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: After the studio sessions, Bloc Party embarked on a tour of North American and European summer festivals. One of the recorded tracks, "Mercury", was released as a single on 11 August 2008 and peaked at number 16 on the UK Singles Chart. At the time, the band confirmed the existence of further material, but noted that a record release date was scheduled for the end of 2008 at the earliest. Bloc Party unexpectedly announced the completion of Intimacy on 18 August 2008 via a webcast and confirmed a release within 60 hours. The band members wanted to revive the importance of a new album's release in an era in which the excitement has dissipated because of extensive Internet coverage. They were inspired by Radiohead's marketing of In Rainbows in 2007, but did not consider a "free" sale option. Little press was undertaken in the UK to promote the record because of Okereke's reluctance to discuss personal aspects of his life.
Intimacy was made available for download on Bloc Party's website on 21 August 2008. Ten MP3 tracks were sold with a plain black JPEG cover for £5, and a £10 option for the online songs and the future expanded CD was also available. The album title was picked as a "double bluff" with regard to people's expectations; Okereke has explained, "You'd think of wet balladeering. You don't think it's gonna be ugly or harsh. But that's what relationships are really like. It's not just about good times." The release was called "rushed" by publications such as Billboard and The Independent. Tong disagreed with the label and stated that Bloc Party wanted to make a statement that was surprising to anyone interested in their work.The band showcased tracks from Intimacy at Reading Festival at the end of August 2008 and embarked on a North American tour during September. UK appearances on the MTV2 Gonzo Tour and the release of the second single, "Talons", preceded the physical release of the album in October, which entered the UK Albums Chart at number eight. In the U.S, the record sold 24,000 copies during the first week of release and debuted at number 18 on the Billboard 200. By August 2012 it had sold 85,000 copies in the United States. Comprehensive sales figures have not been published because the digital download data has not been publicly reported by Bloc Party. The chosen cover art is a stylised shot of a couple kissing, taken by freelance photographer Perry Curties. It was ranked at number 23 on Gigwise's list of The Best Album Covers of 2008, in which the publication called it "intimate and rather ambiguous".
[EX A]: Which record sold 24,000 copies during the first week of release and debuted at number 18 on the Billboard 200??

[EX Q]: Passage: The opening melody is played by a solo bassoon in a very high register, which renders the instrument almost unidentifiable; gradually other woodwind instruments are sounded and are eventually joined by strings. The sound builds up before stopping suddenly, Hill says, "just as it is bursting ecstatically into bloom". There is then a reiteration of the opening bassoon solo, now played a semitone lower.
The first dance, "Augurs of Spring", is characterised by a repetitive stamping chord in the horns and strings, based on E♭ dominant 7 superimposed on a triad of E, G♯ and B. White suggests that this bitonal combination, which Stravinsky considered the focal point of the entire work, was devised on the piano, since the constituent chords are comfortable fits for the hands on a keyboard. The rhythm of the stamping is disturbed by Stravinsky's constant shifting of the accent, on and off the beat, before the dance ends in a collapse, as if from exhaustion. Alex Ross has summed up the pattern as follows:
According to Roger Nichols (1978, p7) “At first sight there seems no pattern in the distribution of accents to the stamping chords.  Taking the initial quaver of bar 1 as a natural accent we have for the first outburst the following groups of quavers: 9, 2, 6, 3, 4, 5, 3. However, these apparently random numbers make sense when split into two groups:
Clearly the top line is decreasing, the bottom line increasing, and by respectively decreasing and increasing amounts …Whether Stravinsky worked them out like this we shall probably never know.  But the way two different rhythmic ‘orders’ interfere with each other to produced apparent chaos is… a typically Stravinskyan notion." The "Ritual of Abduction" which follows is described by Hill as "the most terrifying of musical hunts". It concludes in a series of flute trills that usher in the "Spring Rounds", in which a slow and laborious theme gradually rises to a dissonant fortissimo, a "ghastly caricature" of the episode's main tune.
Brass and percussion predominate as the "Ritual of the Rival Tribes" begins. A tune emerges on tenor and bass tubas, leading after much repetition to the entry of the Sage's procession. The music then comes to a virtual halt, "bleached free of colour" (Hill), as the Sage blesses the earth. The "Dance of the Earth" then begins, bringing Part I to a close in a series of phrases of the utmost vigour which are abruptly terminated in what Hill describes as a "blunt, brutal amputation".
[EX A]: What concludes in a series of flute trills that usher in the "Spring Rounds"?

[EX Q]: Passage: In 1929 young Brooklynite Moss Hart, influenced by the great playwrights, devotes his leisure time to writing for the theater. Failing in his aspirations, however, he accepts a job as social director in the Catskills and then stages plays at the YMHA in Newark. 
Eventually he takes the advice of agent Richard Maxwell and writes a comedy, Once in a Lifetime, which deals with the early days of Hollywood films, despite the fact that his knowledge of the movie industry is derived from the pages of Variety. 
After being subsidized by a friend, Joe Hyman, he sends the manuscript to producer Warren Stone, who promises a decision within a week. When months pass without any word, Hart's friends sneak a copy of the play to Sam Harris, who agrees to produce it if George Kaufman will collaborate on the script and also direct. 
Although Kaufman consents, the Atlantic City opening is a failure, and he considers quitting until Hart comes up with an idea that both men feel will turn the play into a hit. It finally opens to rave reviews in New York City in September 1930, thus beginning the long-lasting Kaufman-Hart collaboration.
[EX A]:
Who does Joe Hyman subsidize?