In this task, you're given a question, along with three passages, 1, 2, and 3. Your job is to determine which passage can be used to answer the question by searching for further information using terms from the passage. Indicate your choice as 1, 2, or 3.

Ex Input:
Question: Was the team that he debuted for Wycombe against founded before 1900? Passage 1:For his previous album, Irthes, Rouvas collaborated almost exclusively with Dimitris Kontopoulos, who was also commissioned to write all three of Rouvas' candidate songs for his participation in the Eurovision Song Contest 2009, as well as the composer and producer of his album, with the exception of one track. Working namely with one main composer is something that Rouvas had not done since Kati Apo Mena (1998) and not completely exclusively since Tora Arhizoun Ta Dyskola (1996). For Parafora, Rouvas reverted to using several songwriters and producers. The majority of the songwriters and producers are new collaborators and recent hit makers relatively new to the music industry. Kontopoulos, who first collaborated with Rouvas for To Hrono Stamatao (2003), resumed his role as a composer, producer, arranger, programmer, and instrumentalist, with eight contributions to the album, including the singles "Spase To Hrono" and the title track. Others who have never previously collaborated with Rouvas include Playmen, Beetkraft, Antonis Skokos, Greek-German Leonidas "Freakchild" Chantzaras, who composed "Nekros Okeanos" and produced "Emena Thes", and Dimitris Fakos who wrote both its music and lyrics. Songwriters who exclusively contributed lyrics to the album include Natalia Germanou, who first collaborated with Rouvas on Min Andistekese (1992), Pigi Konstantinou and Giannis Rentoumis who first collaborated with the artist on Irthes, and new collaborators Sunny Baltzi, Vagia Kalantzi, and Nikos Kostidakis, who wrote "Parafora".
 Passage 2:Born in Blackburn, Lancashire, Bell started his career with hometown club Blackburn Rovers at the age of 10 and signed a professional contract in February 2001 after nearly a decade in the youth system. He had a trial at Wycombe Wanderers in April 2003 and after being released by Blackburn in the summer he signed for Wycombe on a month-to-month contract in September, making his debut and scoring both goals in a 5–2 defeat to Oldham Athletic. His contract was extended until 29 February in January, before being released and joining York City on trial. He signed for York on non-contract terms on 1 March and made his debut in a 0–0 draw at Oxford United. His only goal for York came in a 3–1 defeat to Scunthorpe United, after he scored into an empty goal from a Stuart Wise long ball. He finished the 2003–04 season with 10 appearances and one goal for York as they were relegated to the Conference National.
 Passage 3:Mohen was born in the New York City borough of Queens, the oldest of twelve children of Joseph Conrad Mohen (1935-2017) and Virginia Ann (Kelly) Mohen (born 1935), both descendants of Irish immigrants. His maternal great-grandfather, James Morris, an immigrant from Liverpool, was one of the first full time staff of any motion picture studio, being hired by Adolph Zukor in 1912, at Famous Players, making sets for the silent films at Chelsea Studios in Manhattan; Famous Players was later merged with a competitor and renamed Paramount Pictures. In 1960, when Mohen was four, the family moved to Garden City on Long Island. There he attended a local Catholic School, St. Anne’s, and later an Episcopal Preparatory School, St. Paul’s; while in high school he attended Boys State, and was captain of the Cross Country and Track teams. He was offered a track scholarship to the University of Ohio, which he declined, instead electing to attend Johns Hopkins University in Baltimore where he studied Mathematics and Biochemistry, and Manhattan College in New York City studying Business.


Ex Output:
2


Ex Input:
Question: Which of the men that Wight broke off from was born first? Passage 1:"I Miss You" is a pop music song with a length of three minutes and fifty-eight seconds. It is a ballad that maintains low-key with an acoustic styling. "I Miss You" is influenced by elements of the country music genre; nevertheless, it has a rock music-based musical arrangement, relying prominently on a gentle strumming guitar for instrumentation. Written in the key of B♭ major but will transpose at the key of C major at the end of the bridge, "I Miss You" is set in common time with a tempo of 85 beats per minute. Cyrus' low and throaty vocals span a one octave, ranging from G to B. The song has the following chord progression, B–Gm–F–F–Fsus.
 Passage 2:Lyman Wight (May 9, 1796 – March 31, 1858) was an early leader in the Latter Day Saint movement. He was the leader of the Latter Day Saints in Daviess County, Missouri, in 1838. In 1841, he was ordained a member of the Quorum of the Twelve Apostles. After the death of Joseph Smith resulted in a succession crisis, Wight led his own break-off group of Latter Day Saints to Texas, where they created a settlement. While in Texas, Wight broke with the main body of the group led by Brigham Young. Wight was ordained president of his own church, but he later sided with the claims of William Smith, and eventually of Joseph Smith III. After his death, most of the "Wightites" (as members of this church were called) joined with the Reorganized Church of Jesus Christ of Latter Day Saints.
 Passage 3:However, before the season began, Gresham suffered a season-ending injury. During the season opener against BYU, Bradford suffered an injury to his shoulder that forced him to sit out the next several games. The Sooners would go on to lose that game and their fourth game against Miami. Bradford returned for game number five against Baylor, but reinjured his shoulder the next week against Texas, ending his season and giving the Sooners their third loss of the season. The Sooners would continue to suffer many injuries throughout the remainder of the season including losing offensive linemen Jarvis Jones and Brody Eldridge, and defensive players Tom Wort, DeMarcus Granger and Auston English for the season. With freshman Landry Jones now leading the offense, the Sooners would go on win every home game from that point forward, including a season-ending win over in-state rival Oklahoma State, extending their NCAA-leading home winning streak to 30 games. However, the Sooners would also lose all but one of their away games. Oklahoma ended the regular season with seven wins and five losses (5–3 in the Big 12). The game marked Oklahoma's third appearance in the Sun Bowl. They were a perfect 2-0 in their previous games. In 1981, they defeated Houston 40–14, and in 1993, they defeated Texas Tech 41–10.


