In this task, you're given a question, along with a context passage which has extra information available on certain terms mentioned in it. Your job is to determine which sentence(s) from the passage can be used to search for further information needed to answer the question.

[EX Q]: Question: What other bands performed alongside The Who the year they played the Monterey Pop Festival? Passage:The Who developed from an earlier group, the Detours, and established themselves as part of the pop art and mod movements, featuring auto-destructive art by destroying guitars and drums on stage. Their first single as the Who, "I Can't Explain", reached the UK topten, and was followed by a string of singles including "My Generation", "Substitute" and "Happy Jack". In 1967, they performed at the Monterey Pop Festival and released the US topten single "I Can See for Miles", while touring extensively. The group's fourth album, 1969's rock opera Tommy, included the single "Pinball Wizard" and was a critical and commercial success. Live appearances at Woodstock and the Isle of Wight Festival, along with the live album Live at Leeds, cemented their reputation as a respected rock act. With their success came increased pressure on lead songwriter Townshend, and the follow-up to Tommy, Lifehouse, was abandoned. Songs from the project made up 1971's Who's Next, which included the hit "Won't Get Fooled Again". The group released the album Quadrophenia in 1973 as a celebration of their mod roots, and oversaw the film adaptation of Tommy in 1975. They continued to tour to large audiences before semi-retiring from live performances at the end of 1976. The release of Who Are You in 1978 was overshadowed by the death of Moon shortly after.

[EX A]: In 1967, they performed at the Monterey Pop Festival and released the US topten single "I Can See for Miles", while touring extensively

[EX Q]: Question: How long had California been a state for by the year Dodds moved there? Passage:Dodds gained a reputation as a top young drummer in New Orleans. In 1918, Dodds left Sonny Celestin's outfit to play in Fate Marable's riverboat band. A young Louis Armstrong also joined the band, and the two of them were on the boats for three years (from 1918 to 1921). The band played on four different boats, and usually left New Orleans in May and travel to St. Louis, though they also sometimes traveled further north. They played jazz, popular, and classical music while on the boats. Dodds and Armstrong left Fate Marable's band in 1921 due to a disagreement about musical style, and Dodds soon joined King Oliver's Creole Jazz Band. At this time, the personnel in Oliver's band were Joe "King" Oliver on cornet, Baby Dodds' brother Johnny Dodds on clarinet, Davey Jones on alto saxophone, Honore Dutrey on trombone, Lil Hardin on piano, Jimmy Palao on violin, and Eddie Garland on bass fiddle. They moved to California in 1921 to work with Oliver there, and they played together for about fifteen months. In 1922, the band, excepting Garland, Palao, and Jones, followed Oliver to Chicago, which would be his base of operations for several years. They began playing at the Lincoln Gardens, and Louis Armstrong also joined this outfit. Dodds describes playing with this band as "a beautiful experience". Dodds recorded with Louis Armstrong, Jelly Roll Morton, Art Hodes, and his brother Johnny Dodds. Dodds played in Louis Armstrong's Hot Five and Hot Seven groups. In May 1927 Armstrong recorded with the Hot Seven, which consisted of Johnny Dodds, Johnny St. Cyr, Lil Hardin Armstrong, John Thomas, Pete Briggs, and Baby Dodds. From September to December 1927 the Hot Five Armstrong assembled consisted of Johnny Dodds, Kid Ory, Johnny St. Cyr, Lonnie Johnson, and Baby Dodds.

[EX A]: They moved to California in 1921 to work with Oliver there, and they played together for about fifteen months

[EX Q]: Question: What was the name of Max's paternal grandmother? Passage:Max Steiner was born on May 10, 1888, in Austria-Hungary, as the only child in a wealthy business and theatrical family of Jewish heritage. He was named after his paternal grandfather, Maximilian Steiner (18391880), who was credited with first persuading Johann Strauss II to write for the theater, and was the influential manager of Vienna's historic Theater an der Wien. His parents were Marie Josefine/Mirjam (Hasiba) and Hungarian Jewish Gabor Steiner (18581944, born in Temesvar, Kingdom of Hungary, Austrian Empire), a Viennese impresario, carnival exposition manager, and inventor, responsible for building the Wiener Riesenrad. His father encouraged Steiner's musical talent, and allowed him to conduct an American operetta at the age of twelve, The Belle of New York which allowed Steiner to gain early recognition by the operetta's author, Gustave Kerker. Steiner's mother Marie was a dancer in stage productions put on by his grandfather when she was young, but later became involved in the restaurant business. His godfather was the composer Richard Strauss who strongly influenced Steiner's future work. Steiner often credited his family for inspiring his early musical abilities. As early as six years old, Steiner was taking three or four piano lessons a week, yet often became bored of the lessons. Because of this, he would practice improvising on his own, his father encouraging him to write his music down. Steiner cited his early improvisation as an influence of his taste in music, particularly his interest in the music of Claude Debussy which was "avant garde" for the time. In his youth, he began his composing career through his work on marches for regimental bands and hit songs for a show put on by his father.

[EX A]:
He was named after his paternal grandfather, Maximilian Steiner (18391880), who was credited with first persuading Johann Strauss II to write for the theater, and was the influential manager of Vienna's historic Theater an der Wien