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: "City of Angels" was written by lead vocalist Jared Leto, who also produced the song with Steve Lillywhite. The latter had previously worked with Thirty Seconds to Mars on the production of the band's third studio album, This Is War (2009). The song was engineered by Jamie Reed Schefman and mixed by Serban Ghenea. John Hanes engineered it for mixing at Mixstar Studios in Virginia Beach, Virginia. It was recorded at The International Centre for the Advancement of the Arts and Sciences of Sound in Los Angeles, California and mastered by Howie Weinberg and Dan Gerbarg at Howie Weinberg Mastering. Thirty Seconds to Mars unveiled six songs from their fourth studio album Love, Lust, Faith and Dreams, including "City of Angels", during a preview held at the Electric Lady Studios in New York City on March 14, 2013. Shannon Leto revealed that it was the oldest song written for the album and took a long time to make.While writing the song, Leto was influenced by the culture of Los Angeles and inspired by his relationship with it. He explained that pursuing his creative ambitions in Los Angeles had led to a "love/hate relationship" with the city. Leto told Interview magazine, "the song is about people coming to the City of Angels to live their dreams and to make their dreams their reality. It's about how the other people they've met in the city have helped them—you know, a group of people all kind of joining together into a community of outsiders, of mavericks, of freaks, of artists. It's about coming to a place to do something different and something special.".

Answer: What is the first name of the person who was influenced by the culture of Los Angeles and inspired by his relationship with it?


Question: Passage: Monday marked the beginning of organised action, even as order broke down in the streets, especially at the gates, and the fire raged unchecked. Bloodworth was responsible as Lord Mayor for co-ordinating the fire-fighting, but he had apparently left the City; his name is not mentioned in any contemporaneous accounts of the Monday's events. In this state of emergency, the King again overrode the City authorities and put his brother James, Duke of York, in charge of operations.
James set up command posts round the perimeter of the fire, press-ganging into teams of well-paid and well-fed firemen any men of the lower classes found in the streets. Three courtiers were put in charge of each post, with authority from Charles himself to order demolitions. This visible gesture of solidarity from the Crown was intended to cut through the citizens' misgivings about being held financially responsible for pulling down houses. James and his life guards rode up and down the streets all Monday, rescuing foreigners from the mob and attempting to keep order. "The Duke of York hath won the hearts of the people with his continual and indefatigable pains day and night in helping to quench the Fire," wrote a witness in a letter on 8 September.On Monday evening, hopes were dashed that the massive stone walls of Baynard's Castle, Blackfriars would stay the course of the flames, the western counterpart of the Tower of London. This historic royal palace was completely consumed, burning all night.A contemporary account said that King Charles in person worked manually, that day or later, to help throw water on flames and to help demolish buildings to make a firebreak.

Answer: What is the last name of the person who had a brother named James?


Question: Passage: The Esquisses of 1861 are a set of highly varied miniatures, ranging from the tiny 18-bar no. 4, Les cloches (The Bells), to the strident tone clusters of no. 45, Les diablotins (The Imps), and closing with a further evocation of church bells in no. 49, Laus Deo (Praise God). They were preceded in publication by Alkan's deceptively titled Sonatine, Op. 61, in 'classical' format, but a work of "ruthless economy [which] although it plays for less than twenty minutes ... is in every way a major work."Two of Alkan's substantial works from this period are musical paraphrases of literary works. Salut, cendre du pauvre, Op. 45 (1856), follows a section of the poem La Mélancolie by Gabriel-Marie Legouvé; while Super flumina Babylonis, Op. 52 (1859), is a blow-by-blow recreation in music of the emotions and prophecies of Psalm 137 ("By the waters of Babylon ..."). This piece is prefaced by a French version of the psalm which is believed to be the sole remnant of Alkan's Bible translation. Alkan's lyrical side was displayed in this period by the five sets of Chants inspired by Mendelssohn, which appeared between 1857 and 1872, as well as by a number of minor pieces.
Alkan's publications for organ or pédalier commenced with his Benedictus, Op. 54 (1859). In the same year he published a set of very spare and simple preludes in the eight Gregorian modes (1859, without opus number), which, in Smith's opinion, "seem to stand outside the barriers of time and space", and which he believes reveal "Alkan's essential spiritual modesty." These were followed by pieces such as the 13 Prières (Prayers), Op. 64 (1865), and the Impromptu sur le Choral de Luther "Un fort rempart est notre Dieu" , op. 69 (1866). Alkan also issued a book of 12 studies for the pedalboard alone (no opus number, 1866) and the Bombardo-carillon for pedalboard duet (four feet) of 1872.Alkan's return to the concert platform at his Petits Concerts, however, marked the end of his publications; his final work to be issued was the Toccatina, Op. 75, in 1872.

Answer:
What is the name of the person who believes that the set of very spare and simple preludes in the eight Gregorian modes, published in 1859, reveal "Alkan's essential spiritual modesty"?