TASK DEFINITION: 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.
PROBLEM: Passage: At the turn of the 17th century, Monteverdi found himself the target of musical controversy. The influential Bolognese theorist Giovanni Maria Artusi attacked Monteverdi's music (without naming the composer) in his work L'Artusi, overo Delle imperfettioni della moderna musica (Artusi, or On the imperfections of modern music) of 1600, followed by a sequel in 1603. Artusi cited extracts from Monteverdi's works not yet published (they later formed parts of his fourth and fifth books of madrigals of 1603 and 1605), condemning their use of harmony and their innovations in use of musical modes, compared to orthodox polyphonic practice of the sixteenth century. Artusi attempted to correspond with Monteverdi on these issues; the composer refused to respond, but found a champion in a pseudonymous supporter, "L'Ottuso Academico" ("The Obtuse Academic"). Eventually Monteverdi replied in the preface to the fifth book of madrigals that his duties at court prevented him from a detailed reply; but in a note to "the studious reader", he claimed that he would shortly publish a response, Seconda Pratica, overo Perfettione della Moderna Musica (The Second Style, or Perfection of Modern Music). This work never appeared, but a later publication by Claudio's brother Giulio Cesare made it clear that the seconda pratica which Monteverdi defended was not seen by him as radical change or his own invention, but was an evolution from previous styles (prima pratica) which was complementary to them.This debate seems in any case to have raised the composer's profile, leading to reprints of his earlier books of madrigals. Some of his madrigals were published in Copenhagen in 1605 and 1606, and the poet Tommaso Stigliani published a eulogy of him in his 1605 poem "O sirene de' fiumi". The composer of madrigal comedies and theorist Adriano Banchieri wrote in 1609: "I must not neglect to mention the most noble of composers, Monteverdi ... his expressive qualities are truly deserving of the highest commendation, and we find in them countless examples of matchless declamation ... enhanced by comparable harmonies." The modern music historian Massimo Ossi has placed the Artusi issue in the context of Monteverdi's artistic development: "If the controversy seems to define Monteverdi's historical position, it also seems to have been about stylistic developments that by 1600 Monteverdi had already outgrown".The non-appearance of Monteverdi's promised explanatory treatise may have been a deliberate ploy, since by 1608, by Monteverdi's reckoning, Artusi had become fully reconciled to modern trends in music, and the seconda pratica was by then well established; Monteverdi had no need to revisit the issue. On the other hand, letters to Giovanni Battista Doni of 1632 show that Monteverdi was still preparing a defence of the seconda practica, in a treatise entitled Melodia; he may still have been working on this at the time of his death ten years later.

SOLUTION: What is the name of the person that never published a response, Seconda Pratica?

PROBLEM: Passage: As Opeth's primary songwriter and lyricist, vocalist/guitarist Mikael Åkerfeldt heads the direction of Opeth's sound. He was influenced at a young age by the 1970s progressive rock bands King Crimson, Yes, Genesis, Camel, P.F.M., Hawkwind, and Gracious, and by heavy metal bands such as Iron Maiden, Slayer, Death, Black Sabbath, Deep Purple, Celtic Frost, King Diamond, Morbid Angel, Voivod, and, most importantly, Judas Priest. Åkerfeldt considers Judas Priest's Sad Wings of Destiny (1976) the best metal album of all time, and notes that there was a time when he listened only to Judas Priest. While warming up before Opeth concerts, Åkerfeldt frequently sings "Here Come the Tears" from Judas Priest's third album Sin After Sin (1977). Åkerfeldt later discovered progressive rock and folk music, both of which had a profound impact on the sound of the band.Opeth's distinct sound mixes death metal with progressive rock. Steve Huey of AllMusic refers to Opeth's "epic, progressive death metal style". Ryan Ogle of Blabbermouth described Opeth's sound as incorporating "the likes of folk, funk, blues, '70s rock, goth and a laundry list of other sonic oddities into their trademark progressive death style." In his review of Opeth's 2001 album Blackwater Park, AllMusic's Eduardo Rivadavia wrote, "Tracks start and finish in seemingly arbitrary fashion, usually traversing ample musical terrain, including acoustic guitar and solo piano passages, ambient soundscapes, stoner rock grooves, and Eastern-tinged melodies—any of which are subject to savage punctuations of death metal fury at any given moment." Åkerfeldt commented on the diversity of Opeth's music:
I don't see the point of playing in a band and going just one way when you can do everything. It would be impossible for us to play just death metal; that is our roots, but we are now a mishmash of everything, and not purists to any form of music. It's impossible for us to do that, and quite frankly I would think of it as boring to be in a band that plays just metal music. We're not afraid to experiment, or to be caught with our pants down, so to speak. That's what keeps us going.
More recently, Opeth have abandoned their death metal sound resulting in a mellower progressive rock sound. When talking about Heritage, guitarist Fredrik Åkesson stated:
In the beginning it took me a little while to get used to the new idea of the sound, not having any screaming vocals and stuff like that.  But I think the album was necessary for us to do. Maybe the band wouldn't have continued if we hadn't done Heritage.  I think the old Opeth fans understand this album. There's always going to be some haters, but you can't be loved by everyone. Opeth has always been about not repeating ourself. A lot of people don't think Heritage is metal but I think it's metal to go somewhere people don't expect. It doesn't mean we're not embracing the past sound of Opeth.

SOLUTION: What is the last name of the person who was influenced at a young age by 1970s progressive rock bands?

PROBLEM: Passage: Lionel Meadows is a London garage owner who makes extra cash dealing in stolen cars. Meadows buys log books from scrapped models, then has other cars corresponding to the log books stolen and the number plates replaced. He gives a list of the latest batch to young petty thief Tommy Towers, which includes a 1959 Ford Anglia. The car Tommy steals belongs to struggling cosmetics salesman John Cummings, who needs the car to keep his job. Also, he did not insure the car against theft and becomes desperate to recover it. 
Put onto Tommy by a street newspaper vendor, Alfie, who witnessed the crime, Cummings starts investigating the activities of Meadows and his associate Cliff. Meadows, disturbed by his inquiries, brutalizes Alfie, who then commits suicide.
Despite being warned off by both Meadows and the police, Cummings persists in his attempts to recover the car, even when his wife threatens to leave him and take the children away. It transpires that since his demob from the army, Cummings has failed at several enterprises, though his wife has always been supportive. Cummings eventually finds the weak link in Meadows's operation, his mistress Jackie, a teenage runaway whom, like Tommy, Meadows continually threatens and abuses.
Taking Jackie under his wing, Cummings sets out to prove that he is correct and that Meadows is a major criminal, stealing dozens of cars. He eventually convinces the police, but even then, they lack interest in helping him recover his car. Cummings finds he has to take matters into his own hands.

SOLUTION:
Who does the petty thief get a list from?