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: Recording sessions for The Joshua Tree began in January 1986 in Danesmoate House in Dublin and continued throughout the year. U2 briefly interrupted these sessions in June to join Amnesty International's A Conspiracy of Hope tour of benefit concerts. Following the first concert in San Francisco, lead singer Bono met Rene Castro, a Chilean mural artist. Castro had been tortured and held in a concentration camp for two years by the dictatorial Chilean government because his artwork criticised the Pinochet-led regime that seized power in 1973 during a coup d'etat. Castro showed Bono a wall painting in the Mission District that depicted the ongoing plight in Chile and Argentina. He also learned of the Madres de Plaza de Mayo, a group of women whose children were forcibly disappeared by the Argentine government. The Madres' children were students who had opposed the government during the Dirty War, and the coup d'etat that brought Jorge Rafael Videla to power. The Madres joined together to campaign for information regarding the locations of their children's bodies and the circumstances of their deaths, believing them to have been kidnapped, tortured, and murdered.Inspired by the mural, Bono took an extended break from recording into July, traveling to Nicaragua and El Salvador with his wife, Alison Hewson, to see first-hand the distress of peasants bullied by political conflicts and US military intervention. While there, they worked with the Central American Mission Partners (CAMP), a human rights and economic development organization. In El Salvador they met members of the Comite de Madres Monsignor Romero (COMADRES: Committee of the Mothers Monsignor Romero), an organization of women whose children were forcibly disappeared by the Salvadoran government during the Civil War because they opposed the military regime that was in power. At one point during the trip, Bono, Alison, and a member of CAMP were shot at by government troops while on their way to deliver aid to a group of farmers. The shots were a warning and, according to author John Luerssen, the incident made Bono realize that "they didn't care for their intrusion and they could kill them if they felt compelled."In 2006, Bono recounted another experience he had in El Salvador, where he had seen a body thrown from a van into the road. He remarked, "People would just disappear. If you were part of the opposition, you might find an SUV with the windows blacked out parked outside your house.... If that didn't stop you, occasionally they would come in and take you and murder you; there would be no trial." Bono understood the cause of the Madres and COMADRES and wanted to pay tribute to it. His experiences in Central America inspired the lyrics of "Mothers of the Disappeared" and another track from The Joshua Tree, "Bullet the Blue Sky".
[EX A]: What is the first name of the person whose artwork criticized the Pinochet-led regime that seized power in 1973?

[EX Q]: Passage: Massenet was a fluent and skilful orchestrator, and willingly provided ballet episodes for his operas, incidental music for plays, and a one-act stand-alone ballet for Vienna (Le carillon, 1892). Macdonald remarks that Massenet's orchestral style resembled that of Delibes, "with its graceful movement and bewitching colour", which was highly suited to classical French ballet. The Meditation for solo violin and orchestra, from Thais, is possibly the best known non-vocal piece by Massenet, and appears on many recordings. Another popular stand-alone orchestral piece from the operas is Le dernier sommeil de la Vierge from La Vierge, which has featured on numerous discs since the middle of the 20th century.A Parisian critic, after seeing La grand' tante, declared that Massenet was a symphonist rather than a theatre composer. At the time of the British premiere of Manon in 1885, the critic in The Manchester Guardian, reviewing the work enthusiastically, nevertheless echoed his French confrere's view that the composer was really a symphonist, whose music was at its best when purely orchestral. Massenet took a wholly opposite view of his talents. He was temperamentally unsuited to writing symphonically: the constraints of sonata form bored him. He wrote, in the early 1870s, "What I have to say, musically, I have to say rapidly, forcefully, concisely; my discourse is tight and nervous, and if I wanted to express myself otherwise I would not be myself." His efforts in the concertante field made little mark, but his orchestral suites, colourful and picturesque according to Grove, have survived on the fringes of the repertoire. Other works for orchestra are a symphonic poem, Visions (1891), an Ouverture de Concert (1863) and Ouverture de Phedre (1873). After early attempts at chamber music as a student, he wrote little more in the genre. Most of his early chamber pieces are now lost; three pieces for cello and piano survive.
[EX A]: What is the name of the best known non-vocal piece by Massenet?

[EX Q]: Passage: The gardens were to be centered in the north with an Italian terraced garden and were largely completed when Eberhard Louis turned his attention to the south garden. There he laid out a large symmetrical French garden. Charles Eugene filled in the terraces in 1749 to replace them with a large broderie. He then reorganized and expanded the south garden over the next decade. Frederick I again reorganized the south garden in 1797 in a Neoclassical style and Mediterranean theme. He retained the original pathways, but added a canal and fountain to the garden's center. The south garden was divided into four equally sized lawns, with hillocks in their center topped with a large vase crafted by Antonio Isopi. Frederick also expanded the garden east to form an English landscape garden (Lower east) and demolished Charles Eugene's opera house to form a medieval-themed landscape garden (Upper east). Two additional gardens, for Frederick and Charlotte, were laid out adjacent to their palace suites. Also in the fantasy garden is the Emichsburg, a folly built from 1798 to 1802 and named after the fabled ancestor of the House of Wurttemberg, a knight of the House of Hohenstaufen. William I abandoned Ludwigsburg for Rosenstein Palace in Stuttgart and opened the south garden to the public in 1828. The canal was filled in and an orchard planted on the southern lawns, later used to grow potatoes.
In 1947, Albert Schochle, Director of the State Parks and Gardens Authority, was charged with maintaining the gardens. After visiting the 1951 Bundesgartenschau in Hanover, he decided to restore the gardens. Schochle convinced Baden-Wurttemberg's Minister of Finance Karl Frank to help fund the venture in 1952 on the condition that the town of Ludwigsburg also assisted. Ludwigsburg's mayor, Elmar Doch, and the town council agreed to this stipulation. Frank approved the start of work on 23 March 1953, but it lasted late into the year. The restoration of the garden required the moving of 100,000 cubic meters (3,531,467 cu ft) of earth by bulldozers supplied and operated by American soldiers and the planting of tens of thousands of trees and hedges, 22,000 roses, and 400,000 other flowers. The Blooming Baroque (Bluhendes Barock) gardens were opened on 23 April 1954 as a special horticultural show and attracted more than 500,000 visitors by the end of May, among them President Theodor Heuss. When the show closed in the fall of 1954, it had recouped all but 150,000 Deutsche Marks of the investment in the restoration of the gardens and became a permanent landmark. The Blooming Baroque gardens, covering an area of 32 hectares (79 acres), attract 520,000 to 550,000 visitors annually.On the far east side is the Fairy-Tale Garden (Marchengarten), opened in 1959. It is made up of some 40 recreations of fairy-tales such as Rapunzel, Sleeping Beauty, and The Frog Prince. The Fairy-Tale Garden was an immediate success and increased revenue by 50% for that year.
[EX A]:
What is the name of the garden that became a permanent landmark after it closed?