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.

Input: Consider Input: Passage: In 1970 Zappa met conductor Zubin Mehta. They arranged a May 1970 concert where Mehta conducted the Los Angeles Philharmonic augmented by a rock band. According to Zappa, the music was mostly written in motel rooms while on tour with the Mothers of Invention. Some of it was later featured in the movie 200 Motels. Although the concert was a success, Zappa's experience working with a symphony orchestra was not a happy one. His dissatisfaction became a recurring theme throughout his career; he often felt that the quality of performance of his material delivered by orchestras was not commensurate with the money he spent on orchestral concerts and recordings.Later in 1970, Zappa formed a new version of the Mothers (from then on, he mostly dropped the "of Invention"). It included British drummer Aynsley Dunbar, jazz keyboardist George Duke, Ian Underwood, Jeff Simmons (bass, rhythm guitar), and three members of the Turtles: bass player Jim Pons, and singers Mark Volman and Howard Kaylan, who, due to persistent legal and contractual problems, adopted the stage name "The Phlorescent Leech and Eddie", or "Flo & Eddie".This version of the Mothers debuted on Zappa's next solo album Chunga's Revenge (1970), which was followed by the double-album soundtrack to the movie 200 Motels (1971), featuring the Mothers, the Royal Philharmonic Orchestra, Ringo Starr, Theodore Bikel, and Keith Moon. Co-directed by Zappa and Tony Palmer, it was filmed in a week at Pinewood Studios outside London. Tensions between Zappa and several cast and crew members arose before and during shooting. The film deals loosely with life on the road as a rock musician. It was the first feature film photographed on videotape and transferred to 35 mm film, a process that allowed for novel visual effects. It was released to mixed reviews. The score relied extensively on orchestral music, and Zappa's dissatisfaction with the classical music world intensified when a concert, scheduled at the Royal Albert Hall after filming, was canceled because a representative of the venue found some of the lyrics obscene. In 1975, he lost a lawsuit against the Royal Albert Hall for breach of contract.After 200 Motels, the band went on tour, which resulted in two live albums, Fillmore East – June 1971 and Just Another Band from L.A.; the latter included the 20-minute track "Billy the Mountain", Zappa's satire on rock opera set in Southern California. This track was representative of the band's theatrical performances—which used songs to build sketches based on 200 Motels scenes, as well as new situations that often portrayed the band members' sexual encounters on the road.

Output: What is the last name of the person that did not like orchestral concerts?


Input: Consider Input: Passage: The modern interest in the Hoysalas is due to their patronage of art and architecture rather than their military conquests. The brisk temple building throughout the kingdom was accomplished despite constant threats from the Pandyas to the south and the Seunas Yadavas to the north. Their architectural style, an offshoot of the Western Chalukya style, shows distinct Dravidian influences. The Hoysala architecture style is described as Karnata Dravida as distinguished from the traditional Dravida, and is considered an independent architectural tradition with many unique features.A feature of Hoysala temple architecture is its attention to exquisite detail and skilled craftsmanship. The tower over the temple shrine  (vimana) is delicately finished with intricate carvings, showing attention to the ornate and elaborately detailed rather than to a tower form and height. The stellate design of the base of the shrine with its rhythmic projections and recesses is carried through the tower in an orderly succession of decorated tiers. Hoysala temple sculpture replicates this emphasis on delicacy and craftsmanship in its focus on depicting feminine beauty, grace and physique. The Hoysala artists achieved this with the use of Soapstone (Chloritic schist), a soft stone as basic building and sculptural material.The Chennakesava Temple at Belur (1117), the Hoysaleswara temple at Halebidu (1121), the Chennakesava Temple at Somanathapura (1279), the temples at Arasikere (1220), Amruthapura (1196), Belavadi (1200), Nuggehalli (1246), Hosaholalu (1250), Aralaguppe (1250), Korvangla (1173), Haranhalli (1235), Mosale and Basaralu (1234)  are some of the notable examples of Hoysala art. While the temples at Belur and Halebidu are the best known because of the beauty of their sculptures, the Hoysala art finds more complete expression in the smaller and lesser known temples. The outer walls of all these temples contain an intricate array of stone sculptures and horizontal friezes (decorative mouldings) that depict the Hindu epics. These depictions are generally clockwise in the traditional direction of circumambulation (pradakshina). The temple of Halebidu has been described as an outstanding example of Hindu architecture and an important milestone in Indian architecture. The temples of Belur and Halebidu are a proposed UNESCO world heritage sites.

Output: What organization are the temples with known for their sculptures proposed to be world heritage sites?


Input: Consider Input: Passage: Like his predecessor Rafael Kubelík, and his successor Colin Davis, Solti found his early days as musical director marred by vituperative hostility from a small clique in the Covent Garden audience. Rotten vegetables were thrown at him, and his car was vandalised outside the theatre, with the words "Solti must go!" scratched on its paintwork. Some press reviews were strongly critical; Solti was so wounded by a review in The Times of his conducting of The Marriage of Figaro that he almost left Covent Garden in despair. The chief executive of the Opera House, Sir David Webster, persuaded him to stay with the company, and matters improved, helped by changes on which Solti insisted. The chorus and orchestra were strengthened, and in the interests of musical and dramatic excellence, Solti secured the introduction of the stagione system of scheduling performances, rather than the traditional repertory system. By 1967 The Times commented that "Patrons of Covent Garden today automatically expect any new production, and indeed any revival, to be as strongly cast as anything at the Met in New York, and as carefully presented as anything in Milan or Vienna".The company's repertory in the 1960s combined the standard operatic works with less familiar pieces. Among the most celebrated productions during Solti's time in charge was Schoenberg's Moses and Aaron in the 1965–66 and 1966–67 seasons. In 1970, Solti led the company to Germany, where they gave Don Carlos, Falstaff and Victory, a new work by Richard Rodney Bennett. The public in Munich and Berlin were, according to the Frankfurter Allgemeine Zeitung, "beside themselves with enthusiasm".Solti's bald head and demanding rehearsal style earned him the nickname "The Screaming Skull". A music historian called him "the bustling, bruising Georg Solti – a man whose entire physical and mental attitude embodied the words 'I'm in charge'." Singers such as Peter Glossop described him as a bully, and after working with Solti, Jon Vickers refused to do so again. Nevertheless, under Solti, the company was recognised as having achieved parity with the greatest opera houses in the world. Queen Elizabeth II conferred the title "the Royal Opera" on the company in 1968. By this point Solti was, in the words of his biographer Paul Robinson, "after Karajan, the most celebrated conductor at work". By the end of his decade as music director at Covent Garden Solti had conducted the company in 33 operas by 13 composers.In 1964 Solti separated from his wife. He moved into the Savoy Hotel, where not long afterwards he met Valerie Pitts, a British television presenter, sent to interview him. She too was married, but after pursuing her for three years, Solti persuaded her to divorce her husband. Solti and Valerie Pitts married on 11 November 1967. They had two daughters.


Output: What was the full name of the person that had their car vandalised?