input: Please answer the following: Given the below context: Musician, Charlie Rogers, is fired from a gig at a teahouse run by Lou, after brawling with several college students in the parking lot. After a night in jail, Charlie hits the road on his Honda 305 Superhawk motorcycle. He spots Cathy Lean driving with her father Joe, and their employer, Maggie Morgan. When Charlie tries to become friendly with Cathy, Joe forces him off the road and the bike is wrecked after crashing into a wooden fence. Maggie offers him a place to stay and a job with her struggling traveling carnival while the bike is being repaired. Charlie becomes a "carnie", a roustabout. Maggie recognizes his musical talents and promotes him to feature attraction. His act soon draws large crowds. Off stage, Charlie romances Cathy, which creates animosity with Joe. After the two men repeatedly clash and Charlie is accused of holding back a customer's lost wallet that Joe was accused of stealing, Charlie leaves to star in the much better financed show of rival carnival producer Harry Carver. Once again, he is a great success. However, when Charlie learns that Maggie is facing bankruptcy, he returns to her carnival. In the musical finale, he is happily reunited with Cathy. Guess a valid title for it!
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output: Roustabout (film)
Please answer this: Given the below context: Shackleton's February 1907 announcement that he intended to base his expedition at the old Discovery headquarters was noted by Scott, whose own future Antarctic plans were at that stage unannounced. In a letter to Shackleton, Scott claimed priority rights to McMurdo Sound. "I feel I have a sort of right to my own field of work," he wrote, adding: "anyone who has had to do with exploration will regard this region primarily as mine". He concluded by reminding Shackleton of his duty of loyalty towards his former commander.Shackleton's initial reply was accommodating: "I would like to fall in with your views as far as possible without creating a position that would be untenable to myself". Edward Wilson, asked by Shackleton to mediate, took an even tougher line than Scott. "I think you should retire from McMurdo Sound", he wrote, advising Shackleton not to make any plans to work from anywhere in the entire Ross Sea quarter until Scott decided "what limits he puts on his own rights". To this Shackleton replied: "There is no doubt in my mind that his rights end at the base he asked for [...] I consider I have reached my limit and I go no further".The matter was unresolved when Scott returned from sea duty in May 1907. Scott pressed for a line of demarcation at 170 Weverything to the west of that line, including Ross Island, McMurdo Sound, and Victoria Land, would be Scott's preserve. Shackleton, with other concerns pressing on him, felt obliged to concede. On 17 May he signed a declaration stating that "I am leaving the McMurdo base to you", and that he would seek to land further east, either at the Barrier Inlet visited briefly during the Discovery Expedition, or at King Edward VII Land. He would not touch the coast of Victoria Land at all. It was a capitulation to Scott and Wilson, and meant forfeiting the expedition's aim of reaching the South Magnetic Pole which was located within Victoria Land. Polar historian Beau Riffenburgh believes this was "a promise that should never ethically have been demanded and... Guess a valid title for it!
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Answer: Nimrod Expedition
Problem: Given the below context: Eakins referred to the painting as Swimming in 1885, and as The Swimmers in 1886. The title The Swimming Hole dates from 1917 (the year after Eakins died), when the work was so described by the artist's widow, Susan Macdowell Eakins. Four years later, she titled the work The Old Swimming Hole, in reference to the 1882 poem The Old Swimmin'-Hole; by James Whitcomb Riley. The Amon Carter Museum has since returned to Eakins' original title, Swimming.The painting shows Eakins and five friends or students bathing at Dove Lake, an artificial lake in Mill Creek outside Philadelphia. Each of the men is looking at the water, in the words of Martin A. Berger, "apparently lost in a contemplative moment". Eakins' precise rendering of the figures has enabled scholars to identify all those depicted in the work. They are (from left to right): Talcott Williams (18491928), Benjamin Fox (c. 1865 c. 1900), J. Laurie Wallace (18641953), Jesse Godley (18621889), Harry the dog (Eakins' Irish Setter, c. 188090), George Reynolds (c. 183989), and Eakins himself. The rocky promontory on which several of the men rest is the foundation of the Mill Creek mill, which was razed in 1873. It is the only sign of civilization in the workno shoes, clothes, or bath houses are visible. The foliage in the background provides a dark background against which the swimmers' skin tones contrast. The positioning of the bodies and their musculature refers to classical ideals of physical beauty and masculine camaraderie evocative of Greek art. The reclining figure is a paraphrase of the Dying Gaul, and is juxtaposed with the far less formal self-depiction by the artist. It is possible that Eakins was seeking to reconcile an ancient theme with a modern interpretation; the subject was contemporary, but the poses of some of the figures recall those of classical sculpture. One possible influence by a contemporary source was Scene d'ete, painted in 1869 by Frederic Bazille (184170). It is not unlikely that Eakins saw the painting at the Salon while... Guess a valid title for it!

A: The Swimming Hole
input question: Given the below context: Their records have been heavily influenced by the "motorik" technique of 1970s krautrock groups such as Neu! and Faust. Tim Gane has supported the comparison: "Neu! did minimalism and drones, but in a very pop way." Dave Heaton of PopMatters said that their music also had "echoes of bubblegum, of exotica, of Beach Boys and bossa nova", with their earlier work "bearing strong Velvet Underground overtones". Funk, jazz, and Brazilian music were additional inspirations for the band. Stephan Davet of French newspaper Le Monde said that Emperor Tomato Ketchup (1996) had musical influences such as Burt Bacharach, and Francoise Hardy. The sounds influenced by minimalist composers Philip Glass and Steve Reich can be found on the 1999 album Cobra and Phases Group Play Voltage in the Milky Night. The same album, according to Rick Reger of Chicago Tribune, "charts [a course] somewhere between the Beach Boys and Kraftwerk." Stereolab's style also incorporates easy-listening music of the 1950s and '60s. Barney Hoskyns wrote in a review for Dots and Loops (1997) that the group moved "away from the one-chord Velvets drone-mesh of its early days" toward easy-listening and Europop. Joshua Klein in Washington Post said that, "Years before everyone else caught on, Stereolab [were] referencing the 1970s German bands Can and Neu!, the Mexican lounge music master Esquivel and the decidedly unhip Burt Bacharach." Regarding their later work such as Instant 0 in the Universe (2003) and Margerine Eclipse (2004), critics have compared the releases to the band's earlier guitar-driven style. Guess a valid title for it!???
output answer:
Stereolab