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.

Passage: Like Green, who made particular mention of Beiderbecke's "amount of teaching," the jazz historian Ted Gioia also has emphasized Beiderbecke's lack of formal instruction, suggesting that it caused him to adopt "an unusual, dry embouchure" and "unconventional fingerings," which he retained for the rest of his life. Gioia points to "a characteristic streak of obstinacy" in Beiderbecke that provokes "this chronic disregard of the tried-and-true." He argues that this stubbornness was behind Beiderbecke's decision not to switch from cornet to trumpet when many other musicians, including Armstrong, did so. In addition, Gioia highlights Beiderbecke's precise timing, relaxed delivery, and pure tone, which contrasted with "the dirty, rough-edged sound" of King Oliver and his protégé Armstrong, whose playing was often more energetic and whose style held more sway early in the 1920s than Beiderbecke's.
Beiderbecke's playing - both as a cornetist and a pianist - had a profound effect on a number of his contemporaries. Eddie Condon, for instance, described Beiderbecke's cornet playing as "like a girl saying yes" and also wrote of being amazed by Beiderbecke's piano playing: "All my life I had been listening to music […] But I had never heard anything remotely like what Beiderbecke played. For the first time I realized music isn't all the same, it had become an entirely new set of sounds" "I tried to explain Bix to the gang," Hoagy Carmichael wrote, but "[i]t was no good, like the telling of a vivid, personal dream […] the emotion couldn't be transmitted."Mezz Mezzrow described Beiderbecke's tone as being "pickled in alcohol […] I have never heard a tone like he got before or since. He played mostly open horn, every note full, big, rich and round, standing out like a pearl, loud but never irritating or jangling, with a powerful drive that few white musicians had in those days."Some critics have highlighted "Jazz Me Blues", recorded with the Wolverines on February 18, 1924, as being particularly important to understanding Beiderbecke's style. Although it was one of his earliest recordings, the hallmarks of his playing are evident. "The overall impression we get from this solo, as in all of Bix at his best," writes the trumpeter Randy Sandke, "is that every note is spontaneous yet inevitable." Richard Hadlock describes Beiderbecke's contribution to "Jazz Me Blues" as "an ordered solo that seems more inspired by clarinetists Larry Shields of the ODJB and Leon Roppolo of the NORK than by other trumpet players." He goes on to suggest that clarinetists, by virtue of their not being tied to the melody as much as cornetists and trumpet players, could explore harmonies.
What is the first name of the person who highlights Beiderbecke's precise timing, relaxed delivery, and pure tone?

Passage: In his field and day, Wright was certainly eclipsed by his rival the more prolific Lely, to whom he is often compared. One critic, Millar, observes that any comparisons undertaken would "ruthlessly expose Wright's weaknesses and mannerisms" but that positively "they would also demonstrate his remarkable independence, his unfailing integrity and charm, the sources of which must partly lie in his unusual origins, fragmented career and attractive personality". Millar suggests that a particularly useful comparison can be made between Lely and Wright's respective portrayals of the Duchess of Clevland (Barbara Villiers) (above). Whereas Lely portrayed her as a "full-blown and palpably desirable strumpet", the more seriously minded Wright, who was not really in sympathy with the morality of the new court and its courtesans, rendered a more puppet-like figure.However, even if Lely was considered the more masterly and fashionable of the two in seventeenth-century Britain, Wright is generally accepted as portraying the more lively and realistic likenesses of his subjects, a fact that reinforces Pepys's observation that Lely's work was "good but not like". Neither should Wright's realism be confused with a prudishness; as can be seen, for example, in his portrait the lady, thought to be Ann Davis (right). The picture, with the sitter's clothing left undone and her modesty barely preserved by a red drape, has been described as exhibiting a fresh – even risky – reality: erotic by contemporary standards. Whereas Wright's contemporaries might have used the ‘disguise’ of presenting the sitter in the guise of a classical goddess to protect against accusation of  salaciousness, Wright's portrait rather depends on his realism, notably in his flesh tones, and depth.
What is the name of the person who was portrayed as a "full-blown and palpably desirable strumpet?"?

Passage: The film opens in the year 1958, where steel heiress Edna Buxton enters a talent contest. Her overbearing mother is at odds with her, arguing that Edna should choose a specific song and wardrobe for the contest. At the contest, Edna swaps dresses with a blue singer named Doris, and even changes her song at the last minute, infuriating her mother, who leaves before seeing Edna win the competition.
An excited Edna decides to use her grand prize winnings to record a demo. The studio producer tactfully delivers the painful truth to Edna that not only are girl singers not getting signed, the record companies are trying to get rid of the ones currently on their rosters. However, when Edna tells him that she wrote the song, he is impressed enough to direct her to Joel Milner who takes her under his wing, renames her "Denise Waverly" and invents a blue-collar persona for her. Milner reworks her song for a male doo-wop group, the Stylettes, as male solo artists are groups are far more marketable. The song becomes a hit.
Denise (formerly Edna) moves to New York City and becomes a songwriter in the Brill Building. At a party, she meets the arrogant songwriter Howard Caszatt, and despite an awkward initial meeting they become romantically involved. She also reunites with Doris. Denise offers to and writes a song specifically for Doris and her two girlfriends, persuading Milner to audition and hire the group. 
In 1965, Howard and Denise begin writing together; they pen a song called "Unwanted Number," based on a young girl's unwanted pregnancy.  Although it is banned, it attracts the attention of prominent and influential disc jockey John Murray who, despite the negative attention of the song, credits Denise with sparking the craze for girl groups.
What is the full name of the person that changes their song last minute?