In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.

Input: Consider Input: Passage: When Stephen Herrick, a sedate, mild-mannered shipping magnate, loses his opera tickets, Mrs. Grange, the aggressive mother of his fiancée Cecilia, insists upon being seated in the Herrick box anyway. Upon finding the Duncan family ensconced in their box, Mrs. Grange incites an argument that culminates with Dot Duncan hitting Stephen with her handbag.
After the Herrick party surrenders their seats to the Duncans, Dot realizes that her brother Pigeon found Stephen's lost tickets, and the embarrassed Duncans flee the theater.
The next day, at the offices of Herrick and Martin, Stephen is introduced to his new secretary, Dot Duncan. Recognizing Dot as his assailant from the previous evening, he dismisses her, but after she explains the confusion over the tickets, Stephen relents.
Soon after, Dot's beau, wrestler Claudius J. "Coffee Cup" Cup, returns from the Navy, promising to settle down and not re-enlist. While Dot and Coffee Cup are strolling down the street one day, Coffee Cup spots his pal Eddie, who he boasts, can grow four inches just by stretching. Eddie's aptitude for elongation draws a crowd, and soon Coffee Cup is taking bets from the skeptical onlookers. Stephen is drawn into the group when Dot borrows five dollars from him, and when the contest ends in a brawl in which Stephen is knocked unconscious, Coffee Cup takes him to the Duncan house to recover. Stephen awakens to the chaos of the Duncan household as Coffee Cup practices his wrestling technique on Pigeon, Mrs. Duncan delivers a neighbor's baby and Ivory, a sailor, tinkles the piano keys. Stephen is so delighted by Dot's boisterous family and friends that he accompanies her and Coffee Cup to a dance hall and congas the night away, forgetting all about his date with the snobbish Cecilia.

Output: Who finds the shipping magnate's opera tickets?


Input: Consider Input: Passage: Most of Glicken's published work centers around the 1980 eruption of Mount St. Helens. He also coauthored works with other volcanologists that focused on debris avalanches. Colleague Jon Major writes that "The full scope of Harry's work ... has never been published."
"The 1980 eruptions of Mount St. Helens, Washington. USGS Professional Paper No. 1250". United States Geological Survey. 1981: pgs. 347–377.
Meyer, William; Sabol, M.A; Glicken, H.X; Voight, Barry (1981). "The effects of ground water, slope stability, and seismic hazards on the stability of the South Fork Castle Creek blockage in the Mount St. Helens area, Washington. USGS Professional Paper No. 1345". United States Geological Survey.
"The effects of ground water, slope stability, and seismic hazard on the stability of the South Fork Castle Creek blockage in the Mount St. Helens area, Washington. USGS Open File No. 84–624". United States Geological Survey. 1984.
Glicken, Harry X.; Meyer, William; Sabol, Martha A. (1989). "Geology and ground-water hydrology of Spirit Lake blockage, Mount St. Helens, Washington, with implications for lake retention. USGS Bulletin No. 1789". United States Geological Survey.
Glicken, Harry (1996). "Rockslide-debris avalanche of May 18, 1980, Mount St. Helens Volcano, Washington. USGS Open File No. 96-677". United States Geological Survey: 98.

Output: What was the first name of the man who wrote a paper about the rockside-debris avalanche of May 18, 1980?


Input: Consider Input: Passage: In New Orleans, jazz had traditionally been expressed through polyphonic ensemble playing, with the various instruments weaving their parts into a single and coherent aural tapestry. By the early 1920s, developments in jazz saw the rise of the jazz soloist, with solos becoming longer and more complex. Both Beiderbecke and Armstrong were key figures in this evolution, as can be heard on their earliest recordings. According to the critic Terry Teachout, they are "the two most influential figures in the early history of jazz" and "the twin lines of descent from which most of today's jazz can be traced."Beiderbecke's cornet style is often described by contrasting it with Armstrong's markedly different approach. Armstrong was a virtuoso on his instrument, and his solos often took advantage of that fact. Beiderbecke was largely, although not completely, self-taught, and the constraints imposed by that fact were evident in his music. While Armstrong often soared into the upper register, Beiderbecke stayed in the middle range, more interested in exploring the melody and harmonies than in dazzling the audience. Armstrong often emphasized the performance aspect of his playing, while Beiderbecke tended to stare at his feet while playing, uninterested in personally engaging his listeners. Armstrong was deeply influenced by the blues, while Beiderbecke was influenced as much by modernist composers such as Debussy and Ravel as by his fellow jazzmen.Beiderbecke's most famous solo was on "Singin' the Blues", recorded February 4, 1927. It has been hailed as an important example of the "jazz ballad style"—"a slow or medium-tempo piece played gently and sweetly, but not cloyingly, with no loss of muscle." The tune's laid-back emotions hinted at what would become, in the 1950s, the cool jazz style, personified by Chet Baker and Bill Evans. More than that, though, "Singin' the Blues" has been noted for the way its improvisations feel less improvised than composed, with each phrase building on the last in a logical fashion. Benny Green describes the solo's effect on practiced ears:
When a musician hears Bix's solo on 'Singing the Blues', he becomes aware after two bars that the soloist knows exactly what he is doing and that he has an exquisite sense of discord and resolution. He knows also that this player is endowed with the rarest jazz gift of all, a sense of form which lends to an improvised performance a coherence which no amount of teaching can produce. The listening musician, whatever his generation or his style, recognizes Bix as a modern, modernism being not a style but an attitude.


Output: What is the name of the song that has been noted for the way its improvisations feel less improvised than composed by the artist that largely self-taught?