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.

Passage: Tchaikovsky played the finale of his Second Symphony, subtitled the Little Russian, at a gathering at Rimsky-Korsakov's house in Saint Petersburg on January 7, 1873, before the official premiere of the entire work. To his brother Modest, he wrote, "[T]he whole company almost tore me to pieces with rapture—and Madame Rimskaya-Korsakova begged me in tears to let her arrange it for piano duet". Rimskaya-Korsakova was a noted pianist, composer and arranger in her own right, transcribing works by other members of the kuchka as well as those of her husband and Tchaikovsky's Romeo and Juliet. Borodin was present and may have approved of the work himself. Also present was Vladimir Stasov. Impressed by what he had heard, Stasov asked Tchaikovsky what he would consider writing next, and would soon influence the composer in writing the symphonic poem The Tempest.What endeared the Little Russian to the kuchka was not simply that Tchaikovsky had used Ukrainian folk songs as melodic material. It was how, especially in the outer movements, he allowed the unique characteristics of Russian folk song to dictate symphonic form. This was a goal toward which the kuchka strived, both collectively and individually. Tchaikovsky, with his Conservatory grounding, could sustain such development longer and more cohesively than his colleagues in the kuchka. (Though the comparison may seem unfair, Tchaikovsky authority David Brown has pointed out that, because of their similar time-frames, the finale of the Little Russian shows what Mussorgsky could have done with "The Great Gate of Kiev" from Pictures at an Exhibition had he possessed academic training comparable to that of Tchaikovsky.).
What is the name of the person who wrote to his brother stating, "the whole company almost tore me to pieces with rapture"?

Passage: In February 1828, shortly before his 41st birthday, Etty soundly defeated John Constable by 18 votes to five to become a full Royal Academician, at the time the highest honour available to an artist. By this time, complaints about his supposed indecency were beginning to resurface. All but one of the 15 paintings Etty exhibited at the Royal Academy in the 1820s had included at least one nude figure, and Etty was acquiring a reputation for using respectable themes as a pretext for nudity.For the 1828 Summer Exhibition Etty exhibited three pictures; The World Before the Flood, Venus, the Evening Star and Guardian Cherubs. (The latter was a portrait of the children of Welbore Ellis Agar, 2nd Earl of Normanton, and was the only non-nude painting exhibited by Etty at the RA in the 1820s.) Although similar to his earlier works, they were technically more accomplished. Both The World Before the Flood and Venus attracted positive reviews in the press and were sold during their exhibition for substantial sums, although the purchase by the Marquess of Stafford of The World Before the Flood—a work containing scantily clad figures of both sexes—drew a pointed comment in The Gentleman's Magazine that it "will serve to accompany the private Titians of that nobleman". Despite the increasing number of complaints in the press about his use of nudity, respect for Etty from his fellow artists continued to rise, and in 1828 the British Institution awarded him £100 in recognition of his talent.
As soon as the 1828 Summer Exhibition was over, Etty stopped work on other projects to concentrate on a diploma piece, without which he could not become a Royal Academician. This piece, Sleeping Nymph and Satyrs, was presented to the Academy in October, and in December 1828 Etty became a Royal Academician.
It appears to me then that virtuous happiness being our lawful aim in life, that having Academic Rank and Fame the next thing to be considered (if God approve) is to seek that Decent Competency which shall make my latter days comfortable and happy, which I hope if it please Him, to be able to do by the time I am fifty—by occasionally mixing with my historic pictures a Portrait or two, and to vary and extend my sphere—a classic Landscape or two so that if I can get about 100 a year I may be enabled to retire to my dear native city and spend my latter days in peace.
What is the exact title of the diploma piece without which Etty could not become a Royal Academician?

Passage: God Hates Us All explores such themes as religion, murder, revenge, and self-control. King wrote a majority of the lyrics, which he based on "street" subjects which everyone could relate to, rather than "Satan this," "Satan that," and "the usual Dungeons & Dragons shit" from the band's previous records. King told Guitar World:
I definitely wanted to put more realism in it, more depth. God Hates Us All isn't an anti-Christian line as much as it's an idea I think a lot of people can relate to on a daily basis. One day you're living your life, and then you're hit by a car or your dog dies, so you feel like, "God really hates me today."
The song "Threshold" is about reaching one's limit with a person in a situation where one is about to break—and are about to blow up as they get "under your skin", while "Cast Down" features a fallen angel who falls into drugs. "God Send Death" and "Deviance" take up the idea of killing people for pleasure. Both songs were written by Hanneman. Having read several books on serial killers, Hanneman came to the conclusion he could only kill someone if they really "pissed him off", and decided he was unable to kill someone he did not know just for power. He later admitted he was trying to get into that person's mind; "why do they get off on it? Without being angry, just killing for the sake of killing and getting off on it. I just wanted to get into that mindset."While other members went to local pubs, Araya spent his free hours reading factual books regarding serial killers, including Gordon Burn's Happy Like Murderers: The Story of Fred and Rosemary West. Araya was seeking inspiration, and aimed to sound convincing while singing the lyrics, avoiding himself to sound like a gimmick. Araya sang the lyrics more "over-the-top" than done on previous albums, as King's writing style is more "aggro." This resulted in Kerrang! reviewer Jason Arnopp describing the album's lyrics as "so packed with foul and abusive language that it sounds as if D-12 and the Sopranos family were going head-to-head in a celebrity swearathon.".
What is the last name of the person that read Gordon Burn's Happy Like Murderers?