You will be given a definition of a task first, then some input of the task.
In this task, you're given a question, along with three passages, 1, 2, and 3. Your job is to determine which passage can be used to answer the question by searching for further information using terms from the passage. Indicate your choice as 1, 2, or 3.

Question: What state was Chicago part of in the 1920s? Passage 1:Luis Munoz Rivera (17 July 1859 15 November 1916) was a Puerto Rican poet, journalist and politician. He was a major figure in the struggle for political autonomy of Puerto Rico. In 1887, Munoz Rivera became part of the leadership of a newly formed Autonomist Party and became delegate for the district of Caguas. Subsequently, Munoz Rivera was a member of a group organized by the party to discuss proposals of autonomy with Praxedes Mateo Sagasta, who would grant Puerto Rico an autonomous government following his election. He served as Chief of the Cabinet of Mateo Sagasta's government. On 13 August 1898, the Treaty of Paris transferred possession of Puerto Rico from Spain to the United States and a military government was established. In 1899, Munoz Rivera resigned his position within Mateo Sagasta's cabinet. Munoz Rivera then became a fierce advocate of the Liberal Party of Puerto Rico and, on 1 July 1890, he founded the party's newspaper, La Democracia, in Ponce, Puerto Rico. In 1893, Munoz Rivera married Amalia Marin in a ceremony that took place in Ponce Cathedral. Munoz Rivera participated in the writing of the Plan de Ponce which proposed administrative autonomy for the island. In 1909, he was elected as Resident Commissioner of Puerto Rico to U.S. Congress and participated in the creation of the Jones-Shafroth Act. Shortly after, Munoz Rivera contracted an infection and traveled to Puerto Rico, where he died on 15 November 1916. His son, Luis Munoz Marin, became the first democratically elected Governor of Puerto Rico.
Passage 2:Perhaps the reason for the appeal of Turner's work outside the art world is that it pushes the boundaries of both film and politics. Perestroika has been noted by academics and critical thinkers for both its artistic form and commentary on environmental and social issues, most notably featuring in the essay volumes Performing Authorship: Self inscription and corporeality in the cinema and Screening Nature: Cinema Beyond the Human. For Cecilia Sayad, the film's importance lies in its structures: its function in highlighting the act of authorship as performance, and how the film's structural devices serve to emphasise the fictionality of narration, how the retelling, even of truth or fact, always and necessarily involves an element of creation and thus fiction. Sayad comments that whilst Perestroika ostensibly interweaves footage of a 200708 reconstruction of a train journey across Siberia that Turner took in 198788 with that from the original journey in what was then the USSR, it is as much about the workings of memory and filmmaking itself. But Sophie Mayer has commented on how the work uses the idea of pollution as a function of retention, and weaves it through both the social/cultural and natural worlds. Mayer goes further in exploring the contextual importance of the work, comparing Perestroika with works of the filmmakers Lucrecia Martel and Apichatpong Weerasethakul, commenting that each offers a 'utopian possibility of a post-capitalist, post-industrial, postcolonial moment'. In a booklet of essays written to accompany the publication of Perestroika and perestroika:reconstructed in 2014, another academic, Paul Newland writes 'the artist explores the nature of representation and its problematical relationship to our experience of reality. By doing this the film travels the branch lines between cinematography, photography, and everyday life.'
Passage 3:He was born in Chicago, and moved to New York City in the early 1920s. He began working as a session pianist with singer Ethel Waters, who sang his first recorded song as a writer, "You Can't Do What My Last Man Did" in 1923. He then diversified into songwriting, working with lyricists including Henry Creamer and Andy Razaf. Waters recorded several more J.C. Johnson songs and collaborations, including the first version of "Trav'lin All Alone", subsequently recorded by dozens of artists including Billie Holiday and Billy Eckstine. By 1928 he had begun working with Fats Waller, often contributing lyrics to Waller's music. His first song with Waller was "I'm "Goin Huntin", written in 1927 and recorded by Louie Armstrong, and together they wrote a Broadway show, Keep Shufflin'. (The preceding information is wrong. It was James P. Johnson who co-wrote "Keep Shufflin" with Fats Waller. See: James P. and J.C. were often confused for each other, and were friends via Fats Waller. The above illustrates how James P. and J.C. continue to be confused with each other.)About this time, he also reportedly used the pseudonym Harry Burke, who was originally credited as the writer of the song "Me and My Gin", recorded in 1928 by Bessie Smith and later recorded by many artists under the title "Gin House Blues" (with the composition later often credited, apparently in error, to Fletcher Henderson). In 1929, he took part as a musician in a collaboration between Italian-American guitarist Eddie Lang and the blues guitarist Lonnie Johnson, together with King Oliver and Hoagy Carmichael, which was given the name "Blind Willie Dunn & His Gin Bottle Four" in order to disguise the inter-racial nature of the group. Among the many artists in the 20s and 30s who sang and recorded his tunes were Ella Fitzgerald, whose first three recorded songs were co-written by Johnson, Connie Boswell, Mamie Smith, Clarence Williams, and Lonnie Johnson. J.C. also had his own band, J.C. Johnson and his Five Hot Sparks and played piano on many other artists' recordings.

Output:
3