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.

[Q]: 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.
[A]: What is the first name of the person who highlights Beiderbecke's precise timing, relaxed delivery, and pure tone?


[Q]: Passage: A woman's dead body is shown in a cluster of lantana bushes. 
Leon, a police officer, and Jane, have sex in a motel room. They part ways, and Leon and his wife, Sonja, attend Latin dance classes that the recently separated Jane is also taking.
Leon does not enjoy the classes. He is seen savagely beating a drug dealer during a bust. He has emotional issues but refuses to confront or admit to them. Sonja sees a therapist, Valerie, who has just published a book on her own daughter's murder 18 months ago. She and her husband, John, are barely on speaking terms; he later refers to their marriage as held together by their grief. She feels threatened by another patient, Patrick Phelan, who is having an affair with a married man, which forces Valerie to confront her own issues in her marriage to John.
Hoping to see Leon again, Jane purposely bumps into him outside the police station, and they have sex again despite Leon's reservations. Nik is upset that she is seeing someone because he is friends with her estranged husband, Pete, who wants to return home. Jane pairs up with Sonja in the next salsa class, which angers Leon, who ends their arrangement, which upsets Jane. She invites Nik over for coffee at the behest of Paula, with whom she is friendly and offers him money as they are struggling. Paula now starts to dislike Jane.
Valerie is coming home late one night and drives off the road. She is stranded and makes several calls to John, who does not answer. Finally, she is seen approaching a car coming along the road but never makes it home. Leon is the investigating detective on the case and looks into her office and notes.  Surprised at seeing his wife's name and file, he takes an audio recording of their sessions.
[A]: Whose disappearance is Leon investigating when he finds tapes of his wife's therapy sessions?


[Q]: Passage: Dan Emmett, who claimed credit for the song, had a close association with the Snowden Family Band, a group of freed slaves who collected slave songs and began performing in the 1850s. Snowden descendants attribute Emmett's song "Dixie" to the band.
A story dating to at least 1965 says that "Old Dan Tucker" was written by slaves about a man named Daniel Tucker who lived in Elbert County, Georgia. Tucker was a farmer, ferryman, and minister who appears in records from the late 18th and early 19th centuries. The story, as related by Mrs. Guy Rucker, the great-great-granddaughter of one of Tucker's neighbors, claims that Tucker became quite well liked by the slaves in his area through his ministry to them.According to this interpretation, the lyrics address Tucker directly. The chorus, "You're too late to get your supper" is a kindhearted taunt to a man who often arrived after dark, forcing his hosts to scrape up a meal for him. The song's occasional lewdness is explained by the natural impromptu nature of its supposed origin."Old Dan Tucker" does show evidence of black influence. For example, bizarre imagery in folk versions of the song (e.g., "toothache in his heel") may be a sign of legitimate black input (or of someone poking fun of slaves who had an incomplete knowledge of English). "Old Dan Tucker" most closely resembles African music in its call-and-response refrain.Daniel Tucker was buried in Elbert County in 1818. The Elbert County Chamber of Commerce today promotes his grave as a tourist attraction due to his possible connection with the character from the song.
[A]:
What is the first name of the person who wrote Dixie?