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.
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Question: Passage: Music critic J. D. Considine noted "on albums, Jackson's sound isn't defined by her voice so much as by the way her voice is framed by the lush, propulsive production of Jimmy Jam and Terry Lewis." Wendy Robinson of PopMatters said "the power of Janet Jackson's voice does not lie in her pipes. She doesn't blow, she whispers ... Jackson's confectionary vocals are masterfully complemented by gentle harmonies and balanced out by pulsing rhythms, so she's never unpleasant to listen to."Matthew Perpetus of Fluxblog suggested Jackson's vocal techniques as a study for indie rock music, considering it to possess "a somewhat subliminal effect on the listener, guiding and emphasizing dynamic shifts without distracting attention from its primal hooks." Perpetus added: "Her voice effortlessly transitions from a rhythmic toughness to soulful emoting to a flirty softness without overselling any aspect of her performance ... a continuum of emotions and attitudes that add up to the impression that we're listening to the expression of a fully-formed human being with contradictions and complexities."Jackson's music has encompassed a broad range of genres. Her records from the 1980s have been described as being influenced by Prince, as her producers are ex-members of the Time. Sal Cinquemani wrote that in addition to defining Top 40 radio, she "gave Prince's Minneapolis sound a distinctly feminine—and, with songs like 'What Have You Done for Me Lately?,' 'Nasty,' 'Control,' and 'Let's Wait Awhile,' a distinctly feminist—spin."On Control, Richard J. Ripani documented that she, Jam and Lewis had "crafted a new sound that fuses the rhythmic elements of funk and disco, along with heavy doses of synthesizers, percussion, sound effects, and a rap music sensibility." Author Rickey Vincent stated that she has often been credited for redefining the standard of popular music with the industrial-strength beats of the album. She is considered a trendsetter in pop balladry, with Richard Rischar stating "the black pop ballad of the mid-1980s had been dominated by the vocal and production style that was smooth and polished, led by singers Whitney Houston, Janet Jackson, and James Ingram."Jackson continued her musical development by blending pop and urban music with elements of hip-hop in the nineties. This included a softer representation, articulated by lush, soulful ballads and up-tempo dance beats. She is described by music critic Greg Kot as "an artist who has reshaped the sound and image of rhythm and blues" within the first decade of her career. Critic Karla Peterson remarked that "she is a sharp dancer, an appealing performer, and as 'That's the Way Love Goes' proves—an ace pop-song writer." Selected material from the following decade has been viewed less favorably, as Sal Cinquemani comments "except for maybe R.E.M., no other former superstar act has been as prolific with such diminishing commercial and creative returns."Jackson has changed her lyrical focus over the years, becoming the subject of analysis in musicology, African American studies, and gender studies. David Ritz compared Jackson's musical style to Marvin Gaye's, stating, "like Marvin, autobiography seemed the sole source of her music. Her art, also like Marvin's, floated over a reservoir of secret pain." Much of her success has been attributed to "a series of powerful, metallic grooves; her chirpy, multi-tracked vocals; and a lyrical philosophy built on pride and self-knowledge." Ritz also stated, "The mystery is the low flame that burns around the perimeters of Janet Jackson's soul. The flame feeds off the most highly combustible elements: survival and ambition, caution and creativity, supreme confidence and dark fear."During the 1980s, her lyrics embodied self-actualization, feminist principles, and politically driven ideology. Gillian G. Gaar described Control as "an autobiographical tale about her life with her parents, her first marriage, and breaking free." Jessie Carney Smith wrote "with that album, she asserted her independence, individuality, and personal power. She challenged audiences to see her as a transformed person, from an ingénue to a grow-up, multi-talented celebrity." Referring to Rhythm Nation 1814 as an embodiment of hope, Timothy E. Scheurer wrote "It may remind some of Sly Stone prior to There's a Riot Going On and other African-American artists of the 1970s in its tacit assumption that the world imagined by Dr. King is still possible, that the American Dream is a dream for all people."On Janet, Jackson began focusing on sexual themes. Shayne Lee wrote that her music over the following decade "brand[ed] her as one of the most sexually stimulating vocalists of the 1990s." Lilly J. Goren observed "Jackson's evolution from politically aware musician to sexy diva marked the direction that society and the music industry were encouraging the dance-rock divas to pursue." The Washington Post declared Jackson's public image over the course of her career had shifted "from innocence to experience, inspiring such carnal albums as 1993's 'Janet' and 1997's 'The Velvet Rope', the latter of which explored the bonds—figuratively and literally—of love and lust."The song "Free Xone" from The Velvet Rope, which portrays same-sex relationships in a positive light, is described by sociologist Shayne Lee as "a rare incident in which a popular black vocalist explores romantic or sensual energy outside the contours of heteronormativity, making it a significant song in black sexual politics." During promotion for Janet, she stated "I love feeling deeply sexual—and don't mind letting the world know. For me, sex has become a celebration, a joyful part of the creative process."Upon the release of Damita Jo, Jackon stated "Beginning with the earlier albums, exploring—and liberating—my sexuality has been an ongoing discovery and theme," adding "As an artist, that's not only my passion, it's my obligation." Stephen Thomas Erlewine has found Jackson's consistent inclusion of sex in her music lacking ingenuity, especially in comparisons to other artists such as Prince, stating "while sex indisputably fuels much great pop music, it isn't an inherently fascinating topic for pop music—as with anything, it all depends on the artist.".

