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: Axelrod's music was also rediscovered and sampled by leading disc jockeys in the 1990s including hip hop producers. When sampling in hip hop peaked during the early and mid-1990s, they searched for archived records with atmospheric beats and strings to sample. Los Angeles-based disc jockey B+ recalled finding a copy of Song of Innocence at a Goodwill in Culver City and said it appealed to him because of its dissonant quality, musical dynamics, and string sound: "This big sound. It was like somehow [Axelrod] was summoning the future, that you can project this environment, this moment into the future." Electronica pioneers such as DJ Cam and DJ Shadow also sampled Song of Innocence. The latter producer sampled the record's choral themes and piano motifs on his influential debut album Endtroducing..... (1996). "The Smile" was sampled by Pete Rock on his 1998 song "Strange Fruit" and by DJ Premier on Royce da 5'9"'s 2009 song "Shake This". "Holy Thursday" was frequently sampled by producers, including The Beatnuts on their 1994 song "Hit Me with That", UNKLE on their 1998 song "Rabbit in Your Headlights", and Swizz Beatz on Lil Wayne's 2008 song "Dr. Carter".The renewed interest in Axelrod's work prompted Stateside Records to reissue Song of Innocence in 2000. Reviewing the re-release, Now wrote that after sounding odd during the 1960s, the songs had become "a sampler's dream come true – who knew?" David Keenan attributed Axelrod's sampling legacy to "the original badass drummer" Palmer. In his appraisal for The Wire, he facetiously critiqued that the songs "may reek of stale joss sticks and patchouli-scented self-actualisation, but in their very datedness they somehow sound very modern." Pitchfork journalist Sean Fennessey later said Axelrod's first two records were "essential if only as a tour guide through early 90s hip-hop", having "literally been a rap producer's delight for years". In a 2013 list for Complex, DJ and production duo Kon and Amir named "Holy Thursday" the greatest hip hop sample of all time. In 2018, Song of Innocence was given another re-release, this time by Now-Again Records. It featured a new remaster by Randi, H. B. Barnum, and Axelrod's widow, Terri; and sleeve notes written by Eothen Alapat, Now-Again's CEO. According to Alapat's notes, Axelrod once told him that Miles Davis played the album before conceiving his own fusion of jazz and rock for Bitches Brew (1970).

Output: What is the first name of the person who critiqued that the songs "may reek of stale joss sticks and patchouli-scented self-actualisation, but in their very datedness they somehow sound very modern?"?


Input: Consider Input: Passage: Following the purchase of two of his paintings by the Prussian Crown Prince, Friedrich was elected a member of the Berlin Academy in 1810. Yet in 1816, he sought to distance himself from Prussian authority and applied that June for Saxon citizenship. The move was not expected; the Saxon government was pro-French, while Friedrich's paintings were seen as generally patriotic and distinctly anti-French. Nevertheless, with the aid of his Dresden-based friend Graf Vitzthum von Eckstädt, Friedrich attained  citizenship, and in 1818, membership in the Saxon Academy with a yearly dividend of 150 thalers. Although he had hoped to receive a full professorship, it was never awarded him as, according to the German Library of Information, "it was felt that his painting was too personal, his point of view too individual to serve as a fruitful example to students." Politics too may have played a role in  stalling his career: Friedrich's decidedly Germanic subjects and costuming frequently clashed with the era's prevailing pro-French attitudes.

Output: What is the first name of the man that the Dresden-based person helped attain membership into the Saxon Academy?


Input: Consider Input: Passage: Johann Sebastian Bach composed the church cantata Erschallet, ihr Lieder, erklinget, ihr Saiten! (Ring out, you songs; sound, you strings!), BWV 172, in Weimar for Pentecost Sunday in 1714. Bach led the first performance on 20 May 1714 in the Schlosskirche, the court chapel in the ducal Schloss. Erschallet, ihr Lieder is an early work in a genre to which he later contributed complete cantata cycles for all occasions of the liturgical year.
Bach was appointed Konzertmeister in Weimar in the spring of 1714, a position that called for the performance of a church cantata each month. He composed Erschallet, ihr Lieder as the third cantata in the series, to a text probably written by court poet Salomon Franck. The text reflects different aspects of the Holy Spirit. The librettist included a quotation from the day's prescribed Gospel reading in the only recitative, and for the closing chorale he used a stanza from Philipp Nicolai's hymn "Wie schön leuchtet der Morgenstern" (1599).
The work is in six movements, and scored for four vocal soloists, four-part choir, three trumpets, timpani, oboe, bassoon and a string orchestra of two violins, two violas, and basso continuo. The orchestra for the holiday occasion is festive compared to the two works previously composed in Weimar. The cantata opens with a chorus, followed by the recitative, in which words spoken by Jesus are sung by the bass as the vox Christi (voice of Christ). A bass aria with trumpets addresses the Trinity, and a tenor aria then describes the Spirit that was present at the Creation. This is followed by an intimate duet of the Soul (soprano) and the Spirit (alto), to which an oboe plays the ornamented melody of Martin Luther's hymn "Komm, Heiliger Geist, Herre Gott" and a solo cello provides the bass line. The theme of intimacy between God and Man is developed further in the following chorale, after which Bach specified an unusual repeat of the opening chorus.
While Bach served as Thomaskantor – director of church music – in Leipzig from 1723, he performed the cantata several times, sometimes in a different key and with changes in the scoring. Musicologists agree that he loved the cantata's Gospel text, "If ye love me ...", and the Pentecost hymn used in the duet, setting both the text and the hymn several times. John Eliot Gardiner writes that Bach "particularly valued" this cantata. It contains features that he used again in later compositions of cantatas, oratorios and his masses, for example movements with three trumpets and timpani in a triple meter for festive occasions, and duets as a symbol of God and man.


Output: Where did Johann Sebastian Bach play  Erschallet, ihr Lieder, erklinget, ihr Saiten! in 1723?