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: Newcastle-born gangster Jack Carter has lived in London for years in the employ of organised crime bosses Gerald and Sid Fletcher (Terence Rigby and John Bindon). Jack is sleeping with Gerald's girlfriend Anna and plans to escape with her to South America, but he must first return to Newcastle and Gateshead to attend the funeral of his brother, Frank, who died in a purported drunk-driving accident. Unsatisfied with the official explanation, Jack investigates for himself. At the funeral Jack meets his teenage niece Doreen and Frank's evasive mistress Margaret; it is later implied that Doreen is Jack's daughter.
Jack goes to Newcastle Racecourse seeking old acquaintance Albert Swift for information about his brother's death, however Swift spots Jack and evades him. Jack encounters another old associate, Eric Paice, who refuses to tell Jack who is employing him as a chauffeur. Tailing Eric leads him to the country house of crime boss Cyril Kinnear. Jack bursts in on Kinnear, who is playing poker, but learns little from him; he also meets a glamorous drunken woman, Glenda. As Jack leaves, Eric warns him against damaging relations between Kinnear and the Fletchers. Back in town, Jack is threatened by henchmen who want him to leave town, but he fights them off, capturing and interrogating one to find out who wants him gone. He is given the name "Brumby".
What is the full name of the person whose brother died in a car accident?

Passage: Two groups of goldcrest taxa are found on the Atlantic islands of Macaronesia. Birds on the Canary Islands are ancient colonists, whereas those on The Azores are of more recent origin. There are no goldcrests on Madeira, where the Madeira firecrest is the only Regulus species.The Canary Islands were colonised in two waves. The first step was the occupation of Tenerife and La Gomera 1.9–2.3 million years ago, followed by a separate invasion of El Hierro and La Palma 1.3–1.8 mya.
Birds from the Canary Islands are particularly distinctive having a black forehead, pink-buff underparts and a darker closed wing, and have been sometimes treated either as a subspecies of the common firecrest or as a different Regulus species altogether. They were sometimes called the Tenerife goldcrest, no matter which of the islands they lived on; however, a 2006 study of the vocalisations of these birds indicate that they actually comprise two subspecies of the goldcrest that are separable on voice; R. r. teneriffae occurring on Tenerife and the newly described subspecies, R. r. ellenthalerae, the western Canary Islands goldcrest, occurring on the smaller islands of La Palma and El Hierro. 
Tenerife goldcrest R. r. teneriffae (Seebohm, 1883). Found only on Tenerife, Canary Islands; it is a distinctive, small subspecies with a black forehead and pink-buff underparts.
Western Canary Islands goldcrest R. r. ellenthalerae (Päckert et al., 2006). Resident on La Palma and El Hierro, Canary Islands.Differences in songs, genetics and morphology suggests that the Azores were colonised in a single invasion in the late Pleistocene, about 100,000 years ago. It is likely that the initial colonisation was of the easternmost islands, with a subsequent spread to the central and western island groups from the western caldera of São Miguel, where both eastern and western song types are found.
What two groups of goldcrest taxa are found on the Atlantic Islands of Macaronesia?

Passage: Holst's absorption of folksong, not only in the melodic sense but in terms of its simplicity and economy of expression, helped to develop a style that many of his contemporaries, even admirers, found austere and cerebral. This is contrary to the popular identification of Holst with The Planets, which Matthews believes has masked his status as a composer of genuine originality. Against charges of coldness in the music, Imogen cites Holst's characteristic "sweeping modal tunes mov[ing] reassuringly above the steps of a descending bass", while Michael Kennedy points to the 12 Humbert Wolfe settings of 1929, and the 12 Welsh folksong settings for unaccompanied chorus of 1930–31, as works of true warmth.Many of the characteristics that Holst employed — unconventional time signatures, rising and falling scales, ostinato, bitonality and occasional polytonality — set him apart from other English composers. Vaughan Williams remarked that Holst always said in his music what he wished to say, directly and concisely; "He was not afraid of being obvious when the occasion demanded, nor did he hesitate to be remote when remoteness expressed his purpose". Kennedy has surmised that Holst's economy of style was in part a product of the composer's poor health: "the effort of writing it down compelled an artistic economy which some felt was carried too far". However, as an experienced instrumentalist and orchestra member, Holst understood music from the standpoint of his players and made sure that, however challenging, their parts were always practicable. According to his pupil Jane Joseph, Holst fostered in performance "a spirit of practical comradeship ... none could know better than he the boredom possible to a professional player, and the music that rendered boredom impossible".

What was the last name of the person who said Holst was not afraid of being obvious when the occasion demanded?