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: Virgin Records executive Lee Trink expressed: "Janet is an icon and historic figure in our culture. She's one of those gifted artists that people look up to, that people emulate, that people want to believe in ... there's not that many superstars that stand the test of time."Sarah Rodman of the Boston Herald remarked: "For every hand-fluttering, overwrought, melisma addict out there aping Mariah's dog calls, there's an equal number trying to match Jackson's bubbling grooves and fancy footwork, including Britney Spears, Aaliyah and Destiny's Child." Music critic Gene Stout commented she "has so broadly influenced a younger generation of performers, from Jennifer Lopez ... to Britney Spears, who has copied so many of Jackson's dance moves." 'N Sync and Usher have credited her for teaching them how to develop stage show into theatrical performance. Kesha, Beyonce, Toni Braxton, Aaliyah, Britney Spears, Christina Aguilera, Crystal Kay, Kelly Rowland, Rihanna, Brazilian singer Kelly Key, and Christine and the Queens have all named her an inspiration, while others such as Rozonda "Chilli" Thomas of TLC, Cassie, Nicki Minaj, Keri Hilson, and DJ/singer Havana Brown, have all expressed desire to emulate her.
Elysa Gardner of USA Today wrote: "Jackson claims not to be bothered by the brigade of barely post-adolescent baby divas who have been inspired byand, in some cases, have flagrantly apedthe sharp, animated choreography and girlish but decidedly post-feminist feistiness that have long been hallmarks of her performance style." Adrienne Trier-Bieniek stated "scholars trace the origins of pleasure as a Black feminist commitment within popular culture to Janet Jackson" who inspired the feminist perspective found in many pop stars' careers. Those who are considered to have followed in her footsteps have been referred to as "Janet-come-lately's."Other artists who have drawn comparison to her include Mya, Brandy, Tatyana Ali, Christina Milian, Lady Gaga, Namie Amuro, and BoA. Sociologist Shayne Lee commented that "[a]s Janet enters the twilight of her reign as erotic Queen of Pop, Beyonce emerges as her likely successor." Joan Morgan of Essence magazine remarked: "Jackson's Control, Rhythm Nation 1814 and janet. established the singer-dancer imprimatur standard in pop culture we now take for granted. So when you're thinking of asking Miss Jackson, 'What have you done for me lately?' remember that Britney, Ciara and Beyonce live in the house that Janet built.".
[EX A]: What is the last name of the person who was said to be one of those gifted artists that people look up to?

[EX Q]: Passage: Monday marked the beginning of organised action, even as order broke down in the streets, especially at the gates, and the fire raged unchecked. Bloodworth was responsible as Lord Mayor for co-ordinating the fire-fighting, but he had apparently left the City; his name is not mentioned in any contemporaneous accounts of the Monday's events. In this state of emergency, the King again overrode the City authorities and put his brother James, Duke of York, in charge of operations.
James set up command posts round the perimeter of the fire, press-ganging into teams of well-paid and well-fed firemen any men of the lower classes found in the streets. Three courtiers were put in charge of each post, with authority from Charles himself to order demolitions. This visible gesture of solidarity from the Crown was intended to cut through the citizens' misgivings about being held financially responsible for pulling down houses. James and his life guards rode up and down the streets all Monday, rescuing foreigners from the mob and attempting to keep order. "The Duke of York hath won the hearts of the people with his continual and indefatigable pains day and night in helping to quench the Fire," wrote a witness in a letter on 8 September.On Monday evening, hopes were dashed that the massive stone walls of Baynard's Castle, Blackfriars would stay the course of the flames, the western counterpart of the Tower of London. This historic royal palace was completely consumed, burning all night.A contemporary account said that King Charles in person worked manually, that day or later, to help throw water on flames and to help demolish buildings to make a firebreak.
[EX A]: What is the last name of the person who had a brother named James?

[EX Q]: Passage: The Esquisses of 1861 are a set of highly varied miniatures, ranging from the tiny 18-bar no. 4, Les cloches (The Bells), to the strident tone clusters of no. 45, Les diablotins (The Imps), and closing with a further evocation of church bells in no. 49, Laus Deo (Praise God). They were preceded in publication by Alkan's deceptively titled Sonatine, Op. 61, in 'classical' format, but a work of "ruthless economy [which] although it plays for less than twenty minutes ... is in every way a major work."Two of Alkan's substantial works from this period are musical paraphrases of literary works. Salut, cendre du pauvre, Op. 45 (1856), follows a section of the poem La Melancolie by Gabriel-Marie Legouve; while Super flumina Babylonis, Op. 52 (1859), is a blow-by-blow recreation in music of the emotions and prophecies of Psalm 137 ("By the waters of Babylon ..."). This piece is prefaced by a French version of the psalm which is believed to be the sole remnant of Alkan's Bible translation. Alkan's lyrical side was displayed in this period by the five sets of Chants inspired by Mendelssohn, which appeared between 1857 and 1872, as well as by a number of minor pieces.
Alkan's publications for organ or pedalier commenced with his Benedictus, Op. 54 (1859). In the same year he published a set of very spare and simple preludes in the eight Gregorian modes (1859, without opus number), which, in Smith's opinion, "seem to stand outside the barriers of time and space", and which he believes reveal "Alkan's essential spiritual modesty." These were followed by pieces such as the 13 Prieres (Prayers), Op. 64 (1865), and the Impromptu sur le Choral de Luther "Un fort rempart est notre Dieu" , op. 69 (1866). Alkan also issued a book of 12 studies for the pedalboard alone (no opus number, 1866) and the Bombardo-carillon for pedalboard duet (four feet) of 1872.Alkan's return to the concert platform at his Petits Concerts, however, marked the end of his publications; his final work to be issued was the Toccatina, Op. 75, in 1872.
[EX A]:
What is the name of the person who believes that the set of very spare and simple preludes in the eight Gregorian modes, published in 1859, reveal "Alkan's essential spiritual modesty"?