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.

[EX Q]: Passage: After leaving the army in January 1919, Grainger refused an offer to become conductor of the Saint Louis Symphony Orchestra and  resumed his career as a concert pianist.  He  was soon performing around 120 concerts a year, generally to great critical acclaim, and in  April 1921 reached a wider audience by performing in a cinema, New York's Capitol Theatre. Grainger  commented that the huge audiences at these cinema concerts often showed greater appreciation for his playing than those at established concert venues such as Carnegie Hall and the Aeolian. In the summer of 1919 he led a course in piano technique at Chicago Musical College, the first of many such educational duties he would undertake in later years.Amid his concert and teaching duties, Grainger found time to re-score many of his works (a habit he continued throughout his life) and also to compose new pieces: his Children's March: Over the Hills and Far Away, and the orchestral version of The Power of Rome and the Christian Heart both originated in this period.   He also began to develop the technique of elastic scoring, a form of flexible orchestration  which enabled works to be  performed by different numbers of players and instrument types, from small chamber groups  up to full orchestral strength.In April 1921 Grainger moved with his mother to a large house in White Plains, New York. This was  his  home for the remainder of his life. From the beginning of 1922 Rose's health deteriorated sharply; she was suffering from  delusions and nightmares, and became  fearful that her illness would harm her son's career. Because of the closeness of the bond between the two, there had long been  rumours that  their relationship was incestuous;  in April 1922 Rose was directly challenged over this issue by her friend Lotta Hough. From her last letter to Grainger, dated 29 April, it seems that this confrontation unbalanced Rose; on 30 April, while Grainger was touring on the West Coast, she jumped to her death from an office window  on the 18th floor of the Aeolian Building in New York City. The letter, which began "I am out of my mind and cannot think properly", asked Grainger if he had ever spoken to Lotta of "improper love". She signed the letter: "Your poor insane mother".
[EX A]: What is the name of the individual who jumped to her death from on office window on the 18th floor of the Aeollian building?

[EX Q]: Passage: The Early Netherlandish masters' influence reached artists such as Stefan Lochner and the painter known as the Master of the Life of the Virgin, both of whom, working in mid-15th-century Cologne, drew inspiration from imported works by van der Weyden and Bouts. New and distinctive painterly cultures sprang up; Ulm, Nuremberg, Vienna and Munich were the most important artistic centres in the Holy Roman Empire at the start of the 16th century. There was a rise in demand for printmaking (using woodcuts or copperplate engraving) and other innovations borrowed from France and southern Italy. Some 16th-century painters borrowed heavily from the previous century's techniques and styles. Even progressive artists such as Jan Gossaert made copies, such as his reworking of van Eyck's Madonna in the Church. Gerard David linked the styles of Bruges and Antwerp, often travelling between the cities. He moved to Antwerp in 1505, when Quentin Matsys was the head of the local painters' guild, and the two became friends.By the 16th century the iconographic innovations and painterly techniques developed by van Eyck had become standard throughout northern Europe. Albrecht Dürer emulated van Eyck's precision. Painters enjoyed a new level of respect and status; patrons no longer simply commissioned works but courted the artists, sponsoring their travel and exposing them to new and wide-ranging influences. Hieronymus Bosch, active in the late 15th and early 16th centuries, remains one of the most important and popular of the Netherlandish painters. He was anomalous in that he largely forewent realistic depictions of nature, human existence and perspective, while his work is almost entirely free of Italian influences. His better-known works are instead characterised by fantastical elements that tend towards the hallucinatory, drawing to some extent from the vision of hell in van Eyck's Crucifixion and Last Judgement diptych. Bosch followed his own muse, tending instead towards moralism and pessimism. His paintings, especially the triptychs, are among the most significant and accomplished of the late Netherlandish period
The Reformation brought changes in outlook and artistic expression as secular and landscape imagery overtook biblical scenes. Sacred imagery was shown in a didactic and moralistic manner, with religious figures becoming marginalized and relegated to the background. Pieter Bruegel the Elder, one of the few who followed Bosch's style, is an important bridge between the Early Netherlandish artists and their successors. His work retains many 15th-century conventions, but his perspective and subjects are distinctly modern. Sweeping landscapes came to the fore in paintings that were provisionally religious or mythological, and his genre scenes were complex, with overtones of religious skepticism and even hints of nationalism.
[EX A]: What is the full name of the Netherlandish painter who was anomalous in that he largely forewent realistic depictions of nature, human existence and perspective?

[EX Q]: Passage: Kelly is a prostitute who shows up in the small town of Grantville, just one more burg in a long string of quick stops on the run after being chased out of the big city by her former pimp. She engages in a quick tryst with local police captain Griff, who then tells her to stay out of his town and refers her to a cat-house just across the state line.
Instead, she decides to give up her illicit lifestyle, becoming a nurse at a hospital for handicapped children. Griff doesn't trust reformed prostitutes, however, and continues trying to run her out of town.
Kelly falls in love with J.L. Grant, the wealthy scion of the town's founding family, an urbane sophisticate, and Griff's best friend. After a dream-like courtship where even Kelly's admission of her past can't deter Grant, the two decide to marry. It is only after Kelly is able to finally convince Griff that she truly loves Grant and has given up prostitution for good that he agrees to be their best man.
Shortly before the wedding, Kelly arrives at Grant's mansion, only to find him on the verge of molesting a small girl. As he grinningly tries to persuade her to marry him, arguing that she too is a deviant, the only one who can understand him, and that he loves her, Kelly kills him by striking him in the head with a phone receiver. Jailed, and under heavy interrogation from Griff, she must convince him and the town that she is telling the truth about Grant's death.
As Kelly tries to exonerate herself, one disappointment follows another, and enemies old and new parade through the jailhouse to defame her. In despair, she is at last able to find Grant's victim and prove her innocence.
[EX A]:
Who is told to stay out of town?