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: On the night of 6 November 1995, a fire broke out in the Rova compound, destroying or severely damaging all of its buildings. Once the flames had been extinguished, all that remained of the original structures were the stone shells of the royal chapel and Manjakamiadana. Fire-fighters arrived late at the scene. Their capacity to douse the fire was hampered by the discovery that their fire hoses did not properly fit onto the nearby hydrants. In addition, the water pressure at the hydrants was significantly reduced due to Analamanga hilltop's high elevation. As the fire-fighters battled the flames, numerous bystanders ran into Rova compound buildings to retrieve artefacts of historic and cultural significance. Approximately 1,675 objects were saved out of an estimated total of 6,700. Some pillaging is believed to have occurred. On the night of the fire, the body of one of the queens was found in the public square in the centre of the city. A funeral vigil was held the following day for these royal remains. The remains were later identified as belonging to Ranavalona III, and have since been re-interred in the royal tombs at Ambohimanga.The destruction of the Rova of Antananarivo occurred at a time when the complex was in the final stages of the process to become classified as Madagascar's first cultural UNESCO World Heritage Site. Six people were initially charged in connection with the Rova's destruction in an Antananarivo court of law, but the official investigation concluded that the fire was an accident. Public accusations of a cover-up placed the blame for the fire on government officials, various ethnic groups, foreign powers and other parties. Widespread belief persists within and outside Madagascar that a deliberate arson was the cause. Rumoured motivations for arson at the Rova were numerous and remain unproven. The revelation that important financial archives had been destroyed early on the morning of the fire sparked rumours that corrupt government officials had lit the blaze to create a public distraction from their illicit activities. Other explanations have included popular dissatisfaction with the election of divisive mayor Guy Willy Razanamasy or a flare-up of long-standing tensions among coastal peoples resentful of Merina socio-political domination. Accusations were also made against both then-president Albert Zafy and his predecessor, Didier Ratsiraka. The debate over why and how the Rova burned remains an unresolved and highly contentious subject decades later.
[EX A]: How many cultural and historical objects were involved in the fire at the Rova compound?

[EX Q]: Passage: The Early Netherlandish masters' influence reached artists such as Stefan Lochner and the painter known as the Master of the Life of the Virgin, both of whom, working in mid-15th-century Cologne, drew inspiration from imported works by van der Weyden and Bouts. New and distinctive painterly cultures sprang up; Ulm, Nuremberg, Vienna and Munich were the most important artistic centres in the Holy Roman Empire at the start of the 16th century. There was a rise in demand for printmaking (using woodcuts or copperplate engraving) and other innovations borrowed from France and southern Italy. Some 16th-century painters borrowed heavily from the previous century's techniques and styles. Even progressive artists such as Jan Gossaert made copies, such as his reworking of van Eyck's Madonna in the Church. Gerard David linked the styles of Bruges and Antwerp, often travelling between the cities. He moved to Antwerp in 1505, when Quentin Matsys was the head of the local painters' guild, and the two became friends.By the 16th century the iconographic innovations and painterly techniques developed by van Eyck had become standard throughout northern Europe. Albrecht Durer emulated van Eyck's precision. Painters enjoyed a new level of respect and status; patrons no longer simply commissioned works but courted the artists, sponsoring their travel and exposing them to new and wide-ranging influences. Hieronymus Bosch, active in the late 15th and early 16th centuries, remains one of the most important and popular of the Netherlandish painters. He was anomalous in that he largely forewent realistic depictions of nature, human existence and perspective, while his work is almost entirely free of Italian influences. His better-known works are instead characterised by fantastical elements that tend towards the hallucinatory, drawing to some extent from the vision of hell in van Eyck's Crucifixion and Last Judgement diptych. Bosch followed his own muse, tending instead towards moralism and pessimism. His paintings, especially the triptychs, are among the most significant and accomplished of the late Netherlandish period
The Reformation brought changes in outlook and artistic expression as secular and landscape imagery overtook biblical scenes. Sacred imagery was shown in a didactic and moralistic manner, with religious figures becoming marginalized and relegated to the background. Pieter Bruegel the Elder, one of the few who followed Bosch's style, is an important bridge between the Early Netherlandish artists and their successors. His work retains many 15th-century conventions, but his perspective and subjects are distinctly modern. Sweeping landscapes came to the fore in paintings that were provisionally religious or mythological, and his genre scenes were complex, with overtones of religious skepticism and even hints of nationalism.
[EX A]: What is the full name of the Netherlandish painter who was anomalous in that he largely forewent realistic depictions of nature, human existence and perspective?

[EX Q]: Passage: Now settled into Warner Bros. Records, the Chili Peppers began looking for a suitable producer. One in particular, Rick Rubin, stood out, as he was more broadminded than people the band had worked with in the past, even though Rubin had turned down the chance to produce their 1987 album The Uplift Mofo Party Plan due to the drug problems of Kiedis and guitarist Hillel Slovak (who would die of a heroin overdose a year later). Unlike the Peppers' previous producers, Rubin was someone the band felt confident in to ask for guidance and input during times of difficulty. He would often help arrange drum beats, guitar melodies and lyrics.The band sought to record the album in an unconventional setting, believing it would enhance their creative output. Rubin suggested the mansion magician Harry Houdini once lived in, to which they agreed. A crew was hired to set up a recording studio and other equipment required for production in the house in Los Angeles. The Peppers decided they would remain inside the mansion for the duration of recording, though according to Kiedis, Smith was convinced the location was haunted, and refused to stay. He would, instead, come each day by motorcycle. Smith himself disputes this account, and instead claims the real reason he did not stay at The Mansion was because he wanted to be with his wife. Frusciante, however, disagreed with Smith, and said "There are definitely ghosts in the house," and Frusciante felt they were "very friendly. We [the band] have nothing but warm vibes and happiness everywhere we go in this house."Frusciante, Kiedis, and Flea each had their own rooms in the house. When not recording with the band, Frusciante would spend his time painting, listening to music, reading and recording songs he'd written. Due to the seclusion, Kiedis ended up recording all his vocals in his room, as it was large enough to accommodate the recording equipment. For more than 30 days, the Chili Peppers worked inside the house; Kiedis felt it was an accommodating and resourceful environment which allowed him to complete the rest of the lyrics. During production, the band agreed to let Flea's brother-in-law document the creative process on film. When the album's recording was complete, the Chili Peppers released the film, titled Funky Monks.
[EX A]:
What's the full name of the man who suggested the Chili Peppers record in Houdini's former mansion?