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.

Question: What other countries did Loring fight with while he supported the United nations command ground troops? Passage 1:In July 1952, Loring transferred to the 36th Fighter-Bomber Squadron full-time, where he served as operations officer. In this role he returned to combat duty, this time as a jet aircraft fighter pilot operating the F-80 Shooting Star. Missions for this unit primarily concerned close air support, air strikes and interdiction missions supporting United Nations Command ground troops in the country. In this role, Loring's unit primarily fought North Korean and Chinese ground targets. By November 22, 1952, Loring had completed 50 combat missions. At that time the ground battle in Korea had developed into a stalemate, with the two sides firmly entrenched along the 38th Parallel. Throughout November, the UN forces had been launching Operation Showdown against two targets: Triangle Hill and Sniper Ridge, northwest of Kunwha, north of the 38th Parallel. During the battle, the Chinese managed to amass 133 large caliber guns, 24 BM-13 rocket launchers and 47 anti-aircraft guns in the largest Chinese artillery operation during the Korean War, and it posed a serious threat to ground troops of the ROK 2nd Infantry Division operating in the area. The artillery was heavily guarded, forcing the UN forces to use airpower to combat them.
 Passage 2:"Something" received the Ivor Novello Award for the "Best Song Musically and Lyrically" of 1969. Harrison subsequently performed the song at his Concert for Bangladesh shows in 1971 and throughout the two tours he made as a solo artist. Up to the late 1970s, it had been covered by over 150 artists, making it the second-most covered Beatles composition after "Yesterday". Shirley Bassey had a top-five UK hit with her 1970 recording, while Frank Sinatra regularly performed the song. Other artists who have covered "Something" include Elvis Presley, Ray Charles, Peggy Lee, James Brown, Tony Bennett, Andy Williams, Smokey Robinson and Ike & Tina Turner. In 1999, Broadcast Music Incorporated named "Something" as the 17th-most performed song of the twentieth century, with 5 million performances. In 2004, it was ranked at number 278 on Rolling Stones list of "The 500 Greatest Songs of All Time", while two years later, Mojo placed it at number 7 in the magazine's list of the Beatles' best songs. A year after Harrison's death in November 2001, McCartney and Eric Clapton performed it at the Concert for George tribute at London's Royal Albert Hall.
 Passage 3:From the mid-1970s, DJs in early discothèques were performing similar tricks with disco songs (using loops and tape edits) to get dancers on the floor and keep them there. One noteworthy figure was Tom Moulton who invented the dance remix as we now know it. Though not a DJ (a popular misconception), Moulton had begun his career by making a homemade mix tape for a Fire Island dance club in the late 1960s. His tapes eventually became popular and he came to the attention of the music industry in New York City. At first Moulton was simply called upon to improve the aesthetics of dance-oriented recordings before release ("I didn't do the remix, I did the mix"—Tom Moulton). Eventually, he moved from being a "fix it" man on pop records to specializing in remixes for the dance floor. Along the way, he invented the breakdown section and the 12-inch single vinyl format. Walter Gibbons provided the dance version of the first commercial 12-inch single ("Ten Percent", by Double Exposure). Contrary to popular belief, Gibbons did not mix the record. In fact his version was a re-edit of the original mix. Moulton, Gibbons and their contemporaries (Jim Burgess, Tee Scott, and later Larry Levan and Shep Pettibone) at Salsoul Records proved to be the most influential group of remixers for the disco era. The Salsoul catalog is seen (especially in the UK and Europe) as being the "canon" for the disco mixer's art form. Pettibone is among a very small number of remixers whose work successfully transitioned from the disco to the House era. (He is certainly the most high-profile remixer to do so.) His contemporaries included Arthur Baker and François Kevorkian.
1