In this task, you are given a question and a context passage. You have to answer the question based on the given passage.

Q: Who can remove the plague?, Context: A number of non-Greek etymologies have been suggested for the name, The Hittite form Apaliunas (dx-ap-pa-li-u-na-as) is attested in the Manapa-Tarhunta letter, perhaps related to Hurrian (and certainly the Etruscan) Aplu, a god of plague, in turn likely from Akkadian Aplu Enlil meaning simply "the son of Enlil", a title that was given to the god Nergal, who was linked to Shamash, Babylonian god of the sun. The role of Apollo as god of plague is evident in the invocation of Apollo Smintheus ("mouse Apollo") by Chryses, the Trojan priest of Apollo, with the purpose of sending a plague against the Greeks (the reasoning behind a god of the plague becoming a god of healing is of course apotropaic, meaning that the god responsible for bringing the plague must be appeased in order to remove the plague).

A: god of plague
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Q: Why did using the method Bach didn't use, gain traction?, Context: The theories surrounding equal temperament began to be put in wider practice, especially as it enabled a wider range of chromatic possibilities in hard-to-tune keyboard instruments. Although Bach did not use equal temperament, as a modern piano is generally tuned, changes in the temperaments from the meantone system, common at the time, to various temperaments that made modulation between all keys musically acceptable, made possible Bach's Well-Tempered Clavier.

A: it enabled a wider range of chromatic possibilities in hard-to-tune keyboard instruments
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Q: when did the united kingdom develop thier cultural studies, Context: Scholars in the United Kingdom and the United States developed somewhat different versions of cultural studies after the late 1970s. The British version of cultural studies had originated in the 1950s and 1960s, mainly under the influence first of Richard Hoggart, E. P. Thompson, and Raymond Williams, and later that of Stuart Hall and others at the Centre for Contemporary Cultural Studies at the University of Birmingham. This included overtly political, left-wing views, and criticisms of popular culture as "capitalist" mass culture; it absorbed some of the ideas of the Frankfurt School critique of the "culture industry" (i.e. mass culture). This emerges in the writings of early British cultural-studies scholars and their influences: see the work of (for example) Raymond Williams, Stuart Hall, Paul Willis, and Paul Gilroy.

A:
1950s and 1960s
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