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.

Passage: The Same Scene, One Year Later, with the Ruins Restored
Under Thespis's direction, Olympus has been restored to its former splendour, and the Thespians enjoy ambrosia and nectar.  Thespis's rule is very liberal, and he has advised his troupe not to "be hampered by routine and red tape and precedent".  The celestial assignments, however, have caused some difficulties, as the romantic entanglements of the actors in real life conflict with those of the gods that they are playing. Venus, played by Pretteia, is supposed to be married to Mars, but the actor playing Mars is her father. A possible solution is discovered in Venus having actually married Vulcan, but Vulcan is her grandfather.  Sparkeion, who took on the role of Apollo, accompanies his wife, Nicemis, who plays Diana, on her nightly duties, so that the sun is up during the night.
Mercury informs Thespis that the substitute gods have received many complaints from mortals because some are not performing their functions, and others' ill-judged experiments have wreaked havoc in the world below.  For instance, Timidon, the replacement for Mars, is a pacifist and a coward; the substitute for Hymen refuses to marry anyone; and the ersatz Pluto is too tenderhearted to let anyone die.  Daphne, who plays the muse Calliope, comes to Thespis and claims, based on a bowdlerised edition of the Greek myths, that Calliope was married to Apollo.  She points out that Apollo, played by Sparkeion, is the brother of Diana (played by Sparkeion's wife, Nicemis).  Thespis decides that Sparkeion is married to Daphne while they are gods, but his marriage to Nicemis will resume when they are mortals once again.
When the gods return, they are furious and tell Thespis that he has "deranged the whole scheme of society".  Thespis says that they should calm down, as the list of mortals' complaints is about to be read.  The gods watch incognito as Mercury presents the complaints: The actors have ruined the weather; caused strife among the nations; and there is no wine, since Bacchus is a teetotaller.  After listening to these grievances, the gods angrily shed their disguises.  The actors beg to stay on Olympus, but Jupiter punishes them for their folly by sending them back to earth cursed as "eminent tragedians, whom no one ever goes to see".
What is the name of the god that punishes the actors that have ruined the weather?

Passage: Martin recalled that Sgt. Pepper "grew naturally out of Revolver", marking "an era of almost continuous technological experimentation". According to Geoff Emerick, the Beatles' recording engineer, the "major difference" between the two albums was that, with Sgt. Pepper, there was no absolute deadline for completion. Sessions began on 24 November 1966 in Studio Two at EMI Studios (subsequently Abbey Road Studios), marking the first time that the Beatles had come together since September. Afforded the luxury of a nearly limitless recording budget, the band booked open-ended sessions that started at 7 pm and allowed them to work as late as they wanted. They began with "Strawberry Fields Forever", followed by two other songs that were thematically linked to their childhoods: "When I'm Sixty-Four", the first session for which took place on 6 December, and "Penny Lane". "Strawberry Fields Forever" made prominent use of Mellotron, a keyboard instrument on which the keys triggered tape-recordings of a variety of instruments, enabling its user to play keyboard parts using those voices."Strawberry Fields Forever" and "Penny Lane" were subsequently released as a double A-side in February 1967 after EMI and Epstein pressured Martin for a single. When it failed to reach number one in the UK, British press agencies speculated that the group's run of success might have ended, with headlines such as "Beatles Fail to Reach the Top", "First Time in Four Years" and "Has the Bubble Burst?" In keeping with the band's approach to their previously issued singles, the songs were then excluded from Sgt. Pepper. Martin later described the decision to drop these two songs as "the biggest mistake of my professional life". In his judgment, "Strawberry Fields Forever", which he and the band spent an unprecedented 55 hours of studio time recording, "set the agenda for the whole album". He explained: "It was going to be a record ... [with songs that] couldn't be performed live: they were designed to be studio productions and that was the difference." McCartney declared: "Now our performance is that record.".
What is the name of the band that began Sgt. Pepper with "Strawberry Fields Forever," followed by two other songs that were thematically linked to their childhoods?

Passage: With the exception of Les préludes, none of the symphonic poems have entered the standard repertoire, though critics suggest that the best of them—Prometheus, Hamlet and Orpheus—are worth further listening. Musicologist Hugh MacDonald writes, "Unequal in scope and achievement though they are, they looked forward at times to more modern developments and sowed the seeds of a rich crop of music in the two succeeding generations." Speaking of the genre itself, MacDonald adds that, although the symphonic poem is related to opera in its aesthetics, it effectively supplanted opera and sung music by becoming "the most sophisticated development of programme music in the history of the genre." Liszt authority Humphrey Searle essentially concurs with MacDonald, writing that Liszt "wished to expound philosophical and humanistic ideas which were of the greatest importance to him." These ideas were not only connected with Liszt's personal problems as an artist, but they also coincided with explicit problems being addressed by writers and painters of the era.In developing the symphonic poem, Liszt "satisfied three of the principal aspirations of 19th century music: to relate music to the world outside, to integrate multi-movement forms ... and to elevate instrumental programme music to a level higher than that of opera, the genre previously regarded as the highest mode of musical expression." In fulfilling these needs, the symphonic poems played a major role, widening the scope and expressive power of the advanced music of its time. According to music historian Alan Walker, "Their historical importance is undeniable; both Sibelius and Richard Strauss were influenced by them, and adapted and developed the genre in their own way. For all their faults, these pieces offer many examples of the pioneering spirit for which Liszt is celebrated.".

What did Alan Walker say had influenced Sibelius and Richard Strauss?