[Q]: Given the below context: Giovanni Battista Barbirolli was born in Southampton Row, Holborn, London, the second child and eldest son of an Italian father and a French mother. He was a British national from birth, and as Southampton Row is within the sound of Bow Bells, Barbirolli always regarded himself as a Cockney. His father, Lorenzo Barbirolli (18641929), was a Venetian violinist who had settled in London with his wife, Louise Marie, nee Ribeyrol (18701962). Lorenzo and his father had played in the orchestra at La Scala, Milan, where they had taken part in the premiere of Otello in 1887. In London they played in West End theatre orchestras, principally that of the Empire, Leicester Square. The young Barbirolli began to play the violin when he was four, but soon changed to the cello. He later said that this was at the instigation of his grandfather who, exasperated at the child's habit of wandering around while practising the violin, bought him a small cello to stop him from "getting in everybody's way". His education at St. Clement Danes Grammar School overlapped, from 1910, with a scholarship at Trinity College of Music. As a Trinity student, he made his concert debut in a cello concerto in the Queen's Hall in 1911. The following year he won a scholarship to the Royal Academy of Music, which he attended from 1912 to 1916, studying harmony, counterpoint and theory under Dr. J. B. McEwen and the cello with Herbert Walenn. In 1914 he was joint winner of the academy's Charles Rube Prize for ensemble playing, and in 1916 The Musical Times singled him out as "that excellent young 'cello player, Mr Giovanni Barbirolli." The principal of the Academy, Sir Alexander Mackenzie, had forbidden students to play the chamber music of Ravel, which he regarded as "a pernicious influence". Barbirolli was keenly interested in modern music, and he and three colleagues secretly rehearsed Ravel's String Quartet in the privacy of a men's lavatory in the Academy.From 1916 to 1918 Barbirolli was a freelance cellist in London. He recalled, "My first... Guess a valid title for it!
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[A]: John Barbirolli

[Q]: Given the below context: "Jihad"alongside fellow Christ Illusion album tracks "Eyes of the Insane" and "Cult"was made available for streaming on June 26, 2006, via the Spanish website Rafabasa.com. The album was Slayer's ninth studio recording, and was released on August 8, 2006. During reviews "Jihad" received a mixed reception. Blabbermouth's Don Kaye gave the opinion that "a handful of songs" on Christ Illusion "are either too generic or the arrangements are too clumsy to work well", and specifically singled out the track: "I'm looking at you, 'Jihad' and 'Skeleton Christ'." Ben Ratliff of New York Times remarked that the song is "predictably tough stuff, but let's put it on a scale. It is tougher, and less reasoned, than Martin Amis's recent short story 'The Last Days of Muhammad Atta.' It is no tougher than a taped message from Al Qaeda." Peter Atkinson of KNAC.com was equally unimpressed, describing the group's choice of song climax as: ..the same sort of detached, matter-of-fact tactic Hanneman and Araya have employed for "difficult" subjects in the pastJosef Mengele's Nazi atrocities in "Angel of Death" or Jeffrey Dahmer/Ed Gein's ghoulish proclivities in "213" and "Dead Skin Mask"with great effect. But here it feels atypically crass and exploitative, as if it was done purely to get a rise out of people... And Slayer's usually a lot more clever than that. Not all reviews were so negative. Thom Jurek of Allmusic observed that "the band begins to enter and twist and turn looking for a place to create a new rhythmic thrash that's the most insane deconstruction of four/four time on tape." The Austin Chronicle's Marc Savlov asked readers to "listen to the eerie, stop-start cadence of lunacy in 'Jihad,' with Araya playing the role of a suicide bomber almost too convincingly."King would have appointed "Jihad" as the group's nomination in the "Best Metal Performance" award category at the 49th Grammy Awards, deeming the chosen track "Eyes of the Insane" "the poorest representations" of the group on ninth studio album Christ... Guess a valid title for it!
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[A]: "Jihad" (song) 1

[Q]: Given the below context: In 2000, while also working with Silverchair, Johns and Mac released an internet-only EP, I Can't Believe It's Not Rock. In mid-2003, during Silverchair's hiatus, the pair re-united and formed The Dissociatives, releasing a self-titled album in April 2004. The duo provided the theme music for the popular ABC-TV music quiz show Spicks and Specks as a reworking of the Bee Gees' 1966 hit of the same name. Johns also collaborated with then-wife Natalie Imbruglia on her Counting Down the Days album, released in April 2005.Joannou worked with blues-rock group The Mess Hall; he co-produced with Matt Lovell their six-track extended play, Feeling Sideways, which was released in May 2003. The album was nominated for the ARIA Award for 'Best Independent Release' in 2003. Joannou and Lovell co-produced The Mess Hall's studio album, Notes from a Ceiling which was issued in June 2005. Joannou and Lovell received a nomination at the ARIA Music Awards of 2005 for 'Producer of the Year'. In 2003, Gillies formed Tambalane with Wes Carr, initially as a song-writing project, they released a self-titled album in 2005 and toured Australia.The 2004 Boxing Day tsunami resulted in the WaveAid fund-raising concert held in January 2005: Silverchair performed to help raise funds for aid organisations working in disaster affected areas. As a result of WaveAid the band decided to resume working together. Gillies explained the band's reunion as due to a special "chemistry" between band members, telling The Sydney Morning Herald, "It only took us 15 years, but recently we've realised, 'We've really got something special and we should just go for it.'" Guess a valid title for it!
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[A]:
Silverchair