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: "Ooh La La", Supernature's opening track, inspired by T. Rex, was chosen as its lead single "because it was up and in your face and it carried on the theme of the glammy, discoey beat from the last album". It was the duo's first song to feature the electric guitar, and received positive reviews, often being noted as a highlight of the album. "Ooh La La" became Goldfrapp's most successful single on the UK Singles Chart to date when it peaked at number four, while topping the Billboard Hot Dance Club Play chart in the United States. The second track, "Lovely 2 C U", received mixed reviews from critics, with one reviewer stating that it was the "worst offender of sounding by-numbers, its lazy glam affectations sounding all the worse amid a chorus striking only in its complete dullness"."Ride a White Horse", the third single, was inspired by the disco era. Like previous singles from the album, the song was another top-20 single in the UK, where it peaked at number 15. The ballads "You Never Know" and "Let It Take You" have minimal background electronics, and were generally well received by critics, who drew comparisons to Goldfrapp's debut album Felt Mountain. Goldfrapp's performance on "You Never Know" was described as "chameleonic" with odes to Debbie Harry and Siouxsie Sioux. "Fly Me Away", another synth ballad, had an associated music video which featured Goldfrapp as an animated doll; the video, however, was never released. Serving as the fourth and final single from Supernature, the song was not heavily promoted and was less commercially successful than the other singles, peaking at number 26 on the UK chart. "Slide In", an electroclash song about sex, and "Koko" were compared to Gary Numan's early compositions."Satin Chic" is a disco song with glam rock and cabaret influences, similar to early Elton John. Cited by Goldfrapp and Gregory as their favourite song on Supernature, it was remixed by The Flaming Lips, and issued as a limited-edition single on 4 September 2006. The 10th track, "Time Out from the World", features an orchestra and whispered vocals by Goldfrapp. Critics liked the song, writing that it was an "exception to the prevailing style of Supernature" due to its "haunting, yet glamorous, atmospherics". The album's closing track and second single "Number 1" is about the importance and meanings of relationships. The song, which is based around a synth and bass arrangement, reached number nine on the UK Singles Chart and number one on the US Hot Dance Club Play chart.
[EX A]: What are the last names of the people in the duo whose first song to feature electric guitar was "Ooh La La?"?

[EX Q]: Passage: A brief article mentioning the discovery appeared in the Maidstone Journal on 4 July 1822; the information in it was then largely repeated in a volume of the Gentleman's Magazine that year. The latter also features some brief discussion as to who the deceased individuals in the chamber had been, speculating that it was "some chief slain in the battle fought here between Vortimer, King of Britain, and the Saxons". A second description of the site appeared in Gentleman's Magazine in 1834, written by S. C. Lampreys.About a year after the discovery, Smythe wrote an account in which he included both a sketch and plan of the chamber. Smythe's original report was not published at the time, but deposited in the archive of Maidstone Museum. In this unpublished document, he referred to the monument as a "British Tomb" or a "Druidical Monument". The document was only published in 1948, in an article written for the Archaeologia Cantiana journal by the archaeologist John H. Evans. Evans noted that "meagre and incomplete as it is", "we must be grateful" for this document "when we remember the unrecorded destruction wrought throughout the centuries upon this interesting and isolated megalithic necropolis".Alongside Smythe's report, another brief account was also produced and placed in the museum, likely written by Charles and again published in Evans' 1948 article. Ashbee later related that both of the reports written in the 1820s were "brief but valuable" and "in many ways in advance of their age". He noted that the destruction of prehistoric monuments during this "age of agricultural development" would have been quite commonplace and thus these antiquarians' records written "almost half a century before the emergence of the outlines of present-day prehistory" as a field of scholarly study were particularly important.In the 1920s, the archaeologist O. G. S. Crawford accessed the Maidstone Museum archives to determine the probable location of Smythe's Megalith. He then included it in his 1924 Ordnance Survey guide to archaeological sites in southeastern England. In 1955, several substantial stones were also found in the area. In 2000, Ashbee stated that some of the kerbstones had "recently come to light, buried in the ditches" of the monument.
[EX A]: What is the last name of the person who noted "when we remember the unrecorded destruction wrought throughout the centuries upon this interesting and isolated megalithic necropolis?

[EX Q]: Passage: Okereke has discussed a natural progression in Bloc Party's compositional style to a more explorative, electronic direction. For the opening track on Intimacy, "Ares", Okereke was inspired to rap his lyrics after listening to the old-school hip hop of Afrika Bambaataa. According to Heather Phares of AllMusic, the song includes siren-like guitar chords and loud, complex drumming in the vein of dance acts The Prodigy and The Chemical Brothers. "Mercury" continues the complex drumming theme by incorporating layered percussion and contains a vocally manipulated chorus. The track is an attempt at drum and bass and features brass dissonance, effects Okereke has called "harsh, glacial, layered and energetic". "Zephyrus" begins with a solitary vocal line accompanied only by a drum machine pattern, while the Exmoor Singers provide background vocals in the rest of the composition. "Signs" is the only song that does not include guitars; instead, it is made up of a synthesiser pulse and multitracked samples of glockenspiel and mbira resembling the work of minimalist composer Steve Reich.Okereke has conceded that Intimacy covers Bloc Party's typical indie rock elements, but noted that the guitars have an artificial and manipulated sound, "almost like all the humanity has been bleached out". "Halo" has a fast tempo coupled with a guitar melody that uses only four chords, while "Trojan Horse" features syncopated guitars and distortion. "Talons" also incorporates distortion from both lead and rhythm guitars, while the final single "One Month Off" consists of tribal rhythms and sixteenth note guitar riffs. "Biko" has a slower tempo and includes guitar arpeggi throughout, while "Ion Square" incorporates guitar overdubbing and the use of hi-hat patterns throughout. According to Nick Southall of Drowned in Sound, "Better Than Heaven" encapsulates what Bloc Party had been trying to achieve in their previous works, "namely aligning all their different directional desires: to swoon, to rock, and to experiment all at once". The track features broken beats and layered vocals.
[EX A]:
What is the song on the album with an electronic direction that features syncopated guitars and distortion?