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: As Opeth's primary songwriter and lyricist, vocalist/guitarist Mikael Åkerfeldt heads the direction of Opeth's sound. He was influenced at a young age by the 1970s progressive rock bands King Crimson, Yes, Genesis, Camel, P.F.M., Hawkwind, and Gracious, and by heavy metal bands such as Iron Maiden, Slayer, Death, Black Sabbath, Deep Purple, Celtic Frost, King Diamond, Morbid Angel, Voivod, and, most importantly, Judas Priest. Åkerfeldt considers Judas Priest's Sad Wings of Destiny (1976) the best metal album of all time, and notes that there was a time when he listened only to Judas Priest. While warming up before Opeth concerts, Åkerfeldt frequently sings "Here Come the Tears" from Judas Priest's third album Sin After Sin (1977). Åkerfeldt later discovered progressive rock and folk music, both of which had a profound impact on the sound of the band.Opeth's distinct sound mixes death metal with progressive rock. Steve Huey of AllMusic refers to Opeth's "epic, progressive death metal style". Ryan Ogle of Blabbermouth described Opeth's sound as incorporating "the likes of folk, funk, blues, '70s rock, goth and a laundry list of other sonic oddities into their trademark progressive death style." In his review of Opeth's 2001 album Blackwater Park, AllMusic's Eduardo Rivadavia wrote, "Tracks start and finish in seemingly arbitrary fashion, usually traversing ample musical terrain, including acoustic guitar and solo piano passages, ambient soundscapes, stoner rock grooves, and Eastern-tinged melodies—any of which are subject to savage punctuations of death metal fury at any given moment." Åkerfeldt commented on the diversity of Opeth's music:
I don't see the point of playing in a band and going just one way when you can do everything. It would be impossible for us to play just death metal; that is our roots, but we are now a mishmash of everything, and not purists to any form of music. It's impossible for us to do that, and quite frankly I would think of it as boring to be in a band that plays just metal music. We're not afraid to experiment, or to be caught with our pants down, so to speak. That's what keeps us going.
More recently, Opeth have abandoned their death metal sound resulting in a mellower progressive rock sound. When talking about Heritage, guitarist Fredrik Åkesson stated:
In the beginning it took me a little while to get used to the new idea of the sound, not having any screaming vocals and stuff like that.  But I think the album was necessary for us to do. Maybe the band wouldn't have continued if we hadn't done Heritage.  I think the old Opeth fans understand this album. There's always going to be some haters, but you can't be loved by everyone. Opeth has always been about not repeating ourself. A lot of people don't think Heritage is metal but I think it's metal to go somewhere people don't expect. It doesn't mean we're not embracing the past sound of Opeth.

Ex Output:
What is the last name of the person who was influenced at a young age by 1970s progressive rock bands?


Ex Input:
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.

Ex Output:
What is the first name of the person who highlights Beiderbecke's precise timing, relaxed delivery, and pure tone?


Ex Input:
Passage: The Navajo were an Athabaskan people who migrated from the north into the Colorado River basin around 1025 A.D. They soon established themselves as the dominant Native American tribe in the Colorado River basin, and their territory stretched over parts of present-day Arizona, New Mexico, Utah and Colorado – in the original homelands of the Puebloans. In fact, the Navajo acquired agricultural skills from the Puebloans before the collapse of the Pueblo civilization in the 14th century. A profusion of other tribes have made a continued, lasting presence along the Colorado River. The Mohave have lived along the rich bottomlands of the lower Colorado below Black Canyon since 1200 A.D. They were fishermen – navigating the river on rafts made of reeds to catch Gila trout and Colorado pikeminnow – and farmers, relying on the annual floods of the river rather than irrigation to water their crops. Ute peoples have inhabited the northern Colorado River basin, mainly in present-day Colorado, Wyoming and Utah, for at least 2,000 years, but did not become well established in the Four Corners area until 1500 A.D. The Apache, Cocopah, Halchidhoma, Havasupai, Hualapai, Maricopa, Pima, and Quechan are among many other groups that live along or had territories bordering on the Colorado River and its tributaries.Beginning in the 17th century, contact with Europeans brought significant changes to the lifestyles of Native Americans in the Colorado River basin. Missionaries sought to convert indigenous peoples to Christianity – an effort sometimes successful, such as in Father Eusebio Francisco Kino's 1694 encounter with the "docile Pimas of the Gila Valley [who] readily accepted Kino and his Christian teachings". From 1694 to 1702 Kino would explore the Gila and Colorado Rivers to determine if California was an island or peninsula. The Spanish introduced sheep and goats to the Navajo, who came to rely heavily on them for meat, milk and wool. By the mid-16th century, the Utes, having acquired horses from the Spanish, introduced them to the Colorado River basin. The use of horses spread through the basin via trade between the various tribes and greatly facilitated hunting, communications and travel for indigenous peoples. More warlike groups such as the Utes and Navajos often used horses to their advantage in raids against tribes that were slower to adopt them, such as the Goshutes and Southern Paiutes.

Ex Output:
What is the full name of the person who would explore the Gila and Colorado Rivers to determine if California was an island or peninsula?