In this task, you're given a question, along with three passages, 1, 2, and 3. Your job is to determine which passage can be used to answer the question by searching for further information using terms from the passage. Indicate your choice as 1, 2, or 3.

Question: How old is the person who succeeded Hastings? Passage 1:Kanazawa was born in Iruma on July 9, 1976. After graduating from Kokushikan University, he joined J1 League club Júbilo Iwata in 1999. Although he could not become a regular player, he played many matches as left side midfielder from first season. The club won the champions 1999 and 2002 J1 League. In Asia, the club won the champions 1998–99 Asian Club Championship and the 2nd place 1999–00 and 2000–01 Asian Club Championship. In 2003, he moved to FC Tokyo. He became a regular player as left side back from first season. The club won the champions 2004 J.League Cup. Although he could hardly play in the match for injury in 2006, he came back and became a regular player again in 2007. From 2008, he lost regular position behind newcomer Yuto Nagatomo and he also played as defensive midfielder not only left side back. In August 2009, he moved to Júbilo Iwata for the first time in 7 years. He played as regular left side back in 2009 season. Although he could not play many matches from 2010, the club won the champions 2010 J.League Cup. His opportunity to play decreased from 2011 and he moved to J2 League club Thespakusatsu Gunma in 2014. He retired end of 2014 season at the age of 38.
 Passage 2:Born in Scarborough, Ontario, Canada in 1957, he attended Lord Roberts Public School, graduated from Midland Avenue Collegiate Institute, holds a BA from the University of Trinity College, University of Toronto, law degrees from Osgoode Hall Law School and the London School of Economics, and was a practising barrister. He moved to New Zealand in 1985. Before becoming Chief Censor, he was Deputy and Acting Chief Censor from December 1998 to October 1999, Senior Lecturer in Law (teaching Legal System and International Law), Deputy Dean of Law, and a member of the governing Council, at Victoria University of Wellington. He was also briefly the Video Recordings Authority in 1994, a member of the Indecent Publications Tribunal from 1990 to 1994 and Deputy President of the Film and Literature Board of Review from 1995 to 1998. In 2010 he stood down as Chief Censor when he became a District Court Judge and Chair of the Immigration and Protection Tribunal. He was succeeded by Andrew Jack.
 Passage 3:Most Deep Learning systems rely on training and verification data that is generated and/or annotated by humans. It has been argued in media philosophy that not only low-payed clickwork (e.g. on Amazon Mechanical Turk) is regularly deployed for this purpose, but also implicit forms of human microwork that are often not recognized as such. The philosopher Rainer Mühlhoff distinguishes five types of "machinic capture" of human microwork to generate training data: (1) gamification (the embedding of annotation or computation tasks in the flow of a game), (2) "trapping and tracking" (e.g. CAPTCHAs for image recognition or click-tracking on Google search results pages), (3) exploitation of social motivations (e.g. tagging faces on Facebook to obtain labeled facial images), (4) information mining (e.g. by leveraging quantified-self devices such as activity trackers) and (5) clickwork. Mühlhoff argues that in most commercial end-user applications of Deep Learning such as Facebook's face recognition system, the need for training data does not stop once an ANN is trained. Rather, there is a continued demand for human-generated verification data to constantly calibrate and update the ANN. For this purpose Facebook introduced the feature that once a user is automatically recognized in an image, they receive a notification. They can choose whether of not they like to be publicly labeled on the image, or tell Facebook that it is not them in the picture. This user interface is a mechanism to generate "a constant stream of  verification data" to further train the network in real-time. As Mühlhoff argues, involvement of human users to generate training and verification data is so typical for most commercial end-user applications of Deep Learning that such systems may be referred to as "human-aided artificial intelligence".  

