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: Like Green, who made particular mention of Beiderbecke's "amount of teaching," the jazz historian Ted Gioia also has emphasized Beiderbecke's lack of formal instruction, suggesting that it caused him to adopt "an unusual, dry embouchure" and "unconventional fingerings," which he retained for the rest of his life. Gioia points to "a characteristic streak of obstinacy" in Beiderbecke that provokes "this chronic disregard of the tried-and-true." He argues that this stubbornness was behind Beiderbecke's decision not to switch from cornet to trumpet when many other musicians, including Armstrong, did so. In addition, Gioia highlights Beiderbecke's precise timing, relaxed delivery, and pure tone, which contrasted with "the dirty, rough-edged sound" of King Oliver and his protégé Armstrong, whose playing was often more energetic and whose style held more sway early in the 1920s than Beiderbecke's.
Beiderbecke's playing - both as a cornetist and a pianist - had a profound effect on a number of his contemporaries. Eddie Condon, for instance, described Beiderbecke's cornet playing as "like a girl saying yes" and also wrote of being amazed by Beiderbecke's piano playing: "All my life I had been listening to music […] But I had never heard anything remotely like what Beiderbecke played. For the first time I realized music isn't all the same, it had become an entirely new set of sounds" "I tried to explain Bix to the gang," Hoagy Carmichael wrote, but "[i]t was no good, like the telling of a vivid, personal dream […] the emotion couldn't be transmitted."Mezz Mezzrow described Beiderbecke's tone as being "pickled in alcohol […] I have never heard a tone like he got before or since. He played mostly open horn, every note full, big, rich and round, standing out like a pearl, loud but never irritating or jangling, with a powerful drive that few white musicians had in those days."Some critics have highlighted "Jazz Me Blues", recorded with the Wolverines on February 18, 1924, as being particularly important to understanding Beiderbecke's style. Although it was one of his earliest recordings, the hallmarks of his playing are evident. "The overall impression we get from this solo, as in all of Bix at his best," writes the trumpeter Randy Sandke, "is that every note is spontaneous yet inevitable." Richard Hadlock describes Beiderbecke's contribution to "Jazz Me Blues" as "an ordered solo that seems more inspired by clarinetists Larry Shields of the ODJB and Leon Roppolo of the NORK than by other trumpet players." He goes on to suggest that clarinetists, by virtue of their not being tied to the melody as much as cornetists and trumpet players, could explore harmonies.

A: What is the first name of the person who highlights Beiderbecke's precise timing, relaxed delivery, and pure tone?
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Q: Passage: In 1988, Harrison formed the Traveling Wilburys with Jeff Lynne, Roy Orbison, Bob Dylan and Tom Petty. The band had gathered in Dylan's garage to record a song for a Harrison European single release. Harrison's record company decided the track, "Handle with Care", was too good for its original purpose as a B-side and asked for a full album. The LP, Traveling Wilburys Vol. 1, was released in October 1988 and recorded under pseudonyms as half-brothers, supposed sons of Charles Truscott Wilbury, Sr. It reached number 16 in the UK and number 3 in the US, where it was certified triple platinum. Harrison's pseudonym on the album was "Nelson Wilbury"; he used the name "Spike Wilbury" for their second album.In 1989, Harrison and Starr appeared in the music video for Petty's song "I Won't Back Down". In October that year, Harrison assembled and released Best of Dark Horse 1976–1989, a compilation of his later solo work. The album included three new songs, including "Cheer Down", which Harrison had recently contributed to the Lethal Weapon 2 film soundtrack.Following Orbison's death in December 1988, the Wilburys recorded as a four-piece. Their second album, issued in October 1990, was mischievously titled Traveling Wilburys Vol. 3. According to Lynne, "That was George's idea. He said, 'Let's confuse the buggers.'" It peaked at number 14 in the UK and number 11 in the US, where it was certified platinum. The Wilburys never performed live, and the group did not record together again following the release of their second album.In December 1991, Harrison joined Clapton for a tour of Japan. It was Harrison's first since 1974 and no others followed. On 6 April 1992, Harrison held a benefit concert for the Natural Law Party at the Royal Albert Hall, his first London performance since the Beatles' 1969 rooftop concert. In October 1992, he performed at a Bob Dylan tribute concert at Madison Square Garden in New York City, playing alongside Dylan, Clapton, McGuinn, Petty and Neil Young.

A: What was the name of the person that used the name Spike WIlbury?
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Q: Passage: In an isolated villa on the small Italian island of Pantelleria, world-famous rock singer Marianne Lane is on holiday with her filmmaker lover Paul. She is recovering from surgery and has lost her voice, communicating only by signs and occasional whispers. He is in recovery from alcohol addiction and a suicide attempt. Neither speaks Italian but solitude is what both need, until an aeroplane from Rome brings a man neither wants to see.
This is Harry, an extroverted music promoter who was Marianne's lover until he passed her on to his protegé, Paul. With him is Penelope, a previously unknown daughter of his who says she is 22. Moving into the villa, Harry starts inviting friends around as if it were his home and taking everybody out to various sights and festivities. His arrogant manner bores Pen and annoys Paul, but Marianne starts falling under his spell again; however, when Harry and Marianne begin to become intimate while alone, Marianne stops Harry. She tells him that she does love him, but that she cannot be with him and that she is with Paul. The sultry Pen then makes a play for the unhappy Paul; it is not shown, but implied, that Paul succumbs to Pen's overtures.

A:
What is the first name of the person that is passed on?
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