Question:
The Mongolian language (in Mongolian script: monggol qele MoNGgol kele; in Mongolian Cyrillic: mongol khel, mongol khel) is the official language of Mongolia and both the most widely-spoken and best-known member of the Mongolic language family. The number of speakers across all its dialects may be 5.2 million, including the vast majority of the residents of Mongolia and many of the Mongolian residents of the Inner Mongolia Autonomous Region. In Mongolia, the Khalkha dialect, written in Cyrillic (and at times in Latin for social networking), is predominant, while in Inner Mongolia, the language is dialectally more diverse and is written in the traditional Mongolian script. In the discussion of grammar to follow, the variety of Mongolian treated is Standard Khalkha Mongolian (i.e., the standard written language as formalized in the writing conventions and in the school grammar), but much of what is to be said is also valid for vernacular (spoken) Khalkha and for other Mongolian dialects, especially Chakhar.
The noun phrase has the order: demonstrative pronoun/numeral, adjective, noun. Attributive sentences precede the whole NP. Titles or occupations of people, low numerals indicating groups, and focus clitics are put behind the head noun. Possessive pronouns (in different forms) may either precede or follow the NP. Examples:  The verbal phrase consists of the predicate in the center, preceded by its complements and by the adverbials modifying it and followed (mainly if the predicate is sentence-final) by modal particles, as in the following example with predicate bicsen:  In this clause the adverbial, helehgujgeer 'without saying [so]' must precede the predicate's complement, uunijg 'it-accusative' in order to avoid syntactic ambiguity, since helehgujgeer is itself derived from a verb and hence an uunijg preceding it could be construed as its complement. If the adverbial was an adjective such as hurdan 'fast', it could optionally immediately precede the predicate. There are also cases in which the adverb must immediately precede the predicate.  For Khalkha, the most complete treatment of the verbal forms is Luvsanvandan (ed.) 1987. However, the analysis of predication presented here, while valid for Khalkha, is adapted from the description of Khorchin by Matsuoka 2007.  Most often, of course, the predicate consists of a verb. However, there are several types of nominal predicative constructions, with or without a copula. Auxiliaries that express direction and aktionsart (among other meanings) can with the assistance of a linking converb occupy the immediate postverbal position, e.g. uuz orhison drink-converb leave-perfect 'drank up'. The next position is filled by converb suffixes in connection with the auxiliary, baj- 'to be', e.g. ter gujz bajna s/he run-converb be-nonpast 'she is running'. Suffixes occupying this position express grammatical aspect, e.g., progressive and resultative. In the next position, participles followed by baj- may follow, e.g., ter irsen bajna s/he come-perfect be-nonpast 'he has come'. Here, an explicit perfect and habituality can be marked, which is aspectual in meaning as well. This position may be occupied by multiple suffixes in a single predication, and it can still be followed by a converbal Progressive. The last position is occupied by suffixes that express tense, evidentiality, modality, and aspect.
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What makes it have multiple suffixes?

Answer:
followed by a converbal Progressive.


Question:
Michael John Kells Fleetwood was born in Redruth, second child to John Joseph Kells Fleetwood and Bridget Maureen (nee Brereton) Fleetwood. His elder sister Susan Fleetwood, who died of cancer in 1995, became an actress. In early childhood Fleetwood and his family followed his father, a Royal Air Force fighter pilot, to Egypt. After about six years, they moved to Norway where his father was posted on a NATO deployment.
Fleetwood was a self-taught drummer from his early childhood, after moving from a lacklustre academic performance at school to a love of music encouraged by his family, who bought him his first drum kit. His first years were heavily influenced by Tony Meehan and the Everly Brothers, and during his formative years in London during the late 1960s, Green helped Fleetwood through bouts of "rhythmic dyslexia" during live performances when Fleetwood panicked and lost the beat. He often sang filled pauses along to songs to help keep the beat. Green also instilled in Fleetwood an ability to follow and predict the lead guitarist, enabling him to meet the guitar with the drum rhythm as well as allowing him to know a good guitarist when he saw one - which would in part lead him later in his career to select Lindsey Buckingham.  Bob Brunning recalled from his early involvement with Fleetwood Mac that Fleetwood was "very open to playing with different people as long as he didn't have to change his style. He was, and is, a completely straightforward drummer, and it works with a lot of different styles. I don't s'pose [sic] he's played a traditional drum solo in his life!" Biographer Carroll highlights this ability as integral to the success of Fleetwood Mac, arguing that Fleetwood was not a virtuoso, but his disciplined and in-distractable manner of play allowed him to hold together a band of strong leading personalities without impinging upon their expression.  Caillat, in contrast, cites Fleetwood as "still one of the most amazing drummers I've ever met. He had his rack of tom drums arranged back to front. Most drummers place them from high to low (in pitch) from their left to right, but Mick chose to place his mid, high, low. I think perhaps this helped him develop his unique style. He hit his drums very hard, except for his kick drum. For some reason, when he played his high hat, it distracted him. He would keep perfect beat with his kick, but he played it so softly that we could hear his mouth noises through his kick mic."
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HOw did he hit the kick drum?

Answer:
He would keep perfect beat with his kick, but he played it so softly that we could hear his mouth noises through his kick mic."