In this task, you're expected to write answers to questions involving multiple references to the same entity. The answer to the question should be unambiguous and a phrase in the paragraph. Most questions can have only one correct answer.

Ex Input:
Passage: In 1943, in preparation for overseas deployment, 400 pilots and 3,600 crewmen of the 351st Bombardment Group assemble at a Colorado air base. Arriving in England, as part of the Eighth Air Force, the 351st BG is welcomed by the Royal Air Force and begins training, attending daily lectures on security. Their first mission flying Boeing B-17 Flying Fortress bombers has the armada departing at 15-second intervals.
The first mission of the 351st on Fortress Europe, after fighting through Luftwaffe defenders, is a success, with all 20 B-17s returning safely back to base. The danger of flying in massed formation, however, is brought home in training, when a collision takes place over the home base. Missions are also not always without casualties and 351st bombers are shot down.  Wounded airmen who make it back to base, are cared for at a nearby hospital. When bombers are all shot up, the ground crew works up to 90-hour periods to put them back into service.
As the mission tallies build, the men partake in activities at the base, including games, socializing and worship. The U.S.O. brings entertainers such as Bob Hope while the Red Cross provides the men with rest and recreation. During special parades, commanders of the 8th Air Force bestow medals for exceptional service and sacrifice.
The 351st participates in a big mission into Germany and after flying for about three hours, the B-17s' fighter escort turns back. As the bombers near their target to drop incendiary and anti-personnel bombs, enemy fighter aircraft appear and intense flak comes up from the ground. After a long battle, the 351st returns to base, ready to fight again until the war is over. 
Question: What is the formal name for the armada?

Ex Output:
351st Bombardment Group.


Ex Input:
Passage: Music critic J. D. Considine noted "on albums, Jackson's sound isn't defined by her voice so much as by the way her voice is framed by the lush, propulsive production of Jimmy Jam and Terry Lewis." Wendy Robinson of PopMatters said "the power of Janet Jackson's voice does not lie in her pipes. She doesn't blow, she whispers ... Jackson's confectionary vocals are masterfully complemented by gentle harmonies and balanced out by pulsing rhythms, so she's never unpleasant to listen to."Matthew Perpetus of Fluxblog suggested Jackson's vocal techniques as a study for indie rock music, considering it to possess "a somewhat subliminal effect on the listener, guiding and emphasizing dynamic shifts without distracting attention from its primal hooks." Perpetus added: "Her voice effortlessly transitions from a rhythmic toughness to soulful emoting to a flirty softness without overselling any aspect of her performance ... a continuum of emotions and attitudes that add up to the impression that we're listening to the expression of a fully-formed human being with contradictions and complexities."Jackson's music has encompassed a broad range of genres. Her records from the 1980s have been described as being influenced by Prince, as her producers are ex-members of the Time. Sal Cinquemani wrote that in addition to defining Top 40 radio, she "gave Prince's Minneapolis sound a distinctly feminine—and, with songs like 'What Have You Done for Me Lately?,' 'Nasty,' 'Control,' and 'Let's Wait Awhile,' a distinctly feminist—spin."On Control, Richard J. Ripani documented that she, Jam and Lewis had "crafted a new sound that fuses the rhythmic elements of funk and disco, along with heavy doses of synthesizers, percussion, sound effects, and a rap music sensibility." Author Rickey Vincent stated that she has often been credited for redefining the standard of popular music with the industrial-strength beats of the album. She is considered a trendsetter in pop balladry, with Richard Rischar stating "the black pop ballad of the mid-1980s had been dominated by the vocal and production style that was smooth and polished, led by singers Whitney Houston, Janet Jackson, and James Ingram."Jackson continued her musical development by blending pop and urban music with elements of hip-hop in the nineties. This included a softer representation, articulated by lush, soulful ballads and up-tempo dance beats. She is described by music critic Greg Kot as "an artist who has reshaped the sound and image of rhythm and blues" within the first decade of her career. Critic Karla Peterson remarked that "she is a sharp dancer, an appealing performer, and as 'That's the Way Love Goes' proves—an ace pop-song writer." Selected material from the following decade has been viewed less favorably, as Sal Cinquemani comments "except for maybe R.E.M., no other former superstar act has been as prolific with such diminishing commercial and creative returns."Jackson has changed her lyrical focus over the years, becoming the subject of analysis in musicology, African American studies, and gender studies. David Ritz compared Jackson's musical style to Marvin Gaye's, stating, "like Marvin, autobiography seemed the sole source of her music. Her art, also like Marvin's, floated over a reservoir of secret pain." Much of her success has been attributed to "a series of powerful, metallic grooves; her chirpy, multi-tracked vocals; and a lyrical philosophy built on pride and self-knowledge." Ritz also stated, "The mystery is the low flame that burns around the perimeters of Janet Jackson's soul. The flame feeds off the most highly combustible elements: survival and ambition, caution and creativity, supreme confidence and dark fear."During the 1980s, her lyrics embodied self-actualization, feminist principles, and politically driven ideology. Gillian G. Gaar described Control as "an autobiographical tale about her life with her parents, her first marriage, and breaking free." Jessie Carney Smith wrote "with that album, she asserted her independence, individuality, and personal power. She challenged audiences to see her as a transformed person, from an ingénue to a grow-up, multi-talented celebrity." Referring to Rhythm Nation 1814 as an embodiment of hope, Timothy E. Scheurer wrote "It may remind some of Sly Stone prior to There's a Riot Going On and other African-American artists of the 1970s in its tacit assumption that the world imagined by Dr. King is still possible, that the American Dream is a dream for all people."On Janet, Jackson began focusing on sexual themes. Shayne Lee wrote that her music over the following decade "brand[ed] her as one of the most sexually stimulating vocalists of the 1990s." Lilly J. Goren observed "Jackson's evolution from politically aware musician to sexy diva marked the direction that society and the music industry were encouraging the dance-rock divas to pursue." The Washington Post declared Jackson's public image over the course of her career had shifted "from innocence to experience, inspiring such carnal albums as 1993's 'Janet' and 1997's 'The Velvet Rope', the latter of which explored the bonds—figuratively and literally—of love and lust."The song "Free Xone" from The Velvet Rope, which portrays same-sex relationships in a positive light, is described by sociologist Shayne Lee as "a rare incident in which a popular black vocalist explores romantic or sensual energy outside the contours of heteronormativity, making it a significant song in black sexual politics." During promotion for Janet, she stated "I love feeling deeply sexual—and don't mind letting the world know. For me, sex has become a celebration, a joyful part of the creative process."Upon the release of Damita Jo, Jackon stated "Beginning with the earlier albums, exploring—and liberating—my sexuality has been an ongoing discovery and theme," adding "As an artist, that's not only my passion, it's my obligation." Stephen Thomas Erlewine has found Jackson's consistent inclusion of sex in her music lacking ingenuity, especially in comparisons to other artists such as Prince, stating "while sex indisputably fuels much great pop music, it isn't an inherently fascinating topic for pop music—as with anything, it all depends on the artist.". 
Question: What is the first of the person who, according to Smith, "challenged audiences to see her as a transformed person, from an ingénue to a grow-up, multi-talented celebrity"?

