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.

Example Input: Passage: Ravel was not by inclination a teacher, but he gave lessons to a few young musicians he felt could benefit from them. Manuel Rosenthal was one, and records that Ravel was a very demanding teacher when he thought his pupil had talent. Like his own teacher, Fauré, he was concerned that his pupils should find their own individual voices and not be excessively influenced by established masters. He warned Rosenthal that it was impossible to learn from studying Debussy's music: "Only Debussy could have written it and made it sound like only Debussy can sound." When George Gershwin asked him for lessons in the 1920s, Ravel, after serious consideration, refused, on the grounds that they "would probably cause him to write bad Ravel and lose his great gift of melody and spontaneity". The best known composer who studied with Ravel was probably Ralph Vaughan Williams, who was his pupil for three months in 1907–08. Vaughan Williams recalled that Ravel helped him escape from "the heavy contrapuntal Teutonic manner ... Complexe mais pas compliqué was his motto."Vaughan Williams's recollections throw some light on Ravel's private life, about which the latter's reserved and secretive personality has led to much speculation. Vaughan Williams, Rosenthal and Marguerite Long have all recorded that Ravel frequented brothels. Long attributed this to his self-consciousness about his diminutive stature, and consequent lack of confidence with women. By other accounts, none of them first-hand, Ravel was in love with Misia Edwards, or wanted to marry the violinist Hélène Jourdan-Morhange. Rosenthal records and discounts contemporary speculation that Ravel, a lifelong bachelor, may have been homosexual. Such speculation recurred in a 2000 life of Ravel by Benjamin Ivry; subsequent studies have concluded that Ravel's sexuality and personal life remain a mystery.Ravel's first concert outside France was in 1909. As the guest of the Vaughan Williamses, he visited London, where he played for the Société des Concerts Français, gaining favourable reviews and enhancing his growing international reputation.
Example Output: What was the name of the person that Fauré taught?

Example Input: Passage: "I Want You"Andy Gill notes that the song displays a tension between the very direct tone of the chorus, the repeated phrase "I want you", and a weird and complex cast of characters, "too numerous to inhabit the song's three minutes comfortably", including a guilty undertaker, a lonesome organ grinder, weeping fathers, mothers, sleeping saviors, the Queen of Spades, and the "dancing child with his Chinese suit". Analyzing the evolution of the lyrics through successive drafts, Wilentz writes that there are numerous failures, "about deputies asking him his name ... lines about fathers going down hugging one another and about their daughters putting him down because he isn't their brother". Finally Dylan arrives at the right formula.Heylin points out that the "gorgeous" tune illustrates what Dylan explained to a reporter in 1966: "It's not just pretty words to a tune or putting tunes to words ... [It's] the words and the music [together]—I can hear the sound of what I want to say." Al Kooper has said that of all the songs that Dylan had outlined to him in his hotel, this was his favorite, so Dylan delayed recording it to the very end of the Nashville sessions, "just to bug him". Released as a single in June 1966, shortly before the album Blonde on Blonde, "I Want You" reached number 20 in the USA, and number 16 in the UK.
"Stuck Inside of Mobile with the Memphis Blues Again"Recorded at the third Nashville session, this song was the culmination of another epic of simultaneous writing and recording in the studio. Wilentz describes how the lyrics evolved through a surviving part-typed, part-handwritten manuscript page, "which begins 'honey but it's just too hard' (a line that had survived from the very first New York session with the Hawks). Then the words meander through random combinations and disconnected fragments and images ('people just get uglier'; 'banjo eyes'; 'he was carrying a 22 but it was only a single shot'), before, in Dylan's own hand, amid many crossings-out, there appears 'Oh MAMA you're here IN MOBILE ALABAMA with the Memphis blues again'."Inside the studio, the song evolved through several musical revisions. Heylin writes, "It is the song's arrangement, and not its lyrics, that occupies the musicians through the wee small hours." On the fifth take, released in 2005 on the No Direction Home Soundtrack, midtake Dylan stumbles on the formula "Stuck inside of Mobile" on the fourth verse, and never goes back. The song contains two oft-quoted pieces of Dylan's philosophy: "Your debutante just knows what you need/ But I know what you want" and "here I sit so patiently/ Waiting to find out what price/ You have to pay to get out of/ Going through all these things twice".
Example Output: What is the name of the song that contains two oft-quoted pieces of Dylan's philosophy?

Example Input: Passage: Pogoing aside, Vicious had been involved in a notorious incident during that memorable second night of the 100 Club Punk Special. Arrested for hurling a glass at The Damned that shattered and blinded a girl in one eye, he had served time in a remand centre—and contributed to the 100 Club banning all punk bands. At a previous 100 Club gig, he had assaulted Nick Kent with a bicycle chain. Indeed, McLaren's NME telegram said that Vicious's "best credential was he gave Nick Kent what he deserved many months ago at the Hundred Club". According to a later description by McLaren, "When Sid joined he couldn't play guitar but his craziness fit into the structure of the band. He was the knight in shining armour with a giant fist." "Everyone agreed he had the look," Lydon later recalled, but musical skill was another matter. "The first rehearsals...in March of 1977 with Sid were hellish.... Sid really tried hard and rehearsed a lot". Marco Pirroni, who had performed with Vicious in Siouxsie and the Banshees, has said, "After that, it was nothing to do with music anymore. It would just be for the sensationalism and scandal of it all. Then it became the Malcolm McLaren story".Membership in the Sex Pistols had a progressively destructive effect on Vicious. As Lydon later observed, "Up to that time, Sid was absolutely childlike. Everything was fun and giggly. Suddenly he was a big pop star. Pop star status meant press, a good chance to be spotted in all the right places, adoration. That's what it all meant to Sid." Westwood had already been feeding him material, like a tome on Charles Manson, likely to encourage his worst instincts. Early in 1977, he met Nancy Spungen, an emotionally disturbed drug addict and sometime prostitute from New York. Spungen is commonly thought to be responsible for introducing Vicious to heroin, and the emotional codependency between the couple alienated Vicious from the other members of the band. Lydon later wrote, "We did everything to get rid of Nancy.... She was killing him. I was absolutely convinced this girl was on a slow suicide mission.... Only she didn't want to go alone. She wanted to take Sid with her.... She was so utterly fucked up and evil.".
Example Output:
What is the first name of the person who was arrested for hurling a glass at The Damned that shattered and blinded a girl in one eye, and served time in a remand centre?