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.

Input: Consider Input: Question: Who is the editor of the newspaper that covered the performance where Midori broke strings on two violins? Passage 1:Midori gave her first public performance at the age of six, playing one of the 24 Caprices of Paganini in her native Osaka. In 1982 she and her mother moved to New York City, where Midori started violin studies with Dorothy DeLay at Pre-College Division of Juilliard School and the Aspen Music Festival and School. As her audition piece, Midori performed Bach's thirteen-minute-long Chaconne, generally considered one of the most difficult solo violin pieces. In the same year, she made her concert debut with the New York Philharmonic under Zubin Mehta, a conductor with whom she would later record on the Sony Classical label. In 1986 came her legendary performance of Leonard Bernstein's Serenade at Tanglewood, conducted by Bernstein. During the performance, she broke the E string on her violin, then again on the concertmaster's Stradivarius after she borrowed it. She finished the performance with the associate concertmaster's Guadagnini and received a standing ovation. The next day The New York Times front page carried the headline, "Girl, 14, Conquers Tanglewood with 3 Violins".
 Passage 2:"Enjoy Yourself" is a song recorded by The Jacksons and released as a single in 1976. Featuring Michael and Jackie Jackson on lead vocals, it was the first non-Motown single for the group since they departed from the label earlier that year. The song peaked at #6 on the Billboard Hot 100 chart on February 19, 1977. On other US charts, "Enjoy Yourself" peaked at #2 on the Hot Soul Singles chart, and #33 on the National Disco Action Top 40 chart. On February 14, 1989, it became the group's first single to be certified Platinum by the RIAA. It was also the group's first song to feature new member Randy Jackson, who replaced Jermaine when he decided to stay at Motown after his brothers left. The song is sampled on the track "Let's Have a Party" by the Backstreet Boys, which appears on their 1996 self-titled debut album. The song is credited to Philadelphia songwriters/producers Gamble and Huff; however, a session musician from Gamble and Huff’s in-house band recalled that the late guitarist T.J. Tindall wrote the riff that was the initial spark for the song.
 Passage 3:For 1970, Matra insisted on using their own V12 engines, while Tyrrell and Stewart wanted to continue with the Cosworth and maintain their connection to Ford, which conflicted with Matra's recent connections to Chrysler. Tyrrell decided to build his own car and in the interim bought a chassis from March Engineering; Stewart took the March 701-Cosworth to wins at the Daily Mail Race of Champions and Jarama, but development on the car stalled and it was soon overcome by the Lotus team's new 72. The new Tyrrell 001-Cosworth, appeared in August and suffered problems but showed promise. Tyrrell continued to be sponsored by French fuel company Elf, and Stewart raced in a car painted French Racing Blue for many years. Stewart also continued to race sporadically in Formula Two, winning at Crystal Palace and placing at Thruxton. A projected Le Mans appearance, to co-drive the 4.5 litre Porsche 917K with Steve McQueen, did not come off, due to McQueen's inability to get insurance. He also had a one-off race in Can-Am, in the revolutionary Chaparral 2J. Stewart qualified third, in what was the car's first outing, but brake failure ended his race.


