In this task, you're given a question, along with a context passage which has extra information available on certain terms mentioned in it, i.e., the proper nouns in the passage. Your job is to determine whether information from more than one term is needed to answer the question. Indicate your choice as 'a' for Yes or 'b' for No.

[Q]: Question: Which publication that Cannon contributed more substantial articles to came into existence first? Passage:Helped by his association with The Guardian, Cannon was able to contribute more substantial articles to the Los Angeles Times and the Chicago Sun-Times, and to underground magazines such as Creem. He wrote the 1970 documentary film London Rock, focusing on the UK's counterculture movement. He recalls that, together with Rolling Stone journalists David Dalton and Jonathan Cott, he joined Granada Television documentary-makers such as Jo Durden-Smith, John Sheppard and Michael Darlow in devising "prime-time networked shows designed as anthems of the revolution". Among these late-1960s projects, he says that the Johnny Cash at San Quentin TV special was his idea, and he "share[s] credit" for the ideas behind the concert films The Doors Are Open and The Stones in the Park. He also directed the film of Frank Zappa's performance at the 1970 Palermo Pop Festival, for RAI, Italy's national public broadcaster.

[A]: a

[Q]: Question: Which son was born first? Passage:Darius was the son of Hystaspes and the grandson of Arsames. Both men belonged to the Achaemenid tribe and were still alive when Darius ascended the throne. Darius justifies his ascension to the throne with his lineage. He claimed he could trace his ancestors back to Achaemenes, even though he was only distantly related. With this in mind, Darius married Atossa, daughter of Cyrus, with whom he had four sons: Xerxes, Achaemenes, Masistes and Hystaspes. He also married Artystone, another daughter of Cyrus, with whom he had two sons, Arsames and Gobryas. Darius married Parmys, the daughter of Bardiya, with whom he had a son, Ariomardus. Furthermore, Darius married Phratagune, with whom he had two sons, Abrokomas and Hyperantes. He also married another woman of the nobility, Phaidyme, the daughter of Otanes. It is unknown if he had any children with her. Before these royal marriages, Darius had married an unknown daughter of his good friend and lance carrier Gobryas from an early marriage, with whom he had three sons, Artobazanes, Ariabignes and Arsamenes. Any daughters he had with her are not known. Although Artobazanes was Darius's first-born, Xerxes became heir and the next king through the influence of Atossa; she had great authority in the kingdom as Darius loved her the most of all his wives.

[A]: a

[Q]: Question: How many centuries had the region where Turner took a train journey in 1987-88 been part of USSR where the journey originated? Passage: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.'

[A]:
b