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: Clark and McCullough are Flash and Blodgett, a pair of "alibi photographers" operating a studio in Atlantic City, New Jersey. The pair cater to a clientele who require fraudulent tourist photographs using fake backdrops, which can later be used as evidence that the person in the photograph was at any location in the country. One day, a married couple (Bud Jamison and Constance Bergen) turn up separately in need of alibi photographs: the man wants evidence of being on a Maine moose hunt while the woman needs photographic proof of being in Washington, D.C. The photographers, unaware that the man and woman are married, decide to play matchmaker with the pair. By coincidence, the man and woman have rooms opposite each other in the same hotel. The hotel's manager and the staff detective become suspicious of what is transpiring when the photographers and the couple zigzag between the rooms. Eventually, the husband and wife discover the truth of their activities and leave the hotel together. The photographers, however, attempt to leave the hotel disguised as a moose, only to be chased amidst gunfire from the hotel manager.

Answer: What is the full name of the person who wants evidence of being on a Maine moose hunt?

Question: Passage: In the 2040s, a Martian research base, Tantalus Base outpost, is created. The eight person crew, who have been stationed there for six months, are only nineteen hours from the completion of their research mission. The spacecraft Aurora is inbound from Earth and will collect the team by lander. Mars scientist Marko Petrovic has found samples that may point to life on the planet. Without revealing his discovery, he devises a ruse for a last sojourn on the surface. Crewmate Richard Harrington drives Petrovic in a solar powered rover to the spot where he had found the sample. After he obtains soil with the biological agent present, a fissure swallows Petrovic.
Captain Charles Brunel and crewmate Lauren Dalby plan to explore the pit to retrieve Petrovic's body. Dalby remains at the pit but disappears before the team can return with equipment. Brunel authorizes Vincent Campbell to explore the pit and he finds a fungus-like life that grows in the fissure. Dalby and Petrovic reappear at the main outpost, but the Martian bacteria has mutated them into fast, aggressive, zombie-like creatures with blackened skin and no trace of their original personalities. Harrington dies from a power drill attack by one of the zombies and later revives as one himself. The remaining crew hold off the zombies while Brunel and Campbell return. Brunel is also fatally injured and reanimates, which provides the crew with new insight into the symptoms: thirst, memory loss and aggression.

Answer: What is the full name of the person who obtained the soil with the biological agent?

Question: Passage: Composers whom Takemitsu cited as influential in his early work include Claude Debussy, Anton Webern, Edgard Varese, Arnold Schoenberg, and Olivier Messiaen. (Messiaen was introduced to him by fellow composer Toshi Ichiyanagi, and remained a lifelong influence.) Although Takemitsu's wartime experiences of nationalism initially discouraged him from cultivating an interest in traditional Japanese music, he showed an early interest in "... the Japanese Garden in color spacing and form ...". The formal garden of the kaiyu-shiki interested him in particular.He expressed his unusual stance toward compositional theory early on, his lack of respect for the "trite rules of music, rules that are ... stifled by formulas and calculations"; for Takemitsu it was of far greater importance that "sounds have the freedom to breathe. ... Just as one cannot plan his life, neither can he plan music".Takemitsu's sensitivity to instrumental and orchestral timbre can be heard throughout his work, and is often made apparent by the unusual instrumental combinations he specified. This is evident in works such as November Steps, that combine traditional Japanese instruments, shakuhachi and biwa, with a conventional Western orchestra. It may also be discerned in his works for ensembles that make no use of traditional instruments, for example Quotation of Dream (1991), Archipelago S., for 21 players (1993), and Arc I & II (196366/1976). In these works, the more conventional orchestral forces are divided into unconventional "groups". Even where these instrumental combinations were determined by the particular ensemble commissioning the work, "Takemitsu's genius for instrumentation (and genius it was, in my view) ...", in the words of Oliver Knussen, "... creates the illusion that the instrumental restrictions are self-imposed".

Answer:
What is the first name of the person who was introduced to Takemitsu by fellow composer Toshi Ichiyanagi?