Output: 1


Input: Consider Input: Question: What year was Allmusic established? Passage 1:Jonathan Widran of AllMusic said "It's too early in her career to know whether this powerhouse singer/songwriter will ever reach the heights of Contemporary Christian Music's other Grant, but a bevy of top producers come on board this sparkling debut to launch Natalie Grant towards this goal. All of these studio wizards (Eric Foster White, Tommy Sims, and Michael Lloyd) are better-known for their secular pop music, and the variety of atmospheres they create poise Grant for crossover pop success. It also helps that the lyrics Grant sings are designed as inspirational, rather than preachy. Torchy tracks like 'I Am Not Alone' and rock-driven anthems like 'I Will Be' could definitely lead both teenagers looking for substance, and adult contemporary audiences, to a deeper examination of important spiritual issues. Grant's wide-ranging pipes (yes, think potential diva) would surely sound great without all the production energy, but nearly every up-tempo tune here is an irresistible mix of pop/rock and modern soul flavors. The title track is all thump and hook, and some of the vocal texturing will remind fans of Point of Grace. Another POG-like tune, 'Days Like These', is driven by jangly alternative pop guitars. A few tracks touch on simple exotica, most notably "Love Without Limits" with its swirling flamenco strings. Amidst the playful spirit is Grant's most heartfelt tune, a lush and teary, almost breathless tribute to her father, 'Always Be Your Baby' This tune alone indicates that we're dealing with a major new talent whose deeper life extends from the spiritual into the musical." Christianity Todays Russ Breimeier stated "In a relatively short time Natalie Grant has earned a reputation for three things rather unique to her five-year career. First, she's released every album on a different record label. Both Benson and Pamplin have since closed their doors—'the curse' will likely end with Curb, which is relatively secure under the wings of Warner Brothers' Christian Music Division. Second, the Seattle-born artist is well-known for her protestations about being labeled a 'pop diva'. There is typically a negative connotation to the 'd'-word that flies in the face of Natalie's humble servant attitude and her desire to focus her music on the goodness of God. Unfortunately for her, the diva label is an apt description of her musical styling, which leads into the third unique trait. Despite her diminutive size, Natalie has an impressively big voice with enough nuance to hold her own among any of the classic pop divas (Mariah Carey, Celine Dion, Whitney Houston, take your pick), earning her multiple Dove nominations for Female Vocalist of the Year. Undeterred by collapsing record labels and pop music stereotypes, Natalie admirably presses on with Deeper Life, her third effort, by stretching her own artistic skills. Her previous album, Stronger (released in 2001), featured her first attempts at songwriting by co-writing a handful of tracks. On Deeper Life, she co-writes nearly every song. Additionally, Natalie steps up as co-producer of this album, joining a slew of A-list pop producers and songwriters: Tommy Simms (CeCe Winans, Anointed), Eric Foster White (Jessica Simpson, Whitney Houston), Bryan Lenox (Michael W. Smith, Ronnie Freeman), Bernie Herms (Plus One), and Rob Graves (songwriter and guitarist on Joy Williams's By Surprise). The approach on this project was to create an album that relied less on programmed pop and more on live musicians, and the results are indeed stunning. I daresay this is Natalie's best-sounding album yet. But we must keep it in perspective. This is still R&B-flavored; adult contemporary pop a la Mariah Carey, Jaci Velasquez, Kelly Clarkson, Jessica Simpson, and many others. It is most certainly not (as suggested by the press bio) the classic rock sound of Sheryl Crow or the modern pop/rock of Avril Lavigne. Christian adult contemporary and inspirational pop speaks for itself—some find it meaningful and poignant, while others find it clichéd and boring. In that spirit, the songs of Deeper Life are best explored for what they are—you'll know by the titles, lyrics, and styles if this music matches or offends your tastes. Nevertheless, there's no getting around Natalie's vocal prowess or the superior production, which means you're bound to be impressed with Deeper Life if you enjoy first-rate pop." Heather Marsden of Cross Rhythms claimed "This is Natalie Grant's third album and is positive proof that her new home at Curb Records is working well for her. The album opens with the upbeat title track 'Deeper Life', a poppy feel good song that's easy to pick up and sing along. 'Days Like These' and 'I Will Be' are in a similar style without being repetitions of the first song. The songs 'That's When I Give Up (On Loving You)', 'Live for Today' and 'I Desire' have a more acoustic rock kind of sound—similar to that of Michelle Branch. The bonus track 'No Sign of It' has been featured in the new Gwyneth Paltrow film View from the Top. Deeper Life contains some of Grant's best work, it's a great record with a good message, sure to please her growing number of fans and draw in some new ones." JesusFreakHideout's Shaun Stevenson remarked "Things haven't always been easy for Natalie Grant. After changing record companies twice, Grant has finally found a home with Curb Records. And now, with the release of Deeper Life, Grant is sure headed in the right direction with a solid third album. Albums are always opening with something upbeat these days, and Deeper Life opens things off in the right direction. With plenty of signature Grant sounds, the song really reflects what this album is all about: seeking the deeper life in Jesus Christ. Natalie Grant sure has something going for her. With this newest album, containing some of her strongest work to date, she's really outdone herself. A solid record, a solid message, and a solid musical base, Deeper Life is sure to please fans of Grant's previous work, and it's also sure to bring in new listeners. Trouble has come to Natalie Grant in the past, but now, there's no sign of it, and her skies are definitely clear today."
 Passage 2:In 2000, they released the self-titled demo, Transistor Revolt. Tintari left the band in the fall of that year before the recording of their full-length album. He was later replaced by Brandon Barnes of "Pinhead Circus". The band then signed with independent record label Fat Wreck Chords in 2001. They then released their debut album The Unraveling and spent the rest of the year touring. In 2002, Mr. Precision left and was replaced by Todd Mohney. The band returned to the studio in December 2002 to work on their second full-length album, Revolutions per Minute in 2003 and toured for the 2003 Warped Tour, which gained the band some success. Rise Against then signed to Dreamworks Records in late 2003 to begin the recording of their third record, but Dreamworks was shortly absorbed by the Universal Music Group, and Rise Against found itself with Major label Geffen Records. Todd Mohney, the band's guitarist at the time, left and was replaced by Chris Chasse and began the recording of their new album Siren Song of the Counter Culture. Siren Song of the Counter Culture was released on August 10, 2004 peaking at number 136 on the Billboard 200 album charts, gaining the band major critical and commercial success with the singles "Give It All, "Swing Life Away", and "Life Less Frightening".
 Passage 3:On June 28, 2007, Fernández was taken 24th overall in the NBA draft by the Phoenix Suns, who subsequently traded his draft rights along with James Jones to the Portland Trail Blazers for cash. Rudy Fernández announced at a press conference on Friday, June 6, 2008, that he would leave DKV Joventut to join the Portland Trail Blazers for the 2008–09 NBA season, and he signed a contract with the Blazers on July 1. "They [Portland] have shown a lot of interest in getting me and have assured me that I will be an important part in the team", he said. Fernández joined the NBA team on September 22, 2008. He became the eighth Spaniard to play in the NBA. For the 2008–09 NBA season he joined several other fellow Spaniards in the league that included Pau and Marc Gasol, Jose Calderón, and Trail Blazers teammate Sergio Rodríguez. He entered the NBA following his participation with the Spain national team at the 2008 Olympic basketball tournament in Beijing, China.


