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 the publication of the L'Orfeo score in 1609, the same publisher (Ricciardo Amadino of Venice) brought it out again in 1615. Facsimiles of these editions were printed in 1927 and 1972 respectively. Since Eitner's first "modern" edition of L'Orfeo in 1884, and d'Indy's performing edition 20 years later—both of which were abridged and adapted versions of the 1609 score—there have been many attempts to edit and present the work, not all of them published. Most of the editions that followed d'Indy up to the time of the Second World War were arrangements, usually heavily truncated, that provided a basis for performances in the modern opera idiom. Many of these were the work of composers, including Carl Orff (1923 and 1939) and Ottorino Respighi in 1935. Orff's 1923 score, using a German text, included some period instrumentation, an experiment he abandoned when producing his later version.In the post-war period, editions have moved increasingly to reflect the performance conventions of Monteverdi's day. This tendency was initiated by two earlier editions, that of Jack Westrup used in the 1925 Oxford performances, and Gian Francesco Malipiero's 1930 complete edition which sticks closely to Monteverdi's 1609 original. After the war, Hindemith's attempted period reconstruction of the work was followed in 1955 by an edition from August Wenzinger that remained in use for many years. The next 30 years saw numerous editions, mostly prepared by scholar-performers rather than by composers, generally aiming towards authenticity if not always the complete re-creation of the original instrumentation. These included versions by Raymond Leppard (1965), Denis Stevens (1967), Nikolaus Harnoncourt (1969), Jane Glover (1975), Roger Norrington (1976) and John Eliot Gardiner. Only the composers Valentino Bucchi (1967), Bruno Maderna (1967) and Luciano Berio (1984) produced editions based on the convention of a large modern orchestra. In the 21st century editions continue to be produced, often for use in conjunction with a particular performance or recording.
[EX A]: What is the name of the work Hindemith's attempted period reconstruction of, was followed in 1955 by an edition from August Wenzinger?

[EX Q]: Passage: Canadian ex-serviceman Bob Regan returns to Oldchester, the English town where he was stationed during the war, hoping to find Pat Lane, the girl he fell in love with.  He meets up with Mike Collins, an old acquaintance who now manages Oldchester United, the local football club.  He also renews his friendship with Collins' daughter Jackie.
Mike tells Bob of an odd proviso surrounding the allocation of £25,000 from the estate of a recently deceased businessman and supporter of the football club – if Oldchester United win promotion to the next division of the Football League that season the money is theirs, if not it goes to the man's nephew.  He remembers Bob as a skilful footballer, and asks him to sign up for the team to boost the promotion quest.  Bob agrees.
The nephew Nick Hammond is determined that the money will be his, and is worried that Bob's football prowess may well propel the team to on-pitch success.  He is acquainted with Pat, now living in London, and persuades her to join him in a scheme to scupper Oldchester's chances.  Knowing of Bob's fondness for Pat, and that Pat cares nothing for Bob, he proposes that if Pat can tempt Bob away from Oldchester and the football team, and the team fails in its promotion bid, he will give her a share of the inheritance.  The mercenary Pat jumps at the prospect, begins to work her charms on Bob and soon lures him to London to be with her.  He is talent-spotted by scouts, and signed up by Arsenal F.C.
[EX A]: What's the full name of the person the daughter of the football club manager befriends?

[EX Q]: Passage: Jack Dempsey starts out fighting in bars for half the take. He wins his first professional fight.  After a later bout, he and his manager are held up at gunpoint and robbed of the purse. He sees the thieves later and beats them up to recover the cash. Jack meets Maxine Cates, but goes to New York to box. After a bout with John Lester Johnson is a draw, he breaks with his manager and goes back to Salt Lake City and marries Maxine. After money disputes with her Maxine leaves and Dempsey goes to San Francisco.  Kerns becomes his manager. He wins fights goes to New York and divorces Maxine. He beats Jess Willard by a TKO and becomes heavyweight champ. He goes to Hollywood to make films and gets sued for non-support by Maxine. He fights Luis Firpo and is knocked out of the ring, but still wins. He is sick (perhaps poisoned), but still fights Gene Tunney and loses a decision. On September 22, 1927 he fights Tunney again. Dempsey knocks Tunney down, but the count doesn't start until Dempsey goes to a neutral corner. This gives Tunney time to recover and get up when the count reaches 9. In this famous "long count" fight Tunney wins by decision.
[EX A]:
Who does Gene Tunney win against in the famous "long count" fight?