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: Music critic J. D. Considine noted "on albums, Jackson's sound isn't defined by her voice so much as by the way her voice is framed by the lush, propulsive production of Jimmy Jam and Terry Lewis." Wendy Robinson of PopMatters said "the power of Janet Jackson's voice does not lie in her pipes. She doesn't blow, she whispers ... Jackson's confectionary vocals are masterfully complemented by gentle harmonies and balanced out by pulsing rhythms, so she's never unpleasant to listen to."Matthew Perpetus of Fluxblog suggested Jackson's vocal techniques as a study for indie rock music, considering it to possess "a somewhat subliminal effect on the listener, guiding and emphasizing dynamic shifts without distracting attention from its primal hooks." Perpetus added: "Her voice effortlessly transitions from a rhythmic toughness to soulful emoting to a flirty softness without overselling any aspect of her performance ... a continuum of emotions and attitudes that add up to the impression that we're listening to the expression of a fully-formed human being with contradictions and complexities."Jackson's music has encompassed a broad range of genres. Her records from the 1980s have been described as being influenced by Prince, as her producers are ex-members of the Time. Sal Cinquemani wrote that in addition to defining Top 40 radio, she "gave Prince's Minneapolis sound a distinctly feminine—and, with songs like 'What Have You Done for Me Lately?,' 'Nasty,' 'Control,' and 'Let's Wait Awhile,' a distinctly feminist—spin."On Control, Richard J. Ripani documented that she, Jam and Lewis had "crafted a new sound that fuses the rhythmic elements of funk and disco, along with heavy doses of synthesizers, percussion, sound effects, and a rap music sensibility." Author Rickey Vincent stated that she has often been credited for redefining the standard of popular music with the industrial-strength beats of the album. She is considered a trendsetter in pop balladry, with Richard Rischar stating "the black pop ballad of the mid-1980s had been dominated by the vocal and production style that was smooth and polished, led by singers Whitney Houston, Janet Jackson, and James Ingram."Jackson continued her musical development by blending pop and urban music with elements of hip-hop in the nineties. This included a softer representation, articulated by lush, soulful ballads and up-tempo dance beats. She is described by music critic Greg Kot as "an artist who has reshaped the sound and image of rhythm and blues" within the first decade of her career. Critic Karla Peterson remarked that "she is a sharp dancer, an appealing performer, and as 'That's the Way Love Goes' proves—an ace pop-song writer." Selected material from the following decade has been viewed less favorably, as Sal Cinquemani comments "except for maybe R.E.M., no other former superstar act has been as prolific with such diminishing commercial and creative returns."Jackson has changed her lyrical focus over the years, becoming the subject of analysis in musicology, African American studies, and gender studies. David Ritz compared Jackson's musical style to Marvin Gaye's, stating, "like Marvin, autobiography seemed the sole source of her music. Her art, also like Marvin's, floated over a reservoir of secret pain." Much of her success has been attributed to "a series of powerful, metallic grooves; her chirpy, multi-tracked vocals; and a lyrical philosophy built on pride and self-knowledge." Ritz also stated, "The mystery is the low flame that burns around the perimeters of Janet Jackson's soul. The flame feeds off the most highly combustible elements: survival and ambition, caution and creativity, supreme confidence and dark fear."During the 1980s, her lyrics embodied self-actualization, feminist principles, and politically driven ideology. Gillian G. Gaar described Control as "an autobiographical tale about her life with her parents, her first marriage, and breaking free." Jessie Carney Smith wrote "with that album, she asserted her independence, individuality, and personal power. She challenged audiences to see her as a transformed person, from an ingénue to a grow-up, multi-talented celebrity." Referring to Rhythm Nation 1814 as an embodiment of hope, Timothy E. Scheurer wrote "It may remind some of Sly Stone prior to There's a Riot Going On and other African-American artists of the 1970s in its tacit assumption that the world imagined by Dr. King is still possible, that the American Dream is a dream for all people."On Janet, Jackson began focusing on sexual themes. Shayne Lee wrote that her music over the following decade "brand[ed] her as one of the most sexually stimulating vocalists of the 1990s." Lilly J. Goren observed "Jackson's evolution from politically aware musician to sexy diva marked the direction that society and the music industry were encouraging the dance-rock divas to pursue." The Washington Post declared Jackson's public image over the course of her career had shifted "from innocence to experience, inspiring such carnal albums as 1993's 'Janet' and 1997's 'The Velvet Rope', the latter of which explored the bonds—figuratively and literally—of love and lust."The song "Free Xone" from The Velvet Rope, which portrays same-sex relationships in a positive light, is described by sociologist Shayne Lee as "a rare incident in which a popular black vocalist explores romantic or sensual energy outside the contours of heteronormativity, making it a significant song in black sexual politics." During promotion for Janet, she stated "I love feeling deeply sexual—and don't mind letting the world know. For me, sex has become a celebration, a joyful part of the creative process."Upon the release of Damita Jo, Jackon stated "Beginning with the earlier albums, exploring—and liberating—my sexuality has been an ongoing discovery and theme," adding "As an artist, that's not only my passion, it's my obligation." Stephen Thomas Erlewine has found Jackson's consistent inclusion of sex in her music lacking ingenuity, especially in comparisons to other artists such as Prince, stating "while sex indisputably fuels much great pop music, it isn't an inherently fascinating topic for pop music—as with anything, it all depends on the artist.".

