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: Foreign correspondent Carey Jackson returns to New York City when his newspaper's Vienna office is closed and is offered a job on a women's magazine called Home Life. He accepts the position only because it will put him in daily contact with editor Linda Gilman, whom he once loved. Linda is averse to the idea because of his leaving her three years earlier, but agrees to hire him if he will keep their relationship on a strictly professional level.
The two head for the Brinker home in Crestville, Indiana, to prepare a feature story about eldest daughter Jeanne's (Barbara Bates) wedding to Bud Mitchell for the June issue. Linda wants Carey to write a simple story about the young couple, but he insists on looking for an angle, which presents itself in the form of Jeanne's younger sister Barbara (nicknamed "Boo") (Betty Lynn), who confesses she always has been in love with Bud, the brother of Jeanne's former beau Jim, who was dumped by Jeanne when he joined the Army. At first Carey proposes they ask an officer he knows to order Jim home for the wedding, but thinks better of it, knowing he will lose his job if the wedding plans are disrupted. Boo, however, secretly telephones Carey's friend and arranges a leave for Jim.
Complications ensue when Jim arrives home and Carey tries to get rid of him while Linda, unaware of the reality of the situation, intervenes and makes him stay. Jim and Jeanne elope, Linda fires Carey, Carey feigns interest in Boo to make Bud jealous, and the scheme succeeds, with Bud proposing to Boo. Despite losing his job, Carey writes his story, Linda realizes he always knew the truth about the couples, and the two reconcile.
[EX A]: What's the full name of the person that once loved the editor of Home Life?

[EX Q]: Passage: On his release, Tippett returned to his duties at Morley, where he boosted the college's Purcell tradition by persuading Alfred Deller, the countertenor, to sing several Purcell odes at a  concert on 21 October 1944—the first modern use of a countertenor  in Purcell's music. Tippett formed a fruitful musical friendship with Benjamin Britten and Peter Pears, for whom he wrote the cantata Boyhood's End for tenor and piano. Encouraged by Britten, Tippett made arrangements for the first performance of A Child of Our Time, at London's Adelphi Theatre on 19 March 1944. Goehr conducted the London Philharmonic Orchestra, and Morley's choral forces were augmented by the London Regional Civil Defence Choir. Pears sang the tenor solo part, and other soloists were borrowed from Sadler's Wells Opera. The work was well received by critics and the public, and eventually became one of the most frequently performed large-scale choral works of the post-Second World War period, in Britain and overseas. Tippett's immediate reward was a commission from the BBC for a motet, The Weeping Babe, which became his first broadcast work when it was aired on 24 December 1944. He also began to give regular radio talks on music.In 1946 Tippett organised at Morley the first British performance of Monteverdi's Vespers, adding his own organ Preludio for the occasion. Tippett's compositions in the immediate postwar years included his  First Symphony, performed under Sargent in November 1945, and the String Quartet No. 3, premiered in October 1946 by the Zorian Quartet. His main creative energies were increasingly devoted to his first major opera, The Midsummer Marriage. During the six years from 1946 he composed almost no other music, apart from the Birthday Suite for Prince Charles (1948).
[EX A]: What is the name of the person who boosted the college's Purcell tradition by persuading the countertenor to sing several Purcell odes at a concert on 21 October 1944?

[EX Q]: Passage: In August 1953, Presley checked into the offices of Sun Records. He aimed to pay for a few minutes of studio time to record a two-sided acetate disc: "My Happiness" and "That's When Your Heartaches Begin". He later claimed that he intended the record as a gift for his mother, or that he was merely interested in what he "sounded like", although there was a much cheaper, amateur record-making service at a nearby general store. Biographer Peter Guralnick argued that he chose Sun in the hope of being discovered. Asked by receptionist Marion Keisker what kind of singer he was, Presley responded, "I sing all kinds." When she pressed him on who he sounded like, he repeatedly answered, "I don't sound like nobody." After he recorded, Sun boss Sam Phillips asked Keisker to note down the young man's name, which she did along with her own commentary: "Good ballad singer. Hold."In January 1954, Presley cut a second acetate at Sun Records—"I'll Never Stand in Your Way" and "It Wouldn't Be the Same Without You"—but again nothing came of it. Not long after, he failed an audition for a local vocal quartet, the Songfellows. He explained to his father, "They told me I couldn't sing." Songfellow Jim Hamill later claimed that he was turned down because he did not demonstrate an ear for harmony at the time. In April, Presley began working for the Crown Electric company as a truck driver. His friend Ronnie Smith, after playing a few local gigs with him, suggested he contact Eddie Bond, leader of Smith's professional band, which had an opening for a vocalist. Bond rejected him after a tryout, advising Presley to stick to truck driving "because you're never going to make it as a singer".Phillips, meanwhile, was always on the lookout for someone who could bring to a broader audience the sound of the black musicians on whom Sun focused. As Keisker reported, "Over and over I remember Sam saying, 'If I could find a white man who had the Negro sound and the Negro feel, I could make a billion dollars.'" In June, he acquired a demo recording by Jimmy Sweeney of a ballad, "Without You", that he thought might suit the teenage singer. Presley came by the studio, but was unable to do it justice. Despite this, Phillips asked Presley to sing as many numbers as he knew. He was sufficiently affected by what he heard to invite two local musicians, guitarist Winfield "Scotty" Moore and upright bass player Bill Black, to work something up with Presley for a recording session.
[EX A]:
What is the last name of the artist that the receptionist marked as a "Good ballad singer."?