Given the below context:  "The Nobodies" is a mournful, elegiac dirge constructed over a clavecin électrique and synthesized-drums. Its title is taken from a quote by Mark David Chapman. The verse "Today I am dirty and I want to be pretty, tomorrow I'll know that I'm just dirt" has an Iggy Pop-style vocal delivery, building to the "adrenaline-fueled" chorus. CMJ noted that the song could be interpreted as a tribute to the Columbine shooters, but its point was not to glorify violence; rather, it was to depict a society drenched in its children's blood. "The Death Song" is the turning point for Adam; he no longer cares. Manson described it as sarcastic and nihilistic: "it's like 'We have no future and we don't give a fuck'." Kerrang! described it as one of the album's heaviest songs. The bridge of "Lamb of God" paraphrases the chorus of "Across the Universe" (from 1970's Let It Be), whose lyric "Nothing's gonna change my world" inspired the song. Manson elaborated that: "Mark David Chapman came along and proved him very wrong. That was always something growing up that was very sad and tragic to me". The song uses the assassinations of JFK and John Lennon to criticize the media's veneration of death, and for turning tragedy into televised spectacle. It is keyboard-heavy and feature a variety of instrumentation ranging from a piano, a minipiano, a leslie speaker, and multiple synthesizers. Unusual recording techniques were employed for its rhythm and acoustic guitar parts. "Born Again" is the second song on the record to use the synth bass and is the only other song, apart from "The Nobodies", to use the drum machine. The song's guitar tracks were led by Ramirez and supplemented by contributions from John 5. "Burning Flag" is a pounding heavy-metal song reminiscent of American industrial metal band Ministry.  Guess a valid title for it!
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Answer: Holy Wood (In the Shadow of the Valley of Death)


Given the below context:  One foggy night in Devon, Gail, a working border collie Herding dog, gives birth to a litter of three puppies, cozy in a barn on Borough Farm. As she lies quietly with her newborn litter, her father, Sir Gregory, walks inside, not realizing she had her puppies until she summons his attention and he spots them curled up next to her. She has already named two of them Storm and Drift but she thinks Sir Gregory should name the third. He looks out of the window and names her Mist after the "misty" night she was born. All the other dogs, Swift, her son Ernie, and Jake, are delighted to meet the puppies at last but Fern doesn't seem to like puppies and is not happy to be their auntie. When the puppies realize they can finally see things, Mist looks out of a nearby window and sees a flock of sheep pass by, but does not exactly know what they are. She points them out to Storm and Drift, but by the time they come to the window, the sheep are gone. They think Mist is making it up, and they playfully tease and wrestle each other around the barn. This soon tires them out, and they slowly fall asleep side by side. Mist seems to like the idea of working the flock more than her brother and sister. Later that day, Sir Gregory talks with Gail about how well Mist is doing compared to Storm and Drift. Gail realises it is finally time to choose which of the puppies will stay on Borough Farm to be trained as a working sheepdog, and which have to leave. One day the puppies are playing in the yard when two different families come to take Storm and Drift away. They are placed in the cars and Gail sadly watches them drive away. Winter arrives at Borough Farm, but Fern has still not warmed up to Mist. One day Mist gets giddy and runs off into the woods; a dark place where she soon gets lost and has to be rescued by the Boss and Sir Gregory. This amuses Fern.  Guess a valid title for it!
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Answer: Mist: The Tale of a Sheepdog Puppy


Given the below context:  The college presents a symmetrical front to New Road and the castle mound, with four small gables between a larger gable at either end. There are two quadrangles, with steps leading down from the upper quadrangle (to the east) to the lower quadrangle (to the west). Residential accommodation for students and fellows is located in the lower quadrangle, whilst the hall, library, and administrative offices are in the upper quadrangle. The buildings are two storeys high, with dormers above. There are pools in the centre of the quadrangles (the one in the lower quadrangle is the longer of the two); the writer Simon Jenkins said that these are "almost puddles", and saw them as relics of Harrison's Mediterranean plan. The writer Peter Sager, however, thought that the pond represents the canal basin that previously occupied the site. The main entrance leads into the upper quadrangle, which has the hall on its east side. The square-mullioned windows facing the quadrangles are arranged in close-set groups of three; at the east end of the upper quadrangle, the common room has a larger bay window. An abstract sculpture by Hubert Dalwood, from 1962, has been positioned on the lawn inside the college. Dalwood also designed the fountain in the pool in the upper quadrangle, although his plan for a spray of water was not implemented, "leaving the sculpture with no obvious purpose". The hall has a floor of black and white marble and arches made of concrete supporting an oak roof with red panels. The furniture in the hall was designed by, and the chairs were built by, Edward Barnsley. Lord Nuffield's coat of arms are displayed over the fireplace, carved from a single piece of stone, and his portrait, painted by Sir Arthur Cope, hangs in the hall. The chapel, on the south side of the college, can seat forty people. It has five abstract stained glass windows that were designed by John Piper and executed by Patrick Reyntiens, and a metal reredos with a bronze crucifix. The roofs are finished with Collyweston stone slates from...  Guess a valid title for it!
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Answer:
Buildings of Nuffield College, Oxford