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Question: How long had the band Gary joined in 1964 been in existence when he did join it? Passage 1:Gary Pickford-Hopkins began his musical career at the age of 16 with a local Neath group called The Smokestacks in 1964. He soon joined Eyes Of Blue, who in 1966 won the Melody Maker's Battle of the Bands, they have recorded two albums, John Weathers was on drums and he would later follow Pickford-Hopkins to Wild Turkey and then join Gentle Giant. In 1970, he briefly joined Big Sleep, and a year later he went to play with Glenn Cornick's Wild Turkey which recorded three albums from 1971 to June 1974, when he joined Rick Wakeman's English Rock Ensemble to produce the live album Journey to the Centre of the Earth in 1974 which reached number one on the UK Albums Chart and peaked at number 3 on the Billboard 200 in the United States. It was certified gold in the United States and United Kingdom. He later sang on Wakeman's third solo album The Myths and Legends of King Arthur and the Knights of the Round Table. In 1976, he sang on an album from a band called The Good Times Roll Band with The Faces' bass player Tetsu Yamauchi, the album simply titled Tetsu & The Good Times Roll Band was recorded in 1976 but was published in 2009.
 Passage 2:Nikhil and Vinay are both trained in classical music. Singer Anuradha Paudwal discovered the duo and recommended them to Gulshan Kumar, owner of T-Series music company, and director Chandra Barot, who signed them for the 1991 romantic film Pyar Bhara Dil. The song "Banke Kitab Teri" from the film became popular. The duo then went on to compose music for over 20 films. Their initial successes included Bewafa Sanam (1995), a film which was breakthrough for playback singer Sonu Nigam, English Babu Desi Mem (1996), Uff Yeh Mohabbat (1997) and Papa The Great (2000). The duo composed music for two of Sonu Nigam's successful music albums, Jaan (1999) and Yaad (2001). They went on to score music for Anubhav Sinha's box office success Tum Bin which included hit songs such as "Koi Fariyaad", "Chhoti Choti Raatein" and "Tumhare Siva". Some of their other successful ventures include Hum Tumhare Hain Sanam, Aapko Pehle Bhi Kahin Dekha Hai, Muskaan and Kuch Dil Ne Kaha. The duo have also been accused of plagiarism by Pakistani singer Faisal Latif.
 Passage 3:Albany–Sumner Avenues was a station on the demolished BMT Fulton Street Line. It had 2 tracks and 2 side platforms. It was served by trains of the BMT Fulton Street Line. The station was opened on May 30, 1888, and had connections to the Sumner Avenue Line streetcars. Eastbound trains stopped at Albany Avenue, while westbound trains stopped at Sumner Avenue (now Marcus Garvey Boulevard). The next stop to the east was Troy Avenue. The next stop to the west was Tompkins Avenue. During 1912 and 1924, the Dual Contracts program installed a third track on the Fulton El between Nostrand Avenue and the new Hinsdale Street station. Albany-Sumner Avenues stations were closed during that time. In 1936 the Independent Subway System built an underground Fulton Street Subway station at Kingston–Throop Avenues between here and the nearby Brooklyn–Tompkins Avenues Station. The el station became obsolete.

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Question: How old was the son-in-law of King James II when he came into power? Passage 1:The Glorious Revolution of 1689 involved the overthrow of King James II, who converted to Catholicism before he became king and favoured the Catholics, and his replacement by son-in-law William III, a Dutch Protestant. The Act of Settlement 1701, which was passed by the Parliament of England, stated the heir to the throne must not be a "Papist" and that an heir who is a Catholic or who marries one will be excluded from the succession to the throne. This law was extended to Scotland through the Act of Union which formed the Kingdom of Great Britain. The Act was amended in 2013 as regards marriage to a Catholic and the ecumenical movement has contributed to reducing sectarian tensions in the country.
 Passage 2:Additionally, Homer sings Billy Joel's 1983 song "Uptown Girl". After drinking the tainted juice, Grampa and Jasper sit on a bench, laughing like the title characters from the series Beavis and Butt-head, while Flanders hallucinates skeletons and dancing bears (images associated with the Grateful Dead), marching hammers (from Pink Floyd's 1982 film Pink Floyd—The Wall) and The Rolling Stones' lips and tongue logo. Mr. Burns' film is credited as "An Alan Smithee Film", a reference to the Alan Smithee pseudonym credit used by directors who wanted to be disassociated from a film on which they had lost creative control, to the detriment of the final product. When Barney drinks alcohol to prevent the bad effects from the tainted juice, a pink elephant comes to his rescue, referencing the scene in Dumbo where Dumbo and Timothy drink alcohol and see pink elephants. Seth and Munchie's dog is named Ginsberg, thought to be a reference to beat poet Allen Ginsberg. Homer putting the flowers in the policemen's rifles is a reference to the iconic October 22, 1967 Life magazine picture, "Flower Power" by Bernie Boston.
 Passage 3:Born in Bucharest, her parents were the writer Vasile Demetrius and his wife Antigona (née Rabinovici). Her beloved father had attended Saint Sava High School, where one of his classmates was Ion G. Duca, who would become Lucia's godfather. Her mother was a baptized Jew; she had numerous siblings and the family was very poor. She attended the elite Maria Brâncoveanu central school from 1921 to 1928; its director, to whom she grew close, was the widow of Barbu Ștefănescu Delavrancea. This was followed by the University of Bucharest, where she earned degrees in literature (1931) and philosophy (1932). A student at the Dramatic Arts Conservatory from 1928 to 1931, she had Ion Manolescu as a professor. She formed part of the Sburătorul literary circle. Asking Ion Marin Sadoveanu for help in finding a job, he sent her to act at Cernăuți, and would also appear at Brașov and Bucharest, invariably in minor roles.


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