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.

[EX Q]: Passage: Matt Brady comes home from World War I to a city where his older brother Tim is a political kingpin. Matt meets an old friend, Bob Herrick, but an argument leads to a fistfight. He ends up late for a date with Elsie Reynolds, who is furious. Matt angrily replies that he wants nothing more to do with her.
Matt's self-destructive behavior continues at a restaurant, where he intervenes on behalf of a forlorn customer, Lorry Reed, punching a waiter. He not only takes sympathy on her, he impulsively insists they get married.
Regretting his actions the next day, Matt's temper again flares when Tim Brady decides to get the marriage annulled. Matt tells him to mind his own business. Minutes later, Tim dies of a heart attack.
Years go by. Matt, still in a loveless marriage with Lorry, has followed his brother into politics. His unethical methods include making money on a tip from gangster Johnny Mazia and claiming half the profits of a cement business in exchange for guaranteeing it city projects. Bob has married Elsie, meanwhile, and become Matt's lawyer and insurance commissioner.
Matt continues to mistreat Lorry, even giving her a very expensive necklace only to make Elsie envious. A newspaper editor and prosecutor begin investigating Matt, whose net worth also vanishes with the stock market's crash. He goes into business with gangster Johnny, inadvertently becoming an accomplice in a killing spree.
An effort to make things right leads to a fight resulting in Johnny's death, but Matt is indicted and shocked when Bob testifies against him. Lorry leaves, telling Matt how he deluded himself that he had even one friend. Matt ends up by himself, behind bars.
[EX A]: What is the first name of the brother of the political kingpin?

[EX Q]: Passage: Despite undergoing various changes of emphasis, Bush's music retained a voice distinct from that of any of his contemporaries. One critic describes the typical Bush sound as "Mild dominant discords, of consonant effect, used with great originality in uncommon progressions alive with swift, purposeful harmonic movement ... except in [Benjamin] Britten they are nowhere used with more telling expression, colour and sense of movement than in Bush".John Ireland, Bush's early mentor, instilled "the sophisticated and restrained craftsmanship which marked Bush's music from the beginning",   introducing him to folksong and Palestrina, both important building blocks in the development of Bush's mature style. Daula comments that "Bush's music does not [merely] imitate the sound-world of his Renaissance predecessors", but   creates his unique fingerprint by "[juxtaposing] 16th century modal counterpoint with late- and post-romantic harmony".Bush's music, at least from the mid-1930s, often carried political overtones. His obituarist Rupert Christiansen writes that, as a principled Marxist, Bush  "put the requirements of the revolutionary proletariat at the head of the composer's responsibilities", a choice which others, such as Tippett, chose not to make.   However, Vaughan Williams thought that, despite Bush's oft-declared theories of the purposes of art and music, "when the inspiration comes over him he forgets all about this and remembers only the one eternal rule for all artists, 'To thine own self be true'.".
[EX A]: What is the last name of the person who wrote that the composer who retained a voice distinct from that of any of his contemporaries "remembers only the one eternal rule for all artists, 'To thine own self be true'."?

[EX Q]: Passage: Okereke has discussed a natural progression in Bloc Party's compositional style to a more explorative, electronic direction. For the opening track on Intimacy, "Ares", Okereke was inspired to rap his lyrics after listening to the old-school hip hop of Afrika Bambaataa. According to Heather Phares of AllMusic, the song includes siren-like guitar chords and loud, complex drumming in the vein of dance acts The Prodigy and The Chemical Brothers. "Mercury" continues the complex drumming theme by incorporating layered percussion and contains a vocally manipulated chorus. The track is an attempt at drum and bass and features brass dissonance, effects Okereke has called "harsh, glacial, layered and energetic". "Zephyrus" begins with a solitary vocal line accompanied only by a drum machine pattern, while the Exmoor Singers provide background vocals in the rest of the composition. "Signs" is the only song that does not include guitars; instead, it is made up of a synthesiser pulse and multitracked samples of glockenspiel and mbira resembling the work of minimalist composer Steve Reich.Okereke has conceded that Intimacy covers Bloc Party's typical indie rock elements, but noted that the guitars have an artificial and manipulated sound, "almost like all the humanity has been bleached out". "Halo" has a fast tempo coupled with a guitar melody that uses only four chords, while "Trojan Horse" features syncopated guitars and distortion. "Talons" also incorporates distortion from both lead and rhythm guitars, while the final single "One Month Off" consists of tribal rhythms and sixteenth note guitar riffs. "Biko" has a slower tempo and includes guitar arpeggi throughout, while "Ion Square" incorporates guitar overdubbing and the use of hi-hat patterns throughout. According to Nick Southall of Drowned in Sound, "Better Than Heaven" encapsulates what Bloc Party had been trying to achieve in their previous works, "namely aligning all their different directional desires: to swoon, to rock, and to experiment all at once". The track features broken beats and layered vocals.
[EX A]:
What is the song on the album with an electronic direction that features syncopated guitars and distortion?