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.

[Q]: Passage: Eric Stoltz plays John Dantley, an NTSB officer sent to O'Hare Airport in Chicago to investigate a collision between Global Airlines Flight 1025 (a Boeing 757-200 from Los Angeles to Washington D.C.) and PDO Cargo flight 342 (a Boeing 727-200F flying westbound cargo plane), where 185 people are killed.
Charles Martin Smith plays Henry Drake, an air traffic controller who insists his radar system malfunctioned when the planes were being cleared for landing. When the rest of air traffic control dismiss Drake and blame the incident on human error, Dantley must discover the truth about the crash: Was Drake — a high-strung individual who already didn't get along with his co-workers — simply incompetent at his job or did Drake's co-workers and superiors know about and/or had been previously been warned about the aging radar system showing signs of seriously malfunctioning and crashing at critical times (and thus liable to lead to deadly situations such as the one that happened), but instead of taking action ignored the warnings and initiated a cover-up?.
[A]: What were the two flights that an NTSB officer was sent to O'Hare Airport to investigate a collision between?


[Q]: Passage: In 1990, Zappa was diagnosed with terminal prostate cancer. The disease had been developing unnoticed for ten years and was considered inoperable. After the diagnosis, Zappa devoted most of his energy to modern orchestral and Synclavier works. Shortly before his death in 1993 he completed Civilization Phaze III, a major Synclavier work which he had begun in the 1980s.In 1991, Zappa was chosen to be one of four featured composers at the Frankfurt Festival in 1992 (the others were John Cage, Karlheinz Stockhausen, and Alexander Knaifel). Zappa was approached by the German chamber ensemble Ensemble Modern which was interested in playing his music for the event. Although ill, he invited them to Los Angeles for rehearsals of new compositions and new arrangements of older material. Zappa also got along with the musicians, and the concerts in Germany and Austria were set up for later in the year. Zappa also performed in 1991 in Prague, claiming that "was the first time that he had a reason to play his guitar in 3 years", and that that moment was just "the beginning of a new country", and asked the public to "try to keep your country unique, do not change it into something else".In September 1992, the concerts went ahead as scheduled but Zappa could only appear at two in Frankfurt due to illness. At the first concert, he conducted the opening "Overture", and the final "G-Spot Tornado" as well as the theatrical "Food Gathering in Post-Industrial America, 1992" and "Welcome to the United States" (the remainder of the program was conducted by the ensemble's regular conductor Peter Rundel). Zappa received a 20-minute ovation. G-Spot Tornado was performed with Canadian dancer Louise Lecavalier. It was his last professional public appearance as the cancer was spreading to such an extent that he was in too much pain to enjoy an event that he otherwise found "exhilarating". Recordings from the concerts appeared on The Yellow Shark (1993), Zappa's last release during his lifetime, and some material from studio rehearsals appeared on the posthumous Everything Is Healing Nicely (1999).
[A]: In what city was Zappa's last professional public appearance?


[Q]: Passage: During the 1750s  Messiah was performed increasingly at festivals and cathedrals throughout the country. Individual choruses and arias were occasionally extracted for use as anthems or motets in church services, or as concert pieces, a practice that grew in the 19th century and has continued ever since. After Handel's death, performances were given in Florence (1768), New York (excerpts, 1770), Hamburg (1772), and Mannheim (1777), where Mozart first heard it. For the performances in Handel's lifetime and in the decades following his death, the musical forces used in the Foundling Hospital performance of 1754 are thought by Burrows to be typical. A fashion for large-scale performances began in 1784, in a series of commemorative concerts of Handel's music given in Westminster Abbey under the patronage of King George III. A plaque on the Abbey wall records that "The Band consisting of DXXV [525] vocal & instrumental performers was conducted by Joah Bates Esqr." In a 1955 article, Sir Malcolm Sargent, a proponent of large-scale performances, wrote, "Mr Bates ... had known Handel well and respected his wishes. The orchestra employed was two hundred and fifty strong, including twelve horns, twelve trumpets, six trombones and three pairs of timpani (some made especially large)." In 1787 further performances were given at the Abbey; advertisements promised, "The Band will consist of Eight Hundred Performers".In continental Europe, performances of Messiah were departing from Handel's practices in a different way: his score was being drastically reorchestrated to suit contemporary tastes. In 1786, Johann Adam Hiller presented Messiah with updated scoring in Berlin Cathedral. In 1788 Hiller presented a performance of his revision with a choir of 259 and an orchestra of 87 strings, 10 bassoons, 11 oboes, 8 flutes, 8 horns, 4 clarinets, 4 trombones, 7 trumpets, timpani, harpsichord and organ. In 1789, Mozart was commissioned by Baron Gottfried van Swieten and the Gesellschaft der Associierten to re-orchestrate several works by Handel, including  Messiah (Der Messias). Writing for a small-scale performance, he eliminated the organ continuo, added parts for flutes, clarinets, trombones and horns, recomposed some passages and rearranged others. The performance took place on 6 March 1789 in the rooms of Count Johann Esterházy, with four soloists and a choir of 12. Mozart's arrangement, with minor amendments from Hiller, was published in 1803, after his death. The musical scholar Moritz Hauptmann described the Mozart additions as "stucco ornaments on a marble temple". Mozart himself was reportedly circumspect about his changes, insisting that any alterations to Handel's score should not be interpreted as an effort to improve the music. Elements of this version later became familiar to British audiences, incorporated into editions of the score by editors including Ebenezer Prout.
[A]:
What did Mozart hear in Mannheim?