Answer: What is the first name of the person whose sound, according to Considine, isn't defined by her voice so much as by the way her voice is framed by the propulsive production of Jam and Lewis?


Question: Passage: The story opens with Georges Iscovescu recounting his story to a Hollywood film director at Paramount in an effort to earn some quick cash. Georges is a Romanian-born gigolo who has arrived in a Mexican border town seeking entry to the US. He has to endure a waiting period of up to eight years in order to obtain a quota number, living with other hopeful immigrants in the Esperanza Hotel. After six months he is broke and unhappy. When he runs into his former dancing partner Anita Dixon she explains how she quickly obtained US citizenship by marrying an American, who she then, just as quickly, divorced.
Georges resolves on the same plan. He soon targets visiting school teacher Miss Emmy Brown, who is in Mexico on a day trip with her class of about fifteen young boys. Georges manages to extend the time necessary to repair her broken down automobile.  Emmy and her pupils sleep in the lobby of the full-up Esperanza Hotel.  This provides Georges the opportunity to quickly and intensively woo Emmy in the early morning hours; she awakens to him sitting nearby and gazing at her lovingly. By claiming she is the exact image of the lost love of his life, his seemingly intense ardor toward a stranger is plausible, and they marry later that same day. However, George must wait some weeks before entering the US, and Emmy returns home with the boys.

Answer: What is the name of the person who gives George the idea to marry the school teacher?


Question: Passage: The painting was included in Lichtenstein's first solo exhibition at The Leo Castelli Gallery, a show in which all the works had pre-sold before its opening in February 1962. The exhibition, which ran from February 10 through March 3, 1962, included Engagement Ring, Blam and The Refrigerator. He included the painting in his Artist's Studio—Look Mickey (1973), showing it hanging prominently on the wall of the pictorial space intended to depict his studio as the ideal studio, and implying that his popularity with critic and public ratifies his choice of popular culture subject matter. Reflecting on Look Mickey many years later, he said:
The idea of doing [a cartoon painting] without apparent alteration just occurred to me ... and I did one really almost half seriously to get an idea of what it might look like. And as I was painting this painting I kind of got interested in organizing it as a painting and brought it to some kind of conclusion as an aesthetic statement, which I hadn't really intended to do to begin with. And then I really went back to my other kind of painting, which was pretty abstract. Or tried to. But I had this cartoon painting in my studio, and it was a little too formidable. I couldn't keep my eyes off it, and it sort of prevented me from painting in any other way, and then I decided this stuff was really serious ... I would say I had it on my easel for a week. I would just want to see what it looked like. I tried to make it a work of art. I wasn't trying just to copy. I realized that this was just so much more compelling.
The painting was bequeathed to the Washington National Gallery of Art after Lichtenstein's death in 1997, following a 1990 pledge in honor of the institution's 50th Anniversary. It remains in the gallery's collection, where, as of November 2012, it is on permanent view.Harold Rosenberg once described Lichtensteins reworking of the comics source as follows: "...the difference between a comic strip of Mickey Mouse and a Lichtenstein painting of the same was art history, or the fact that Lichtenstein paints with the idea of the museum in mind.".

Answer:
Where is the cartoon painting on permanent display today?