Problem: This article: Following their 2004 reunion, the Pixies felt that recording a new song would "break the ice" between band members after their acrimonious split in 1993. As the band were announcing dates for their reunion world tour, DreamWorks contacted manager Ken Goes to enquire whether they would be interested in recording a song for the title sequence of Shrek 2. The band agreed, and frontman Black Francis and Deal began composing riffs for a song aimed at children. Deal had been experimenting with a chord progression for a while, and since her band The Breeders were then inactive, she decided to donate her new composition to the Pixies. The Pixies chose Deal's riff, as it was a "poppier, more kid-friendly thing," and Francis agreed to let her sing lead vocals and write the new song; significantly, Francis is relegated to backing vocals on the track. Francis' move was meant to warm the previously cold relations between the two—in the previous two Pixies studio albums, Bossanova (1990) and Trompe le Monde (1991), Francis, the band's principal songwriter, had not let Deal contribute any songs or sing lead vocals. This became one of the reasons for the Pixies' 1993 split. However, the two appeared at the time to have resolved their differences: Francis praised "Bam Thwok," as "a really good song." despite joking in interviews about how he planned to remove as many of her compositions as possible from a hypothetical new album. However, Deal eventually left the band in June 2013, before the release of the band's next album, Indie Cindy. contains an answer for the question: What is the name of the album the Pixies released before Indie Cindy?, what is it ?

A: Trompe le Monde


Problem: This article: After several years having focused entirely on his career with the Regional Information Service, Jaojoby was approached in 1987 by Frenchman Pierre Henri Donat to contribute several recordings to Madagascar's first salegy compilation album, Les Grands Maîtres du Salegy ("Grand Masters of Salegy"). The runaway success of one of the tracks he composed and performed, "Samy Mandeha Samy Mitady", elevated salegy from a regional genre to one of nationwide popularity, leading a newspaper to declare him the "King of Salegy". High demand for live performances led the singer to return to Antananarivo in 1988 to form a band named "Jaojoby" that included former bandmates from Los Matadores and The Players. Jaojoby begin touring regularly at home and abroad, performing his first international concerts in Paris in 1989. In the meantime, he worked as a press attaché for the Ministry of Transport, Meteorology and Tourism from 1990 until 1993, at which point he left his job to become a full-time musician.The 1992 release of Jaojoby's first full-length album, titled Salegy!, was facilitated by fRoots magazine editor Ian Anderson, who had worked with Jaojoby to record several of his tracks for a radio broadcast two years previously. Jaojoby's second album, Velono, was the first salegy album to be recorded in France, as well as the first of his albums to be produced in a professional-quality recording studio. Following the 1994 release of Velono, Jaojoby became a regular on the international music festival circuit and has performed at such events as WOMAD in Reading, the Festival du Bout du Monde in Brittany, WOMEX in Spain, the Festival des Musiques Métisses in Angoulême, the MASA Festival in Abidjan, and similar events in Germany, the Netherlands, and Portugal. Jaojoby's excitement over his rise to international celebrity was attenuated by the 1995 death of the band's original drummer, Jean-Claude Djaonarana, who had first performed with Jaojoby as a member of Los Matadores. contains an answer for the question: Who had a high demand for live performances?, what is it ?

A: Jaojoby


Problem: This article: During the 1913 Ballets Russes season in Paris, Monteux conducted two more premieres. The first was Jeux, with music by Debussy and choreography by Nijinsky. The choreography was not liked; Monteux thought it "asinine", while Debussy felt that "Nijinsky's cruel and barbarous choreography ... trampled over my poor rhythms like so many weeds". The second new work was Stravinsky's The Rite of Spring given under the French title, Le sacre du printemps. Monteux had been appalled when Stravinsky first played the score at the piano: I decided then and there that the symphonies of Beethoven and Brahms were the only music for me, not the music of this crazy Russian. ... My one desire was to flee that room and find a quiet corner in which to rest my aching head. Then [Diaghilev] turned to me and with a smile said, "This is a masterpiece, Monteux, which will completely revolutionize music and make you famous, because you are going to conduct it." And, of course, I did. Despite his initial reaction, Monteux worked with Stravinsky, giving practical advice to help the composer to achieve the orchestral balance and effects he sought. Together they worked on the score from March to May 1913, and to get the orchestra of the Théâtre des Champs-Élysées to cope with the unfamiliar and difficult music Monteux held seventeen rehearsals, an unusually large number. Monteux's real attitude to the score is unclear. In his old age he told a biographer, "I did not like Le Sacre then. I have conducted it fifty times since. I do not like it now." However, he told his wife in 1963 that the Rite was "now fifty years old, and I do not think it has aged at all. I had pleasure in conducting the fiftieth anniversary of Le Sacre this spring". contains an answer for the question: What was the name of the person that conduced The Rite of Spring?, what is it ?

A:
Monteux