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: In February 1997, Wallace traveled to California to promote Life After Death and record a music video for its lead single, "Hypnotize". On March 5, 1997, he gave a radio interview with The Dog House on KYLD in San Francisco. In the interview, he stated that he had hired a security detail, since he feared for his safety; this was because he was a celebrity figure in general, not because he was a rapper.On March 8, 1997, Wallace presented an award to Toni Braxton at the 11th Annual Soul Train Music Awards in Los Angeles and was booed by some of the audience. After the ceremony, he attended an afterparty hosted by Vibe and Qwest Records at the Petersen Automotive Museum in Los Angeles. Guests included Evans, Aaliyah, Combs, and members of the Crips and Bloods gangs.On March 9, 1997, at 12:30 a.m. (PST), after the fire department closed the party early due to overcrowding, Wallace left with his entourage in two GMC Suburbans to return to his hotel. He traveled in the front passenger seat alongside his associates, Damion "D-Roc" Butler, Lil' Cease and driver Gregory "G-Money" Young. Combs traveled in the other vehicle with three bodyguards. The two trucks were trailed by a Chevrolet Blazer carrying Bad Boy's director of security, Paul Offord.By 12:45 a.m. (PST), the streets were crowded with people leaving the party. Wallace's truck stopped at a red light 50 yards (46 m) from the museum. A black Chevy Impala pulled up alongside Wallace's truck. The driver of the Impala, an African-American male dressed in a blue suit and bow tie, rolled down his window, drew a 9 mm blue-steel pistol and fired at the GMC Suburban. Four bullets hit Wallace. His entourage rushed him to Cedars-Sinai Medical Center, but he was pronounced dead at 1:15 a.m. (PST).Wallace's funeral was held on March 18, 1997, at the Frank E. Campbell Funeral Chapel in Manhattan. There were among 350 mourners at the funeral, including Queen Latifah, Flava Flav, Mary J. Blige, Lil' Kim, Lil' Cease, Run–D.M.C., DJ Kool Herc, Treach from Naughty by Nature, Busta Rhymes, Salt-N-Pepa, DJ Spinderella, Foxy Brown, Sister Souljah and others. After the funeral, his body was cremated and the ashes were given to his family.

Answer: What is the last name of the person who was booed by some of the audience at the 11th Annual Soul Train Music Awards in Los Angeles?


Question: Passage: On his release, Tippett returned to his duties at Morley, where he boosted the college's Purcell tradition by persuading Alfred Deller, the countertenor, to sing several Purcell odes at a  concert on 21 October 1944—the first modern use of a countertenor  in Purcell's music. Tippett formed a fruitful musical friendship with Benjamin Britten and Peter Pears, for whom he wrote the cantata Boyhood's End for tenor and piano. Encouraged by Britten, Tippett made arrangements for the first performance of A Child of Our Time, at London's Adelphi Theatre on 19 March 1944. Goehr conducted the London Philharmonic Orchestra, and Morley's choral forces were augmented by the London Regional Civil Defence Choir. Pears sang the tenor solo part, and other soloists were borrowed from Sadler's Wells Opera. The work was well received by critics and the public, and eventually became one of the most frequently performed large-scale choral works of the post-Second World War period, in Britain and overseas. Tippett's immediate reward was a commission from the BBC for a motet, The Weeping Babe, which became his first broadcast work when it was aired on 24 December 1944. He also began to give regular radio talks on music.In 1946 Tippett organised at Morley the first British performance of Monteverdi's Vespers, adding his own organ Preludio for the occasion. Tippett's compositions in the immediate postwar years included his  First Symphony, performed under Sargent in November 1945, and the String Quartet No. 3, premiered in October 1946 by the Zorian Quartet. His main creative energies were increasingly devoted to his first major opera, The Midsummer Marriage. During the six years from 1946 he composed almost no other music, apart from the Birthday Suite for Prince Charles (1948).

Answer: What is the name of the person who boosted the college's Purcell tradition by persuading the countertenor to sing several Purcell odes at a concert on 21 October 1944?


Question: Passage: "Déjà Vu" debuted to mixed and positive reviews among critics. Mike Joseph of the international webzine PopMatters' believed that it was "fantastic to hear Beyoncé singing her lungs out over a full-bodied groove featuring live instruments". Spence D. of IGN Music, a multimedia news and reviews website, complimented Jerkins' bass-laden groove, writing that it brought the track to perfection. Describing "Déjà Vu" as a magnificent song, Caroline Sullivan of The Guardian complimented Beyoncé and Jay-Z collaboration calling it "feverish as pre-watershed pop gets". She added that even though when Jay-Z is not physically present, he manages to bring out something formidable in Beyoncé that evokes "the young, feral Tina Turner". Bernard Zuel The Sydney Morning Herald praised the assertiveness with which Beyoncé delivers her lines and considered buying "Déjà Vu" as worthwhile.Several other music critics have compared "Déjà Vu" to Beyoncé's 2003 single, "Crazy in Love", the lead single of her debut album. According to Gail Mitchell of Billboard magazine, the song is viewed by many as a sequel to "Crazy in Love". Jason King of the Vibe magazine deemed the song as "cloned from the DNA of the raucous 'Crazy in Love'" while Thomas Inskeep of Stylus Magazine referred to it as "'Crazy in Love' lite". Some reviewers, however, were negative to the parallels drawn between the two songs. Andy Kellman of AllMusic, an online music database, wrote that "['Déjà Vu'] "had the audacity to not be as monstrous as 'Crazy in Love'", referring to the commercial success the latter experienced in 2003. The internet-based publication Pitchfork's writer Ryan Dombal claimed that "this time [Beyoncé] out-bolds the beat".Sasha Frere-Jones of The New Yorker deemed the lyrics as a "perplexing view of memory", while Chris Richards of The Washington Post characterized Beyoncé as a "love-dazed girlfriend" in the song. Jody Rosen of the Entertainment Weekly referred to "Déjà Vu" as an "oddly flat" choice as a lead single. Jaime Gill of Yahoo! Music regarded "Déjà Vu" as a good choice for a single but concluded that it does lack "the kind of killer chorus" to suggest that Beyoncé would take one further step "to outright global domination". On the other hand, Jon Pareles of The New York Times wrote that Jay-Z shows up "as calmly boastful as ever" in the song but he only makes Beyoncé's "sound more insecure". Kelefa Sanneh of the same publication noted that "the refrain doesn't give Beyoncé a chance really to show off" and further described the song as a "fair-to-middling single from a singer who is the opposite of desperate".

Answer:
What is the name of the two songs that many music critics compare?