Output: 1


Input: Consider Input: Question: What other artists collaborated on the soundtrack DJ Quik worked on shortly before his friend Mausberg died? Passage 1:"Hurricane!" (episode: 1616 (308)) is a Nova episode that aired on November 7, 1989 on PBS. The episode describes the fury of a hurricane and the history of hurricane forecasting. The episode features footage of Hurricane Camille of 1969 and Hurricane Gilbert of 1988 and behind the scenes footage at the National Hurricane Center as forecasters tracked Hurricane Gilbert from its formation to its landfall in northern Mexico. Meteorologists Hugh Willoughby, Bob Sheets (then director of the National Hurricane Center) and Jeff Masters were shown in the episode. The episode was released on VHS home video under the same episode title and distributed by WGBH Boston video. In 2004, the Nova episode was released on DVD and featured a different cover picture and title style. In 1997, UAV Corp. also distributed the Nova episode under the title "Deadly Hurricanes" which contains additional footage of Hurricane Andrew and Hurricane Iniki of 1992. The UAV version of the episode has since been discontinued.
 Passage 2:In 1998 Quik released Rhythm-al-ism his fourth studio album on Profile Records. This record was certified Gold in 1999, and contained the singles "Hand in Hand (featuring 2nd II None and El Debarge) and "You'z A Ganxta." It featured guest appearances by Nate Dogg, Snoop Dogg, AMG and Suga Free. That year he went on to produce for The Luniz, Shaquille O'Neal, Deborah Cox and Jermaine Dupri. He also produced on The Kingdom Come by rapper King Tee which ultimately never came out due to label problems. He also faced personal and professional tragedy when his nephew murdered his close friend and protégé Darryl Cortez Reed in 1998. In 1999, there was the release of Classic 220 by 2nd II None, in which Quik played a huge part. Production on Gap Band's Y2K: Funkin' Till 2000 Comz album, Snoop Dogg's No Limit Top Dogg,  and Deep Blue Sea (soundtrack). This was compounded by the death of another friend and rapper Mausberg, subsequently murdered in 2000. That year, saw the release of rapper Mausberg's album, and DJ Quik's Balance & Options. Also production with Whitney Houston, Erick Sermon, 8Ball & MJG, Xzibit and AMG.
 Passage 3:William Briwere was granted the lordship of the Manor of Bridgwater by John of England in 1201, and founded Bridgwater Friary. Through Briwere's influence, King John granted three charters in 1200; for the construction of Bridgwater Castle, for the creation of a borough, and for a market. Bridgwater Castle was a substantial structure built in Old Red Sandstone, covering a site of 8 or 9 acres (32,000 to 36,000 m²). A tidal moat, up to wide in places, flowed about along the line of the modern thoroughfares of Fore Street and Castle Moat, and between Northgate and Chandos Street. The main entrance opposite the Cornhill was built with a pair of adjacent gates and drawbridges. In addition to a keep, located at the south-east corner of what is now King Square, documents show that the complex included a dungeon, chapel, stables and a bell tower. Built on the only raised ground in the town, the castle controlled the crossing of the town bridge. A thick portion of the castle wall and water gate can still be seen on West Quay, and the remains of a wall of a building that was probably built within the castle can be viewed in Queen Street. The foundations of the tower forming the north-east corner of the castle are buried beneath Homecastle House. William Briwere also founded St John's hospital which, by the time of the Dissolution of the Monasteries under Henry VIII, was worth the substantial sum of almost 121 pounds, as well as starting the construction of the town's first stone bridge. William Briwere also went on to found the Franciscan Bridgwater Friary in the town.
Output: 2