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: Washington, D.C. is located in the mid-Atlantic region of the U.S. East Coast. Due to the District of Columbia retrocession, the city has a total area of 68.34 square miles (177.0 km2), of which 61.05 square miles (158.1 km2) is land and 7.29 square miles (18.9 km2) (10.67%) is water. The District is bordered by Montgomery County, Maryland to the northwest; Prince George's County, Maryland to the east; Arlington County, Virginia to the south; and Alexandria, Virginia to the west.
The south bank of the Potomac River forms the District's border with Virginia and has two major tributaries: the Anacostia River and Rock Creek. Tiber Creek, a natural watercourse that once passed through the National Mall, was fully enclosed underground during the 1870s. The creek also formed a portion of the now-filled Washington City Canal, which allowed passage through the city to the Anacostia River from 1815 until the 1850s. The Chesapeake and Ohio Canal starts in Georgetown and was used during the 19th century to bypass the Little Falls of the Potomac River, located at the northwest edge of Washington at the Atlantic Seaboard fall line.The highest natural elevation in the District is 409 feet (125 m) above sea level at Fort Reno Park in upper northwest Washington. The lowest point is sea level at the Potomac River. The geographic center of Washington is near the intersection of 4th and L Streets NW.The District has 7,464 acres (30.21 km2) of parkland, about 19% of the city's total area and the second-highest percentage among high-density U.S. cities. This factor contributed to Washington, D.C., being ranked as third in the nation for park access and quality in the 2018 ParkScore ranking of the park systems of the 100 most populous cities in the United States, according to the nonprofit Trust for Public Land.The National Park Service manages most of the 9,122 acres (36.92 km2) of city land owned by the U.S. government. Rock Creek Park is a 1,754-acre (7.10 km2) urban forest in Northwest Washington, which extends 9.3 miles (15.0 km) through a stream valley that bisects the city. Established in 1890, it is the country's fourth-oldest national park and is home to a variety of plant and animal species, including raccoon, deer, owls, and coyotes. Other National Park Service properties include the C&O Canal National Historical Park, the National Mall and Memorial Parks, Theodore Roosevelt Island, Columbia Island, Fort Dupont Park, Meridian Hill Park, Kenilworth Park and Aquatic Gardens, and Anacostia Park. The D.C. Department of Parks and Recreation maintains the city's 900 acres (3.6 km2) of athletic fields and playgrounds, 40 swimming pools, and 68 recreation centers. The U.S. Department of Agriculture operates the 446-acre (1.80 km2) U.S. National Arboretum in Northeast Washington.
What is the country's fourth-oldest national park?

Passage: Although A&M did not consider a full concert tour to promote Jackson's album, the label funded a three-week promotional tour across the United States in 13 cities following its release. In addition to the studio release, a remix album, Control: The Remixes, was released in select countries in November, 1987. Jackson's lyrical expression has been noted as one of the key elements of the album's success. Author Dave Marsh in The Heart of Rock & Soul: The 1001 Greatest Singles Ever Made (1999) comments: "Certainly, Janet must have written her own lyrics, which went after men—in particular, not very well disguised stand-ins for her father and former husband—more venomously than another guy would have dared. Control, the resulting album, was one of the best-sellers of 1986–1987, producing five hit singles."Jesus Garber, then-director of A&M's black music marketing and promotion, noted that in addition to crossover promotion from black to pop music charts, music video was utilized to launch Jackson into super stardom. Eric Henderson of Slant Magazine credits the release of Control as "the birth of Janet the music video star, as six of the nine tracks were turned into popular videos that all but announced her as queen of the production dance number." Henderson commented that Jackson's dancing ability, trained by a then-unknown Paula Abdul, only served to propel her into further stardom. Charlie Minor, then-senior vice president of promotion for A&M stated: "The images completed the image of Janet Jackson with the buyer ... They gave her a face, dance, action identity with the songs, and a visual image of her as a rock 'n' roll star." Jonathan Cohen of Billboard magazine commented "[Jackson's] accessible sound and spectacularly choreographed videos were irresistible to MTV, and helped the channel evolve from rock programming to a broader, beat-driven musical mix." The video for "Nasty" received three nominations for the fifth annual 1987 MTV Video Music Awards, winning Best Choreography for Paula Abdul.
What is the full name of the person whose lyrics went after men?

Passage: Monteverdi's next commission from Mantua came early in 1618, when he was asked to provide the music for Andromeda, an opera based on the ancient Greek myth of the princess chained to a rock. The libretto was written by Duke Ferdinando's chancellor, Ercole Marigliani, and the project was sponsored by the duke's younger brother, Don Vincenzo Gonzaga. It is probable that the work was intended for performance at the Mantua Carnival of March 1618, but as Carter records, Monteverdi's approach to his Mantua commissions was often dilatory and half-hearted; his inability or unwillingness to work on Andromeda delayed its performance, first to 1619 and then to 1620.Monteverdi's letters during the 1618–20 period, mainly to Striggio but occasionally to Don Vincenzo or Marigliani, offer various excuses for his lack of progress on Andromeda, including his duties at St Mark's, his health, and his obligations to provide ceremonial music for the Doge (ruler) of Venice. In February 1619, Monteverdi had started work on another Mantuan project, a ballo (dance with sung parts) to Striggio's libretto entitled Apollo. On 9 January 1620, still with 400 lines of the Andromeda libretto to set to music, Monteverdi proposed to Striggio that the entire opera project be abandoned and the ballo substituted. This idea was rapidly quashed; Don Vincenzo ordered that the remaining Andromeda music be sent to him forthwith. The final segment of Andromeda, an eight-part song, was delivered to Marigliani on 15 February 1620.None of Monteverdi's music for Andromeda has survived. The libretto was also thought to have been lost, until its rediscovery in 1984. As was customary in Monteverdi's time, the manuscript makes no mention of the composer's name—librettos were often the subject of numerous settings by different composers. The libretto's frontispiece confirms that Andromeda was performed during Mantua's Carnival, 1–3 March 1620. An analysis of its contents reveals some influence from Rinuccini's libretto for Arianna, such as use of identical metre and length in the prologues of each work, and several common characters in the respective cast lists. The document remains in private hands and has not been published.Monteverdi recorded no apparent interest in the performance of Andromeda after the 1620 Carnival; the long letter that he wrote to Striggio on 13 March 1620 makes no reference to the event and is chiefly concerned with financial matters. The letter implies that the Gonzaga court was trying to persuade Monteverdi to return to Mantua; in courtly language Monteverdi evades the issue, while comparing the relative generosity of his Venetian employers with the parsimony of the Gonzaga court.

What year was a long letter written by the man who provided music for an opera based on a Greek myth chiefly concerned with financial matters?