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: In the 19th century the Russian Empire, then including Latvia, was home to about five million Jews, the largest Jewish community in the world at the time. Subjected to religious persecution and violent pogroms, many emigrated, and between 1875 and 1914 around 120,000 arrived in the United Kingdom, mostly in England. The influx reached its peak in the late 1890s when large numbers of Jewish immigrantsmostly poor and semi-skilled or unskilledsettled in the East End of London; the concentration of Jews in some areas of London was almost 100 per cent of the population. Because of the influx of Jews and Russians into one part of Tottenham in North London, the area gained the nickname Little Russia.Some of the expatriates were revolutionaries, and many were unable to adapt to life in London. The social historian William J. Fishman writes that "the meschuggena (crazy) Anarchists were almost accepted as part of the East End landscape"; the terms "socialist" and "anarchist" had been conflated by the British press to refer generally to those with revolutionary beliefs.Several revolutionary factions were active in East and North London. One tactic often employed by revolutionaries in Russia was the expropriation of private property to fund radical activities. The influx of emigres, and the associated rising rates of violent crime, led to widespread concerns and press coverage. As a result, the British government passed the Aliens Act 1905 in an attempt to reduce immigration. The popular press reflected the opinions of many; a leading article in the Manchester Evening Chronicle supported the bill to bar "the dirty, destitute, diseased, verminous and criminal foreigner who dumps himself on our soil". The journalist Robert Winder, in his examination of immigration into Britain, opines that the Act "gave official sanction to xenophobic reflexes which might ... have remained dormant".
[A]: What is the name of the act that was passed after the influx of emigres, and the associated rising rates of violent crime?

[Q]: Passage: Gerald Clamson is a bank examiner who loves fishing on his annual two-week holiday. Unfortunately, one day at the ocean he reels in Syd Valentine (also played by Lewis), an injured gangster in a scuba diving suit. Syd tells Gerald about diamonds he has stolen from the other gangsters and hands him a map. Gerald escapes as frogmen from a yacht machine-gun the beach. They swim ashore, locate Syd and gun him down. Their leader Thor ensures Syd's demise by firing a torpedo from his yacht that goes ashore, blowing a crater into the beach.
As the police ignore Gerald's story, Gerald heads to the Hilton Inn in San Diego where Syd claimed the diamonds were hidden. There he meets Suzie Cartwright, an airline stewardess. While searching for the diamonds, he needs to avoid the hotel staff after inadvertently hurting the manager. Gerald disguises himself as a character noticeably similar to Professor Julius Kelp from The Nutty Professor, while trying to stay one step ahead of the other gangsters who are on his tail, as well as the hotel detectives led by the managerall the while courting Suzie. As each of the gangsters see Gerald, an identical lookalike to the deceased Syd, they have nervous breakdowns; one imagining himself a dog, one turning into a Larry Fine lookalike, the other (Charlie Callas, in his usual character) becoming a hopeless stutterer. The one man Gerald meets who believes him, and identifies himself as a FBI special agent, turns out to be an escapee from an insane asylum.
[A]: What is the full name of the person who inadvertently hurts a manager?

[Q]: Passage: Liszt provided written prefaces for nine of his symphonic poems. His doing so, Alan Walker states, "was a reflection of the historical position in which he found himself." Liszt was aware these musical works would be experienced not just by select connoisseurs, as might have been the case in previous generations, but also by the general public. In addition, he knew about the public's fondness for attaching stories to instrumental music, regardless of their source, their relevance to a musical composition or whether the composer had actually sanctioned them. Therefore, in a pre-emptive gesture, Liszt provided context before others could invent one to take its place. Liszt may have also felt that since many of these works were written in new forms, some sort of verbal or written explanation would be welcome to explain their shape.These prefaces have proven atypical in a couple of ways. For one, they do not spell out a specific, step-by-step scenario that the music would follow but rather a general context. Some of them, in fact, are little more than autobiographical asides on what inspired Liszt to compose a piece or what feelings he was trying to inspire through it. While these insights could prove "both useful and interesting" in themselves, Walker admits, will they aid listeners to "pictorialize the music that follows?" For Liszt, Walker concludes, the "pictorialization of a detailed program is simply not an issue." Moreover, Liszt wrote these prefaces long after he had composed the music. This was the complete opposite of other composers, who wrote their music to fit a pre-existing program. For both these reasons, Walker suggests, Liszt's prefaces could be called "programmes about music" with equal logic or validity. He adds that the prefaces might not have entirely been of Liszt's idea or doing, since evidence exists that his then-companion Princess Carolyne zu Sayn-Wittgenstein helped shape or create them.Overall, Walker concludes, "Posterity may have overestimated the importance of extra-musical thought in Liszt's symphonic poems. We would not want to be without his prefaces, of course, nor any other that he made about the origins of his music; but we should not follow them slavishly, for the simple reason that the symphonic poems do not follow them slavishly either." Hugh MacDonald concurs that Liszt "held an idealized view of the symphonic poem" as being evocative rather than representational. "He only rarely achieved in his symphonic poems the directness and subtle timing that narrative requires," MacDonald explains; he generally focused more on expressing poetic ideas by setting a mood or atmosphere, refraining on the whole from narrative description or pictorial realism.
[A]:
What two groups of people was Liszt aware of that his musical works would be experienced by?