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.
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Question: Passage: Even in his own homeland the general public was slow to recognise Smetana. As a young composer and pianist he was well regarded in Prague musical circles, and had the approval of Liszt, Proksch and others, but the public's lack of acknowledgement was a principal factor behind his self-imposed exile in Sweden. After his return he was not taken particularly seriously, and was hard put to get audiences for his new works, hence his "prophet without honour" remark after the nearly empty hall and indifferent reception of Richard III and Wallenstein's Camp at Žofín Island in January 1862.Smetana's first noteworthy public success was his initial opera The Brandenburgers in Bohemia, in 1866 when he was already 42 years old. His second opera, The Bartered Bride, survived the unfortunate mistiming of its opening night and became an enduring popular triumph. The different style of his third opera, Dalibor, closer to that of Wagnerian music drama, was not readily understood by the public and was condemned by critics who believed that Czech opera should be based on folk-song. It disappeared from the repertory after only a handful of performances. Thereafter the machinations that accompanied Smetana's tenure as Provisional Theatre conductor restricted his creative output until 1874.
In his final decade, the most fruitful of his compositional career despite his deafness and increasing ill-health, Smetana belatedly received national recognition. Of his later operas, The Two Widows and The Secret were warmly received, while The Kiss was greeted by an "overwhelming ovation". The ceremonial opera Libuše was received with thunderous applause for the composer; by this time (1881) the disputes around his music had declined, and the public was ready to honour him as the founder of Czech music. Nevertheless, the first few performances in October 1882 of an evidently under-rehearsed The Devil's Wall were chaotic, and the composer was left feeling "dishonoured and dispirited." This disappointment was swiftly mitigated by the acclaim that followed the first performance of the complete Má vlast cycle in November: "Everyone rose to his feet and the same storm of unending applause was repeated after each of the six parts ... At the end of Blaník [the final part] the audience was beside itself and the people could not bring themselves to take leave of the composer.".

Answer: What is the last name of the person who was left feeling dishonoured and dispirited?


Question: Passage: Following the seven performances on the Joshua Tree Tour, U2 did not perform "Mothers of the Disappeared" until 1998, on the fourth leg of the PopMart Tour. It was played at three concerts in Argentina and once in Chile, concluding all four shows. Bono sang "el pueblo vencerá" at the end of each performance. The first rendition was on 5 February 1998 in Buenos Aires, where it was performed with the Madres accompanying them onstage. The song was played by just Bono and the Edge and was set against footage of the Madres on the video screen. At the conclusion of the song, the band members faced the Madres and applauded, an act in which the rest of the audience joined. Part of the performance was later included on the television documentary Classic Albums: The Joshua Tree.The cost of the tickets was too high for many fans in South America, so the band broadcast the 11 February concert in Chile live on television. Knowing that many people in the country would be watching, they played "Mothers of the Disappeared" in place of "Wake Up Dead Man". The stadium in which the concert was held had been used as a prison camp by Pinochet's regime following the coup d'état. Again it was performed solely by Bono and the Edge against footage of the Madres, and they invited the women to join them onstage a second time. The Madres held up photographs of their children and spoke about them briefly during the performance, an act which received a mixed reception from the audience. Bono made a plea to Pinochet, asking him to "tell these women where are the bones of their children.""Mothers of the Disappeared" was performed again on the fourth leg of the Vertigo Tour, on 26 February 2006 in Santiago and 2 March in Buenos Aires. Although it was rehearsed by the full band, it was played only by Bono and the Edge in an arrangement similar to the one from the PopMart Tour. The Edge performed the song on a charango that Chilean President Ricardo Lagos had given to Bono earlier that day. It was played at three concerts on the third leg of the U2 360° Tour in place of "MLK". One performance in Istanbul, Turkey was dedicated to Fehmi Tosun, an ethnic Kurd who was kidnapped in October 1995 and subsequently disappeared. The abduction was witnessed by his wife and daughter; no information regarding his disappearance has ever been released.
For the first time in 30 years, a full band arrangement of "Mothers of the Disappeared" returned to U2's live set for the Joshua Tree Tour 2017, on which the group played The Joshua Tree in sequence in its entirety for each show. Eddie Vedder and Mumford & Sons accompanied U2 on-stage in a performance of the song during a 14 May 2017 show in Seattle.

Answer: What had "el pueblo vencerá" sung after each performance?


Question: Passage: Popeye & Olive Oyl stroll happily along arm-in-arm and stop short when Popeye catches sight of a roller rink: Good Skates 50 cents, Cheap Skates 25 cents the  declares. Asked to go skating, Olive protests that she does not know how; but Popeye will teach her! Within, the attendant asks Popeye what size of skates he wishes to rent, and Popeye, observing Olive's long feet, blushes, either not wishing to say or not knowing. "Make a fist," he suggests to his best girl, and the attendant shall measure it. ("A hand like a foot and a half," he mutters, deftly wrapping a skate about the lady's great clenched hand.) The long, long, slender skates procured, Popeye hammers them with his brawny fists to the bottom of Olive's shoes; she falls over a couple of times as Popeye delicately slips on his own. We roll over to the rink proper, and Popeye, swinging his arms as if rowing a canoe, a bit too gracefully demonstrates the proper technique; Olive attempts to move, but can only kick the air in desperation and flap her skinny arms as she falls headfirst into the railing around the rink. She frees her head by her own strength, but her feet, fanning out, become stuck in the same way as a result: with a struggle, one foot is freed, and an exasperated Olive is helped at last by Popeye, who gently releases the other foot and dusts off his indignant companion (adept enough to tap her foot impatiently), and he points out all of the other rinkgoers merrily whizzing about.

Answer:
Who becomes stuck in the railing?