Given the below context:  Home from the Civil War, where he fought for the Union army, John Willoughby now lives in the western town of Kittreck Wells with wife Nora and their 7-year-old son, Petey. An appeal for help from Marshal Russell comes when a band of former Confederate soldiers are seen pulling a robbery in a neighboring town. John, who hates all rebels, agrees to go, against his wife's wishes that all his fighting must end. Meanwhile, the Rebels, Bedloe Mason and his sons Gray, Wesley, Cain and Frank, decide to ride into Kittreck Wells to replenish their dwindling water supply. Bedloe sends Gray, Frank and Wesley into town while he and Cain await their return. Petey Willoughby, who shares his father's dislike of rebels, aims and fires a cap pistol at them. Startled by the sound, Wesley Mason shoots and kills the boy. As the brothers mount their horses and gallop out of town, Gray, not having been witnessing the shooting, hesitates, then catches up to the others.  When they reach Bedloe and Cain, Gray, angered by his brother's recklessness, appeals to his father and brothers that Wesley has to go back to face the consequences. Wesley is dead-set against this and the others take his side. Gray rides off alone to learn the fate of the boy, but Wesley ambushes his brother by throwing a knife into his back. After strapping his brother's unconscious body onto his horse, Wesley sets the animal loose. He then returns to camp and reports that Gray refused to listen to reason, but will meet the family at Oak Fork in three days. That night, John finds the wandering horse bearing Gray's body and takes him home. Wesley lies to his father that Gray will meet them in the next town. Gray's horse wanders into town, where John and Nora remove the wounded man from the saddle and take him into their home. John is still determined to learn who killed the child, and an eyewitness accuses Gray of being one of the gang. Nora has to stop her husband from attacking Gray with an axe.  Guess a valid title for it!
Ans: Rebel in Town

Given the below context:  James Barton Longacre (August 11, 1794 – January 1, 1869) was an American portraitist and engraver, and the fourth Chief Engraver of the United States Mint from 1844 until his death. Longacre is best known for designing the Indian Head cent, which entered commerce in 1859, and for the designs of the Shield nickel, Flying Eagle cent and other coins of the mid-19th century. Longacre was born in Delaware County, Pennsylvania, in 1794. He ran away to Philadelphia at age 12, where he became an apprentice in a bookstore. His artistic talent developed and he was released to apprentice in an engraving firm.  He struck out on his own in 1819, making a name providing illustrations for popular biographical books. He portrayed the leading men of his day; support from some of them, such as South Carolina Senator John C. Calhoun, led to his appointment as chief engraver after the death of Christian Gobrecht in 1844. In Longacre's first years as a chief engraver, the Philadelphia Mint was dominated by Mint Director Robert M. Patterson and Chief Coiner Franklin Peale. Conflict between Longacre and the two men developed after Congress ordered a new gold dollar and double eagle, with both to be designed by Longacre.  Peale and Patterson nearly had Longacre fired, but the chief engraver was able to convince Treasury Secretary William M. Meredith that he should be retained.  Both Patterson and Peale left the Mint in the early 1850s, ending the conflict. In 1856, Longacre designed the Flying Eagle cent. When that design proved difficult to strike, Longacre was responsible for the replacement, the Indian Head cent, issued beginning in 1859. Other coins designed by Longacre include the silver and nickel three-cent pieces, the Shield nickel, the pattern Washington nickel, and the two-cent piece.  In 1866–1867, he redesigned the coins of Chile. Longacre died suddenly on New Year's Day 1869; he was succeeded by William Barber.  Longacre's coins are generally well-regarded today, although they have been criticized for lack of artistic...  Guess a valid title for it!
Ans: James B. Longacre

Given the below context:  "The Thing That Should Not Be" was inspired by the Cthulhu Mythos created by famed horror writer H.P. Lovecraft, with notable direct references to The Shadow Over Innsmouth and to Cthulhu himself, who is the subject matter of the song's chorus.  It is considered the heaviest track on the album, with the main riff emulating a beast dragging itself into the sea. The Black Sabbath-influenced guitars are downtuned, creating slow and moody ambiance. "Welcome Home (Sanitarium)" was based on Ken Kesey's novel One Flew Over the Cuckoo's Nest and conveys the thoughts of a patient unjustly caged in a mental institution. The song opens with a section of clean single strings and harmonics. The clean, arpeggiated main riff is played in alternating 44 and 64 time signatures. The song is structured with alternating somber clean guitars in the verses, and distorted heavy riffing in the choruses, unfolding into an aggressive finale. This structure follows a pattern of power ballads Metallica set with "Fade to Black" on Ride the Lightning and would revisit with "One" on ...And Justice for All."Disposable Heroes" is an anti-war song about a young soldier whose fate is controlled by his superiors. With sections performed at 220 beats per minute, it is one of the most intense tracks on the record. The guitar passage at the end of each verse was Hammett's imitation of the sort of music he found in war films. The syncopated riffing of "Leper Messiah" challenges the hypocrisy of the televangelism that emerged in the 1980s. The song describes how people are willingly turned into blind religious followers who mindlessly do whatever they are told. The 136 beats per minute mid-tempo riffing of the verses culminates in a descending chromatic riff in the chorus; it increases to a galloping 184 beats per minute for the middle section that climaxes in a distorted scream of "Lie!". The title derives from the lyrics to the David Bowie song "Ziggy Stardust". "Orion" is a multipart instrumental highlighting Burton's bass playing. It opens with...  Guess a valid title for it!
Ans: Master of Puppets