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.

[EX Q]: Passage: After the publication of the L'Orfeo score in 1609, the same publisher (Ricciardo Amadino of Venice) brought it out again in 1615. Facsimiles of these editions were printed in 1927 and 1972 respectively. Since Eitner's first "modern" edition of L'Orfeo in 1884, and d'Indy's performing edition 20 years laterboth of which were abridged and adapted versions of the 1609 scorethere have been many attempts to edit and present the work, not all of them published. Most of the editions that followed d'Indy up to the time of the Second World War were arrangements, usually heavily truncated, that provided a basis for performances in the modern opera idiom. Many of these were the work of composers, including Carl Orff (1923 and 1939) and Ottorino Respighi in 1935. Orff's 1923 score, using a German text, included some period instrumentation, an experiment he abandoned when producing his later version.In the post-war period, editions have moved increasingly to reflect the performance conventions of Monteverdi's day. This tendency was initiated by two earlier editions, that of Jack Westrup used in the 1925 Oxford performances, and Gian Francesco Malipiero's 1930 complete edition which sticks closely to Monteverdi's 1609 original. After the war, Hindemith's attempted period reconstruction of the work was followed in 1955 by an edition from August Wenzinger that remained in use for many years. The next 30 years saw numerous editions, mostly prepared by scholar-performers rather than by composers, generally aiming towards authenticity if not always the complete re-creation of the original instrumentation. These included versions by Raymond Leppard (1965), Denis Stevens (1967), Nikolaus Harnoncourt (1969), Jane Glover (1975), Roger Norrington (1976) and John Eliot Gardiner. Only the composers Valentino Bucchi (1967), Bruno Maderna (1967) and Luciano Berio (1984) produced editions based on the convention of a large modern orchestra. In the 21st century editions continue to be produced, often for use in conjunction with a particular performance or recording.
[EX A]: What is the name of the work Hindemith's attempted period reconstruction of, was followed in 1955 by an edition from August Wenzinger?

[EX Q]: Passage: Presley's rise to national attention in 1956 transformed the field of popular music and had a huge effect on the broader scope of popular culture. As the catalyst for the cultural revolution that was rock and roll, he was central not only to defining it as a musical genre but in making it a touchstone of youth culture and rebellious attitude. With its racially mixed originsrepeatedly affirmed by Presleyrock and roll's occupation of a central position in mainstream American culture facilitated a new acceptance and appreciation of black culture. In this regard, Little Richard said of Presley, "He was an integrator. Elvis was a blessing. They wouldn't let black music through. He opened the door for black music." Al Green agreed: "He broke the ice for all of us." President Jimmy Carter remarked on his legacy in 1977: "His music and his personality, fusing the styles of white country and black rhythm and blues, permanently changed the face of American popular culture. His following was immense, and he was a symbol to people the world over of the vitality, rebelliousness, and good humor of his country." Presley also heralded the vastly expanded reach of celebrity in the era of mass communication: at the age of 21, within a year of his first appearance on American network television, he was one of the most famous people in the world.Presley's name, image, and voice are instantly recognizable around the globe. He has inspired a legion of impersonators. In polls and surveys, he is recognized as one of the most important popular music artists and influential Americans. "Elvis Presley is the greatest cultural force in the twentieth century", said composer and conductor Leonard Bernstein. "He introduced the beat to everything and he changed everythingmusic, language, clothes. It's a whole new social revolutionthe sixties came from it." In the words of John Lennon, "Nothing really affected me until Elvis." Bob Dylan described the sensation of first hearing Presley as "like busting out of jail".
On the 25th anniversary of Presley's death, The New York Times asserted, "All the talentless impersonators and appalling black velvet paintings on display can make him seem little more than a perverse and distant memory. But before Elvis was camp, he was its opposite: a genuine cultural force. ... Elvis' breakthroughs are underappreciated because in this rock-and-roll age, his hard-rocking music and sultry style have triumphed so completely." Not only Presley's achievements, but his failings as well, are seen by some cultural observers as adding to the power of his legacy, as in this description by Greil Marcus:.
[EX A]: What is the last name of the person who said listening to music by the man who rose to national attention in 1956 was "like busting out of jail"?

[EX Q]: Passage: The film begins with Helen Hannah waking up in a jail cell, praying to God. A flashback reveals that she did not die at the end of the previous film.
At the O.N.E. Headquarters, Macalousso asks Vicky Thorne to be the prosecutor in what he heralds as "the biggest trial in history". Thorne then visits Mitch Kendrick, a lawyer and her ex-lover, informing him that he has been appointed as Hannah's defence attorney.
At the hideout of the Christian Underground, J.T. Quincy and the remaining cell members decide to rescue Hannah.
The trial begins. Kendrick tells the court that Helen Hannah is a pawn of God, and decides, in a publicity stunt, to put God himself on trial. Thorne and Judge Wells hate the idea, but Macalousso - eager to repair the recent blows to his reputation - approves the idea.
J.T. visits Colin McMahon, an underground doctor, to have a fake 666 mark imprinted on his hand. J.T. then visits his old friends Dawn and Dave, fugitives hiding in an old warehouse. He offers them food in return for their assistance.
Later that evening, Kendrick watches a tape at his house. The tape is one of the illegal broadcasts of the Christian Underground, which claims that O.N.E. is responsible for various atrocities blamed on 'The Haters'. Thorne comes upon Kendrick looking at an old abandoned church. She orders him to gain Hannah's trust so as to expose the key Resistance. Kendrick silently stays to witness the church be burnt down by agents of O.N.E. Kendrick then returns home, where he finds Macalousso waiting for him. The Antichrist tells Kendrick not to allow Helen Hannah to testify on God's behalf, and that he wishes to be called to the stand when the trial ends.
Doctor McMahon is shot in his home by a group of agents of O.N.E, who then have his hand cut off and taken to a laboratory.
[EX A]:
What is the first name of the person who offers food for assistance?