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.

[Q]: Passage: "City of Angels" was written by lead vocalist Jared Leto, who also produced the song with Steve Lillywhite. The latter had previously worked with Thirty Seconds to Mars on the production of the band's third studio album, This Is War (2009). The song was engineered by Jamie Reed Schefman and mixed by Serban Ghenea. John Hanes engineered it for mixing at Mixstar Studios in Virginia Beach, Virginia. It was recorded at The International Centre for the Advancement of the Arts and Sciences of Sound in Los Angeles, California and mastered by Howie Weinberg and Dan Gerbarg at Howie Weinberg Mastering. Thirty Seconds to Mars unveiled six songs from their fourth studio album Love, Lust, Faith and Dreams, including "City of Angels", during a preview held at the Electric Lady Studios in New York City on March 14, 2013. Shannon Leto revealed that it was the oldest song written for the album and took a long time to make.While writing the song, Leto was influenced by the culture of Los Angeles and inspired by his relationship with it. He explained that pursuing his creative ambitions in Los Angeles had led to a "love/hate relationship" with the city. Leto told Interview magazine, "the song is about people coming to the City of Angels to live their dreams and to make their dreams their reality. It's about how the other people they've met in the city have helped them—you know, a group of people all kind of joining together into a community of outsiders, of mavericks, of freaks, of artists. It's about coming to a place to do something different and something special.".
[A]: What is the first name of the person who was influenced by the culture of Los Angeles and inspired by his relationship with it?


[Q]: Passage: Structure 12 lies to the east of Structure 11. It has also been excavated and, like Structure 11, it is covered with rounded boulders held together with clay. It lies to the east of the plaza in the southern area of the Central Group. The structure is a three-tiered platform with stairways on the east and west sides. The visible remains date to the Early Classic but they overlie Late Preclassic construction. A row of sculptures lines the west side of the structure, including six monuments, a stela and an altar. Further monuments line the east side, one of which may be the head of a crocodilian, the others are plain. Sculpture 69 is located on the south side of the structure.Structure 17 is located in the South Group, on the Santa Margarita plantation. It contained a Late Preclassic cache of 13 prismatic obsidian blades.Structure 32 is located near the western edge of the West Group.Structure 34 is in the West Group, at the eastern corner of Terrace 6.Structures 38, 39, 42 and 43 are joined by low platforms on the east side of a plaza on Terrace 7, aligned north–south. Structures 40, 47 and 48 are on south, west and north sides of this plaza. Structures 49, 50, 51, 52 and 53 form a small group on the west side of the terrace, bordered on the north by Terrace 9. Structure 42 is the tallest structure in the North Group, measuring about 11.5 metres (38 ft) high. All of these structures are mounds.Structure 46 is a mound at the edge of Terrace 8 in the North Group and dates from the Terminal Classic through to the Postclassic. The west side of the structure has been cut by a modern road.Structure 54 is built upon Terrace 8, to the north of Structure 46, in the North Group. It is surrounded by an open area without mounds that was probably a mixed residential and agricultural area. It dates from the Terminal Classic through to the Postclassic.Structure 57 is a large mound at the southern limit of the Central Group with an excellent view across the coastal plain. The structure was built in the Late Preclassic and underwent a second phase of construction in the Late Classic. It may have served as a look-out point.
[A]: Which structure dates from the Terminal Classic through to the Postclassic?


[Q]: Passage: Both Surfer Rosa and Steve Albini's production of the album have been influential on alternative rock, and on grunge in particular. Nirvana's Kurt Cobain cited Surfer Rosa as the basis for Nevermind's songwriting. When he first heard the album, Cobain discovered a template for the mix of heavy noise and pop he was aiming to achieve. He remarked in 1992 that he "heard songs off of Surfer Rosa that I'd written but threw out because I was too afraid to play them for anybody." Cobain hired Albini to produce Nirvana's 1993 album In Utero, primarily due to his contribution to Surfer Rosa. The Smashing Pumpkins' Billy Corgan described Surfer Rosa as "the one that made me go, 'holy shit'. It was so fresh. It rocked without being lame." Corgan was impressed by the album's drum sound, and acknowledged that The Smashing Pumpkins used to study the record for its technical elements. Musician PJ Harvey said that Surfer Rosa "blew my mind," and that she "immediately went to track down Steve Albini." Cobain listed Surfer Rosa as number 2 of the top 50 albums he thought were most influential to Nirvana's sound in his journal in 1993.People connected with the band were impressed by the record. Ivo Watts-Russell recalled: "I remember when I first heard Surfer Rosa thinking, 'I didn't know the Pixies could sound like The Fall.' That was my immediate reaction, in other words, incredibly raw." Gary Smith, who at the time was in a disagreement with the band, admitted he "was really happy that they had made such a forceful, aggressive, record." Dinosaur Jr.'s J Mascis, comparing the record to the later Pixies albums Bossanova and Trompe le Monde, said he thought that Steve Albini's production "sounded way better than the other ones."In 1991, as Pixies were recording Trompe le Monde, Albini described his impressions of Pixies during the recording of Surfer Rosa to the fan magazine Forced Exposure: "A patchwork pinch loaf from a band who at their top dollar best are blandly entertaining college rock. Their willingness to be 'guided' by their manager, their record company and their producers is unparalleled. Never have I seen four cows more anxious to be led around by their nose rings." Albini later apologized for his remarks, saying, "to this day I regret having done it. I don't think that I regarded the band as significantly as I should have.".
[A]:
What is the first name of the person who Cobain hired to produce in Utero?