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 Input:
Passage: In 1982, Waters suggested a new musical project with the working title Spare Bricks, originally conceived as the soundtrack album for Pink Floyd – The Wall. With the onset of the Falklands War, Waters changed direction and began writing new material. He saw Margaret Thatcher's response to the invasion of the Falklands as jingoistic and unnecessary, and dedicated the album to his late father. Immediately arguments arose between Waters and Gilmour, who felt that the album should include all new material, rather than recycle songs passed over for The Wall. Waters felt that Gilmour had contributed little to the band's lyrical repertoire. Michael Kamen, a contributor to the orchestral arrangements of The Wall, mediated between the two, also performing the role traditionally occupied by the then-absent Wright. The tension within the band grew. Waters and Gilmour worked independently; however, Gilmour began to feel the strain, sometimes barely maintaining his composure. After a final confrontation, Gilmour's name disappeared from the credit list, reflecting what Waters felt was his lack of songwriting contributions.Though Mason's musical contributions were minimal, he stayed busy recording sound effects for an experimental Holophonic system to be used on the album. With marital problems of his own, he remained a distant figure. Pink Floyd did not use Thorgerson for the cover design, Waters choosing to design the cover himself. Released in March 1983, The Final Cut went straight to number one in the UK and number six in the US. Waters wrote all the lyrics, as well as all the music on the album. Gilmour did not have any material ready for the album and asked Waters to delay the recording until he could write some songs, but Waters refused. Gilmour later commented: "I'm certainly guilty at times of being lazy ... but he wasn't right about wanting to put some duff tracks on The Final Cut." Rolling Stone magazine gave the album five stars, with Kurt Loder calling it "a superlative achievement ... art rock's crowning masterpiece". Loder viewed The Final Cut as "essentially a Roger Waters solo album".

Ex Output:
What is the last name of the band member that designed the cover of the 1983 album?


Ex Input:
Passage: In January 1978, the Sex Pistols embarked on a US tour, consisting mainly of dates in America's Deep South. Originally scheduled to begin a few days before New Year's, it was delayed due to American authorities' reluctance to issue visas to band members with criminal records. Several dates in the North had to be cancelled as a result. Though highly anticipated by fans and media, the tour was plagued by in-fighting, poor planning and physically belligerent audiences. McLaren later admitted that he purposely booked redneck bars to provoke hostile situations. Over the course of the two weeks, Vicious, by now heavily addicted to heroin, began to live up to his stage name. "He finally had an audience of people who would behave with shock and horror", Lydon later wrote. "Sid was easily led by the nose."Early in the tour, Vicious wandered off from his Holiday Inn in Memphis, looking for drugs. When he was ultimately found, he received a beating from the security team hired by Warner Bros., the band's American label. He subsequently appeared with the words "Gimme a fix" on his chest—accounts vary as to whether the words were written or carved there. During a concert in San Antonio, Vicious called the crowd "a bunch of faggots", before striking an audience member across the head with his bass guitar. In Baton Rouge, he received simulated oral sex on stage, later declaring "that's the kind of girl I like". Suffering from heroin withdrawal during a show in Dallas, he spat blood at a woman who had climbed onstage and punched him in the face. He was admitted to hospital later that night to treat various injuries. Offstage he is said to have kicked a photographer, attacked a security guard, and eventually challenged one of his own bodyguards to a fight—beaten up, he is reported to have exclaimed, "I like you. Now we can be friends.".

Ex Output:
What is the first name of the person who challenged one of his own bodyguards to a fight?  ?


Ex Input:
Passage: Bacon did not seek to illustrate the narrative of the tale, however. He told the French art critic Michel Leiris, "I could not paint Agamemnon, Clytemnestra or Cassandra, as that would have been merely another kind of historical painting ... Therefore I tried to create an image of the effect it produced inside me." Aeschylus' phrase "the reek of human blood smiles out at me" in particular haunted Bacon, and his treatments of the mouth in the triptych and many subsequent paintings were attempts to visualise the sentiment. In 1985, he observed that Aeschylus' phrase brought up in him "the most exciting images, and I often read it ... the violence of it brings up the images in me, 'the reek of human blood smiles out at me', well what could be more amazing than that."Bacon was introduced to Aeschylus through T. S. Eliot's 1939 play The Family Reunion, in which the protagonist Harry is haunted by "the sleepless hunters / that will not let me sleep". In Eliot's play, the Furies serve as embodiments of the remorse and guilt felt by Harry, who harbours a dark family secret, shared only with his sister. Bacon was captivated by Aeschylus' play, and keen to learn more about Greek tragedy, although he said many times that he regretted being unable to read the original in Greek. In 1942, he read the Irish scholar William Bedell Stanford's Aeschylus in his Style, and found the theme of obsessive guilt in The Oresteia to be highly resonant. In 1984, Bacon told Sylvester that although his painting's subject matter did not have a direct relationship with the poet's work, for him Eliot's work "opened the valves of sensation".The mouth of the triptych's central figure was also inspired by the nurse's scream in film director Sergei Eisenstein's Odessa Steps massacre sequence in The Battleship Potemkin (1925). In 1984, the broadcaster Melvyn Bragg confronted Bacon with a reproduction of the centre panel during the filming of a South Bank Show documentary, and observed that in his earlier career the artist seemed preoccupied with the physicality of the human mouth. Bacon replied, "I had always thought that I would be able to make the mouth with all the beauty of a Monet landscape though I never succeeded in doing so." When Bragg asked why he thought he had failed, Bacon admitted, "It should be all much more colour, should have got more of the interior of the mouth, with all the colours of the interior of the mouth, but I didn't happen to get it."Other than in Picasso's exploration of the theme, the Crucifixion did not figure prominently in twentieth-century painting. The Surrealists exploited its shock value, and it was used as a vehicle for blasphemy in isolated instances. Bacon often expressed his admiration for the manner in which old masters such as Cimabue treated the Crucifixion; however, as with Picasso, he was more interested in tackling the subject from a secular, humanist point of view. For Three Studies, Bacon did not approach the Crucifixion as a Christian image per se, but rather found that the scene reflected a particular view of humanity he held. As he told David Sylvester: "it was just an act of man's behaviour, a way of behaviour to another."The Passion of Christ became a central concern during the early development of Bacon's work, and he returned to the subject throughout his career. When asked by critic Jean Clair why his Crucifixion scenes tended to comprise mainly "slaughter, butchery, mutilated meat and flesh", Bacon replied, "that's all the Crucifixion was, isn't it? ... Actually, you can't think of anything more barbaric than the Crucifixion, and that particular way of killing somebody." While Three Studies may have begun as an attempt to directly represent the Crucifixion scene, his explorations led him towards "something completely different". Bacon came to regard the scene as an armature for exploring new ways of representing human behaviours and emotions. For him it amounted to a kind of self-portraiture; a vehicle for working on "all sorts of very private feelings about behaviour and about the way life is".Coming in 1944, the triptych was often thought to be informed by the Second World War. Art critic Ziva Amishai-Maisseles observes that the canvas reflects Bacon's own confusion and ambivalence "towards manifestations of violence and power, both of which attracted and repulsed him simultaneously.".

Ex Output:

What is the name of the person who said many times that he regretted being unable to read the original in Greek?