A: What is the first name of the person whose sound, according to Considine, isn't defined by her voice so much as by the way her voice is framed by the propulsive production of Jam and Lewis?
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Q: Passage: Foreign correspondent Carey Jackson returns to New York City when his newspaper's Vienna office is closed and is offered a job on a women's magazine called Home Life. He accepts the position only because it will put him in daily contact with editor Linda Gilman, whom he once loved. Linda is averse to the idea because of his leaving her three years earlier, but agrees to hire him if he will keep their relationship on a strictly professional level.
The two head for the Brinker home in Crestville, Indiana, to prepare a feature story about eldest daughter Jeanne's (Barbara Bates) wedding to Bud Mitchell for the June issue. Linda wants Carey to write a simple story about the young couple, but he insists on looking for an angle, which presents itself in the form of Jeanne's younger sister Barbara (nicknamed "Boo") (Betty Lynn), who confesses she always has been in love with Bud, the brother of Jeanne's former beau Jim, who was dumped by Jeanne when he joined the Army. At first Carey proposes they ask an officer he knows to order Jim home for the wedding, but thinks better of it, knowing he will lose his job if the wedding plans are disrupted. Boo, however, secretly telephones Carey's friend and arranges a leave for Jim.
Complications ensue when Jim arrives home and Carey tries to get rid of him while Linda, unaware of the reality of the situation, intervenes and makes him stay. Jim and Jeanne elope, Linda fires Carey, Carey feigns interest in Boo to make Bud jealous, and the scheme succeeds, with Bud proposing to Boo. Despite losing his job, Carey writes his story, Linda realizes he always knew the truth about the couples, and the two reconcile.

A: What's the full name of the person that once loved the editor of Home Life?
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Q: Passage: Vincent, a small town loner contemplates delivering a black duffle bag full of money to a gang leader. On his way home, he encounters Roxxy, a rebellious punk rocker being forced out of her car and hit repeatedly by a gang member. Vincent quickly jumps in to save her and the two flee together before the police can arrive. Vincent offers Roxxy a place to stay in a small trailer behind his farm house but she declines at first. Vincent then arrives back home to a party his brother, JC, and girlfriend Kate are throwing. It is revealed that Vincent has returned home for the first time in a couple years, having left shortly after their mothers death. JC shows Vincent an abandoned farm house he plans to turn into an auto shop and wants him to help him run it. At first, Vincent declines but eventually agrees to his brother's offer. The next day, Roxxy shows up at the shop, having no place to stay, takes up Vincent on his offer to stay in his trailer. At first, JC is reluctant to have Roxxy staying with them, suspecting she may be involved in some trouble that could reel them in. However, Vincent, Roxxy, JC and Kate grow to be close friends as Kate manages to get Roxxy a job at a bar she works at as a bartender.
Kate's ex-boyfriend, Darryl begins to stir up trouble after he makes several advances towards her. This leads to JC stepping in, causing an altercation between the two which results in Darryl and his friends being kicked out of the bar as well as animosity between him and JC. Over the course of Roxxy's stay, she and Vincent begin to grow closer; often going on dates and spending as much time together as possible. After a night at the carnival with Kate and JC, Vincent and Roxxy embrace while slow dancing in her trailer which ultimately begins the start of their relationship. One night, JC and Kate find the windows of their truck shot up by a pellet gun. JC learns that Darryl and his friends are responsible and retaliates by pouring bleach into his truck's fuel tank.

A:
Who does JC hope to run the auto shop with?
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