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: After leaving the army in January 1919, Grainger refused an offer to become conductor of the Saint Louis Symphony Orchestra and  resumed his career as a concert pianist.  He  was soon performing around 120 concerts a year, generally to great critical acclaim, and in  April 1921 reached a wider audience by performing in a cinema, New York's Capitol Theatre. Grainger  commented that the huge audiences at these cinema concerts often showed greater appreciation for his playing than those at established concert venues such as Carnegie Hall and the Aeolian. In the summer of 1919 he led a course in piano technique at Chicago Musical College, the first of many such educational duties he would undertake in later years.Amid his concert and teaching duties, Grainger found time to re-score many of his works (a habit he continued throughout his life) and also to compose new pieces: his Children's March: Over the Hills and Far Away, and the orchestral version of The Power of Rome and the Christian Heart both originated in this period.   He also began to develop the technique of elastic scoring, a form of flexible orchestration  which enabled works to be  performed by different numbers of players and instrument types, from small chamber groups  up to full orchestral strength.In April 1921 Grainger moved with his mother to a large house in White Plains, New York. This was  his  home for the remainder of his life. From the beginning of 1922 Rose's health deteriorated sharply; she was suffering from  delusions and nightmares, and became  fearful that her illness would harm her son's career. Because of the closeness of the bond between the two, there had long been  rumours that  their relationship was incestuous;  in April 1922 Rose was directly challenged over this issue by her friend Lotta Hough. From her last letter to Grainger, dated 29 April, it seems that this confrontation unbalanced Rose; on 30 April, while Grainger was touring on the West Coast, she jumped to her death from an office window  on the 18th floor of the Aeolian Building in New York City. The letter, which began "I am out of my mind and cannot think properly", asked Grainger if he had ever spoken to Lotta of "improper love". She signed the letter: "Your poor insane mother".

Output: What is the name of the individual who jumped to her death from on office window on the 18th floor of the Aeollian building?


Input: Consider Input: Passage: A 11-year-old orphan, Anne Shirley, is living in servitude with the cruel Hammond family in Nova Scotia. However, when Mr. Hammond dies, Anne is sent to an orphanage where she eventually receives the wonderful news that she has been adopted by a couple on Prince Edward Island. Upon arriving in P.E.I, Anne is met at the train station by an elderly Matthew Cuthbert who is surprised to find a girl there instead of a boy.
Matthew and his sister Marilla had requested a boy to help them with the farm chores. He decides that he couldn't very well just leave the girl at the train station. Matthew takes Anne to meet Marilla, and on the buggy ride home, becomes completely smitten with the red-haired orphan girl.
When Anne Shirley arrives at the Cuthberts' farm, called "Green Gables", she is a precocious, romantic child desperate to be loved and highly sensitive about her red hair and homely looks. In her own unique headstrong manner, Anne manages to insult the town gossip, Rachel Lynde, in a dispute over her looks; smash her slate over Gilbert Blythe's head when he calls her "Carrots" on her first day of school; and accidentally dyes her hair green in an effort to turn her red hair black and salvage her wounded pride.
Marilla Cuthbert is shocked and beside herself to know how she will ever cope with this sensitive, headstrong child so desperate to fit in. But shy, gentle Matthew is always there to defend Anne and hold her up on a pedestal.
It seems like Anne is destined to cultivate disaster. She becomes "bosom" friends with Diana Barry from across the pond and succeeds in getting Diana drunk by accidentally serving currant wine instead of raspberry cordial at a tea party. Diana's mother and Rachel Lynde turn on Marilla for making wine in the first place. Anne moves from one mishap to the next as her wild imagination and far-fetched antics combine to constantly land her in trouble.

Output: What are the first names of the two people who requested a boy to help them with farm chores?


Input: Consider Input: Passage: Along with Aaliyah's burgeoning film career, the album was a part of her rising mainstream success in 2001. In a retrospective review, Steve Huey from AllMusic called it her most consummate record and said it "completed the singer's image overhaul into a sensual yet sensitive adult". Erlewine, the website's senior editor, regarded the album as "a statement of maturity and a stunning artistic leap forward", while BBC Music's Daryl Easlea felt it made Aaliyah's two previous accomplished albums "look like exercises in juvenilia". According to PopMatters journalist Quentin B. Huff, she had never used her singing to complement her music's innovative production before with as much variety, conviction, and success as on Aaliyah, which he said was also known as "The Red Album" because of its red artwork. Huff believed the record showcased the growing rapport between the singer and her collaborators while disproving questions about how she would continue recording music while broadening her profile. In The Rolling Stone Album Guide (2004), Keith Harris wrote that "Aaliyah had grown from studio puppet to a powerful R&B archetype—a more self-aware Ronnie Spector for a time that requires more self-awareness of its young adults."Aaliyah's re-emergence with the album in mid-2001 had coincided with a period of peak activity in contemporary R&B, as well as the popularity of neo soul. According to Erlewine, Aaliyah was "one of the strongest urban soul records of its time", while The Guardian cited it as the peak of R&B's golden age at the "turn of the century". Alexis Petridis, the newspaper's lead critic, believed Aaliyah had recorded her most engaging music in a year when R&B and hip hop demonstrated the most creativity in popular music. The Guardian's Rebecca Nicholson attributed Timbaland's subsequent commercial success with singers such as Justin Timberlake and Nelly Furtado to his experience producing Aaliyah, writing that he "hasn't come close to creating anything as sonically stunning since". Although Jon Caramanica from Vibe believed it "redefines the category", he said Aaliyah "may be the best soul album of the young millenium", calling its music "daring in construction, gorgeous from conception ... damn near post-R&B". Q journalist Eve Barlow credited the album for "creating a blueprint that can be heard across pop music today" with acts such as R&B singers Beyoncé and The Weeknd, and indie pop band The xx.The recording sessions for Aaliyah produced many leftover tracks that were posthumously archived by Blackground and mostly left unreleased because of internal conflicts and legal complications between the label, Aaliyah's family, and the producers. Six of these recordings were released in 2002 on the compilation album I Care 4 U.


Output: What is the nickname of the producer that some critics though gained valuable experience working with the R & B singer that had a burgeoning film career in 2001?