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.
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Question: Passage: "Touch Me I'm Sick" was released on August 1, 1988, as a 7" vinyl. It was Mudhoney's debut release. Initially, Sub Pop released 800 clear coffee-brown vinyl copies, 200 black vinyl copies and a few assorted vinyl color copies of the single. The limited release numbers were inspired by another indie label, Amphetamine Reptile. Sub Pop owners Bruce Pavitt and Jonathan Poneman reasoned the limited supply would increase demand, and utilized different colors of vinyl in order to rationalize further limited pressings and to increase the single's allure as a collectible item. The record, which came in a white paper bag without a picture sleeve, had an inscription on the A-side: "What does the word 'crack' mean to you?". The B-side sticker featured the toilet picture that later became the cover art of the sleeved second edition of the single.According to Pavitt, "It was just a limited edition, maybe 800 pieces, but people all over America started raving about it. People that we really respected."
The single was an indie hit in Seattle, and "Touch Me I'm Sick" became Mudhoney's most recognizable song. When asked in an interview about the sales figures of the single, Turner replied, "The first [pressing sold] 1,000, then 3,000 of the reissue, then it was out of print for a while; then they made 2,000 more and those are probably gone." The single's success caught the band by surprise; Arm had initially dismissed the song as a "B-side toss off". "Touch Me I'm Sick" and B-side "Sweet Young Thing Ain't Sweet No More" were later included on the Mudhoney compilation albums Superfuzz Bigmuff Plus Early Singles (1990) and March to Fuzz (2000).

Answer: What are the names of the compilation albums that include the song released on August 1, 1988?

Question: 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.

Answer: What is the name of the work Hindemith's attempted period reconstruction of, was followed in 1955 by an edition from August Wenzinger?

Question: Passage: St Botolph's Church is an Anglican place of worship in the village of Quarrington, part of the civil parish of Sleaford in Lincolnshire, England. The area has been settled since at least the Anglo-Saxon period, and a church existed at Quarrington by the time Domesday was compiled in 1086, when it formed part of Ramsey Abbey's fee. It was granted to Haverholme Priory about 1165, and the Abbey claimed the right to present the rector in the 13th century. This right was claimed by the Bishop of Lincoln during the English Reformation in the early 16th century, and then passed to Robert Carre and his descendants after Carre acquired a manor at Quarrington. With capacity for 124 people, the church serves the ecclesiastic parish of Quarrington with Old Sleaford and, as of 2009, had an average congregation of 50.
Recognised for its age and tracery, the church has been designated a grade II* listed building. It has a tower and spire with a nave and north aisle ending at a chancel at the east end. The oldest parts of the building date to the 13th century, although substantial rebuilding took place over the following century. Renovations followed, and the local architect Charles Kirk the Younger carried out restoration work in 186263, when he added the chancel in his parents' memory. The high interior's three bays of arcading correspond to the three windows in the nave's south wall and the north aisle wall; those on the south wall are unusual for the hexagons and trefoils in the reticulated designs.

Answer:
What right was claimed by the Bishop of Lincoln during the English Reformation?