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: The name Spiderland originates from McMahan's younger brother, who thought that the record sounded "spidery". The album's black-and-white cover photograph, which depicts the members of the band (Brashear, McMahan, Walford and Pajo, from left to right) treading water in the lake of an abandoned quarry, was taken by Will Oldham. An article in The Stranger credited the cover for creating a mystique surrounding Slint, noting "[m]ost people only had seen Slint as four heads floating in a Kentucky quarry on Spiderland's cover. Listeners pondered the band's sparsely adorned black-and-white covers as if they were runes bearing secrets." Chris Gaerig of the Michigan Daily wrote, "the cover of Slint's masterful Spiderland captures the joyous fear and violence of the album so precisely it shakes souls. The group—submerged in a lake to their chins with deranged smiles—seems to be stalking you, hovering out of the black-and-white façade." Several other promotional images have been taken from the same photo session with Oldham.A photo of a spider taken by Noel Saltzman is used on the back cover, reflecting the album's title. The inside sleeve contains the message "interested female vocalists write 1864 douglas blvd. louisville, ky. 40205". McMahan confirmed that this message was serious, and said "We did get some responses and we did listen to CDs and tapes. We didn't end up doing anything immediately, so that idea of adding someone sort of fell by the wayside." The message "this recording is meant to be listened to on vinyl" is printed on some CD issues of Spiderland, demonstrating Slint's preference of analog audio devices. 
Question: What is the name of the band whose sparsely adorned black-and-white covers listeners pondered?

Ex Output:
Slint.


Ex Input:
Passage: Although weakened and pushed south beyond the Huai River, the Southern Song found new ways to bolster its strong economy and defend itself against the Jin dynasty. It had able military officers such as Yue Fei and Han Shizhong. The government sponsored massive shipbuilding and harbor improvement projects, and the construction of beacons and seaport warehouses to support maritime trade abroad, including at the major international seaports, such as Quanzhou, Guangzhou, and Xiamen, that were sustaining China's commerce.To protect and support the multitude of ships sailing for maritime interests into the waters of the East China Sea and Yellow Sea (to Korea and Japan), Southeast Asia, the Indian Ocean, and the Red Sea, it was necessary to establish an official standing navy. The Song dynasty therefore established China's first permanent navy in 1132, with a headquarters at Dinghai. With a permanent navy, the Song were prepared to face the naval forces of the Jin on the Yangtze River in 1161, in the Battle of Tangdao and the Battle of Caishi. During these battles the Song navy employed swift paddle wheel driven naval vessels armed with traction trebuchet catapults aboard the decks that launched gunpowder bombs. Although the Jin forces commanded by Wanyan Liang (the Prince of Hailing) boasted 70,000 men on 600 warships, and the Song forces only 3,000 men on 120 warships, the Song dynasty forces were victorious in both battles due to the destructive power of the bombs and the rapid assaults by paddle wheel ships. The strength of the navy was heavily emphasized after that. A century after the navy was founded it had grown in size to 52,000 fighting marines.
The Song government confiscated portions of land owned by the landed gentry in order to raise revenue for these projects, an act which caused dissension and loss of loyalty amongst leading members of Song society but did not stop the Song's defensive preparations. Financial matters were made worse by the fact that many wealthy, land-owning families—some of which had officials working for the government—used their social connections with those in office in order to obtain tax-exempt status.Although the Song dynasty was able to hold back the Jin, a new foe came to power over the steppe, deserts, and plains north of the Jin dynasty. The Mongols, led by Genghis Khan (r. 1206–1227), initially invaded the Jin dynasty in 1205 and 1209, engaging in large raids across its borders, and in 1211 an enormous Mongol army was assembled to invade the Jin. The Jin dynasty was forced to submit and pay tribute to the Mongols as vassals; when the Jin suddenly moved their capital city from Beijing to Kaifeng, the Mongols saw this as a revolt. Under the leadership of Ögedei Khan (r.1229–1241), both the Jin dynasty and Western Xia dynasty were conquered by Mongol forces. The Mongols also invaded Korea, the Abbasid Caliphate of the Middle East and the Kievan Rus'. 
Question: What people used their social connections with those in office in order to obtain tax-exempt status?

Ex Output:
wealthy, land-owning families.


Ex Input:
Passage: Igor Stravinsky was the son of Fyodor Stravinsky, the principal bass singer at the Imperial Opera, St Petersburg, and Anna, née Kholodovskaya, a competent amateur singer and pianist from an old-established Russian family. Fyodor's association with many of the leading figures in Russian music, including Rimsky-Korsakov, Borodin and Mussorgsky, meant that Igor grew up in an intensely musical home. In 1901 Stravinsky began to study law at Saint Petersburg University while taking private lessons in harmony and counterpoint. Stravinsky worked under the guidance of Rimsky-Korsakov, having impressed him with some of his early compositional efforts. By the time of his mentor's death in 1908 Stravinsky had produced several works, among them a Piano Sonata in F♯ minor (1903–04), a Symphony in E♭ major (1907), which he catalogued as "Opus 1", and a short orchestral piece, Feu d'artifice ("Fireworks", composed in 1908).In 1909 Feu d'artifice was performed at a concert in St. Petersburg. Among those in the audience was the impresario Sergei Diaghilev, who at that time was planning to introduce Russian music and art to western audiences. Like Stravinsky, Diaghilev had initially studied law, but had gravitated via journalism into the theatrical world. In 1907 he began his theatrical career by presenting five concerts in Paris; in the following year he introduced Mussorgsky's opera Boris Godunov. In 1909, still in Paris, he launched the Ballets Russes, initially with Borodin's Polovtsian Dances from Prince Igor and Rimsky-Korsakov's Scheherazade. To present these works Diaghilev recruited the choreographer Michel Fokine, the designer Léon Bakst and the dancer Vaslav Nijinsky. Diaghilev's intention, however, was to produce new works in a distinctively 20th-century style, and he was looking for fresh compositional talent. Having heard Feu d'artifice he approached Stravinsky, initially with a request for help in orchestrating music by Chopin to create the ballet Les Sylphides. Stravinsky worked on the opening "Nocturne" and the closing "Valse Brillante"; his reward was a much bigger commission, to write the music for a new ballet, The Firebird (L'oiseau de feu) for the 1910 season.Stravinsky worked through the winter of 1909–10, in close association with Fokine who was choreographing The Firebird. During this period Stravinsky made the acquaintance of Nijinsky who, although not dancing in the ballet, was a keen observer of its development. Stravinsky was uncomplimentary when recording his first impressions of the dancer, observing that he seemed immature and gauche for his age (he was 21). On the other hand, Stravinsky found Diaghilev an inspiration, "the very essence of a great personality". The Firebird was premiered on 25 June 1910, with Tamara Karsavina in the main role, and was a great public success. This ensured that the Diaghilev–Stravinsky collaboration would continue, in the first instance with Petrushka (1911) and then The Rite of Spring. 
Question: What is the full name of the person that impressed Rimsky-Korsakov with their early compositional efforts?

Ex Output:

Igor Stravinsky.