Ex Output:
Janet.


Ex Input:
Passage: Kennedy's assassination led indirectly to another commission for Pei's firm. In 1964 the acting mayor, Erik Jonsson, began working to change the community's image. Dallas was known and disliked as the city where the president had been killed, but Jonsson began a program designed to initiate a community renewal. One of the goals was a new city hall, which could be a "symbol of the people". Jonsson, a co-founder of Texas Instruments, learned about Pei from his associate Cecil Howard Green, who had recruited the architect for MIT's Earth Sciences building.Pei's approach to the new Dallas City Hall mirrored those of other projects; he surveyed the surrounding area and worked to make the building fit. In the case of Dallas, he spent days meeting with residents of the city and was impressed by their civic pride. He also found that the skyscrapers of the downtown business district dominated the skyline, and sought to create a building which could face the tall buildings and represent the importance of the public sector. He spoke of creating "a public-private dialogue with the commercial high-rises".Working with his associate Theodore Musho, Pei developed a design centered on a building with a top much wider than the bottom; the facade leans at an angle of 34 degrees. A plaza stretches out before the building, and a series of support columns holds it up. It was influenced by Le Corbusier's High Court building in Chandigarh, India; Pei sought to use the significant overhang to unify building and plaza. The project cost much more than initially expected, and took 11 years. Revenue was secured in part by including a subterranean parking garage. The interior of the city hall is large and spacious; windows in the ceiling above the eighth floor fill the main space with light.
The city of Dallas received the building well, and a local television news crew found unanimous approval of the new city hall when it officially opened to the public in 1978. Pei himself considered the project a success, even as he worried about the arrangement of its elements. He said: "It's perhaps stronger than I would have liked; it's got more strength than finesse." He felt that his relative lack of experience left him without the necessary design tools to refine his vision, but the community liked the city hall enough to invite him back. Over the years he went on to design five additional buildings in the Dallas area. 
Question: What is the name of the person who went on to design five additional buildings in the Dallas area?

Ex Output:

Pei.