Q: What alternate name does Frank Stockburn's son go by? Answer the above question based on the context below: In the Old West, a calm man named Tommy, known as "White Knife" by the Native American tribe who raised him after his mother was murdered is to marry a member of the tribe named Smoking Fox. Following a run-in with a deranged, Native American-racist food proprietor named Clem and the Left-Eye Gang (who have all removed their right eyes to join) led by Will Patch, Tommy is visited by a bank robber named Frank Stockburn who claims to be Tommy's biological father. Tommy explains to Frank that his mother was shot by a man with a tattooed hand when she was escorting him to school during his childhood. Frank also tells Tommy that he is dying of consumption and had amassed $50,000 which he buried in a meadow next to a pine tree and is offering to Tommy and the Natives. The next day, a group of bandits with connections to Frank come to the village, led by the ruthless Cicero who wants Frank to give them his "big score" he gained a while back. Frank has the bandits kidnap him so he can lead them to the $50,000 at the so-called "Singing Windmill", in return for the bandits not attacking Tommy or the Indians. With no time to search the meadow and find the money, and to live to his tribe's standards, Tommy decides to resort to stealing from dishonorable persons (corrupt politicians, racist bankers, and thugs alike) to obtain the amount needed and save his father. During his quest, Tommy discovers that he has 5 half-brothers: Mexican burro rider Ramon whose innkeeper mother had a fling with Frank; mentally challenged yet happy-go-lucky Lil' Pete whose strong neck makes him immune to hanging; feral mountain-man Herm who speaks incomprehensibly while having helped his mother sell their moonshine.
A: White Knife

Q: What was the name of the R.E.M. album that reached number 21 on the Billboard album chart? Answer the above question based on the context below: The band's third album, Fables of the Reconstruction (1985), demonstrated a change in direction. Instead of Dixon and Easter, R.E.M. chose producer Joe Boyd, who had worked with Fairport Convention and Nick Drake, to record the album in England. The band members found the sessions unexpectedly difficult, and were miserable due to the cold winter weather and what they considered to be poor food; the situation brought the band to the verge of break-up. The gloominess surrounding the sessions worked its way into the context for the album's themes. Lyrically, Stipe began to create storylines in the mode of Southern mythology, noting in a 1985 interview that he was inspired by "the whole idea of the old men sitting around the fire, passing on ... legends and fables to the grandchildren".They toured Canada in July and August 1985, and Europe in October of that year, including The Netherlands, England (including one concert at London's Hammersmith Palais), Ireland, Scotland, France, Switzerland, Belgium and West Germany. On October 2, 1985, the group played a concert in Bochum, West Germany, for the German TV show Rockpalast. Stipe had bleached his hair blond during this time. Fables of the Reconstruction performed poorly in Europe and its critical reception was mixed, with some critics regarding it as dreary and poorly recorded. As with the previous records, the singles from Fables of the Reconstruction were mostly ignored by mainstream radio. Meanwhile, I.R.S. was becoming frustrated with the band's reluctance to achieve mainstream success.For its fourth album, R.E.M. enlisted John Mellencamp's producer Don Gehman. The result, Lifes Rich Pageant (1986), featured Stipe's vocals closer to the forefront of the music. In a 1986 interview with the Chicago Tribune, Peter Buck related, "Michael is getting better at what he's doing, and he's getting more confident at it. And I think that shows up in the projection of his voice." The album improved markedly upon the sales of Fables of the Reconstruction and reached number...
A: Lifes Rich Pageant

Q: What is the name of the painting that was well-received in Serbia? Answer the above question based on the context below: The painting was well-received in Serbia and abroad; it has since attained iconic status in Serbian popular culture. An allusion to it is made in Emir Kusturica's 1995 film Underground, in which war refugees are depicted marching towards Belgrade in similar fashion, following the German bombing of the city in April 1941. Several authors have noted similarities between Jovanovic's depiction of the migration and images of other upheavals in Serbian history. Historian Katarina Todic observes that there are striking similarities between the painting and photographs of the Royal Serbian Army's retreat to the Adriatic coast during World War I. Judah remarks that the composition resembles images of the exodus of Krajina Serbs following Croatia's Operation Storm in August 1995.The journalist John Kifner describes Migration of the Serbs as a "Balkan equivalent to Washington Crossing the Delaware ... an instantly recognizable [icon] of the 500-year struggle against the Ottoman Turks." Professor David A. Norris, a historian specializing in Serbian culture, calls Jovanovic's approach "highly effective", and writes how the stoic attitude of the priests, warriors and peasants reminds the viewer of the historical significance of the migration. He asserts that Migration of the Serbs and similar paintings stimulated a "revived collective memory" among the new Serbian middle class, "transforming ... folk memory into a more modern vehicle for the invention of a new national ideology based on the Serbian struggle for freedom from foreign domination." Art historian Michele Facos describes the painting as a celebration of the Serbs' "valiant effort to defend Christian Europe against ... the Ottoman Turks." The historian Noel Malcolm doubts the historical veracity of depictions of Arsenije leading vast columns of refugees, saying that there is no concrete evidence to confirm or deny that the number of migrants exceeded 40,000, as Church leaders claimed.Filipovitch-Robinson ranks the painting among Jovanovic's three best works,...
A:
Migration of the Serbs