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: In 1565, the powerful Rinbung princes were overthrown by one of their own ministers, Karma Tseten who styled himself as the Tsangpa, "the one of Tsang", and established his base of power at Shigatse. The second successor of this first Tsang king, Karma Phuntsok Namgyal, took control of the whole of Central Tibet (Ü-Tsang), reigning from 1611–1621. Despite this, the leaders of Lhasa still claimed their allegiance to the Phagmodru as well as the Gelug, while the Ü-Tsang king allied with the Karmapa. Tensions rose between the nationalistic Ü-Tsang ruler and the Mongols who safeguarded their Mongol Dalai Lama in Lhasa. The fourth Dalai Lama refused to give an audience to the Ü-Tsang king, which sparked a conflict as the latter began assaulting Gelug monasteries. Chen writes of the speculation over the fourth Dalai Lama's mysterious death and the plot of the Ü-Tsang king to have him murdered for "cursing" him with illness, although Chen writes that the murder was most likely the result of a feudal power struggle. In 1618, only two years after Yonten Gyatso died, the Gelug and the Karma Kargyu went to war, the Karma Kargyu supported by the secular Ü-Tsang king. The Ü-Tsang ruler had a large number of Gelugpa lamas killed, occupied their monasteries at Drepung and Sera, and outlawed any attempts to find another Dalai Lama. In 1621, the Ü-Tsang king died and was succeeded by his young son Karma Tenkyong, an event which stymied the war effort as the latter accepted the six-year-old Lozang Gyatso as the new Dalai Lama. Despite the new Dalai Lama's diplomatic efforts to maintain friendly relations with the new Ü-Tsang ruler, Sonam Rapten (1595–1657), the Dalai Lama's chief steward and treasurer at Drepung, made efforts to overthrow the Ü-Tsang king, which led to another conflict. In 1633, the Gelugpas and several thousand Mongol adherents defeated the Ü-Tsang king's troops near Lhasa before a peaceful negotiation was settled. Goldstein writes that in this the "Mongols were again playing a significant role in Tibetan affairs, this time as the military arm of the Dalai Lama.".
[EX A]: Who began assaulting Gelug monasteries?

[EX Q]: Passage: The Annunciation draws heavily on van der Weyden's 1430s Louvre Annunciation, his c. 1455  Saint Columba altarpiece, and the Clugny Annunciation (c. 1465–75), which is attributed to either van der Weyden or Memling. Memling almost certainly was apprenticed to van der Weyden in Brussels until setting up his own workshop in Bruges sometime after 1465. Memling's Annunciation is more innovative, with motifs such as the attendant angels that were absent in the earlier paintings. According to Till-Holger Borchert, not only was Memling familiar with van der Weyden's motifs and compositions, but he might have assisted with the underdrawing in van der Weyden's workshop. The shutters on the right are copied from the Louvre panel, the knotted curtain appears in the Columba triptych's "Annunciation".A sense of movement is conveyed throughout. The trailing edges of Gabriel's garment fall outside the pictorial space, indicating his arrival. The Virgin's "serpentine" pose, with attendant angels supporting her, adds to the sense of flow. Memling's use of color achieves a startling effect. The traditional rays of light are replaced with light color indicators; the white clothes rendered in "icy" blue, the angel to the right in yellow patches seems "bleached by light", the left-hand angel appears to be steeped in shadow, dressed in clothes of lavender and bearing deep green wings. The effect is iridescent, according to Blum, who writes, "this shimmering surface gives [the figures] an unearthly quality, separating them from the more believable world of the bedchamber." The effect deviates from the pure naturalism and realism which typifies Early Netherlandish art, causing a "startling" juxtaposition, an effect that is "unsteadying" and contradictory.
[EX A]: What is the name of the person who might have assisted with the underdrawing in Van der Weyden's workshop?

[EX Q]: Passage: Supernature received positive reviews from music critics. At Metacritic, which assigns a weighted mean rating out of 100 to reviews from mainstream critics, the album received an average score of 79, based on 27 reviews, which indicates "generally favorable reviews". In a review rated four out of five stars, The Guardian  said that the album was "a brash, beautiful celebration of love and dancing". In a review for PopMatters, Adrien Begrand said that "[a]lthough Supernature lacks the imagination of Felt Mountain and the saucy brilliance of Black Cherry, it doesn't pander to the pop crowd." Lauren Gitlin of Rolling Stone said the album was "[t]oxic and delicious" and that "Supernature will make you do bad things—and like it." However, Pitchfork Media reviewer Nitsuh Abebe was less impressed, and wrote that the album's songs "keep feeling like exercises: too thick and melodic to work like dance music, but with melodies that refuse to stick as satisfyingly as pop." Michael Hubbard of musicOMH wrote a review for every song on Supernature, and although he felt that it was a "curious, rather than classic, record", he criticised it for "fading out early on, with poor, low quality songs at the end which leave the listener feeling cheated". AllMusic critic Heather Phares called Supernature "Goldfrapp's most accessible album" and named "Ooh La La" as its best song.In a review for Canadian-based website Jam!, Andrew Carver praised the different sounds on Supernature, which range from "a blend of future noise" to "crushed velvet corruption"; he described the album as "one sharp recording". Jessica Suarez of Spin magazine compared "Ooh La La" to Black Cherry's "Strict Machine", saying that "Ooh La La" sounds "so simplistic that [its] minimalist repetition occasionally teeters over into redundancy". She praised "Ride a White Horse" and "Fly Me Away" for featuring Alison Goldfrapp's "velvet-soft vocals, which stay that way even when heavily processed". A less favourable reception came from Stylus Magazine reviewer Edward Oculicz, who stated "Supernature is not a great album" and called several of its tracks too "dull".Rolling Stone magazine ranked the album at number 32 on its list of The Top 50 Albums of 2006. In January 2008, the album was included on The Daily Telegraph's list of the 120 essential pop albums. At the 2007 Grammy Awards, Goldfrapp received nominations for Best Electronic/Dance Album and Best Dance Recording for "Ooh La La".
[EX A]:
What is the last name of the person who criticized Supernature for "fading out early on, with poor, low quality songs at the end which leave the listener feeling cheated"?