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 Input:
Passage: Despite a political climate that was unfavorable to modern art (often denounced as "formalist" by the communist authorities), post-war Polish composers enjoyed an unprecedented degree of compositional freedom following the establishment of the Warsaw Autumn festival in 1956. Górecki had won recognition among avant-garde composers for the experimental, dissonant and serialist works of his early career; he became visible on the international scene through such modernist works as Scontri, which was a success at the 1960 Warsaw Autumn, and his First Symphony, which was awarded a prize at the 1961 Paris Youth Bienniale. Throughout the 1960s, he continued to form acquaintanceships with other experimental and serialist composers such as Pierre Boulez and Karlheinz Stockhausen.
During the 1970s, Górecki began to distance himself from the serialism and extreme dissonance of his earlier work, and his Third Symphony, like the preceding choral pieces Euntes ibant et flebant (Op. 32, 1972) and Amen (Op. 35, 1975), starkly rejects such techniques. The lack of harmonic variation in Górecki's Third Symphony, and its reliance on repetition, marked a stage in Górecki's progression towards the harmonic minimalism and the simplified textures of his more recent work. Because of the religious nature of many of his works during this period, critics and musicologists often align him with other modernist composers who began to explore radically simplified musical textures, tonality, and melody, and who also infused many of their works with religious significance. Like-minded composers, such as Arvo Pärt and John Tavener, are frequently grouped with Górecki under the term "holy minimalism," although none of the composers classified as such has admitted to common influences.

Ex Output:
What is the last name of the person who continued to form acquaintanceships with other experimental and serialist composers ?


Ex Input:
Passage: Comic book fan Les Franken signs up for an experimental antidepressant. Dr. Dobson instructs him to take one pill per day. Les creates a diary for his experiences but feels no results. His lack of self-assurance keeps him from getting to know Maggie, a quiet girl who works at a grocery store.
After several days of taking the pill, Les experiences supernatural powers, beginning with the ability to float. Paying a visit to Dobson, he sees himself floating, but Dobson sees him lying on the floor; Les has no powers at all. He explains that Les is having an adverse psychotic reaction to the drug and orders him to stop taking it. Les instead convinces himself that he has telepathy and Dobson is mentally telling him to continue taking the drug.
Gaining self-confidence, Les quits his job in order to become a crime-fighting vigilante. He gains a reputation for tackling people after stopping a gunman from robbing Maggie's store, believing he is picking up telepathic intent from would-be perpetrators. He confides his new gifts to best friends Joey and Everett. Their initial reaction to his supposed ability to walk through walls is curiously ambiguous. The viewer only sees what Les believes he is doing rather than what his two friends actually witness. Les offers his services to the police but has to flee when he is recognized as the mystery "crime fighter".

Ex Output:
What is the first name of the person who lacks self-assurance?


Ex Input:
Passage: Rhythm Killers is an album by Jamaican musical duo Sly and Robbie. It was released in May 1987 by Island Records.
By the time of the album's recording, Sly and Robbie had transitioned away from their prolific work in the reggae genre. They spent the 1980s experimenting with electronic sounds and contemporary recording technology on international, cross-genre endeavors, as reflected by Rhythm Killers. For the album, they enlisted record producer Bill Laswell and an ensemble of musicians to work with at Quad Recording in New York City. Along with their live instruments, the duo used electronic recording equipment such as the Fairlight CMI synthesizer and electronic drums.
The predominantly funk and dance-oriented album is arranged into two side-long gapless suites of songs. Other styles featured on the record include hip hop, hard rock, worldbeat, and downtown music. Laswell's densely layered production incorporated electronic grooves, hard beats, string synthesizers, and cross-rhythms produced by turntable scratches, African and Latin-influenced percussion, and percussive raps.
Rhythm Killers charted in four countries, including the United Kingdom, where it peaked at number 35. It was promoted with two singles, including the UK hit "Boops (Here to Go)". The album received positive reviews from critics and was ranked in year-end lists by NME magazine and Village Voice critic Robert Christgau, who named it the seventh best record of 1987. Encouraged by its success, Sly and Robbie continued their digital direction on subsequent albums. Rhythm Killers has since been out of print.

Ex Output:
What are the names of the people who enlisted an ensemble of musicians to work with at Quad Recording in New York City?