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In this task, you're given a passage, further information available on a particular linked term from the statement, and an answer term. Your job is to generate a question that can use the information provided to obtain the given answer. You should use the information on both passage and link information to create the question. Note that the answer to the question should be exactly the given answer, and if the answer is none, the answer to the question shouldn't be obtainable from the passage or linked information.
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Passage: Mohammad Parvin began his career at the Persepolis youth academy in Tehran before signing his first pro contract in 2005. Despite the fact that his father was the head coach of the team, he remained unused until making his debut in a friendly match against German giants Bayern Munich. Being dubbed as a future star player in the national team, his time at Persepolis turned difficult following his fathers departure as a coach. He later followed his Parvin senior, who had become technical director of Steel Azin, and became the top scorer in the first division. Following a remarkable season in a star-studded second tier side, he chose to move soon, again shortly after his fathers resignation. Despite reportedly being offered a contract by Persepolis, he moved to Saipa. It was speculated that the reason for his refusal to play at Persepolis was the troublesome relationship between Dariush Mostafavi (then Club CEO at Persepolis) and his father Ali Parvin. After only 12 performances at Saipa, he spent 6 successful months on loan at Dunajska Streda in Europe only to return to his beloved Persepolis in July 2009. His second stint at the continents most popular football team, was another difficult experience and Mohammad was on the move once again in 2011. His next stop was Paykan, another short term stint as soon newly promoted Gahar Zagros followed.
Link Information: none Answer: none
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How long was Dariush Mostafavi the CEO at Persepolis?

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Passage: Inside the church are galleries on the north, west, and south sides. These are carried on Tuscan columns, which rise to the ceiling as wooden quasi-Tuscan columns. At the east end of the church are paintings by Jacob Thompson of Penrith dated 1845 depicting the Angel and the Shepherds, and the Agony in the Garden. The communion table dates from 1722, and was lengthened in 1951. The brass chandeliers were given to the church in 1746 by the 2ndDuke of Portland in recognition of the part the town played in the defence against the Young Pretender in 1745. The pulpit consists of the top section of a former threedecker. At the back of the gallery are royal arms dated 1723 by Mathias Read. The font consists of a simple octagonal bowl, and is dated 1661 which is the date it was brought back into use after the Restoration of King Charles II. The stained glass in the east window of 1870 is by Hardman, and that in the north aisle, dating from 1889, is by Burlison and Grylls. Elsewhere are windows by Clayton and Bell, Powell's, G.J.Baguley, and by Cox, Sons and Buckley. The monuments include two coffin lids inscribed with foliated crosses, one dating from the 14thcentury, the other possibly from the 12thcentury. There are also two worn stone effigies from the 17thcentury.
Link Information: He began to exhibit in 1824, when he had in the first exhibition of the Society of British Artists a "View in Cumberland," but he did not send a picture to the Royal Academy until 1832, in which year appeared "The Druids cutting down the Mistletoe." This was followed in 1833 by a picture containing full-length portraits of the daughters of the Hon. Colonel Lowther. His next exhibit was "Harvest Home in the Fourteenth Century," which appeared at the British Institution in 1837, and was presented by the artist to his patron, the Earl of Lonsdale. After this date he painted portraits, views of mansions, &c., but he did not exhibit again until 1847, when he sent to Westminster Hall "The Highland Ferry-Boat," which was engraved in line by James Tibbits Willmore. "The Proposal" appeared at the Royal Academy in 1848; "The Highland Bride," likewise engraved by Willmore, in 1851; "Going to Church: Scene in the Highlands," in 1852; "The Hope Beyond," in 1853; "The Course of true Love never did run smooth," in 1854; "The Mountain Ramblers," in 1855; "Sunny Hours of Childhood" and "Looking out for the Homeward Bound," in 1856; and "The Pet Lamb," in 1857. He painted in 1858 "Crossing a Highland Loch," which was engraved by Charles Mottram; but he did not again exhibit until 1860, when he sent to the Royal Academy "The Signal," which was engraved by Charles Cousen for the Art Journal of 1862. In 1864 he had at the academy "The Height of Ambition," engraved by Charles Cousen for the Art Journal, as was likewise by J. C. Armytage "Drawing the Net at Hawes Water," painted in 1867 for Lord Esher, but never exhibited. "Rush Bearing" and a view of Rydal Mount are among his best works.

In his later years Thompson devoted himself chiefly to landscape subjects with figures, the themes of which were for the most part drawn from the mountains and lakes of Cumberland and Westmoreland, but occasionally from Scotland. His range, however, was limited, and his work was lacking in poetic sympathy. His attempts at classical and scriptural subjects, such as "Acis and Galatea," exhibited at the Royal Academy in 1849, and "Proserpine," were not a success. His last work was "Eldmuir, or Solitude." Answer: View in Cumberland,
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What other paintings has Jacob Thompson created?

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Passage: A bricklayer by profession, Ciampa also worked in the entertainment business throughout the late 1940s and early 1950s, starring in Larry Sunbrock's Rodeo and Thrill Circus in New York City and then traveling with the circus to various U.S. and Canadian cities. Notably, his act did not include the typical, tightly choreographed feats of circus acrobatics such as trapeze swinging or trampolining, but rather improvised climbing and leaping stunts making use of scaffolding and circus rigging. Spectators were frequently alarmed by the apparently ad libbed and obviously dangerous nature of his performances. In 1947 Ciampa was arrested for having scaled the exterior of the Astor Hotel as a publicity stunt for the Sunbrock Circus, concerning onlookers who feared that he might have been attempting suicide.
Link Information: Hotel Astor was a hotel located in the Times Square area of Manhattan, New York City, in operation from 1904 through 1967. Answer: 43
answer:
How many years had the Astor Hotel been in business the year that Ciampa scaled the exterior of it?