instruction:
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.
question:
Passage: "I Want You"Andy Gill notes that the song displays a tension between the very direct tone of the chorus, the repeated phrase "I want you", and a weird and complex cast of characters, "too numerous to inhabit the song's three minutes comfortably", including a guilty undertaker, a lonesome organ grinder, weeping fathers, mothers, sleeping saviors, the Queen of Spades, and the "dancing child with his Chinese suit". Analyzing the evolution of the lyrics through successive drafts, Wilentz writes that there are numerous failures, "about deputies asking him his name ... lines about fathers going down hugging one another and about their daughters putting him down because he isn't their brother". Finally Dylan arrives at the right formula.Heylin points out that the "gorgeous" tune illustrates what Dylan explained to a reporter in 1966: "It's not just pretty words to a tune or putting tunes to words ... [It's] the words and the music [together]—I can hear the sound of what I want to say." Al Kooper has said that of all the songs that Dylan had outlined to him in his hotel, this was his favorite, so Dylan delayed recording it to the very end of the Nashville sessions, "just to bug him". Released as a single in June 1966, shortly before the album Blonde on Blonde, "I Want You" reached number 20 in the USA, and number 16 in the UK.
"Stuck Inside of Mobile with the Memphis Blues Again"Recorded at the third Nashville session, this song was the culmination of another epic of simultaneous writing and recording in the studio. Wilentz describes how the lyrics evolved through a surviving part-typed, part-handwritten manuscript page, "which begins 'honey but it's just too hard' (a line that had survived from the very first New York session with the Hawks). Then the words meander through random combinations and disconnected fragments and images ('people just get uglier'; 'banjo eyes'; 'he was carrying a 22 but it was only a single shot'), before, in Dylan's own hand, amid many crossings-out, there appears 'Oh MAMA you're here IN MOBILE ALABAMA with the Memphis blues again'."Inside the studio, the song evolved through several musical revisions. Heylin writes, "It is the song's arrangement, and not its lyrics, that occupies the musicians through the wee small hours." On the fifth take, released in 2005 on the No Direction Home Soundtrack, midtake Dylan stumbles on the formula "Stuck inside of Mobile" on the fourth verse, and never goes back. The song contains two oft-quoted pieces of Dylan's philosophy: "Your debutante just knows what you need/ But I know what you want" and "here I sit so patiently/ Waiting to find out what price/ You have to pay to get out of/ Going through all these things twice".
answer:
What is the name of the song that contains two oft-quoted pieces of Dylan's philosophy?


question:
Passage: As three US servicemen – Marine Private First Class Ira Hayes, Private First Class Rene Gagnon, and Navy Corpsman John "Doc" Bradley – are feted as heroes in a war bond drive, they reflect on their experiences via flashback.
After training at Camp Tarawa in Hawaii, the 28th Marine Regiment 5th Marine Division sails to invade Iwo Jima. The Navy bombards suspected Japanese positions for three days. Sergeant Mike Strank is put in charge of Second Platoon.
The next day, February 19, 1945, the Marines land in Higgins boats and LVTs. The beaches are silent and Private First Class Ralph "Iggy" Ignatowski wonders if the defenders are all dead before Japanese heavy artillery and machine guns open fire on the advancing Marines and the Navy ships. Casualties are heavy, but the beaches are secured.
Two days later, the Marines attack Mount Suribachi under a rain of Japanese artillery and machine gun fire, as the Navy bombards the mountain. Doc saves the lives of several Marines under fire, which later earns him the Navy Cross. The mountain is eventually secured.
On February 23, the platoon under command of Sergeant Hank Hansen reaches the top of Mount Suribachi and hoists the United States flag to cheers from the beaches and the ships. Secretary of the Navy James Forrestal, who witnesses the flag raising as he lands on the beach, requests the flag for himself. Colonel Chandler Johnson decides his 2nd Battalion deserves the flag more. Rene is sent up with Second Platoon to replace the first flag with a second one for Forrestal to take. Mike, Doc, Ira, Rene, and two other Marines (Corporal Harlon Block and Private First Class Franklin Sousley) are photographed by Joe Rosenthal as they raise the second flag.
On March 1, the Second Platoon is ambushed from a Japanese machine gun nest. During the fight over the nest, Mike is hit by a U.S. Navy shell and dies from his wounds. Later that day, Hank is shot in the chest and dies, and Harlon is killed by machine gun fire.
answer:
What are the full names of the men who raise the second flag on Mount Suribachi?


question:
Passage: In his personaggi listed in the 1609 score, Monteverdi unaccountably omits La messaggera (the Messenger), and indicates that the final chorus of shepherds who perform the moresca (Moorish dance) at the opera's end are a separate group (che fecero la moresca nel fine). Little information is available about who sang the various roles in the first performance. A letter published at Mantua in 1612 records that the distinguished tenor and composer Francesco Rasi took part, and it is generally assumed that he sang the title role. Rasi could sing in both the tenor and bass ranges "with exquisite style ... and extraordinary feeling". The involvement in the premiere of a Florentine castrato, Giovanni Gualberto Magli, is confirmed by correspondence between the Gonzaga princes. Magli sang the prologue, Proserpina and possibly one other role, either La messaggera or Speranza. The musicologist and historian Hans Redlich mistakenly allocates Magli to the role of Orfeo.A clue about who played Euridice is contained in a 1608 letter to Duke Vincenzo. It refers to "that little priest who performed the role of Euridice in the Most Serene Prince's Orfeo". This priest was possibly Padre Girolamo Bacchini, a castrato known to have had connections to the Mantuan court in the early 17th century. The Monteverdi scholar Tim Carter speculates that two prominent Mantuan tenors, Pandolfo Grande and Francesco Campagnola may have sung minor roles in the premiere.There are solo parts for four shepherds and three spirits. Carter calculates that through the doubling of roles that the text allows, a total of ten singers—three sopranos, two altos, three tenors and two basses—is required for a performance, with the soloists (except Orfeo) also forming the chorus. Carter's suggested role-doublings include La musica with Euridice, Ninfa with Proserpina and La messaggera with Speranza.
answer:

What is the last name of the scholar that believes role-doublings were used in the performance of the Montverdi piece?