TASK DEFINITION: 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.
PROBLEM: Passage: In mid-1917 nine-year-old Frances Griffiths and her motherboth newly arrived in the UK from South Africawere staying with Frances' aunt, Elsie Wright's mother, in the village of Cottingley in West Yorkshire; Elsie was then 16 years old. The two girls often played together beside the beck (stream) at the bottom of the garden, much to their mothers' annoyance, because they frequently came back with wet feet and clothes. Frances and Elsie said they only went to the beck to see the fairies, and to prove it, Elsie borrowed her father's camera, a Midg quarter-plate. The girls returned about 30 minutes later, "triumphant".Elsie's father, Arthur, was a keen amateur photographer, and had set up his own darkroom. The picture on the photographic plate he developed showed Frances behind a bush in the foreground, on which four fairies appeared to be dancing. Knowing his daughter's artistic ability, and that she had spent some time working in a photographer's studio, he dismissed the figures as cardboard cutouts. Two months later the girls borrowed his camera again, and this time returned with a photograph of Elsie sitting on the lawn holding out her hand to a 1-foot-tall (30 cm) gnome. Exasperated by what he believed to be "nothing but a prank", and convinced that the girls must have tampered with his camera in some way, Arthur Wright refused to lend it to them again. His wife Polly, however, believed the photographs to be authentic.
Towards the end of 1918, Frances sent a letter to Johanna Parvin, a friend in Cape Town, South Africa, where Frances had lived for most of her life, enclosing the photograph of herself with the fairies. On the back she wrote "It is funny, I never used to see them in Africa. It must be too hot for them there."The photographs became public in mid-1919, after Elsie's mother attended a meeting of the Theosophical Society in Bradford. The lecture that evening was on "fairy life", and at the end of the meeting Polly Wright showed the two fairy photographs taken by her daughter and niece to the speaker. As a result, the photographs were displayed at the society's annual conference in Harrogate, held a few months later. There they came to the attention of a leading member of the society, Edward Gardner. One of the central beliefs of theosophy is that humanity is undergoing a cycle of evolution, towards increasing "perfection", and Gardner recognised the potential significance of the photographs for the movement:
the fact that two young girls had not only been able to see fairies, which others had done, but had actually for the first time ever been able to materialise them at a density sufficient for their images to be recorded on a photographic plate, meant that it was possible that the next cycle of evolution was underway.

SOLUTION: What are the full names of the girls who had taken the photographs that Polly Wright showed at the meeting?

PROBLEM: Passage: Collin Hoskins, a convicted felon, is struggling to finish the last three days of his probation. Collin, along with his short-tempered best friend Miles Turner, works for a moving company located in Oakland, a city in the Bay Area. One night while waiting for a red light, Collin witnesses a white police officer gun down a black civilian. As Collin is haunted by the incident, he begins to have nightmares and experiences hallucinations.
At the same time, Miles becomes distraught by the gentrification of Oakland, and a resulting sense of loss of identity, home, and belonging.
Miles purchases a gun from a friend on the basis of self-protection, an action which Collin strongly disapproves. As Miles continues to display erratic behavior, Collin's ex-girlfriend Val warns Collin of the dangers that may come from a continued friendship with Miles. Later that evening while having dinner, Miles' gun accidentally ends up in the hands of his young son Sean, an incident which horrifies Sean's mother Ashley, forcing both Collin and Miles to leave the house. At a party, an agitated Miles assaults a black man who misinterpreted Miles' persona as cultural appropriation, leading to a fight between the two. Miles uses his gun to terrorize the party guests before being stopped by Collin. In an explosive argument, Collin criticizes Miles for his reckless behavior and the trouble it keeps causing him.

SOLUTION: What are the full names of the two employees of an Oakland moving company?

PROBLEM: Passage: Before his enforced rest in 1924, Holst demonstrated a new interest in counterpoint, in his Fugal Overture of 1922 for full orchestra and the neo-classical Fugal Concerto of 1923, for flute, oboe and strings. In his final decade he mixed song settings and minor pieces with major works and occasional new departures; the 1925 Terzetto for flute, violin and oboe, each instrument playing in a different key, is cited by Imogen as Holst's only successful chamber work. Of the Choral Symphony completed in 1924, Matthews writes that, after several movements of real quality, the finale is a rambling anticlimax. Holst's penultimate opera, At the Boar's Head (1924), is based on tavern scenes from Shakespeare's Henry IV, Parts 1 and 2. The music, which is largely derived from old English melodies gleaned from Cecil Sharp and other collections, has pace and verve; the contemporary critic Harvey Grace discounted the lack of originality, a facet which he said "can be shown no less convincingly by a composer's handling of material than by its invention".Egdon Heath (1927) was Holst's first major orchestral work after The Planets. Matthews summarises the music as "elusive and unpredictable [with] three main elements: a pulseless wandering melody [for strings], a sad brass processional, and restless music for strings and oboe." The mysterious dance towards the end is, says Matthews, "the strangest moment in a strange work". Richard Greene in Music & Letters describes the piece as "a larghetto dance in a siciliano rhythm with a simple, stepwise, rocking melody", but lacking the power of The Planets and, at times, monotonous to the listener. A more popular success was A Moorside Suite for brass band, written as a test piece for the National Brass Band Festival championships of 1928. While written within the traditions of north-country brass-band music, the suite, Short says, bears Holst's unmistakable imprint, "from the skipping 6/8 of the opening Scherzo, to the vigorous melodic fourths of the concluding March, the intervening Nocturne bearing a family resemblance to the slow-moving procession of Saturn". 'A Moorside Suite' has undergone major revisionism in the article 'Symphony Within: rehearing Holst's 'A Moorside Suite' by Stephen Arthur Allen in the Winter 2017 edition of 'The Musical Times'. As with 'Egdon Heath' commissioned as a symphony the article reveals the symphonic nature of this brass-band work.

SOLUTION:
What is the name of the piece Short says bears Holst's unmistakable imprint?