Given the below context:  Huddie Ledbetter leaves his father's house just barely into his twenties and arrives at a brothel on Fannin' Street ran by Miss Eula, who nicknames him Leadbelly and has him play at the bar. For a while, she takes care of him until the police arrive, breaking up a party. Leadbelly and an old man escape via a train and Leadbelly buys a twelve-string acoustic guitar from the old man. Seeking work, he takes a job picking cotton. He soon leaves on a train to Silver City where he meets Blind Lemon and they start playing shows together. At one show, a drunken man tells Leadbelly to keep playing, and threatens him. Leadbelly responds by smashing his guitar onto him and is arrested. He escapes from jail and leads a normal life until he and a drunken friend are playing around with a gun, and Leadbelly accidentally shoots him. He is thrown in prison where he is forced to work in a chain gang. When he tries to escape, he is caught and put in a box. His father arrives and tries to bail Leadbelly out, but fails. Before leaving, he manages to convince the warden to get Leadbelly a twelve-string acoustic guitar. After getting the new guitar, he plays a song for Governor Pat Neff who reassures Leadbelly he will be set free. After he leaves prison, he returns to Fannin Street, sees it has lost its former glory, and he is reunited with Miss Eula. He returns to his father's home only to find that a new family lives there. A group of men attack Leadbelly and slash his throat. Leadbelly happens to stab and kill a man in self-defense but is thrown back in prison. John and Alan Lomax visit the prison and interview Leadbelly, having him play all his songs for them. After he finishes telling his life story, they tell him they will see what they can do about getting him out of prison. The film ends with a title card stating that Leadbelly was released from prison and pursued his music career.  Guess a valid title for it!
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Answer: Leadbelly (film)


Given the below context:  In the South Seas, a volcano explodes, eventually causing North Pole icebergs to shift. Below the melting polar ice caps, a 200-foot-long praying mantis, trapped in the ice for millions of years, begins to stir.  Soon after, the military personnel at Red Eagle One, a military station in northern Canada that monitors information gathered from the Distant Early Warning Line, realize that the men at one of their outposts are not responding to calls.  Commanding officer Col. Joe Parkman flies there to investigate, and finds the post destroyed, its men gone, and giant slashes left in the snow outside. When a radar blip is sighted, Joe sends his pilots out to investigate, but their intended target disappears. Soon an Air Force plane is attacked by the deadly mantis.  He searches the wreckage, and this time, in addition to the huge slashes, finds a five-foot-long pointed object in the snow.  He takes it to General Mark Ford at the Continental Air Defense in Colorado Springs, Colorado.  Ford gathers top scientists, including Professor Anton Gunther, to examine the object, but when they cannot identify it, Gunther recommends calling in Dr. Nedrick Jackson, a paleontologist at the Museum of Natural History. When Ned gets the call from Ford, he is helping museum magazine editor Marge Blaine plan her next issue, and dodges her questions as she begs him for a big scoop.  Later, after examining the object, Ned recognizes it as a torn-off spur from an insect's leg, and soon guesses, from evidence that the creature ate human flesh, that it must be a gigantic praying mantis.  Meanwhile, in the Arctic, the people of an Eskimo village spot the mantis in the sky, and although they hurry to their boats to escape, it swoops down and kills several men.  Guess a valid title for it!
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Answer: The Deadly Mantis


Given the below context:  Gauguin was foremost a painter; he came to ceramics around 1886, when he was taught by the French sculptor and ceramist Ernest Chaplet. They had been introduced by Félix Bracquemond who, inspired by the new French art pottery, was experimenting with the form. During that winter of 1886–87, Gauguin visited Chaplet's workshop at Vaugirard, where they collaborated on stoneware pots with applied figures or ornamental fragments and multiple handles. Gauguin first visited Tahiti in 1891 and, attracted by the beauty of Tahitian women, undertook a set of sculptural mask-like portraits on paper. They evoke both melancholy and death, and conjure the state of faaturuma (brooding or melancholy); imagery and moods later used in the Oviri ceramic. Gauguin's first wood carvings in Tahiti were with a guava wood that quickly crumbled and have not survived. He completed Oviri in the winter of 1894, during his return from Tahiti, and submitted it to the Société Nationale des Beaux-Arts 1895 salon opening in April the following year. There are two versions of what ensued: Charles Morice claimed in 1920 that Gauguin was "literally expelled" from the exhibition; in 1937 Ambroise Vollard wrote that the piece was admitted only when Chaplet threatened to withdraw his own works in protest. According to Bengt Danielsson, Gauguin was keen to increase his public exposure and availed of this opportunity by writing an outraged letter to Le Soir, bemoaning the state of modern ceramics.At the outset of 1897, Vollard addressed a letter to Gauguin about the possibility of casting his sculptures in bronze. Gauguin's response centred on Oviri: I believe that my large statue in ceramic, the Tueuse ("The Murderess"), is an exceptional piece such as no ceramist has made until now and that, in addition, it would look very well cast in bronze (without retouching and without patina). In this way the buyer would not only have the ceramic piece itself, but also a bronze edition with which to make money. Art historian Christopher Gray mentions three...  Guess a valid title for it!
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Answer:
Oviri