Q: What is the name of the song that the band finished in London?  Answer the above question based on the context below:  Every night on the tour to support their 2000 album Return of Saturn, No Doubt threw after-show parties where people danced to Jamaican dancehall music. During a discussion over dinner in late 2000, the band members decided they wanted to explore dancehall-style rhythms for their next album. Drawing inspiration from artists such as Bounty Killer, Cutty Ranks, and Mr. Vegas, the band began work on the album in January 2001 by creating beats on Pro Tools at guitarist Tom Dumont's apartment. The group often tried recreating beats from other song files on the computer, which resulted in modified versions of the original rhythms. They worked with producer Philip Steir at Toast Studios in San Francisco during this time, where the beginnings of "Hey Baby" emerged. When writing lyrics for previous albums, Stefani typically read works by Sylvia Plath that would make her depressed "or find different words that inspire me." In contrast, for Rock Steady she wrote the lyrics quicker and on the spot to meet the goal of writing a song a day. Many of the demos recorded during these early sessions were used in the final tracks, rather than completely reworking the songs. The band saw this as a way to preserve the "initial spark" from when the songs were conceived.The next month, Stefani left Los Angeles for London to visit boyfriend Rossdale, and the band traveled with her to finish recording "Detective". There, they worked with Eurythmics member David A. Stewart and wrote the song "Underneath It All" in only 10 minutes. In March, No Doubt traveled to Jamaica, staying at the Blue Lagoon in Port Antonio. The band "spent most of the time swimming and getting sunburned and drinking and smoking and recording a little music", according to Dumont. The group would often have Red Stripe beers or rum and cokes with jerk food for breakfast; on one occasion, Dumont passed out from heavy drinking while recording a track. They began work in the mid-afternoon and worked into the night, with an after-party following the session. The group...
A: Detective
Question: What is the first name of the person who told Hook to fuck off?  Answer the above question based on the context below:  Joy Division toured Continental Europe in January 1980. Although the schedule was demanding, Curtis experienced only two grand mal seizures, both in the final two months of the tour. That March, the band recorded their second album, Closer, with Hannett at London's Britannia Row Studios. That month they released the "Licht und Blindheit" single, with "Atmosphere" as the A-side and "Dead Souls" as the B-side, on the French independent label Sordide Sentimental.A lack of sleep and long hours destabilised Curtis's epilepsy, and his seizures became almost uncontrollable. He often had seizures during performances, which some audience members believed was part of the performance. The seizures left him feeling ashamed and depressed, and the band became increasingly worried about Curtis's condition. On 7 April, Curtis attempted suicide by overdosing on his anti-seizure medication, phenobarbitone. The following evening, Joy Division were scheduled to play a gig at the Derby Hall in Bury. Curtis was too ill to perform, so at Gretton's insistence the band played a combined set with Alan Hempsall of Crispy Ambulance and Simon Topping of A Certain Ratio singing on the first few songs. When Topping came back towards the end of the set, some audience members threw bottles at the stage. Curtis's ill health led to the cancellation of several other gigs that April. Joy Division's final live performance was held at the University of Birmingham's High Hall on 2 May, and included their only performance of "Ceremony", one of the last songs written by Curtis. Hannett's production has been widely praised. However, as with Unknown Pleasures, both Hook and Sumner were unhappy with the production. Hook said that when he heard the final mix of "Atrocity Exhibition" he was disappointed that the abrasiveness had been toned down. He wrote; "I was like, head in hands, 'Oh fucking hell, it's happening again ... Martin had fucking melted the guitar with his Marshall Time Waster. Made it sound like someone strangling a cat and, to my mind,...
Answer: Martin
Question: What year did the composer in a creative struggle perform a concert?  Answer the above question based on the context below:  With the outbreak of World War I on 28 July 1914, The Oceanides languished. Wartime politics being what they were, Sibelius's music was seldom played outside the Nordic countries and the United States: in Germany, there was little demand for the music of an "enemy national", while in Russia, Finns were viewed as being "less than loyal subjects of the Tsar". In any case, many of Sibelius's works had been printed by German publishing houses, a detail that harmed Sibelius's reputation not only in Russia, but also Britain and the United States. According to Tawaststjerna, the war plunged Sibelius into a state of melancholy and creative struggle (the Fifth and Sixth symphonies were in the process of simultaneous gestation at this time). His response was to retreat into near solitude: he abstained from attending and giving concerts and neglected his circle of friends, and he imagined himself "forgotten and ignored, a lonely beacon of light in a deepening winter darkness".Sibelius was not easily stirred from his exile; friend and fellow composer Wilhelm Stenhammar, then Artistic Director and chief conductor of the Gothenburg Symphony Orchestra, wrote to Sibelius repeatedly to persuade him to conduct a concert of his works in Gothenburg. Believing himself duty-bound to premiere a "major work" in Sweden, such as a symphony, Sibelius—to Stenhammar's chagrin—delayed each scheduled trip. He withdrew from planned concerts for March 1914, writing to Stenhammar, "My conscience forces me to this. But when I have some new works ready next year, as I hope, it would give me great joy to perform them in Gothenburg". New arrangements were made for February 1915, but these, too, Sibelius canceled in December 1914. In the end, the indefatigable Stenhammar prevailed and new concerts were set for March 1915 ("I see yet again your great sympathy for my music. I shall come".).Stenhammar's efforts were rewarded with the European premiere of The Oceanides. For Sibelius, it was an opportunity to once again be an "artist on tour", feeding...
Answer:
1915