In this task, you're given a question, along with three passages, 1, 2, and 3. Your job is to determine which passage can be used to answer the question by searching for further information using terms from the passage. Indicate your choice as 1, 2, or 3.

Q: Question: When was the critic who coined the term "rockumentaries" born? Passage 1:Payton's big break came when she was cast as Harriet Winslow, the elevator operator on the ABC sitcom 'Perfect Strangers in 1987. Her performance was so well received by audiences that she was given her own sitcom, Family Matters, in 1989. Continuing her character Harriette Winslow from Perfect Strangers, she played a mother in an African-American middle-class family living in Chicago, Illinois. Payton left Family Matters partway through its final season, appearing for the last time on December 19, 1997. Payton's character was played by Judyann Elder in the show's remaining eight episodes. In 2002, Payton appeared on the "TV Moms" episode of the Anne Robinson version of The Weakest Link, and was the third one voted off. In 2003, Payton and her daughter appeared on a Mother's Day episode of Lingo, playing against fellow TV mom Meredith Baxter and her daughter. Baxter and her daughter won. In 2005, Jo Marie Payton provided the voice of Suga Mama in The Proud Family Movie. Her other television credits include Desperate Housewives, Reba, Girlfriends, Wanda at Large, Judging Amy, The Parkers, Will & Grace, The Hughleys, 7th Heaven, Moesha, The Jamie Foxx Show, 227, Silver Spoons, Small Wonder and The New Odd Couple. She also appeared in the Canadian TV mini series The Rev as Mama. In 2005, Payton co-hosted the 15th Annual NAACP Theatre Awards with Glynn Turman. In August 2009, Payton appeared on Meet the Browns as Shirley Van Owen. Payton recently hosted her own show on the Hometeam Network, Second Chance with Jomarie Payton. In 2012, Payton was in the GMC TV movie special From This Day Forward.
 Passage 2:In 1543, Europeans reached Japan for the first time when a junk belonging to the Chinese wokou pirate lord Wang Zhi carrying Portuguese traders shipwrecked on Tanegashima. The Portuguese introduced the arquebus to the Japanese during this chance encounter, which gave the Japanese, undergoing the bloody Sengoku period at the time, a powerful weapon with which they conducted their internecine wars. The discovery of Japan was attractive to Portuguese merchants and missionaries alike, for it gave the merchants a new market to trade their goods, and the Jesuit missionaries eyed Japan for new converts into Christianity. The warlords of Kyushu vied to get the Portuguese carrack (called the black ship by the Japanese) into their harbours, since the ship also brought considerable wealth to their fiefdoms in addition to the guns.
 Passage 3:Roger Ebert of the Chicago Sun-Times gave the film three stars out of four and wrote that "the musical scenes are the best rock coverage since 'Woodstock.' The sound is first rate, for one thing, and director Pierre Adidge has some idea of why Cocker electrifies a crowd." Vincent Canby of The New York Times called the film a "most satisfying, record-album of a movie" which "patronizes neither its audience nor its stars ... It is uncluttered, one of the best concert films so far." A review in Variety said, "Considerable technical expertise has gone into this production, and though the objective may be clear, it just hasn't turned out to be another 'Woodstock,' possibly because Joe Cocker's personality isn't all that endearing." Gene Siskel of the Chicago Tribune rated the film three stars out of four and wrote, "'Mad Dogs' is distinguishable from other 'rockumentaries' because it deals almost exclusively with the musician and his music. There are few side trips to cultural comments." Robert Hilburn of the Los Angeles Times stated, "As a film, 'Mad Dogs and Englishmen' is a good concert. For much of the picture's 114 minutes, the camera is on Joe Cocker, by most standards the best and most exciting singer in rock music ... But 'Mad Dogs and Englishmen,' unfortunately, fails in the end to rise above this interesting, but clearly limited historical summary of the Cocker tour. As a film, it doesn't establish its own importance." A negative review by Tom Zito of The Washington Post advised readers to "Forget the film and try the record," explaining, "What emerges from all this is roughly two hours of footage that looks terrible on the screen and sounds almost as bad. The film is projected in an annoying square format, except for the moments when the screen area is broken up into some poorly coordinated split-screen effects. The camerawork is often sloppy ... the whole thing winds up looking and sounding like a cheap, imitation (indoor) 'Woodstock.'" James D. White of The Monthly Film Bulletin declared that "The music itself is excellent," but "The film's information content is minimal; and one's heart sinks as the screen is split into a double image for the first number and as the mandatory shots—of excited fans, of joint-rolling in a hotel bedroom, of an interview with a vacuous groupie—are inevitably wheeled out."


