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.

Input: Consider Input: Passage: Eakins referred to the painting as Swimming in 1885, and as The Swimmers in 1886. The title The Swimming Hole dates from 1917 (the year after Eakins died), when the work was so described by the artist's widow, Susan Macdowell Eakins. Four years later, she titled the work The Old Swimming Hole, in reference to the 1882 poem The Old Swimmin'-Hole; by James Whitcomb Riley. The Amon Carter Museum has since returned to Eakins' original title, Swimming.The painting shows Eakins and five friends or students bathing at Dove Lake, an artificial lake in Mill Creek outside Philadelphia. Each of the men is looking at the water, in the words of Martin A. Berger, "apparently lost in a contemplative moment". Eakins' precise rendering of the figures has enabled scholars to identify all those depicted in the work. They are (from left to right): Talcott Williams (1849–1928), Benjamin Fox (c. 1865 – c. 1900), J. Laurie Wallace (1864–1953), Jesse Godley (1862–1889), Harry the dog (Eakins' Irish Setter, c. 1880–90), George Reynolds (c. 1839–89), and Eakins himself. The rocky promontory on which several of the men rest is the foundation of the Mill Creek mill, which was razed in 1873. It is the only sign of civilization in the work—no shoes, clothes, or bath houses are visible. The foliage in the background provides a dark background against which the swimmers' skin tones contrast.
The positioning of the bodies and their musculature refers to classical ideals of physical beauty and masculine camaraderie evocative of Greek art. The reclining figure is a paraphrase of the Dying Gaul, and is juxtaposed with the far less formal self-depiction by the artist. It is possible that Eakins was seeking to reconcile an ancient theme with a modern interpretation; the subject was contemporary, but the poses of some of the figures recall those of classical sculpture. One possible influence by a contemporary source was Scène d'été, painted in 1869 by Frédéric Bazille (1841–70). It is not unlikely that Eakins saw the painting at the Salon while studying in Paris, and would have been sympathetic to its depiction of male bathers in a modern setting.In Eakins' oeuvre, The Swimming Hole was immediately preceded by a number of similar works on the Arcadian theme. These correspond to lectures he gave on Ancient Greek sculpture and were inspired by the Pennsylvania Academy's casts of Phidias' Pan-Athenaic procession from the Parthenon marbles. A series of photographs, relief sculptures, and oil sketches culminated in the 1883 Arcadia, a painting that also featured nude figures—posed for by a student, a nephew, and the artist's fiancée—in a pastoral landscape. 
Question: What painter possibly influenced Eakins in the painting of The Swimming Hole?

Output: Frédéric Bazille.


Input: Consider Input: Passage: Martin's first recording session with the Beatles took place at EMI's Abbey Road Studios in London on 6 June 1962. Martin immediately complained to Epstein about Best's poor drumming and suggested they use a session drummer in his place. Already contemplating Best's dismissal, the Beatles replaced him in mid-August with Ringo Starr, who left Rory Storm and the Hurricanes to join them. A 4 September session at EMI yielded a recording of "Love Me Do" featuring Starr on drums, but a dissatisfied Martin hired drummer Andy White for the band's third session a week later, which produced recordings of "Love Me Do", "Please Please Me" and "P.S. I Love You".Martin initially selected the Starr version of "Love Me Do" for the band's first single, though subsequent re-pressings featured the White version, with Starr on tambourine. Released in early October, "Love Me Do" peaked at number seventeen on the Record Retailer chart. Their television debut came later that month with a live performance on the regional news programme People and Places. After Martin suggested rerecording "Please Please Me" at a faster tempo, a studio session in late November yielded that recording, of which Martin accurately predicted, "You've just made your first No.1."In December 1962, the Beatles concluded their fifth and final Hamburg residency. By 1963, they had agreed that all four band members would contribute vocals to their albums – including Starr, despite his restricted vocal range, to validate his standing in the group. Lennon and McCartney had established a songwriting partnership, and as the band's success grew, their dominant collaboration limited Harrison's opportunities as a lead vocalist. Epstein, in an effort to maximise the Beatles' commercial potential, encouraged them to adopt a professional approach to performing. Lennon recalled him saying, "Look, if you really want to get in these bigger places, you're going to have to change – stop eating on stage, stop swearing, stop smoking ..." Lennon said: "We used to dress how we liked, on and off stage. He'd tell us that jeans were not particularly smart and could we possibly manage to wear proper trousers, but he didn't want us suddenly looking square. He'd let us have our own sense of individuality.". 
Question: What is the name of the band whose television debut was a live performance on the news programme People and Places?

Output: the Beatles.


Input: Consider Input: Passage: In 1967 Solti was invited to become music director of the Chicago Symphony Orchestra. It was the second time he had been offered the post. The first had been in 1963 after the death of the orchestra's conductor, Fritz Reiner, who made its reputation in the previous decade. Solti told the representatives of the orchestra that his commitments at Covent Garden made it impossible to give Chicago the eight months a year they sought. He suggested giving them three and a half months a year and inviting Carlo Maria Giulini to take charge for a similar length of time. The orchestra declined to proceed on these lines. When Solti accepted the orchestra's second invitation it was agreed that Giulini should be appointed to share the conducting. Both conductors signed three-year contracts with the orchestra, effective from 1969.One of the members of the Chicago Symphony described it to Solti as "the best provincial orchestra in the world." Many players remained from its celebrated decade under Reiner, but morale was low, and the orchestra was $5m in debt. Solti concluded that it was essential to raise the orchestra's international profile. He ensured that it was engaged for many of his Decca sessions, and he and Giulini led it in a European tour in 1971, playing in ten countries. It was the first time in its 80-year history that the orchestra had played outside of North America. The orchestra received plaudits from European critics, and was welcomed home at the end of the tour with a ticker-tape parade.The orchestra's principal flute player, Donald Peck, commented that the relationship between a conductor and an orchestra is difficult to explain: "some conductors get along with some orchestras and not others. We had a good match with Solti and he with us." Peck's colleague, the violinist Victor Aitay said, "Usually conductors are relaxed at rehearsals and tense at the concerts. Solti is the reverse. He is very tense at rehearsals, which makes us concentrate, but relaxed during the performance, which is a great asset to the orchestra." Peck recalled Solti's constant efforts to improve his own technique and interpretations, at one point experimentally dispensing with a baton, drawing a "darker and deeper, much more relaxed" tone from the players. 
Question: What are the last names of the conductors who signed three-year contracts with the orchestra?


Output: Solti.