was extremely well received, and many of Etty's fellow artists greatly admired him. He was elected a full Royal Academician in 1828, ahead of John Constable. He became well respected for his ability to capture flesh tones accurately in painting, and for his fascination with contrasts in skin tones. Following the exhibition of Cleopatra, over the next decade Etty tried to replicate its success by painting nudes in biblical, literary and mythological settings. Between 1820 and 1829 Etty exhibited 15 paintings, of which 14 included nude figures.While some nudes by foreign artists were held in private English collections, the country had no tradition of nude painting and the display and distribution of such material to the public had been suppressed since the 1787 Proclamation for the Discouragement of Vice. Etty was the first British artist to specialise in painting nudes, and many critics condemned his repeated depictions of female nudity as indecent, although his portraits of male nudes were generally well received. From 1832 onwards, needled by repeated attacks from the press, Etty remained a prominent painter of nudes, but made conscious efforts to try to reflect moral lessons in his work. Guess a valid title for it!
Ans: Musidora: The Bather 'At the Doubtful Breeze Alarmed'