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.

Example Input: Passage: Recording sessions for The Joshua Tree began in January 1986 in Danesmoate House in Dublin and continued throughout the year. U2 briefly interrupted these sessions in June to join Amnesty International's A Conspiracy of Hope tour of benefit concerts. Following the first concert in San Francisco, lead singer Bono met Rene Castro, a Chilean mural artist. Castro had been tortured and held in a concentration camp for two years by the dictatorial Chilean government because his artwork criticised the Pinochet-led regime that seized power in 1973 during a coup d'etat. Castro showed Bono a wall painting in the Mission District that depicted the ongoing plight in Chile and Argentina. He also learned of the Madres de Plaza de Mayo, a group of women whose children were forcibly disappeared by the Argentine government. The Madres' children were students who had opposed the government during the Dirty War, and the coup d'etat that brought Jorge Rafael Videla to power. The Madres joined together to campaign for information regarding the locations of their children's bodies and the circumstances of their deaths, believing them to have been kidnapped, tortured, and murdered.Inspired by the mural, Bono took an extended break from recording into July, traveling to Nicaragua and El Salvador with his wife, Alison Hewson, to see first-hand the distress of peasants bullied by political conflicts and US military intervention. While there, they worked with the Central American Mission Partners (CAMP), a human rights and economic development organization. In El Salvador they met members of the Comite de Madres Monsignor Romero (COMADRES: Committee of the Mothers Monsignor Romero), an organization of women whose children were forcibly disappeared by the Salvadoran government during the Civil War because they opposed the military regime that was in power. At one point during the trip, Bono, Alison, and a member of CAMP were shot at by government troops while on their way to deliver aid to a group of farmers. The shots were a warning and, according to author John Luerssen, the incident made Bono realize that "they didn't care for their intrusion and they could kill them if they felt compelled."In 2006, Bono recounted another experience he had in El Salvador, where he had seen a body thrown from a van into the road. He remarked, "People would just disappear. If you were part of the opposition, you might find an SUV with the windows blacked out parked outside your house.... If that didn't stop you, occasionally they would come in and take you and murder you; there would be no trial." Bono understood the cause of the Madres and COMADRES and wanted to pay tribute to it. His experiences in Central America inspired the lyrics of "Mothers of the Disappeared" and another track from The Joshua Tree, "Bullet the Blue Sky".
Example Output: What is the first name of the person whose artwork criticized the Pinochet-led regime that seized power in 1973?

Example Input: Passage: Burges's two finest gothic churches were also undertaken in the 1870s, the Church of Christ the Consoler, Skelton-on-Ure, and St Mary's, Studley Royal. His patron, George Robinson, 1st Marquess of Ripon, although not as rich as Bute, was his equal in romantic medievalism and had been a friend of Bute's at Oxford, which may account for the choice of Burges as architect. Both churches were built as memorial churches for Ripon's brother-in-law, Frederick Grantham Vyner, who was murdered by Greek bandits in 1870. Vyner's mother commissioned the Church of Christ the Consoler and his sister St Mary's. Both begun in 1870, Skelton was consecrated in 1876 and Studley Royal in 1878.The Church of Christ the Consoler, in the grounds of Newby Hall in North Yorkshire, is built in the Early English style. The exterior is constructed of grey Catraig stone, with Morcar stone for the mouldings. The interior is faced with white limestone, and richly fitted out with marble. The work was undertaken by members of Burges's usual team, Gualbert Saunders making the stained glass, from cartoons by Lonsdale, and Nicholls sculpting the carvings. Leach and Pevsner describe the scheme of stained glass as "uncommonly excellent." It is particularly interesting as representing an architectural move from Burges's favourite Early French style to an English inspiration. Pevsner considers it: "Of determined originality; the impression is one of great opulence, even if of a somewhat elephantine calibre."
The Church of St Mary, Studley Royal, is also in the Early English style and is located in the grounds of Studley Royal Park at Fountains Abbey, in North Yorkshire. As at Christ the Consoler, the exterior is of grey limestone, with a two-stage west tower topped with a soaring spire. The interior is equally spectacular, exceeding Skelton in richness and majesty, Leach commenting that "everything is precisely calculated as to its visual impact." The theme, previously used at Gayhurst, is Paradise Lost and Paradise Regained. The stained glass, by Saunders & Co, is of particularly high quality. Pevsner describes St Mary's as "a dream of Early English glory" and Crook writes, "[although] Cork Cathedral may stand as Burges's greatest Gothic work, Studley Royal is his 'ecclesiastical' masterpiece." Burges also constructed an estate cottage in 1873.In 1870, Burges was asked to draw up an iconographic scheme of internal decoration for St Paul's Cathedral, unfinished since the death of Sir Christopher Wren. In 1872, he was appointed architect and over the next five years produced what Crook describes as a "full-blown scheme of early Renaissance decoration" for the interior which he intended would eclipse that of St Peter's in Rome. However, as Crook writes, his plans were "rather too creative for most Classicists" and these artistic, and linked religious, controversies led to Burges's dismissal in 1877 with none of his plans undertaken.
Example Output: Whose patron was George Robinson?

Example Input: Passage: In a letter to his friend and landlord Johann Lorenz Hagenauer (17121792), a prominent Salzburg merchant, written after the tour, Leopold quotes the German diplomat Friedrich Melchior, Baron von Grimm, who after hearing the children play had said: "Now for once in my life I have seen a miracle: this is the first". Leopold believed that it was his duty to proclaim this miracle to the world, otherwise he would be "the most ungrateful creature". He was said to have described Wolfgang as "The miracle which God let be born in Salzburg." Mozart biographer Wolfgang Hildesheimer has suggested that, at least in the case of Wolfgang, this venture was premature: "Too soon, [the] father dragged [the] son all over Western Europe for years. This continual change of scene would have worn out even a robust child..." However, there is little evidence to suggest that Wolfgang was physically harmed or musically hindered by these childhood exertions; it seems that he felt equal to the challenge from the start.Leopold wanted to begin the tour as soon as possiblethe younger the children were, the more spectacular would be the demonstration of their gifts. The route he intended to take included southern Germany, the Austrian Netherlands, Paris, Switzerland and possibly northern Italy. The London leg was only added after urgings during the Paris visit, and the eventual Dutch trip was an unplanned detour. The plan was to take in as many princely European courts as possible, as well as the great cultural capitalsLeopold was relying on his professional musical network and on his more recent social contacts to obtain invitations from the royal courts. Practical assistance came from Hagenauer, whose trading connections in the major cities would supply the Mozarts with what were effectively banking facilities. These would enable them to obtain money en route, while waiting for the proceeds from their performances to accumulate.Wolfgang prepared for the tour by perfecting himself on the violin, which he had learned to play apparently without any tutelage whatsoever. As for more general preparation, the children delighted in making music together, something they never lost. On tour, even during the busiest travelling days they would fit in their daily practice, appearing to thrive on the hectic schedule. Before the journey could begin, Leopold needed the consent of his employer, the prince-archbishop. Leopold had only been appointed deputy Kapellmeister in January 1763; nevertheless the archbishop's consent to an extended leave of absence was granted, on the grounds that the Mozarts' successes would bring glory to Salzburg, its ruler, and to God.
Example Output:
What is the first name of the person who offered practical assistance?