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.

Passage: Zappa's relationship with long-time manager Herb Cohen ended in 1976. Zappa sued Cohen for skimming more than he was allocated from DiscReet Records, as well as for signing acts of which Zappa did not approve. Cohen filed a lawsuit against Zappa in return, which froze the money Zappa and Cohen had gained from an out-of-court settlement with MGM over the rights of the early Mothers of Invention recordings. It also prevented Zappa having access to any of his previously recorded material during the trials. Zappa therefore took his personal master copies of the rock-oriented Zoot Allures (1976) directly to Warner Bros., thereby bypassing DiscReet.In the mid-1970s Zappa prepared material for Läther (pronounced "leather"), a four-LP project. Läther encapsulated all the aspects of Zappa's musical styles—rock tunes, orchestral works, complex instrumentals, and Zappa's own trademark distortion-drenched guitar solos. Wary of a quadruple-LP, Warner Bros. Records refused to release it. Zappa managed to get an agreement with Phonogram Inc., and test pressings were made targeted at a Halloween 1977 release, but Warner Bros. prevented the release by claiming rights over the material. Zappa responded by appearing on the Pasadena, California radio station KROQ, allowing them to broadcast Läther and encouraging listeners to make their own tape recordings. A lawsuit between Zappa and Warner Bros. followed, during which no Zappa material was released for more than a year. Eventually, Warner Bros. issued different versions of much of the Läther material in 1978 and 1979 as four individual albums (five full-length LPs) with limited promotion.Although Zappa eventually gained the rights to all his material created under the MGM and Warner Bros. contracts, the various lawsuits meant that for a period Zappa's only income came from touring, which he therefore did extensively in 1975–77 with relatively small, mainly rock-oriented, bands. Drummer Terry Bozzio became a regular band member, Napoleon Murphy Brock stayed on for a while, and original Mothers of Invention bassist Roy Estrada joined. Among other musicians were bassist Patrick O'Hearn, singer-guitarist Ray White and keyboardist/violinist Eddie Jobson. In December 1976, Zappa appeared as a featured musical guest on the NBC television show Saturday Night Live. Zappa's song "I'm the Slime" was performed with a voice-over by SNL booth announcer Don Pardo, who also introduced "Peaches En Regalia" on the same airing. In 1978, Zappa served both as host and musical act on the show, and as an actor in various sketches. The performances included an impromptu musical collaboration with cast member John Belushi during the instrumental piece "The Purple Lagoon". Belushi appeared as his Samurai Futaba character playing the tenor sax with Zappa conducting.
What was the first name of the man who filed a lawsuit that froze money he'd been awarded with Zappa?

Passage: One of the most persistent and popular stories regarding the Mormon pioneers was about three of the rescuers who helped the pioneers cross Sweetwater River.  The most popular telling, by Solomon Kimball, states:
Three eighteen-year-old boys belonging to the relief party came to the rescue; and to the astonishment of all who saw, carried nearly every member of that ill-fated handcart company across the snow-bound stream. The strain was so terrible, and the exposure so great, that in later years all the boys died from the effects of it. When President Brigham Young heard of this heroic act, he wept like a child, and later declared publicly, "That act alone will ensure C. Allen Huntington, George W. Grant, and David P. Kimball an everlasting salvation in the Celestial Kingdom of God, worlds without end.
This version was quoted by Gordon B. Hinckley, James E. Faust and was previously taught in Sunday School in the LDS Church for both adults and children.Chad Orton notes it would be physically impossible for three boys to carry five hundred people across the river in two hours.  In actuality, the rescue party had several rescuers instead of three, eighteen of which have been positively identified as being at the Sweetwater crossing.  The rescuers brought ten rescue wagons in addition to the wagons the Martin Company had with them. Many survivors wrote about riding the wagons across.  However, because of time constraints, not everyone could ride the wagons. Some were carried, but other survivors wrote that they crossed the river themselves or with the help of people other than the three boys.  The boys mentioned in the story did help some people across, but not "nearly every member" as reported in the mythologized version of the story. While the three boys were among those that helped several across, the ages were wrong. C. Allen Huntington was 24, David P. Kimball was 17, and George W. Grant was 16.  There is no medical evidence that they died from effects of the crossing, and most lived active and relatively long lives.  Outside of Kimball's account, there is no other account of Brigham Young promising everlasting salvation to the rescuers based on a single act. Orton notes that such a promise is inconsistent with church doctrine.  John Thomas notes that Solomon Kimball did not witness the crossing, but relied heavily on other sources, particularly Orson F. Whitney's 1888 account, who also claimed that all of the boys died from the event, even though Huntington was still alive in 1888.
What are the names of the three eighteen-year-olds who helped the pioneers cross Sweetwater River?

Passage: Inspired by live instrumentation, turntablism, and classic soul music, Tony! Toni! Toné! recorded and produced their second album, The Revival, mostly themselves and released it in 1990 to commercial success. The record broadened the group's exposure to fans beyond their initial R&B audience. However, they became ambivalent about their newfound mainstream success and their music being labeled "retro" by critics. In an interview for People magazine, lead singer and bassist Raphael Wiggins expressed his dissatisfaction with the music industry, saying that "every record company wants to get a group and put 'em in a Benz with a car phone and a beeper, show them dressing in three different outfits, put them in a video shot on a beach with lots of swinging bikinis. You won't ever see us on a beach. We're just down-to-earth, funky, like-to-play guys." Before considering a follow-up album, the band recorded several songs for film soundtracks, including "Me and You" for Boyz n the Hood (1991), "House Party (I Don't Know What You Come to Do)" for House Party 2 (1991), and "Waiting on You" for Poetic Justice (1993).Having fulfilled their creative intentions with The Revival, Tony! Toni! Toné! wanted to pay homage to their musical influences with Sons of Soul. In a 1993 interview for The New York Times, Wiggins elaborated on their direction for the album, stating "We're paying homage to a lot of older artists who paved the way for us artists like the Temptations, Sly and the Family Stone, Earth, Wind and Fire. They're the people who inspired us when we were growing up, people like Aretha Franklin, James Brown. We feel we're the sons of everything and all those people who came before us." He also explained the album's title as a declaration of them being descendants of those artists, "not in a grandiose sense, but from the standpoint that we really are the musical offspring of all that's come before us ... paying homage to our past, but creating in a contemporary environment.".

What was the last name of the person who expressed his dissatisfaction with the music industry in an interview for People magazine?