Ex Output:
2


Ex Input:
Question: Were both of the films that Davis won Emmys for animated movies? Passage 1:Davis won Emmys in 1990 for Beauty and the Beast and 1995 for SeaQuest DSV. He wrote scores mostly for television series up until 1995, in which he wrote a few of the cues for the animated Disney motion picture A Goofy Movie. He continued to score television series until the two then young directors, the Wachowskis, hired him to score their neo-noir film Bound. It was reasonably successful at the box office. Bound was the film which led Davis into becoming the composer for the entire Matrix trilogy. Subsequently, Davis has composed scores for films such as Jurassic Park III (recommended to the filmmakers by John Williams, the composer of the scores for the first two films in the series), House on Haunted Hill, Behind Enemy Lines, and The Unsaid. In 2004, he produced the music score for the BBC science fiction documentary series Space Odyssey: Voyage to the Planets, released as Voyage to the Planets and Beyond in the United States.
 Passage 2:Roger Ebert of the Chicago Sun-Times gave the film three stars out of four and wrote that "the musical scenes are the best rock coverage since 'Woodstock.' The sound is first rate, for one thing, and director Pierre Adidge has some idea of why Cocker electrifies a crowd." Vincent Canby of The New York Times called the film a "most satisfying, record-album of a movie" which "patronizes neither its audience nor its stars ... It is uncluttered, one of the best concert films so far." A review in Variety said, "Considerable technical expertise has gone into this production, and though the objective may be clear, it just hasn't turned out to be another 'Woodstock,' possibly because Joe Cocker's personality isn't all that endearing." Gene Siskel of the Chicago Tribune rated the film three stars out of four and wrote, "'Mad Dogs' is distinguishable from other 'rockumentaries' because it deals almost exclusively with the musician and his music. There are few side trips to cultural comments." Robert Hilburn of the Los Angeles Times stated, "As a film, 'Mad Dogs and Englishmen' is a good concert. For much of the picture's 114 minutes, the camera is on Joe Cocker, by most standards the best and most exciting singer in rock music ... But 'Mad Dogs and Englishmen,' unfortunately, fails in the end to rise above this interesting, but clearly limited historical summary of the Cocker tour. As a film, it doesn't establish its own importance." A negative review by Tom Zito of The Washington Post advised readers to "Forget the film and try the record," explaining, "What emerges from all this is roughly two hours of footage that looks terrible on the screen and sounds almost as bad. The film is projected in an annoying square format, except for the moments when the screen area is broken up into some poorly coordinated split-screen effects. The camerawork is often sloppy ... the whole thing winds up looking and sounding like a cheap, imitation (indoor) 'Woodstock.'" James D. White of The Monthly Film Bulletin declared that "The music itself is excellent," but "The film's information content is minimal; and one's heart sinks as the screen is split into a double image for the first number and as the mandatory shots—of excited fans, of joint-rolling in a hotel bedroom, of an interview with a vacuous groupie—are inevitably wheeled out."
 Passage 3:Payton's big break came when she was cast as Harriet Winslow, the elevator operator on the ABC sitcom 'Perfect Strangers in 1987. Her performance was so well received by audiences that she was given her own sitcom, Family Matters, in 1989. Continuing her character Harriette Winslow from Perfect Strangers, she played a mother in an African-American middle-class family living in Chicago, Illinois. Payton left Family Matters partway through its final season, appearing for the last time on December 19, 1997. Payton's character was played by Judyann Elder in the show's remaining eight episodes. In 2002, Payton appeared on the "TV Moms" episode of the Anne Robinson version of The Weakest Link, and was the third one voted off. In 2003, Payton and her daughter appeared on a Mother's Day episode of Lingo, playing against fellow TV mom Meredith Baxter and her daughter. Baxter and her daughter won. In 2005, Jo Marie Payton provided the voice of Suga Mama in The Proud Family Movie. Her other television credits include Desperate Housewives, Reba, Girlfriends, Wanda at Large, Judging Amy, The Parkers, Will & Grace, The Hughleys, 7th Heaven, Moesha, The Jamie Foxx Show, 227, Silver Spoons, Small Wonder and The New Odd Couple. She also appeared in the Canadian TV mini series The Rev as Mama. In 2005, Payton co-hosted the 15th Annual NAACP Theatre Awards with Glynn Turman. In August 2009, Payton appeared on Meet the Browns as Shirley Van Owen. Payton recently hosted her own show on the Hometeam Network, Second Chance with Jomarie Payton. In 2012, Payton was in the GMC TV movie special From This Day Forward.


Ex Output:
1