Q: Given the below context:  In 2003, The Greencards recorded and self-released Movin' On, their debut album, which sold 10,000 copies at shows and online, and entered the top five on the Americana radio charts. Pat Flynn, one of the band members of the New Grass Revival, guested on the recording of Movin' On as a session guitarist, and would return to do so again on Weather and Water. The album was said to break past traditional rules of bluegrass music by integrating a jam-band mindset while blending classical folk balladry and rock 'n' roll into the sound. Contrasting with that appraisal, the album was also cited as a traditional and successful "lo-fi" approach to bluegrass music. Critics noted the virtuoso solos on mandolin, fiddle, and guitar on Movin' On.The Greencards gained more fans and became known by name quickly after the release of Movin' On. The band was credited with performing the most energetic sets during the course of the 2004 Austin City Limits Music Festival, were said to bring a global sound to bluegrass, and—by drawing on influences such as Bob Dylan and The Beatles—were pushing the genre's boundaries. Their live show during this period was ranked by the Houston Chronicle in the top five nights of live music for the year in 2004.Movin' On earned The Greencards the 2004 Austin Music Award for Best New Band. Several months after the awards, the band was signed by Dualtone Records and began work on their next album, Weather and Water. The label re-released Movin' On at the beginning of 2005, generating still more airplay and sales.  Guess a valid title for it!
A: The Greencards


Question: Given the below context:  Down-on-his-luck Los Angeles architect and builder Edward Shaw is approached by Doris Hillman with a business proposal: buying land together, on which he would build houses that she would then sell, using her experience as a former real estate broker. Her husband, Gus Hillman, a wealthy businessman, would be willing to contribute half a million dollars as capital for the venture. Doris quickly seems interested in more than a purely professional relationship. Shaw starts an affair with her and accepts the business offer. However, an accidental discovery leaves him convinced that the Hillmans' interest lies less in the long-term profits of the venture than in the $175,000 key man insurance policy he took on himself as a precondition for the deal, and that an attempt on his life is imminent. Madge, the younger sister of Doris, develops a romantic interest in Shaw as well. Without knowing what Doris has planned, she reveals to Shaw that her sister was married previously to a man who died in Wyoming when his car crashed over a bridge. Shaw ends up drugged by Gus Hillman and barely keeps his car from going off a cliff. The police are skeptical about his story and the insurance company refuses to cancel the policy, Hillman having portrayed Shaw as a man who is trying to steal his wife. Madge teams with Shaw to try to foil her sister's scheme, but Doris lures him to a mountain cabin and shoots him with a gun. A wounded Shaw sees both Hillmans struggle then fall to their deaths through a clifftop doorway, just minutes before Madge and the cops arrive.  Guess a valid title for it!
Answer: A Life at Stake


[Q]: Given the below context:  By 1930, Szigeti was established as a major international concert violinist. He performed extensively in Europe, the United States and Asia, and made the acquaintance of many of the era's leading instrumentalists, conductors and composers. In 1939, to escape the war and Nazi persecution of the Jews, Szigeti emigrated with his wife to the United States, where they settled in California. (A year later, Bartók also fled to America, and just two days after his arrival, he and Szigeti played a sonata recital at the Library of Congress in Washington, D.C.)During the 1930s, 1940s and into the 1950s, Szigeti recorded extensively, leaving a significant legacy.  Notable recordings include the above-mentioned Library of Congress sonata recital; the studio recording of Bartók's Contrasts with Benny Goodman on clarinet and the composer at the piano; the violin concertos of Beethoven, Brahms, Mendelssohn, Prokofiev (No. 1) and Bloch under the batons of such conductors as Bruno Walter, Hamilton Harty and Sir Thomas Beecham; and various works by J.S. Bach, Busoni, Corelli, Handel and Mozart. One of his last recordings was of the Six Sonatas and Partitas for solo violin by Bach; although his technique had deteriorated noticeably by that time, the recording is prized for Szigeti's insight and depth of interpretation.In 1950, Szigeti was detained at Ellis Island upon returning from a European concert tour and was held for several days, officially "temporarily excluded" from the country. The reasons for his detention remain unclear. The following year, he became a naturalized American citizen.  Guess a valid title for it!
****
[A]: Joseph Szigeti


Question: Given the below context:  Andy Kaufman is a struggling performer whose act fails in nightclubs because, while the audience wants comedy, he sings children's songs and refuses to tell conventional jokes. As the audience begins to believe that Kaufman may have no real talent, his previously timid "foreign man" character puts on a rhinestone jacket and does a dead-on Elvis impersonation. The audience bursts into applause, realizing Kaufman had tricked them. He catches the eye of talent agent George Shapiro, who signs Kaufman as a client and immediately lands him a network TV series, Taxi, much to Kaufman's dismay, since he dislikes sitcoms. Because of the money, visibility, and a promise that he can do his own television special, Kaufman accepts the role, turning his foreign man into a mechanic named Latka Gravas. Secretly he hates doing the show and expresses a desire to quit. Invited to catch a different act at a nightclub, Shapiro witnesses a performance by a rude, loud-mouthed lounge singer, Tony Clifton, whom Kaufman wants to guest-star on Taxi. Clifton's bad attitude is matched by his horrible appearance and demeanor. But backstage, when he meets Shapiro in person, Clifton takes off his sunglasses and reveals that he is actually Kaufman. Clifton is a "villain character" created by Kaufman and his creative partner, Bob Zmuda. Once again, the gag is on the audience. Kaufman's profile increases with appearances on Saturday Night Live, but he has problems with his newfound fame. When performing live, audiences dislike his strange anti-humor and demand that he perform as Latka. At one show, he deliberately antagonizes attendees by reading The Great Gatsby aloud from start to finish. Kaufman shows up on the Taxi set as Clifton and proceeds to cause chaos until he is removed from the studio lot. He relates to Shapiro that he never knows exactly how to entertain an audience "short of faking my own death or setting the theater on fire."  Guess a valid title for it!
Answer:
Man on the Moon (film)