A: 3
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Q: Question: Which of the actors playing Qatermass and Paterson was younger? Passage 1:Born in Philadelphia, Day studied at the Jacobs School of Music at Indiana University and at the Curtis Institute of Music where she was a pupil of Margaret Harshaw. She placed third in the finals of the Metropolitan Opera National Council Auditions in 1973, which led to her debut performance at the Metropolitan Opera House on March 25, 1973 singing "Come scoglio" from Così fan tutte and "Song to the Moon" from Rusalka. She made her professional opera debut in 1972 with the Pennsylvania Opera Company as Violetta in La traviata. That same year she was the soprano soloist in Verdi's Requiem with the Mendelssohn Club. In 1973 she portrayed Mimi in La bohème and Violetta with the Little Lyric Opera Company in Philadelphia. In 1974 she made her debut with the Philadelphia Lyric Opera Company as Nella in Gianni Schicchi.
 Passage 2:Actor Jason Flemyng was cast as Quatermass, with long-time Kneale admirer Mark Gatiss as Paterson, Andrew Tiernan as Carroon, Indira Varma as his wife Judith, David Tennant as Briscoe, Adrian Bower as Fullalove and Adrian Dunbar as Lomax—now a Ministry of Defence official rather than a policeman. Isla Blair was cast as Home Secretary Margaret Blaker, a combination of parts of Lomax's character and two officials from the original serial, and she brought to rehearsals a photograph of her husband Julian Glover on the set of the 1967 film version of Quatermass and the Pit. Blair stated that she was delighted to be joining "the Quatermass club".
 Passage 3:The conflict emerged from the First Indochina War against the communist-led Viet Minh. Most of the funding for the French war effort was provided by the U.S. After the French quit Indochina in 1954, the US assumed financial and military support for the South Vietnamese state. The Việt Cộng, also known as or NLF (the National Liberation Front), a South Vietnamese common front under the direction of North Vietnam, initiated a guerrilla war in the south. North Vietnam had also invaded Laos in the mid-1950s in support of insurgents, establishing the Ho Chi Minh Trail to supply and reinforce the Việt Cộng. U.S. involvement escalated under President John F. Kennedy through the MAAG program from just under a thousand military advisors in 1959 to 16,000 in 1963. By 1963, the North Vietnamese had sent 40,000 soldiers to fight in South Vietnam. North Vietnam was heavily backed by the USSR and the People's Republic of China. China also sent hundreds of PLA servicemen to North Vietnam to serve in air-defense and support roles.


A: 2
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Q: Question: How many years did the show that Panter design air on TV? Passage 1:The Mets went on to sweep the Atlanta Braves in the 1969 National League Championship Series, but were heavy underdogs heading into the 1969 World Series against the Baltimore Orioles. Following a 4-1 loss in the series opener with Cy Young award winner Seaver on the mound, it seemed as if the Mets had little chance against the Orioles. However, the Mets bounced back, winning the next four games to capture their first world championship. Besides catching every inning in the post-season, Grote contributed offensively with a single in Game Two to keep a ninth inning rally alive and Al Weis followed with the game-winning hit. With Game Four tied, Grote doubled to start the tenth inning, then pinch runner Rod Gaspar scored the winning run when an errant throw hit J.C. Martin on the wrist. With Grote calling the pitches, the Mets pitching staff held the Orioles hitters to a .146 batting average during the series.
 Passage 2:Born in Brescia, Italy, he began music lessons at the age of three, initially with the violin, but quickly switched to the piano. At eleven he entered the Milan Conservatory, graduating three years later at fourteen. In 1938, at the age of eighteen, he began his international career by entering the Ysaÿe International Festival in Brussels, Belgium, where he was placed seventh. A brief account of this competition, at which Emil Gilels took first prize and Moura Lympany second, is given by Arthur Rubinstein, who was one of the judges. According to Rubinstein, Benedetti Michelangeli gave "an unsatisfactory performance, but already showed his impeccable technique." A year later he earned first prize in the Geneva International Competition, where he was acclaimed as "a new Liszt" by pianist Alfred Cortot, a member of the judging panel, which was presided over by Ignacy Jan Paderewski.
 Passage 3:In 2002, White met the cartoonist and painter Gary Panter, better known as the designer of The Pee-wee Herman Show. They began collaborating on light shows, beginning the third incarnation of the Joshua Light Show, which continues to perform. Beginning with a series of performances at the Anthology Film Archives in 2004, the Joshua Light Show performs at festivals, museums and venues such as the Skirball Center, Abrons Art Center, the Museum of Contemporary Art Detroit, the Hayden Planetarium, the Barbican Centre, UC Davis, and the San Francisco Exploratorium. In 2007, the light show formed a relationship with composer and curator Nick Hallett. The Joshua Light Show has also been featured in museum exhibitions such as "Visual Music" at the Hirshhorn Museum in Washington DC and "The Summer of Love", originating at the Tate Liverpool, then travelling to Frankfurt, Vienna and the Whitney Museum in 2008. The Joshua Light Show's "Liquid Loops" was recently included in the exhibition "60-'69” at the Museum of Modern Art and was acquired by the museum for their permanent collection. In 2014 White collaborated with the artist Guy Richards Smit to create the video/installation/performance project "The Grossmalerman Show."


A:
3
****